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Architecture and Modern Literature explores the representation and interpretation of architectural space in modern literature from the early nineteenth century to the present, with the aim of showing how literary production and architectural construction are related as cultural forms in the historical context of modernity. In addressing this subject, it also examines the larger questions of the relation between literature and architecture and the extent to which these two arts define one another in the social and philosophical contexts of modernity. Architecture and Modern Literature will serve as a foundational introduction to the emerging interdisciplinary study of architecture and literature. David Spurr addresses a broad range of material, including literary, critical, and philosophical works in English, French, and German, and proposes a new historical and theoretical overview of this area, in which modern forms of "meaning" in architecture and literature are related to the discourses of being, dwelling, and homelessness.
Essays from the Sawyer Seminar
As sites of documentary preservation rooted in various national and social contexts, artifacts of culture, and places of uncovering, archives provide tangible evidence of memory for individuals, communities, and states, as well as defining memory institutionally within prevailing political systems and cultural norms. By assigning the prerogatives of record keeper to the archivist, whose acquisition policies, finding aids, and various institutionalized predilections mediate between scholarship and information, archives produce knowledge, legitimize political systems, and construct identities. Far from being mere repositories of data, archives actually embody the fragments of culture that endure as signifiers of who we are, and why. The essays in Archives, Documentation, and Institutions of Social Memory conceive of archives not simply as historical repositories but as a complex of structures, processes, and epistemologies situated at a critical point of the intersection between scholarship, cultural practices, politics, and technologies. Francis X. Blouin Jr. is Professor of History and Director of the Bentley Historical Library at the University of Michigan. William G. Rosenberg is Professor of History, University of Michigan.
Modern Pop at the Turn of the 1980s
“Are We Not New Wave? is destined to become the definitive study of new wave music.” —Mark Spicer, coeditor of Sounding Out Pop New wave emerged at the turn of the 1980s as a pop music movement cast in the image of punk rock’s sneering demeanor, yet rendered more accessible and sophisticated. Artists such as the Cars, Devo, the Talking Heads, and the Human League leapt into the Top 40 with a novel sound that broke with the staid rock clichés of the 1970s and pointed the way to a more modern pop style. In Are We Not New Wave? Theo Cateforis provides the first musical and cultural history of the new wave movement, charting its rise out of mid-1970s punk to its ubiquitous early 1980s MTV presence and downfall in the mid-1980s. The book also explores the meanings behind the music’s distinctive traits—its characteristic whiteness and nervousness; its playful irony, electronic melodies, and crossover experimentations. Cateforis traces new wave’s modern sensibilities back to the space-age consumer culture of the late 1950s/early 1960s. Three decades after its rise and fall, new wave’s influence looms large over the contemporary pop scene, recycled and celebrated not only in reunion tours, VH1 nostalgia specials, and “80s night” dance clubs but in the music of artists as diverse as Rihanna, Lady Gaga, Miley Cyrus, and the Killers.
Virtual Travel and Victorian Realism
Are We There Yet?: Virtual Travel and Victorian Realism connects the Victorian fascination with "virtual travel" with the rise of realism in 19th-century fiction and 21st-century experiments in virtual reality. Even as the expansion of river and railway networks in the 19th century made travel easier than ever before, staying at home and fantasizing about travel turned into a favorite pastime. New ways of representing place---360-degree panoramas, foldout river maps, exhaustive railway guides---offered themselves as substitutes for actual travel. Thinking of these representations as a form of "virtual travel" reveals a surprising continuity between the Victorian fascination with imaginative dislocation and 21st-century efforts to use digital technology to expand the physical boundaries of the self.
Roger Fry on Commerce in Art, Selected Writings, Edited with an Interpretation
Roger Fry, a core member of the Bloomsbury Group, was involved with all aspects of the art market as artist, critic, curator, historian, journalist, advisor to collectors, and gallery operator. He is especially remembered as the person who introduced postimpressionist art to Britain. Reprinted in this volume are seventeen of Fry's works on commerce in art. Although he had no formal training in economics, Fry addressed the art market as a modern economist might do. It is therefore fitting that his writings receive here an original interpretation from the perspective of a modern economist, Craufurd D. Goodwin. Goodwin explores why Fry's work is both a landmark in the history of cross-disciplinary thought and a source of fresh insights into a wide range of current policy questions. The new writings included contain Fry's most important contributions to theory, history, and debates over policy as he explored the determinants of the supply of art, the demand for art, and the art market institutions that facilitate exchange. His ideas and speculations are as stimulating and provocative today as when they were written. "A fascinating selection of essays by one of the twentieth century's most thoughtful and stimulating critics. Goodwin's introduction sets the stage beautifully, providing useful links to Veblen and Keynes." --D. E. Moggridge, University of Toronto "Art and the Market uncovers new connections between aesthetics and art in the Bloomsbury Group. . . . Goodwin adds significantly to the understanding of cultural economics in the work of Fry himself as well as J. M. Keynes and even Leonard and Virginia Woolf." --S. P. Rosenbaum, University of Toronto "All those interested in the arts and economics, and their connections, will be delighted by this collection, as will be students of Bloomsbury." --Peter Stansky, Stanford University Craufurd D. Goodwin is James B. Duke Professor of Economics, Duke University.
Positive Incentives and German Economic Diplomacy
Much has been written about a state's use of the threat of military force or economic sanctions to change the behavior of another state. Less is known about the use of positive measures such as economic assistance and investment as a means of influence. This study looks at the ways in which government officials use economic instruments for foreign policy gains. More specifically, it examines the means by which a government can enhance its efforts at economic persuasion by inducing domestic business trade and investing in the target nation. The author demonstrates the domestic conditions under which the state can use commercial economic incentives to achieve foreign policy goals, especially where these incentives are meant to induce cooperative behavior from another state. Using the process of German-Polish reconciliation in the 1970s and 1980s as a case study, The Art of Economic Persuasion, argues that complex institutional links between the German government and the German business community enabled the government to encourage commercial relations with Poland, which supported the government's policies. With singular access to archives of business associations in Germany as well as numerous interviews with German and Polish officials, the author carefully retraces German foreign policy towards Poland in the 1970s and 1980s. The Art of Economic Persuasion is a theoretical addition to the literature on international political economy and international relations. It will be of interest to specialists in international relations, foreign policy, and international political economy, as well as economists, political scientists, and historians of Germany, Poland, the United States, and Cold War relations. Patricia Davis is Assistant Professor of Government and International Studies, University of Notre Dame.
"While critics have long focused on Antonin Artaud as the epitome of the suffering and martyred artist and on the 'liberating' aspects of his work, argues Kimberly Jannarone, the time has come to situate him within a fuller historical, political, and cultural context. Her important and highly readable book asserts that, far from being a symbol of liberation and 'revolt,' Artaud's work has important affinities with repressive and irrational strands of fascist thought." ---Naomi Greene, University of California, Santa Barbara "An extremely provocative, original, and compelling redirection for scholarship on Artaud and for the histories of the avant-garde with which his work is frequently associated." ---James Harding, University of Mary Washington "Artaud and His Doubles shows the extraordinary discoveries that can come from meticulous archival research, sound historiography, and rigorously theoretical criticism. In these pages, Kimberly Jannarone restores to the historical record Artaud's actual practice as a director and actor and roots his thinking about the theater firmly in its cultural and political contexts. Doing so, she overturns long-lived and widespread misperceptions of that legendary avant-gardist. The Artaud that we find in these pages is not the one we're familiar with, not the desperate romantic we've come to know in the writings of Susan Sontag, the radical performances of the Living Theatre, and the poststructuralist meditations of Jacques Derrida and Gilles Deleuze. Indeed, the mythical Artaud of the 1960s counterculture and the theory generation must now give way to the facts of the matter. This is theater history at its very best---this is why theater history matters." ---Mike Sell, Indiana University of Pennsylvania Artaud and His Doubles is a radical re-thinking of one of the most well-known and influential theater artists and theorists of the twentieth century. Placing Artaud's works and rhetoric within the specific context of European political, theatrical, and intellectual history of the early twentieth century, the book reveals Artaud's affinities with a disturbing array of anti-intellectual and reactionary writers and artists whose ranks swelled catastrophically between the wars in Western Europe. Kimberly Jannarone shows that Artaud's work (particularly his famous 1938 manifesto, The Theater and Its Double) itself reveals two sets of doubles: one, a body of peculiarly persistent received interpretations from the American experimental theater and French post-structuralist readings of the 1960s; and, two, a darker set of doubles brought to light through close historical examination---those of Artaud's contemporaries who, in the tumultuous, alienated, and pessimistic atmosphere enveloping much of Europe after World War I, denounced the degradation of civilization, yearned for cosmic purification, and called for an ecstatic loss of the self. Artaud and His Doubles will generate provocative new discussions about Artaud and fundamentally challenge the way we look at his work and ideas. This book will appeal to scholars of theater, drama, French arts and literature, cultural studies, and intellectual history, as well as to those interested in the history of art and culture of the interwar era. Kimberly Jannarone is Associate Professor in the Department of Theater Arts at the University of California, Santa Cruz. Cover photo © 2010 Man Ray Trust / Artists Rights Society (ARS), NY / ADAGP, Paris. Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY.
Theater and Culture in a Time of Change
Perspectives on America's greatest living playwright that explore his longstanding commitment to forging a uniquely American theater Arthur Miller's America collects new writing by leading international critics and scholars that considers the dramatic world of icon, activist, and playwright Arthur Miller's theater as it reflects the changing moral equations of his time. Written on the occasion of Miller's 85th year, the original essays and interviews in Arthur Miller's America treat the breadth of Miller's work, including his early political writings for the campus newspaper at the University of Michigan, his famous work with John Huston, Clark Gable and Marilyn Monroe on The Misfits, and his signature plays like Death of a Salesman and All My Sons.
No American playwright is more revered on the international stage than Arthur Miller. In Arthur Miller’s Global Theater—a fascinating collection of new essays by leading international critics and scholars—readers learn how and why audiences around the world have responded to the work of the late theatrical icon. With perspectives from diverse corners of the globe, from Israel to Japan to South Africa, this groundbreaking volume explores the challenges of translating one of the most American of American playwrights and details how disparate nations have adapted meaning in Miller’s most celebrated dramas. An original and engaging collection that will appeal to theater aficionados, scholars, students, and all those interested in Miller and his remarkable oeuvre, Arthur Miller’s Global Theater illustrates how dramas such as Death of a Salesman, The Crucible, and A View from the Bridge developed a vigorous dialogue with new audiences when they crossed linguistic and national borders. In these times when problems of censorship, repressive regimes, and international discord are increasingly in the news, Arthur Miller’s voice has never been more necessary as it continues to be heard and celebrated around the world. Enoch Brater is the Kenneth T. Rowe Collegiate Professor of Dramatic Literature at the University of Michigan. His other books include Arthur Miller: A Playwright’s Life and Works and Arthur Miller’s America.
"From his childhood in the 'Jewish heart' of Brooklyn to his memorable production of Endgame in the 1960s, Herbert Blau's autobiography provides not only more of Blau's penetrating insights into dramatists like Beckett and into the complex cross-currents of the American experimental theatre of this turbulent period. It is also a rich, deeply felt and powerfully expressed chronicle of cultural change that goes far beyond specific theatrical productions to offer a valuable personal view of the years that did so much to shape the contemporary world, expressed by one of the theatre community's most original and articulate thinkers." ---Marvin Carlson, The Graduate Center, The City University of New York "Herb Blau's memoir---of his life, but also of an era---captures what has always been important about his work. 'Blooded thought,' he taught us to call it---the embodied process of 'finding yourself divided, in the embrace of what's remembered.' His vivid account of childhood in a particular kind of American neighbourhood is complemented by reflection on his years in San Francisco when the theatre and the Cold War unfolded as mutual antagonists in his personal drama. Acute, insightful, and sometimes painful, it is also an intellectual page-turner." ---Janelle Reinelt, University of Warwick "I read As If from cover to cover, engaged and powerfully moved by a familiar brilliance . . . Blau holds an utterly unique place in twentieth-century American theater, in American culture, and in theater theory and practice." ---Elin Diamond, Rutgers University "Few theater practitioners have had comparable influence in American theater; few have endured such intoxicating highs and dispiriting lows; none, arguably, has reflected so deeply and sharply about so wide a spectrum of first-hand practical experience." ---Linda Gregerson, University of Michigan "Masterful . . . a brilliant and touching book written with honesty and humility . . . In addition, it serves as an admirable introduction to Blau's theories, providing a context for his complex and sometimes difficult ideas." ---John Lutterbie, Stony Brook University As If: An Autobiography traces the complex life and career of director, scholar, and theorist Herbert Blau, one of the most innovative voices in the American theater. From his earliest years on the streets of Brooklyn, with gang wars there, to the often embattled, now-legendary Actor's Workshop of San Francisco, the powerfully told story of Blau's first four decades is also a social history, moving from the Great Depression to the cold war, with fallout from "the balance of terror" on what he once described in an incendiary manifesto as The Impossible Theater. Blau has always forged his own path, from his activist resistance to the McCarthy witch hunts to his emergence as a revolutionary director whose work included the controversial years at The Workshop, which introduced American audiences to major playwrights of the European avant-garde, including Brecht, Beckett, Genet, and Pinter. There is also an account here of that notorious production of Waiting for Godot at the maximum-security prison at San Quentin, which became the insignia of the Theater of the Absurd. Blau went on from The Workshop to become codirector of the Repertory Theater of Lincoln Center, and then founding provost of California Institute of the Arts, where he developed and became artistic director of the experimental group KRAKEN. Currently Byron W. and Alice L. Lockwood Professor of the Humanities at the University of Washington, Blau has been visionary in the passage from theater to theory, and his many influential and award-winning books include The Dubious Spectacle: Extremities of Theater, 1976–2000; Sails of the Herring Fleet: Essays on Beckett; Nothing in Itself: Complexions of Fashion; To All Appearances: Ideology and Performance; The Audience; The Eye of Prey: Subversions of the Postmodern; and Take Up the Bodies: Theater at the Vanishing Point. This richly evocative book includes never-before-published photographs of the author, his family and friends, collaborators in the theater, and theater productions.