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Detroit’s unique and partly abandoned cityscape has scarred its image around the world for decades. But in the last several years journalists have begun to view the city through a different lens, focusing on the wide range of contemporary artists finding inspiration amid the emptiness and adding a more complex chapter to the story of a city long labeled as a haunting symbol of U.S. economic decline. In Canvas Detroit, Julie Pincus and Nichole Christian combine vibrant full-color photography of the city’s much-buzzed-about art scene with thoughtful narrative that explores the art and artists that are re-creating Detroit. Canvas Detroit captures hundreds of pieces of artwork in many forms—including large-scale and small-scale murals, sculptures, portraits, light projections, wearable art, and installations (made with wood, glass, living plants, fiber, and fabric). Works are situated in both obvious and more hidden spaces, including on and in houses, garages, factories, alleyways, doors, and walls, while some structures have been entirely transformed into art. Pincus and Christian profile creators working in Detroit, including internationally known figures like Banksy, Matthew Barney, and Tyree Guyton; prominent Detroit artists such as Scott Hocking, Jerome Ferretti, and Robert Sestock; and collectives like Power House Productions, Hygenic Dress League, the Empowerment Plan, and Theatre Bizarre. Canvas Detroit also includes an introductory essay by Mame Jackson, and contributions by John Gallagher, Michael Hodges, Rebecca Hart, and Linda Yablonsky that contextualize the current artistic moment in the city. This beautifully designed and informative volume showcases the stunning breadth and depth of artwork currently being done in Detroit. It will be essential reading for anyone interested in arts and culture in the city.
Embodiment, Time, and Language in Early Childhood
The Child in the World builds a bridge between continental philosophers, who tend to overlook child existence, and developmental psychologists, who often fail to consider the philosophical assumptions underlying their work. In this volume, author Eva M. Simms draws on both psychological and phenomenological research to investigate child existence in its cultural and historical context and explore the ways children interact with the world around them. Simms examines key experiences of childhood with special attention to the non-dualistic nature of the child’s consciousness and the understanding that there is more to the child’s experiences than cognitive processes. In chapters that proceed from infancy to early childhood, Simms considers how children live their embodiment, coexist with others, experience and the spaces and places of their neighborhoods, have deeply felt relations to things, grasp time intuitively and often in contradiction to adult clock-time, and are transformed by the mystery of the symbolic order of play and language. Simms’s approach is particularly informed by the philosophy of Maurice Merleau-Ponty, which allows for a descriptive and grounded understanding of child experience as well as sophisticated and critical philosophical thinking about human existence in general. By respecting and celebrating the magical non-dualistic relationship child consciousness has to the world, The Child in the World offers readers a unique opportunity to expand their understanding of human existence. Students and teachers of psychology and philosophy, early childhood educators, psychotherapists, as well as general readers who are parents of young children will enjoy this fascinating volume.
A Study of a Peculiar People
In its first appearance in 1892, Israel Zangwill's Children of the Ghetto created a sensation in both England and America, becoming the first Anglo-Jewish bestseller and establishing Zangwill as the literary voice of Anglo-Jewry. A novel set in late nineteenth-century London, Children of the Ghetto gave an inside look into an immigrant community that was almost as mysterious to the more established middle-class Jews of Britain as to the non-Jewish population, providing a compelling analysis of a generation caught between the ghetto and modern British life. This volume brings back to print the 1895 edition of Children of the Ghetto, the latest American version known to have been corrected by the author. Meri-Jane Rochelson places the novel in proper context by providing a biographical, historical, and critical introduction; a bibliography of primary and secondary sources; and notes on the text, making this ground-breaking novel accessible to a new generation of readers, both Jewish and non-Jewish alike.
Exploring the Role of Forts, Dens, and Bush Houses in Middle Childhood
From the ages of five to twelve, the middle years of childhood, young people explore their surroundings and find or construct private spaces. In these secret places, children develop and control environments of their own and enjoy freedom from the rules of the adult world. Children's Special Places enters these hidden worlds, reveals their importance to children's development and emotional health, and shows educators, parents, and other adults how they can foster a bond between young people and nature that is important to maturation.
Beginning in the 1890s, the social gospel movement and its secular counterpart, the Progressive movement, set the stage for powerful church and city governance connections. What followed during the next 100 years was the emergence of religious bodies as an important instrument for influencing City Hall on moral and social issues. Churches and Urban Government compares the governing styles of Detroit and New York City from 1895 to 1994 and looks at the steps city-wide religious bodies took to advance the interests of their communities and their local government during this chaotic period in urban history. Detroit and New York City make for a very interesting case study when casting the two cities’ many similarities against their contrasting urban governance styles. What these cities share is a longstanding liberal political culture and comparable ethnic and racial diversity as well as large populations of Catholics and Protestants. Emphasizing the role of Black churches, Henry J. Pratt—with additional material from Ronald Brown—examines how immigration, the Great Depression, and the Civil Rights movement all nurtured this developing link between religion and politics, helping churches evolve into leadership roles within these metropolitan centers.
Progressivism, Exhibition, and Film Culture in Chicago, 1907-1917
Caught between the older model of short film and the emerging classic era, the transitional period of American cinema (1907-1917) has typically posed a problem for studies of early American film. Yet in Cinema and Community: Progressivism, Exhibition, and Film Culture in Chicago, 1907-1917, author Moya Luckett uses the era's dominant political ideology as a lens to better understand its cinematic practice. Luckett argues that movies were a typically Progressive institution, reflecting the period's investment in leisure, its more public lifestyle, and its fascination with celebrity. She uses Chicago, often considered the nation's most Progressive city and home to the nation's largest film audience by 1907, to explore how Progressivism shaped and influenced the address, reception, exhibition, representational strategies, regulation, and cultural status of early cinema. After a survey of Progressivism's general influences on popular culture and the film industry in particular, she examines the era's spectatorship theories in chapter 1 and then the formal characteristics of the early feature film-including the use of prologues, multiple diegesis, and oversight-in chapter 2. In chapter 3, Luckett explores the period's cinema in the light of its celebrity culture, while she examines exhibition in chapter 4. She also looks at the formation of Chicago's censorship board in November 1907 in the context of efforts by city government, social reformers, and the local press to establish community standards for cinema in chapter 5. She completes the volume by exploring race and cinema in chapter 6 and national identity and community, this time in relation to World War I, in chapter 7. As well as offering a history of an underexplored area of film history, Luckett provides a conceptual framework to help navigate some of the period's key issues. Film scholars interested in the early years of American cinema will appreciate this insightful study.
From Iceland to Iran, from Singapore to Scotland, a growing intellectual and cultural wave of production is taking cinema beyond the borders of its place of origin—exploring faraway places, interacting with barely known peoples, and making new localities imaginable. In these films, previously entrenched spatial divisions no longer function as firmly fixed grid coordinates, the hierarchical position of place as “center” is subverted, and new forms of representation become possible. In Cinema at the Periphery, editors Dina Iordanova, David Martin-Jones, and Belén Vidal assemble criticism that explores issues of the periphery, including questions of transnationality, place, space, passage, and migration. Cinema at the Periphery examines the periphery in terms of locations, practices, methods, and themes. It includes geographic case studies of small national cinemas located at the global margins, like New Zealand and Scotland, but also of filmmaking that comes from peripheral cultures, like Palestinian “stateless” cinema, Australian Aboriginal films, and cinema from Quebec. Therefore, the volume is divided into two key areas: industries and markets on the one hand, and identities and histories on the other. Yet as a whole, the contributors illustrate that the concept of “periphery” is not fixed but is always changing according to patterns of industry, ideology, and taste. Cinema at the Periphery highlights the inextricable interrelationship that exists between production modes and circulation channels and the emerging narratives of histories and identities they enable. In the present era of globalization, this timely examination of the periphery will interest teachers and students of film and media studies.
Civic Culture and Urban Change analyzes the Dallas government’s adaptation to shifts in its demography and economic structure that occurred after the assassination of President John F. Kennedy in 1963. The book examines civic culture as a product of a governing regime and the constraints it placed on the capacity of the city to adapt to changes in its population, economy, and the distribution of political power. Royce Hanson traces the impact of civic culture in Dallas over the past forty years upon the city’s handling of major crises in education, policing, and management of urban development and shows the reciprocal effect of those responses on the development of civic capital. Hanson relates the city’s civic culture to its economic history and political institutions by following the progression of Dallas governance from business oligarchy to regency of professional managers and federal judges. He studies the city’s responses to school desegregation, police–minority conflicts, and other issues to illuminate the role civic and organizational cultures play in shaping political tactics and policy. Hanson builds a profile of political life in Dallas that highlights the city’s low voter turnouts, sparse civic and political networks, and relative lack of multiracial institutions and mechanisms. Civic Culture and Urban Change summarizes the "solution sets" Dallas employs in dealing with major issues, and discusses the implications of those findings for the future of effective democracy in Dallas and other large cities.