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Gender, Trauma, and Uncanny Films in the Weimar Republic
In The Colored Car, Jean Alicia Elster, author of the award-winning Who's Jim Hines?, follows another member of the Ford family coming of age in Depression-era Detroit. In the hot summer of 1937, twelve-year-old Patsy takes care of her three younger sisters and helps her mother put up fresh fruits and vegetables in the family's summer kitchen, adjacent to the wood yard that her father, Douglas Ford, owns. Times are tough, and Patsy's mother, May Ford, helps neighborhood families by sharing the food that she preserves. But May's decision to take a break from canning to take her daughters for a visit to their grandmother's home in Clarksville, Tennessee, sets in motion a series of events that prove to be life-changing for Patsy. After boarding the first-class train car at Michigan Central Station in Detroit and riding comfortably to Cincinnati, Patsy is shocked when her family is led from their seats to change cars. In the dirty, cramped "colored car," Patsy finds that the life she has known in Detroit is very different from life down south, and she can hardly get the experience out of her mind when she returns home-like the soot stain on her finely made dress or the smear on the quilt squares her grandmother taught her to sew. As summer wears on, Patsy must find a way to understand her experience in the colored car and also deal with the more subtle injustices that her family faces in Detroit. By the end of the story, Patsy will never see things the same way that she did before. Elster's engaging narrative illustrates the personal impact of segregation and discrimination and reveals powerful glimpses of everyday life in 1930's Detroit. For young readers interested in American history, The Colored Car is engrossing and informative reading.
In Comparative Perspectives on Judaisms and Jewish Identities author Stephen Sharot uses his work published in journals and collected volumes over the past thirty-five years to examine a range of Jewish communities across both time and geography. Sharot’s sociological analyses consider religious developments and identities in diverse Jewish communities from Imperial China and Renaissance Italy to contemporary Israel and the United States. As Sharot examines these groups, other religions enter into the discussion as well, not only as major elements in the environments of Jewish communities but also with respect to certain religious phenomena that too have been present in Judaism. The book is divided into four parts: the first compares religious developments in pre-modern and early modern Jewish communities; the second focuses on Jewish religious movements, especially messianic-millennial and antinomian, in the pre-modern and early modern period; the third examines Jewish religious and ethnic identities in the modern period; and the fourth relates developments in Judaism in the modern period to theoretical debates on secularization, fundamentalism, and public religion in the sociology of religion. The afterword sums up the findings of the previous sections and compares the boundaries and boundary shifts among Jewish communities. As the plural “Judaisms” in the title indicates, Sharot discusses extensive differences in the religious characteristics between Jewish communities. Scholars of religion and sociology will appreciate this informative and fascinating volume.
A Study of Black Identity and Self-Esteem
Institutional racism has had a major impact on the development of African American self-esteem and group identity. Through the years, African Americans have developed strong, tenacious concepts of self partially based on African cultural and philosophical retentions and as a reaction to historical injustices. The Concept of Self examines the historical basis for the widely misunderstood ideas of how African Americans think of themselves individually, and how they relate to being part of a group that has been subjected to challenges of their very humanity. Richard Allen examines past scholarship on African American identity to explore a wide range of issues leading to the formation of an individual and collective sense of self. Allen traces the significance of social forces that have impinged on the lives of African Americans and points to the uniqueness of their position in American society. He then focuses on the results from the National Survey of Black Americans—a national survey of African Americans on a wide range of political, social, and psychological issues—to develop a model of African self. Allen explores the idea of double-consciousness as put forth by W.E.B. DuBois against the more recent debates of Afrocentricity or an African-centered consciousness. He proposes a set of interrelated hypotheses regarding how African Americans might use an African worldview for the upliftment of Africans in the Diaspora. The Concept of Self will interest students and scholars of African American studies, sociology and population studies
Detroit is the world capital of the coney island hot dog—a natural-casing hot dog topped with an all-meat beanless chili, chopped white onions, and yellow mustard. In Coney Detroit, authors Katherine Yung and Joe Grimm investigate all aspects of the beloved regional delicacy, which was created by Greek immigrants in the early 1900s. Coney Detroit traces the history of the coney island restaurant, which existed in many cities but thrived nowhere as it did in Detroit, and surveys many of the hundreds of independent and chain restaurants in business today. In more than 150 mouth-watering photographs and informative, playful text, readers will learn about the traditions, rivalries, and differences between the restaurants, some even located right next door to each other. Coney Detroit showcases such Metro Detroit favorites as American Coney Island, Lafayette Coney Island, Duly’s Coney Island, Kerby’s Coney Island, National Coney Island, and Leo’s Coney Island. As Yung and Grimm uncover the secret ingredients of an authentic Detroit coney, they introduce readers to the suppliers who produce the hot dogs, chili sauce, and buns, and also reveal the many variations of the coney—including coney tacos, coney pizzas, and coney omelets. While the coney legend is centered in Detroit, Yung and Grimm explore coney traditions in other Michigan cities, including Flint, Jackson, Kalamazoo, Port Huron, Pontiac, and Traverse City, and even venture to some notable coney islands outside of Michigan, from the east coast to the west. Most importantly, the book introduces and celebrates the families and individuals that created and continue to proudly serve Detroit’s favorite food. Not a book to be read on an empty stomach, Coney Detroit deserves a place in every Detroiter or Detroiter-at-heart’s collection.
Recent decades have witnessed a renaissance of interest in the fairy tale, not least among writers of fiction. In Contemporary Fiction and the Fairy Tale, editor Stephen Benson argues that fairy tales are one of the key influences on fiction of the past thirty years and also continue to shape literary trends in the present. Contributors detail the use of fairy tales both as inspiration and blueprint and explore the results of juxtaposing fairy tales and contemporary fiction. At the heart of this collection, seven leading scholars focus on authors whose work is heavily informed and transformed by fairy tales: Robert Coover, A. S. Byatt, Margaret Atwood, Angela Carter, and Salman Rushdie. In addition to investigating the work of this so-called fairy-tale generation, Contemporary Fiction and the Fairy Tale provides a survey of the body of theoretical writing surrounding these authors, both from within literary studies and from fairy-tale studies itself. Contributors present an overview of critical positions, considered here in relation to the work of Jeanette Winterson and of Nalo Hopkinson, suggesting further avenues for research. Contemporary Fiction and the Fairy Tale offers the first detailed and comprehensive account of the key authors working in this emerging genre. Students and teachers of fiction, folklore, and fairy-tale studies will appreciate this insightful volume.
Vol. 43 (2001) through current issue
Criticism provides a forum for current scholarship on literature, media, music and visual culture. A place for rigorous theoretical and critical debate as well as formal and methodological self-reflexivity and experimentation, Criticism aims to present contemporary thought at its most vital.
From Intolerance to The Silence of the Lambs, motion pictures show crowds and power in complex, usually antagonistic, relationships. Key to understanding this opposition is an intrinsic capability of the cinema: transformation. Making unprecedented use of Elias Canetti's Crowds and Power, Lesley Brill explores crowds, power, and transformation throughout film history. The formation of crowds together with crowd symbols and representations of power create complex, unifying structures in two early masterpieces, The Battleship Potemkin and Intolerance. In Throne of Blood, power-seekers become increasingly isolated, while the crowd of the dead seduces and overwhelms the living. The conflict between crowds and power in Citizen Kane takes place both within the protagonist and between him and the people he tries to master. North by Northwest, Killer of Sheep, and The Silence of the Lambs are rich in hunting and predation and show the crowd as a pack; transformation—true, false, and failed—is the key to both attack and escape. Brill's study provides original insights into canonical movies and shows anew the central importance of transformation in film. Film theorists, critics, and historians will value this fresh and intriguing approach to film classics, which also has much to say about cinema itself and its unique relationship to mass audiences.
By dramatizing the intersection of self-interested capitalism and foundational violence in a mining camp in 1870s South Dakota, the HBO series Deadwood reinvented the television Western. In this volume, Ina Rae Hark examines the groundbreaking series from a variety of angles: its relationship to past iterations of the genre on the small screen; its production context, both within the HBO paradigm and as part of the oeuvre of its creator and showrunner David Milch; and its thematics. Hark’s comprehensive analysis also takes into account the series’ trademark use of language: both its unrelenting and ferocious obscenity and the brilliant complexity of its dialogue. Hark argues that Deadwood dissolves several traditional binaries of the Western genre. She demonstrates that while the show appears to pit individuality, savagery, lawlessness, social regulation, and civilization against each other, its narrative shows that apparent opposites are often analogues, and these forces can morph into allies very quickly. Indeed, perhaps the show’s biggest paradox and most profound revelation is that self-interest and communitarianism cannot survive without each other. Hark closely analyzes Al Swearengen (as played by Ian McShane), the character who most embodies this paradox. A brutal cutthroat and purveyor of any vice that can turn him a profit, Swearengen nevertheless becomes the figure who forges connections among the camp’s disparate individuals and shepherds their growth into a community. Deadwood is quintessentially, if unflatteringly, American in what it reveals about the dark underpinnings of national success rooted not in some renewed Eden but in a town that is, in the apt words of one of its promotional taglines, “a hell of a place to make your fortune.” Fans of the show and scholars of television history will enjoy Hark’s analysis of Deadwood.