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Women, the Nazis, and the Holocaust
The many powerful accounts of the Holocaust have given rise to women’s voices, and yet few researchers have analyzed these perspectives to learn what the horrifying events meant for women in particular and how they related to them. In Experience and Expression, the authors take on this challenge, providing the first book-length gendered analysis of women and the Holocaust, a topic that is emerging as a new field of inquiry in its own right. Accessible to readers on many levels, the essays portray the experiences of women of various religious and ethnic backgrounds, and draw from the fields of English, religion, nursing, history, law, comparative literature, philosophy, French, and German. The collection explores an array of fascinating topics: rescue and resistance, the treatment of Roma and Sinti women, the fate of female forced laborers, Holocaust politics, nurses at so-called euthanasia centers, women’s experiences of food and hunger in the camps, the uses and abuses of Anne Frank, and the representations of the Holocaust in art, film, and literature in the postwar era. The introduction provides a thorough overview of the current status of research in the field, and each essay seeks to push the theoretical boundaries that shape our understanding of women’s experience and agency during the Holocaust and of the ways in which they have expressed their memories.
In the 1970s, feminists focused critical attention on fairy tales and broke the spell that had enchanted readers for centuries. By exposing the role of fairy tales in the cultural struggle over gender, feminism transformed fairy-tale studies and sparked a debate that would change the way society thinks about fairy tales and the words "happily ever after." Now, after three decades of provocative criticism and controversy, this book reevaluates the feminist critique of fairy tales. The eleven essays within Fairy Tales and Feminism challenge and rethink conventional wisdom about the fairy-tale heroine and offer new insights into the tales produced by female writers and storytellers. Resisting a one-dimensional view of the woman-centered fairy tale, each essay reveals ambiguities in female-authored tales and the remarkable potential of classical tales to elicit unexpected responses from women. Exploring new texts and contexts, Fairy Tales and Feminism reaches out beyond the national and cultural boundaries that have limited our understanding of the fairy tale. The authors reconsider the fairy tale in French, German, and Anglo-American contexts and also engage African, Indian Ocean, Iberian, Latin American, Indo-Anglian, and South Asian diasporic texts. Also considered within this volume is how film, television, advertising, and the Internet test the fairy tale's boundaries and its traditional authority in defining gender. From the Middle Ages to the postmodern age-from the French fabliau to Hollywood's Ever After and television's Who Wants to Marry a Millionaire?-the essays assembled here cover a broad range of topics that map new territory for fairy-tale studies. Framed by a critical survey of feminist fairy-tale scholarship and an extensive bibliography-the most comprehensive listing of women-centered fairy-tale research ever assembled-Fairy Tales and Feminism is a valuable resource for anyone interested in the intersection of fairy tales and feminism.
Twenty-First-Century Adaptations and the Politics of Wonder
Fairy-tale adaptations are ubiquitous in modern popular culture, but readers and scholars alike may take for granted the many voices and traditions folded into today's tales. In Fairy Tales Transformed?: Twenty-First-Century Adaptations and the Politics of Wonder, accomplished fairy-tale scholar Cristina Bacchilega traces what she terms a "fairy-tale web" of multivocal influences in modern adaptations, asking how tales have been changed by and for the early twenty-first century. Dealing mainly with literary and cinematic adaptations for adults and young adults, Bacchilega investigates the linked and yet divergent social projects these fairy tales imagine, their participation and competition in multiple genre and media systems, and their relation to a politics of wonder that contests a naturalized hierarchy of Euro-American literary fairy tale over folktale and other wonder genres. Bacchilega begins by assessing changes in contemporary understandings and adaptations of the Euro-American fairy tale since the 1970s, and introduces the fairy-tale web as a network of reading and writing practices with a long history shaped by forces of gender politics, capitalism, and colonialism. In the chapters that follow, Bacchilega considers a range of texts, from high profile films like Disney's Enchanted, Guillermo del Toro's Pan's Labyrinth, and Catherine Breillat's Bluebeard to literary adaptations like Nalo Hopkinson's Skin Folk, Emma Donoghue's Kissing the Witch, and Bill Willingham's popular comics series, Fables. She looks at the fairy-tale web from a number of approaches, including adaptation as "activist response" in Chapter 1, as remediation within convergence culture in Chapter 2, and a space of genre mixing in Chapter 3. Chapter 4 connects adaptation with issues of translation and stereotyping to discuss mainstream North American adaptations of The Arabian Nights as "media text" in post-9/11 globalized culture. Bacchilega's epilogue invites scholars to intensify their attention to multimedia fairy-tale traditions and the relationship of folk and fairy tales with other cultures' wonder genres. Scholars of fairy-tale studies will enjoy Bacchilega's significant new study of contemporary adaptations.
In Defense of William Hull
Details the first major U.S. setback in the War of 1812 and analyzes the background and aftermath of Hull’s surrender.
Michigan Episodes in the Civil War
The Civil War was the largest and bloodiest conflict ever waged upon American soil, and while no fighting took place in Michigan, both the hardship of the war effort and the heroism of Michigan men at war touched residents deeply. In Father Abraham’s Children: Michigan Episodes in the Civil War, Frank Woodford collects personal remembrances of the war from many sources. Originally published in 1961 and reissued in 1999, this volume is not a formal account of Michigan’s part in the conflict or an analysis of military strategy and wartime politics, but instead presents stories of Michigan soldiers, both as individuals and as units, and their actions, thoughts, and aspirations, presented for the first time in a paperback edition. Among the episodes Woodford recounts with a wealth of colorful detail are Michigan’s participation in the Underground Railroad; the strange tale of Sarah Emma Edmonds, alias Private Franklin Thompson; the ill-fated strategy that led to the slaughter at the Crater; an odyssey of escape from Danville and from Libby Prison; the bizarre Confederate plot to capture a Federal sloop-of-war on Lake Erie; the Michigan Cavalry Brigade’s exploits under George Custer; the chance encounter with a Michigan soldier that brought death to the gallant Jeb Stuart; impressions and descriptions of camp life and the ordinary routine of a soldier from the diary of Private Frank Lane; the disaster of the First Michigan at Bull Run; the story of Michigan’s medical services and the origin of Harper Hospital; the Detroit Riot of 1863; and the nightmare explosion of the steamer Sultana with a death toll of over 1,200 soldiers on their way home from Confederate prisons. Civil War buffs and readers interested in Michigan history will be grateful for the paperback edition of Father Abraham’s Children.
A wide variety of creatures walk, fly, leap, slither, and swim through fairy-tale history. Some marvelous animal characters are deeply inscribed in current popular culture-the beast redeemed by beauty, the wolf in pursuit of little girls and little pigs, the frog prince released from enchantment by a young princess. But like the adventures of many fairy-tale heroes, a curious reader's exploration in the genre can yield surprises, challenges, and unexpected rewards. Feathers, Paws, Fins, and Claws: Fairy-Tale Beasts presents lesser-known tales featuring animals both wild and gentle who appear in imaginative landscapes and enjoy a host of surprising talents. With striking original illustrations by artist Lina Kusaite and helpful introductions by fairy-tale scholars Jennifer Schacker and Christine A. Jones, the offbeat, haunting stories in this collection are rich and surprisingly relevant, demanding creative reading by audiences aged young adult and up.
Schacker and Jones choose stories that represent several centuries and cultural perspectives on how animals think and move. In these ten stories, rats are just as seductive as Little Red Riding Hood's wolf; snakes find human mates; and dancing sheep and well-mannered bears blur the line between human and beast. Stories range in form from literary ballads to tales long enough to be considered short stories, and all are presented as closely as possible to their original print versions, reflecting the use of historical spelling and punctuation. Beasts move between typical animal behavior (a bird seeking to spread its wings and fly or a clever cat artfully catching its prey) and acts that seem much more human than beastly (three fastidious bears keeping a tidy home together or a snake inviting itself to the dinner table). Kusaite's full-color artwork rounds out this collection, drawing imaginatively on a wide range of visual traditions-from Inuit design to the work of the British Arts and Crafts movement.
Together with the short introductions to the tales themselves, the illustrations invite readers to rediscover the fascinating world of animal fairy tales. All readers interested in storytelling, fairy-tale history, and translation will treasure this beautiful collection.
The phenomenon of risk has been seriously neglected in connection with the study of film, yet many of those who write about film seem to have intuitions about how various forms of risk-taking shape aspects of the filmmaking or film-viewing process. Film and Risk fills this gap as editor Mette Hjort and interdisciplinary contributors discuss film’s relation to all types of risk. Bringing together scholars from philosophy, anthropology, film studies, economics, and cultural studies, as well as experts from the fields of law, filmmaking, and photojournalism, this volume discusses risk from multiple intriguing angles. In thirteen chapters, contributors consider concrete risks (e.g., stunts or financial decisions); theoretical aesthetic and artistic risks (e.g., filmmakers who incorporate excessive hazards into their films); and the real-world jeopardy spectators might put themselves in when viewing films. The first three chapters tackle the conceptual terrain that is relevant to understanding risk in film. The next three chapters focus on risk as it pertains to the practice of filmmaking. Subsequent chapters deal with economic risk and the role that risk has in the development of film’s institutional landscape. The scholarship in this collection is impressive, boasting some of the top writers in their respective fields. Through the contributors’ clear and thorough discussions, this cohesive but diverse collection shows that risk arises in many different areas that tend to be thought of as central to film studies. Scholars of film studies will appreciate this daring and inventive collection, and readers with a general interest in film studies will enjoy its accessible style.
A Tale of Hasidism in the Kingdom of Poland
Half a century after Hasidism blossomed in Eastern Europe, its members were making deep inroads into the institutional structure of Polish Jewish communities, but some devotees believed that the movement had drifted away from its revolutionary ideals. Menashe Unger’s A Fire Burns in Kotsk dramatizes this moment of division among Polish Hasidim in a historical account that reads like a novel, though the book was never billed as such. Originally published in Buenos Aires in 1949 and translated for the first time from Yiddish by Jonathan Boyarin, this volume captures an important period in the evolution of the Hasidic movement, and is itself a missing link to Hasidic oral traditions. A non-observant journalist who had grown up as the son of a prominent Hasidic rabbi, Unger incorporates stories that were told by his family into his historical account. A Fire Burns in Kotsk begins with a threat to the new, rebellious movement within Hasidism known as “the school of Pshiskhe,” led by the good-humored Reb Simkhe Bunim. When Bunim is succeeded by the fiery and forbidding Rebbe of Kotsk, Menachem Mendl Morgenstern, the new leader’s disdain for the vast majority of his followers will lead to a crisis in his court. Around this core narrative of reform and crisis in Hasidic leadership, Unger offers a rich account of the everyday Hasidic court life—filled with plenty of alcohol, stolen geese, and wives pleading with their husbands to come back home. Unger’s volume reflects a period when Eastern European Jewish immigrants enjoyed reading about Hasidic culture in Yiddish articles and books, even as they themselves were rapidly assimilating into American culture. Historians of literature, Polish culture, and Jewish studies will welcome this lively translation.