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This book examines contemporary French society's relationship with violence in an era of increased media dominance.
How an Unlikely Couple Found Love, Dodged the FBI, and Transformed Children's Literature
Crockett Johnson (born David Johnson Leisk, 1906-1975) and Ruth Krauss (1901-1993) were a husband-and-wife team that created such popular children's books as The Carrot Seed and How to Make an Earthquake. Separately, Johnson created the enduring children's classic Harold and the Purple Crayon and the groundbreaking comic strip Barnaby. Krauss wrote over a dozen children's books illustrated by others, and pioneered the use of spontaneous, loose-tongued kids in children's literature. Together, Johnson and Krauss's style--whimsical writing, clear and minimalist drawing, and a child's point-of-view--is among the most revered and influential in children's literature and cartooning, inspiring the work of Maurice Sendak, Charles M. Schulz, Chris Van Allsburg, and Jon Scieszka.
This critical biography examines their lives and careers, including their separate achievements when not collaborating. Using correspondence, sketches, contemporary newspaper and magazine accounts, archived and personal interviews, author Philip Nel draws a compelling portrait of a couple whose output encompassed children's literature, comics, graphic design, and the fine arts. Their mentorship of now-famous illustrator Maurice Sendak (Where the Wild Things Are) is examined at length, as is the couple's appeal to adult contemporaries such as Duke Ellington and Dorothy Parker. Defiantly leftist in an era of McCarthyism and Cold War paranoia, Johnson and Krauss risked collaborations that often contained subtly rendered liberal themes. Indeed, they were under FBI surveillance for years. Their legacy of considerable success invites readers to dream and to imagine, drawing paths that take them anywhere they want to go.
A History of the Great American Potato Chip
Gender, Race, Nation, and the Making of Caribbean Cultural Politics
Cultural Conundrums investigates the passions of race, gender, and national identity that make culture a continually embattled public sphere in the Anglophone Caribbean today. Academics, journalists, and ordinary citizens have weighed in on the ideological meanings to be found in the minutiae of cultural life, from the use of skin-bleaching agents in the beauty rituals of working-class Jamaican women to the rise of sexually suggestive costumes in Trinidad’s Carnival. Natasha Barnes traces the use of cultural arguments in the making of Caribbean modernity, looking at the cultural performances of the Anglophone Caribbean—cricket, carnival, dancehall, calypso, and beauty pageants—and their major literary portrayals. Barnes historicizes the problematic linkage of culture and nation to argue that Caribbean anticolonialism has given expressive culture a critical place in the region’s identity politics. Her provocative readings of foundational thinkers C. L. R. James and Sylvia Winters will engender discussion and debate among the Caribbean intellectual community. This impressively interdisciplinary study will make important contributions to the fields of Afro-diaspora studies, postcolonial studies, literary studies, performance studies, and sociology. “Postcolonial cultural criticism is celebrated for its mastery of generalization and condemned for its inability to historicize. Cultural Conundrums is unique in its ability to find a middle ground. It touches on some of the most important and contentious issues in the field. This book will account for why it was in those small islands that what we now call cultural studies was invented.” --Simon Gikandi, Princeton University Natasha Barnes is Associate Professor of African American Studies and English at the University of Illinois at Chicago.
No. 47 (2001) through current issue
Cultural Critique provides a forum for creative and provocative scholarship in the theoretical humanities and humanistic social sciences. Transnational in scope and transdisciplinary in orientation, the journal strives to spark and galvanize intellectual debates as well as to attract and foster critical investigations regarding any aspect of culture as it expresses itself in words, images, and sounds, across both time and space. The journal is especially keen to support scholarship that engages the ways in which cultural production, cultural practices, and cultural forms constitute and manifest the nexus between the aesthetic, the psychic, the economic, the political, and the ethical intended in their widest senses. While informed by the diverse traditions of historical materialism as well as by the numerous critiques of such traditions from various parts of the globe, the journal welcomes contributions based on a variety of theoretical-methodological paradigms.
We are witnessing in the last decade of the twentieth century more frequent demands by racial and ethnic groups for recognition of their distinctive histories and traditions as well as opportunities to develop and maintain the institutional infrastructure necessary to preserve them. Where it once seemed that the ideal of American citizenship was found in the promise of integration and in the hope that none of us would be singled out for, let alone judged by, our race or ethnicity, today integration, often taken to mean a denial of identity and history for subordinated racial, gender, sexual or ethnic groups, is often rejected, and new terms of inclusion are sought. The essays in Cultural Pluralism, Identity Politics, and the Law ask us to examine carefully the relation of cultural struggle and material transformation and law's role in both. Written by scholars from a variety of disciplines and theoretical inclinations, the essays challenge orthodox understandings of the nature of identity politics and contemporary debates about separatism and assimilation. They ask us to think seriously about the ways law has been, and is, implicated in these debates. The essays address questions such as the challenges posed for notions of legal justice and procedural fairness by cultural pluralism and identity politics, the role played by law in structuring the terms on which recognition, accommodation, and inclusion are accorded to groups in the United States, and how much of accepted notions of law are defined by an ideal of integration and assimilation. The contributors are Elizabeth Clark, Lauren Berlant, Dorothy Roberts, Georg Lipsitz, and Kenneth Karst.
Vol. 8 (2012) through current issue
âCultural Politics is a welcome and innovative addition. In an academic universe already well populated with journals, it is carving out its own unique placeâbroad and a bit quirky. It likes to leap between the theoretical and the concrete, so that it is never boring and often filled with illuminating glimpses into the intellectual and cultural worlds.â Lawrence Grossberg, University of North Carolina at Chapel Hill
Moving beyond the boundaries of race, gender, and class, Cultural Politics examines the political ramifications of global cultural productions across artistic and academic disciplines. The journal explores precisely what is cultural about politics and what is political about culture by bringing together text and visual art that offer diverse modes of engagement with theory, cultural production, and politics.
The Museum Movement in America, 1740-1870
This volume argues that a small, loosely connected group of men constituted an informal museum movement in America from about 1740 to 1870.
As they formed their pioneer museums, these men were guided not so much by European examples, but rather by the imperatives of the American democratic culture, including the Enlightenment, the simultaneous decline of the respectability and rise of the middle classes, the Age of Egalitarianism, and the advent of professionalism in the sciences. Thus the pre-1870 American museum was neither the frivolous sideshow some critics have imagined, nor the enclave for elitists that others have charged. Instead, the proprietors displayed serious motives and egalitarian aspirations.
The conflicting demands for popular education on the one hand and professionalism on the other were a continuing source of tension in American museums after about 1835, but by 1870 the two claims had synthesized into a rough parity. This synthesis, the "American Compromise," has remained the basic model of museums in America down to the present. Thus, by 1870, the form of the modern American museum as an institution which simultaneously provides popular education and promotes scholarly research was completely developed.
The Migration and Transformation of a Cultural Phenomenon
The tribute, "el Dia de los Muertos," has become popular since the 1970s when Latino activists and artists in America began expanding "Day of the Dead" north of the border with public, and often artistic, expressions. Regina M. Marchi combines ethnography, historical research, oral history, and cultural analysis to explore the transformations that occur when the tradition is embraced by the mainstream. Day of the Dead in the USA provides insight into the power of ritual to create community, transmit oppositional messages, and advance educational, political, and economic goals.
The Remake in Theory and Practice
Addresses the important role of remakes in film culture, from early cinema to contemporary Hollywood. While the popular press has criticized movie remakes as signs of Hollywood’s collective lack of imagination, the essays in Dead Ringers reveal the centrality and staying power of remakes as a formative genre in filmmaking. The contributors show that the practice of remaking films dates back to the origins of cinema and the evolution of film markets. In fact, remakes were never so prevalent as during the Classic Hollywood period, when filmmaking had achieved its greatest degree of industrialization, and they continue to play a crucial role in the development of film genres generally. Offering a variety of historical, commercial, theoretical, and cultural perspectives on the remake, Dead Ringers is a valuable resource for students of film history and theory, as well as those interested in the cultural politics of the late twentieth century.