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American Explorations of Colonialism, Race, Gender, and Sexuality
Objects of fear and fascination, cannibals have long signified an elemental "otherness," an existence outside the bounds of normalcy. In the American imagination, the figure of the cannibal has evolved tellingly over time, as Jeff Berglund shows in this study encompassing a strikingly eclectic collection of cultural, literary, and cinematic texts.
Cannibal Fictions brings together two discrete periods in U.S. history: the years between the Civil War and World War I, the high-water mark in America's imperial presence, and the post-Vietnam era, when the nation was beginning to seriously question its own global agenda. Berglund shows how P. T. Barnum, in a traveling exhibit featuring so-called "Fiji cannibals," served up an alien "other" for popular consumption, while Edgar Rice Burroughs in his Tarzan of the Apes series tapped into similar anxieties about the eruption of foreign elements into a homogeneous culture. Turning to the last decades of the twentieth century, Berglund considers how treatments of cannibalism variously perpetuated or subverted racist, sexist, and homophobic ideologies rooted in earlier times. Fannie Flagg's novel Fried Green Tomatoes invokes cannibalism to new effect, offering an explicit critique of racial, gender, and sexual politics (an element to a large extent suppressed in the movie adaptation). Recurring motifs in contemporary Native American writing suggest how Western expansion has, cannibalistically, laid the seeds of its own destruction. And James Dobson's recent efforts to link the pro-life agenda to allegations of cannibalism in China testify still further to the currency and pervasiveness of this powerful trope.
By highlighting practices that preclude the many from becoming one, these representations of cannibalism, Berglund argues, call into question the comforting national narrative of e pluribus unum.
Metaphors, Narratives, and Geopolitics
Nationalist superheroes—such as Captain America, Captain Canuck, and Union Jack—often signify the “nation-state” for readers, but how do these characters and comic books address issues of multiculturalism and geopolitical order? In his engaging book Captain America and the Nationalist Superhero, geographer Jason Dittmer traces the evolution of the comic book genre as it adapted to new national audiences. He argues that these iconic superheroes contribute to our contemporary understandings of national identity, the righteous use of power, and the role of the United States, Canada, and Britain in the world.
Tracing the nationalist superhero genre from its World War II origins to contemporary manifestations throughout the world, Captain America and the Nationalist Superhero analyzes nearly one thousand comic books and audience responses to those books. Dittmer also interviews key comic book writers from Stan Lee and J. M. DeMatteis to Steve Englehart and Paul Cornell.
At a time when popular culture is saturated with superheroes and their exploits, Captain America and the Nationalist Superhero highlights the unique relationship between popular culture and international relations.
a fighting life
Carl Maxey made a name for himself, first as an NCAA championship boxer, and then as eastern Washington State's first prominent black lawyer and renowned civil rights attorney who always fought for the underdog. This is a moving portrait of the man called a “Type-A Gandhi” by the New York Times and whose own personal misfortune only spurred his lifelong, tireless crusade against injustice.
Fame in Contemporary Culture
Simultaneously celebrated and denigrated, celebrities represent not only the embodiment of success, but also the ultimate construction of false value. Celebrity and Power questions the impulse to become embroiled with the construction and collapse of the famous, exploring the concept of the new public intimacy: a product of social media in which celebrities from Lady Gaga to Barack Obama are expected to continuously campaign for audiences in new ways. In a new Introduction for this edition, P. David Marshall investigates the viewing public’s desire to associate with celebrity and addresses the explosion of instant access to celebrity culture, bringing famous people and their admirers closer than ever before.
Celebrity Cultures in Canada is an interdisciplinary collection that explores celebrity phenomena and the ways they have operated and developed in Canada over the last two centuries. The chapters address a variety of cultural venues—politics, sports, film, and literature—and examine the political, cultural, material, and affective conditions that shaped celebrity in Canada and its uses both at home and abroad. The scope of the book enables the authors to highlight the trends that characterize Canadian celebrity—such as transnationality and bureaucracy—and explore the regional, linguistic, administrative, and indigenous cultures and institutions that distinguish fame in Canada from fame elsewhere.
In historicizing and theorizing Canada’s complicated cultures of celebrity, Celebrity Cultures in Canada rejects the argument that nations are irrelevant in today’s global celebrityscapes or that Canada lacks a credible or adequate system for producing, distributing, and consuming celebrity. Nation and national identities continue to matter—to celebrities, to fans, and to institutions and industries that manage and profit from celebrity systems—and Canada, this collection argues, has a vibrant, powerful, and often complicated and controversial relationship to fame.
Confronting Modernity Through the Lens of Tradition
Chaim Potok was a world-class writer and scholar, a Conservative Jew who wrote from and about his tradition and his conflicts between observance and acculturation. With a plain, straightforward style, his novels were set against the moral, spiritual and intellectual currents of the twentieth century. The aim of the collection is to widen further the lens through which we read Chaim Potok, to establish him as an authentic American writer, one who has created unforgettable characters forging for themselves American identities while also retaining their Jewish nature. These essays illuminate the central struggle in Potok’s novels, the struggle resulting from a profound desire to reconcile the appeal of modernity with the pull of traditional Judaism. The volume concludes with a memoir by Adena Potok and Chaim Potok’s “My Life as a Writer,” a speech the author gave at Penn State in 1982. Aside from the editor, the contributors are Victoria Aarons, Nathan Devir, Jane Eisner, Susanne Klingenstein, Lillian Kremer, Jessica Lang, Sanford Marovitz, Kathryn McClymond, Hugh Nissenson, Adena Potok, Chaim Potok, and Jonathan Rosen.
Politicizing History in Postwar America
Author of the National Book Award–winning novel Middle Passage, Charles Johnson belongs to a generation of writers who collectively raised African American literature to a new position of prominence during the late twentieth century. In this book, Linda Furgerson Selzer takes an interdisciplinary approach to Johnson’s major fiction, providing fresh insight into his work by placing it within a broad historical context. In addition to Middle Passage (1990), Selzer focuses on three other novels: Faith and the Good Thing (1974), Oxherding Tale (1982), and Dreamer (1998). She shows how these works reflect Johnson’s participation in the larger cultural projects of several significant but often overlooked groups—young black philosophers who challenged the dominant Anglo-American empiricist tradition during the 1960s and 1970s; black Buddhists of the post–civil rights era who sought to translate an ancient religious practice into an African American idiom; and black public intellectuals who attempted to revive a cosmopolitan social ethic during the 1990s. The cultural histories of each of these groups, Selzer argues, provide important contexts for understanding Johnson’s evolution as a novelist. In the academic experience of black students who entered philosophy programs during the turbulent 1960s, the spiritual concerns of black Buddhists who have only recently begun to speak more publicly about their faith, and the cultural issues surrounding the emergence of a new cohort of African American public intellectuals, we see the roots of the social, moral, and aesthetic vision that informs what some have described as Johnson’s “philosophical fiction.” Selzer’s probing analysis of the influence of each of these contexts not only enriches our understanding of Charles Johnson’s fiction, it also makes a broader contribution to the cultural history of African America during the past half century.
Cultural Policy and the Film Industry, 1994-2013
In recent years, the film industry in the People's Republic of China has found itself among the top three most prolific in the world. When the Chinese government introduced a new revenue-sharing system in 1994, the nation's total movie output skyrocketed with gross box-office receipts totaling billions of yuan. This newfound success, however, has been built on an alternately competitive and collaborative relationship between the ascendant global power of China and the popular culture juggernaut of America.
In China's Encounter with Global Hollywood, Wendy Su examines the intertwining relationships among the Chinese state, global Hollywood, and the Chinese film industry while analyzing the causes and consequences of the rapid growth of the nation's domestic film production. She demonstrates how the Chinese state has consolidated power by negotiating foreign interest in the lucrative Chinese market while advancing its cultural industries. Su also reveals how mainland Chinese and Hong Kong filmmakers have navigated the often-incompatible requirements of marketization and state censorship.
This timely analysis demonstrates how China has cannily used global capital to modernize its own film industry and now stands poised to step clear of Hollywood's shadow. The country's debates -- on- and offscreen -- over cultural change, market-based economic reforms, and artistic freedom illuminate China's ongoing efforts to build a modern national identity.
This ambitious work is a multimedia, interdisciplinary study of Chinese modernity in the context of globalization from the late nineteenth century to the present. Sheldon Lu draws on Chinese literature, film, art, photography, and video to broadly map the emergence of modern China in relation to the capitalist world-system in the economic, social, and political realms. Central to his study is the investigation of biopower and body politics, namely, the experience of globalization on a personal level. Lu first outlines the trajectory of the body in modern Chinese literature by focusing on the adventures, pleasures, and sufferings of the male (and female) body in the writings of selected authors. He then turns to avant-garde and performance art, tackling the physical self more directly through a consideration of work that takes the body as its very theme, material, and medium. In an exploration of mass visual culture, Lu analyzes artistic reactions to the multiple, uneven effects of globalization and modernization on both the physical landscape of China and the interior psyche of its citizens. This is followed by an inquiry into contemporary Chinese urban space in popular cinema and experimental photography and art. Examples are offered that capture the daily lives of contemporary Chinese as they struggle to make the transition from the vanishing space of the socialist lifestyle to the new capitalist economy of commodities. Lu reexamines the history and implications of China’s belated integration into the capitalist world system before closing with a postscript that traces the genealogy of the term "postsocialism" and points to the real relevance of the idea for the investigation of everyday life in China in the twenty-first century.