Project MUSE®: American Studies - Latest Articles
https://muse.jhu.edu/journal/460
Project MUSE®: Latest articles in American Studies.daily12026-05-19T00:00:00-05:00text/htmlen-USVol. 48 (2007) through current issueLatest Articles: American StudiesTWOProject MUSE®American Studies2153-68560026-3079Latest articles in American Studies. Feed provided by Project MUSE®Ableism and Abortion: The Exceptionalization of Fetal Disability in “Pro-Life” and “Pro-Choice” Pregnancy Narratives
https://muse.jhu.edu/article/989386
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In a 2020 profile of Amy Coney Barrett in The New York Times—at the time, she was the anticipated replacement for Ruth Bader Ginsburg on the U.S. Supreme Court—it was reported that Barrett has “seven children, including two adopted from Haiti and a young son with Down syndrome, whom she would carry downstairs by piggyback in the morning.”1 Much of the article focuses on Barrett’s views on abortion and the future of abortion rights in the United States should Barrett be confirmed to the Court. The article observes that such a confirmation would be considered “a home run by conservative Christians and anti-abortion activists.”2 In a talk at Notre Dame University the previous year, Barrett had discussed her experience
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/460/image/coversmallAbleism and Abortion: The Exceptionalization of Fetal Disability in “Pro-Life” and “Pro-Choice” Pregnancy Narratives2026-04-30text/htmlen-USAbleism and Abortion: The Exceptionalization of Fetal Disability in “Pro-Life” and “Pro-Choice” Pregnancy Narratives2026-04-302026TWOProject MUSE®908762026-05-19T00:00:00-05:002026-04-30Liberatory Impulses: An Introduction to Featured Blog Posts
https://muse.jhu.edu/article/989387
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Queer Chicana feminist writer and philosopher, Gloria Anzaldúa theorized “creativity as a liberation impulse, an activity that transforms materials and energy.” She writes, “The creative process demands the reconciliation of conflicting impulses and ideas; it calls for conocimiento, a higher awareness and consciousness that brings you into deeper connection with yourself and your materials.”1 For artists, cultural bearers, musicians, and curators creative expression serves as a portal to tap into concocimiento/consciousness by enhancing the relationship of the self within the material world. In our current, authoritarian regime where chaos is strategically used to ignite fear and isolation, the creative work of
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/460/image/coversmallLiberatory Impulses: An Introduction to Featured Blog Posts2026-04-30text/htmlen-USLiberatory Impulses: An Introduction to Featured Blog Posts2026-04-302026TWOProject MUSE®50062026-05-19T00:00:00-05:002026-04-30Finding My Father in the Mix: A Personal History of Latino DJs
https://muse.jhu.edu/article/989388
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I have a memory of being around three years old and wandering around our New York City apartment looking at my dad’s speakers. The small living room was always crowded with electronic equipment right at my eye level. When no one was looking, I would run my sticky fingers over the mesh that covered the front of the speakers, tap on the plastic case that protected the turntables, flip through the bins of records like I had seen my dad do countless times before. I don’t think I knew that my dad took this equipment with him every night to work as a DJ in some of New York’s most popular clubs. To me, the speakers and turntables were just how he filled our living room with music in the afternoons—music that I loved to
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/460/image/coversmallFinding My Father in the Mix: A Personal History of Latino DJs2026-04-30text/htmlen-USFinding My Father in the Mix: A Personal History of Latino DJs2026-04-302026TWOProject MUSE®107632026-05-19T00:00:00-05:002026-04-30Layers of Joy: A Model for Teaching Culturally Responsive & Ethical Curating
https://muse.jhu.edu/article/989389
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With over $1 billion in annual impact and 1,600 arts organizations, the arts industry in Minnesota is an important economic priority for our state, students, and community. But how can colleges and universities work to train the next generation of art industry professionals to meet this need? At the University of Minnesota, this work has been conducted piecemeal across various departments, including Art History, History, African American and African Studies, Chicano and Latino Studies, as well as the MA programs in Museum Studies, Heritage Studies, and Public History. However, a growing demand for young, community-centered art professionals has highlighted the need for a new pedagogical model that provides both
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/460/image/coversmallLayers of Joy: A Model for Teaching Culturally Responsive & Ethical Curating2026-04-30text/htmlen-USLayers of Joy: A Model for Teaching Culturally Responsive & Ethical Curating2026-04-302026TWOProject MUSE®240612026-05-19T00:00:00-05:002026-04-30Beauty Regimes: A History of Power and Modern Empire in the Philippines, 1898–1941 by Genevieve Alva Clutario (review)
https://muse.jhu.edu/article/989390
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At the beginning of Beauty Regimes, Genevieve Alva Clutario asks “What can we gain by taking beauty seriously?” (p. 3). Through meticulous archival work, Clutario demonstrates how beauty and fashion are important analytics that inform clashes of empires and a burgeoning Philippine nation-to-be. Beauty production influenced Philippine nationalist fantasies and generated exploitative industries on local, regional, and transnational scales. Often deemed frivolous, a focus on beauty on, about, and made by Filipinas connects disparate local and transnational circulations of ideas, people, capital, policies, material culture, and the labor of constructing femininity. Sifting through slivers of Filipina viewpoints through
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/460/image/coversmallBeauty Regimes: A History of Power and Modern Empire in the Philippines, 1898–1941 by Genevieve Alva Clutario (review)2026-04-30text/htmlen-USBeauty Regimes: A History of Power and Modern Empire in the Philippines, 1898–1941 by Genevieve Alva Clutario (review)2026-04-302026TWOProject MUSE®66882026-05-19T00:00:00-05:002026-04-30A City Without Care: 300 Years of Racism, Health Disparities and Healthcare Activism in New Orleans by Kevin McQueeney (review)
https://muse.jhu.edu/article/989391
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The covid pandemic further illuminated significant racial and ethnic health disparities in the United States; so begins Kevin McQueeney’s book, A City Without Care, in tying together the past with the present and illustrating how our contemporary health outcomes and racial and ethnic disparities are interwoven with histories and legacies of the past and which, in different ways, carry on in the present. These disparities are not just in morbidity or mortality outcomes but are across a complex, interacting range of factors, including access to health care, rates of uninsured, geography, health behaviors and beliefs, socioeconomic differences, and outright racism within health services.The deep historical roots of
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/460/image/coversmallA City Without Care: 300 Years of Racism, Health Disparities and Healthcare Activism in New Orleans by Kevin McQueeney (review)2026-04-30text/htmlen-USA City Without Care: 300 Years of Racism, Health Disparities and Healthcare Activism in New Orleans by Kevin McQueeney (review)2026-04-302026TWOProject MUSE®80712026-05-19T00:00:00-05:002026-04-30The Mass Production of Memory: Travel and Personal Archiving in the Age of the Kodak by Tammy S. Gordon (review)
https://muse.jhu.edu/article/989392
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Through a series of brief chapters that read like snapshot glimpses, Tammy S. Gordon focuses our attention onto the rise of mass photography in late nineteenth and early twentieth century America, a rise that coincided with a surge in leisure and tourist travel, resulting in what Gordon terms “the mass production of memory.” During these formative years, people “bought mass-produced cameras on a large scale, and in turn used them to produce visual evidence—photos and albums—mnemonic devices that would eventually make it to an archive, whether institutional or familial, where they would do the work of helping us understand the past” (p. 2). Thus, “transportation and recording technologies worked in tandem to create
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/460/image/coversmallThe Mass Production of Memory: Travel and Personal Archiving in the Age of the Kodak by Tammy S. Gordon (review)2026-04-30text/htmlen-USThe Mass Production of Memory: Travel and Personal Archiving in the Age of the Kodak by Tammy S. Gordon (review)2026-04-302026TWOProject MUSE®72822026-05-19T00:00:00-05:002026-04-30Unbelonging: Inauthentic Sounds in Mexican and Latinx Aesthetics by Iván A. Ramos (review)
https://muse.jhu.edu/article/989393
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What does Latinidad sound like? Who decides these sonic arrangements? Iván A. Ramos, in Unbelonging: Inauthentic Sounds in Mexican and Latinx Aesthetics, considers those who reject the sonic prescriptions of national and ethnic belonging. Centering on sound artists, metaleras, punks, and Morrissey fandom, Ramos identifies dissonant sounds as sonic interventions that resist or reject neoliberal forms of authentic belonging during the 1980s and 1990s. Ramos argues that unbelonging, then, is a tactic practiced by those on the periphery to create relationships outside the paradigms of citizenship, family, and identitarian ethnonational belonging.Unbelonging engages Latinidad broadly, but significant attention is given
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/460/image/coversmallUnbelonging: Inauthentic Sounds in Mexican and Latinx Aesthetics by Iván A. Ramos (review)2026-04-30text/htmlen-USUnbelonging: Inauthentic Sounds in Mexican and Latinx Aesthetics by Iván A. Ramos (review)2026-04-302026TWOProject MUSE®52912026-05-19T00:00:00-05:002026-04-30The Rediscovery of America: Native Peoples and the Unmaking of American History by Ned Blackhawk, and: Before American History: Nationalist Mythmaking and Indigenous Dispossession by Christen Mucher, and: Reading Territory: Indigenous and Black Freedom, Removal, and the Nineteenth Century State by Kathryn Walkiewicz (review)
https://muse.jhu.edu/article/989394
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In early January 2025, then President-elect Trump announced his intention to rename the Gulf of Mexico the “Gulf of America.” Mexican President Claudia Scheinbaum responded by standing, weather reporter– style, in front of a 1607 map, originally drafted in 1590 by the Flemish cartographer and minister Peter Plancius, in which much of what is now the United States is labeled “America Mexicana.” Using the map was a jab at Trump, but the document is a more complex statement about national origins and identity than Scheinbaum acknowledged. Plancius’s choice of “Mexico” is intriguing because, in 1600, Europeans knew that territory as “New Spain”: “Mexicana” alludes to the Nahuatl-speaking Mexica alliance, often known as
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/460/image/coversmallThe Rediscovery of America: Native Peoples and the Unmaking of American History by Ned Blackhawk, and: Before American History: Nationalist Mythmaking and Indigenous Dispossession by Christen Mucher, and: Reading Territory: Indigenous and Black Freedom, Removal, and the Nineteenth Century State by Kathryn Walkiewicz (review)2026-04-30text/htmlen-USThe Rediscovery of America: Native Peoples and the Unmaking of American History by Ned Blackhawk, and: Before American History: Nationalist Mythmaking and Indigenous Dispossession by Christen Mucher, and: Reading Territory: Indigenous and Black Freedom, Removal, and the Nineteenth Century State by Kathryn Walkiewicz (review)2026-04-302026TWOProject MUSE®121552026-05-19T00:00:00-05:002026-04-30