Collection of the following titles: A Bag of Gold Coin, Choice of Friends, How Friends are Parted, Tiger and the Woodpecker, Friends and Foes

    As he comes to know the children, and sees how they live, Chi Huang is drawn deeper and deeper into their complex and desperate lives. The doctor soon realizes that to truly help these children, he will have to follow the example of Jesus: live among them, love them in spite of their brokenness, and cling to his faith in God's goodness, even when it appears it is nowhere to be found. A true story that will inspire and challenge readers to greater faith and action. The book includes a Foreword by Harvard professor and world-renowned expert on the moral and spiritual development of children, Dr. Robert Coles.

    It is a popular lovers' tale, rather unique in India. Marriages in India have traditionally been set by parents. However, princely families sometimes held bride's choice contests. In the case of Rukmini, daughter of the king of Vidarbha. Her father and brother had settled on Shishupala whom she detested. Her mind was set on Krishna of whose exploits she had heard. But there was to be no bride's choice event. So Rukmini takes the initiative by writing a letter to Krishna and sends it through a confidant. Krishna who also had heard of her, decides to act on the letter. Krishna and Balarama arrive in Rukmini's town and whisk her away on their chariot to their capital Dvaraka. Balarama fights Shishupala and defeats him.

    Magazine, Bitch was launched in the mid-nineties as a Xerox-and-staple zine covering the landscape of popular culture from a feminist perspective. Both unabashed in its love for the guilty pleasures of consumer culture and deeply thoughtful about the way the pop landscape reflects and impacts women's lives, Bitch grew to be a popular, full-scale magazine with a readership that stretched worldwide. Today it stands as a touchstone of hip, young feminist thought, looking with both wit and irreverence at the way pop culture informs feminism--and vice versa--and encouraging readers to think critically about the messages lurking behind our favorite television shows, movies, music, books, blogs, and the like. BITCHFest offers an assortment of the most provocative essays, reporting, rants, and raves from the magazine's first ten years, along with new pieces written especially for the collection. Smart, nuanced, cranky, outrageous, and clear-eyed, the anthology covers everything from a 1996 celebration of pre-scandal Martha Stewart to a more recent critical look at the "gayby boom"; from a time line of black women on sitcoms to an analysis of fat suits as the new blackface; from an attempt to fashion a feminist vulgarity to a reclamation of female virginity. It's a recent history of feminist pop-culture critique and an arrow toward feminism's future.

    . . . We are deeply concerned with the unprecedented destruction of our Mother Earth, the atrocities of war, the global scourge of poverty, the prevailing culture of materialism, the epidemics that threaten the health of the Earth’s peoples, and with the destruction of indigenous ways of life. We, the International Council of Thirteen Indigenous Grandmothers, believe that our ancestral ways of prayer, peacemaking, and healing are vitally needed today. . . . We believe that the teachings of our ancestors will light our way through an uncertain future. In some Native American societies, tribal leaders consulted a council of grandmothers before making any major decisions that would affect the whole community. What if we consulted our wise women elders about the problems facing our global community today? This book presents the insights and guidance of thirteen indigenous grandmothers from five continents, many of whom are living legends among their own peoples. The Grandmothers offer wisdom on such timely issues as nurturing our families; cultivating physical and mental health; and confronting violence, war, and poverty. Also included are the reflections of Western women elders, including Alice Walker, Gloria Steinem, Helena Norberg-Hodge, and Carol Moseley Brown.

    "Cleaning" best sums up What To Eat, What To Drink, What To Leave For Poison, an amazing poetry collection, when Dungy pens "understanding clearly/what is fatal to the body./I only understand too late/what can be fatal to the heart." Take an ice tea and sit on the veranda or take a glass of wine and prop up in bed but whatever way you like your poetry, this book is a must.— Nikki Giovanni.

    In Witness, Amalia Mesa-Bains and bell hooks invite us to reexamine this politically popular binary and consider which differences are manufactured and which are real.In Witness, Mesa-Bains and hooks explore their own similarities and differences, sharing the ways their childhoods, families, and work have shaped their political activism, teaching, and artistic expression. Drawing on shared experiences of sexism, classism, and racism, hooks and Mesa-Bains show how people from divergent cultural backgrounds can work together for radical social change.While the black/Latino divide and the increasing cross-community political collaboration has been addressed in progressive newspapers and magazines, Witness, an inclusive call to reflect and act, is the first of its kind to look at these issues in depth. And Amalia Mesa-Bains, a pioneer scholar and producer of Chicana art, with bell hooks, one of the most acclaimed of African American theorists—prove an unparalleled match for the job.bell hooks is one of the leading public intellectuals of her generation. She has written extensively on the emotional impact of racism and sexism, particularly on black women, as well as the importance of political engagement with art and the media. In her recent work on love, relationships, and community, she shows how emotional health is a necessary component to effective resistance and activism.Amalia Mesa-Bains is an artist, curator, and writer who has initiated comprehensive exhibitions of Latino art, including Chicano Art: Resistance and Affirmation and Mi Alma, Mi Tierra, Mi Gente: Contemporary Chicana Art. Her artwork incorporates various aspects of Chicano/a history, culture, and folk traditions, exploring religion, ritual, and female rites of passage. She won a MacArthur Fellowship in 1992.

    New board books in the best-selling Mini Masters series feature beautiful paintings from Cassatt and Picasso and rhyming text introducing budding artists to these famous masters.

    With collaboration of three distinguished Deaf consultants, Mindess explores the implications of cultural differences at the intersection of the Deaf and hearing worlds. Used in interpreter training programs worldwide.

    The dramatic rise and consolidation of America’s prison system has devastated lives and communities. But it has also transformed prisons into primary sites of radical political discourse and resistance as they have become home to a growing number of writers, activists, poets, educators, and other intellectuals who offer radical critiques of American society both within and beyond the prison walls. In Forced Passages, Dylan Rodríguez argues that the cultural production of such imprisoned intellectuals as Mumia Abu-Jamal, Angela Davis, Leonard Peltier, George Jackson, José Solis Jordan, Ramsey Muniz, Viet Mike Ngo, and Marilyn Buck should be understood as a social and intellectual movement in and of itself, unique in context and substance. Rodríguez engages with a wide range of texts, including correspondence, memoirs, essays, poetry, communiqués, visual art, and legal writing, drawing on published works by widely recognized figures and by individuals outside the public’s field of political vision or concern. Throughout, Rodríguez focuses on the conditions under which imprisoned intellectuals live and work, and he explores how incarceration shapes the ways in which insurgent knowledge is created, disseminated, and received. More than a series of close readings of prison literature, Forced Passages identifies and traces the discrete lineage of radical prison thought since the 1970s, one formed by the logic of state violence and by the endemic racism of the criminal justice system. Dylan Rodríguez is assistant professor of ethnic studies at the University of California, Riverside.

    Wekker vividly describes the lives of these women, who prefer to create alternative families of kin, lovers, and children, and gives a fascinating account of women's sexuality that is not limited to either heterosexuality or same-sex sexuality. She offers new perspectives on the lives of Caribbean women, transnational gay and lesbian movements, and an Afro-Surinamese tradition that challenges conventional Western notions of marriage, gender, identity, and desire. Bringing these women's voices to the forefront, she offers an extensive and groundbreaking analysis of the unique historical, religious, psychological, economic, linguistic, cultural, and political forces that have shaped their lives.

    As shocking as contemporary feminist pin-ups are intended to be, perhaps more surprising is that the pin-up has been appropriated by women for their own empowerment since its inception more than a century ago. Pin-Up Grrrls tells the history of the pin-up from its birth, revealing how its development is intimately connected to the history of feminism. Maria Elena Buszek documents the genre’s 150-year history with more than 100 illustrations, many never before published.Beginning with the pin-up’s origins in mid-nineteenth-century carte-de-visite photographs of burlesque performers, Buszek explores how female sex symbols, including Adah Isaacs Menken and Lydia Thompson, fought to exert control over their own images. Buszek analyzes the evolution of the pin-up through the advent of the New Woman, the suffrage movement, fanzine photographs of early film stars, the Varga Girl illustrations that appeared in Esquire during World War II, the early years of Playboy magazine, and the recent revival of the genre in appropriations by third-wave feminist artists. A fascinating combination of art history and cultural history, Pin-Up Grrrls is the story of how women have publicly defined and represented their sexuality since the 1860s.

    Charting the course of womanist theory from its genesis as Alice Walker's African-American feminism, through Chikwenye Okonjo Ogunyemi's African womanism and Clenora Hudson-Weems' Africana womanism, to its present-day expression as a global, anti-oppressionist perspective rooted in the praxis of everyday women of color, this interdisciplinary reader traces the rich and diverse history of a quarter century of womanist thought. Featuring selections from over a dozen disciplines by top womanist scholars from around the world, plus several critiques of womanism, an extensive bibliography of womanist sources, and the first ever systematic treatment of womanist thought on its own terms, Layli Phillips has assembled a unique and groundbreaking compilation.

    Warner tells the unexpected and often disturbing story about shifts in thought about consciousness and the individual person, from the first public waxworks portraits at the end of the eighteenth century to stories of hauntings, possession, and loss of self in modern times. She probes the perceived distinctions between fantasy and deception, and uncovers a host of spirit forms--angels, ghosts, fairies, revenants, and zombies--that are still actively present in contemporary culture.

    

    But that will not make postmodernism go away.Can Christians learn from postmodern thinkers and their critique of modernism? Yes, says author Crystal L. Downing. Postmodernism should not be judged by some of the problematic practices carried out in its name.In a lively engagement with literature, philosophy and art, Downing introduces readers to what postmodernism is and where it came from, aiming to show how Christians can best understand, critique and even benefit from its insights.She draws on her own experiences as a graduate student and her careful research into this worldview's modernist and artistic origins, the challenges of foundationalism and poststructuralism, and the complexity of relativism.She ends with a challenge to Christians: that they not be postmodern in their attitudes towards postmodernism, but instead to "be in the world and not of it" and to extend grace where it is most needed.Downing believes that the challenges, questions and insights of postmodernism can contribute to a deeper and clearer grasp of our faith, as well as providing unique paradigms for sharing the truth of Christ.

    A minority group in America is harassed for its ties to a foreign country. A worldwide conflict tests our resolve in combat abroad and our commitment to justice, equality, and liberty at home…Within months after Pearl Harbor, 110,000 Japanese Americans were forcibly “evacuated” from the West Coast, losing their jobs, their property, and their homes. In less than a year, they were “relocated” and incarcerated in desolate camps throughout the West, Southwest, and South. Yet, incredibly, thousands of young men from the camps joined the Army, to defend the country that had denied them their rights. This is the dramatic story of the segregated Japanese American 100th Battalion/442d Regimental Combat Team—and what they did to affirm their full citizenship. As Gen. Jacob L. Devers put it, in World War II the soldiers of the 100th/442d had “more than earned the right to be called just Americans, not Japanese Americans."During the fall of 1944, the combat team made headlines when it rescued the “lost battalion” of the 36th “Texas” Division. At the same time, with the 1944 elections looming, the Roosevelt Administration was debating whether to close the camps. And while the soldiers of the 100th/442d were sacrificing their lives in Europe, the Supreme Court was deciding the infamous Korematsu and Endo cases, which challenged the notion that “military necessity” justified the “relocation.”Through interviews with surviving veterans, archival research, maps, and photos, Robert Asahina has reconstructed these fateful events of October-November 1944. From breathless battle scenes, masterfully handled in all their detail; to the unbreakable bonds of friendship in the field; to heart- wrenching stories of loss and discrimination on the mainland and in Hawaii, Just Americans tells the story of what Gen. George C. Marshall called the “most decorated unit in American military history for its size and length of service.” It is also the story of soldiers in combat who were fighting a greater battle at home—a struggle that continues for minority groups today—over what it means to be an American.

    Aside from his more directly theoretical texts, however, case-studies of theatrical naturalism, the Bloomsbury group, advertising, science fiction, and the Welsh novel are also included as illustrations of the method at work. Finally, Williams’s identity as an active socialist, rather than simply an academic, is captured by two unambiguously political pieces on the past, present and future of Marxism.

    He has played on the Old Course at St Andrews as well as on the miners' courses of Yorkshire. He writes about the different cultural manifestations of the game, the history, the geography, and the different social meanings.

    Glam rock was outrageous and overtly theatrical, and its unforgettable characters-adorned with flamboyant costumes and heavy makeup and accompanied by elaborately constructed sets-were personified by performers such as Marc Bolan, David Bowie, Bryan Ferry, and Suzi Quatro. A sea change in rock performance had occurred.Yet glam was as much about substance as style, and Performing Glam Rock delves into the many ways glam paved the way for new explorations of identity in terms of gender, sexuality, and performance. Philip Auslander positions glam historically and examines it as a set of performance strategies, exploring the ways in which glam rock-while celebrating the showmanship of 1950s rock and roll-began to undermine rock's adherence to the ideology of authenticity in the late 1960s. In this important study of a too-often-overlooked phenomenon, Auslander takes a fresh look at the genius of the glam movement and introduces glam to a new generation of performance enthusiasts and scholars alike.Philip Auslander is Professor in the School of Literature, Communication, and Culture at the Georgia Institute of Technology and author of numerous books, including Liveness: Performance in a Mediatized Culture and Presence and Resistance: Postmodernism and Cultural Politics in Contemporary American Performance. He is editor of the major reference work Performance: Critical Concepts and coeditor, with Carrie Sandahl, of Bodies in Commotion: Disability and Performance.

    

    Acting out diverse identities in scenes ranging from severely simple to elaborately staged, Cahun was a pioneer of the gender-bending role-playing now seen in works by artists such as Cindy Sherman (born the year Cahun died), Nikki S. Lee, and many others. Don't Kiss Me, the first comprehensive volume on Cahun, features many previously unpublished photographs and drawings, illuminating not only Cahun's work but also that of partner, Marcel Moore (1892-1972), and their intense forty-year collaboration. In Don't Kiss Me, seven authors examine Cahun and Moore's lives and art-making; their relationship with the Surrealist movement; and give the first thorough account of the Resistance operations, trial, imprisonment, and attempted suicides of the two artists during the German Occupation of Jersey, in the Channel Islands, during World War II. The wealth of new material in this compelling survey makes it essential for all those with an interest in Cahun and Moore, photography, gender studies, or Surrealism.Born in France, Lucy Schwob (pseudonym Claude Cahun) and Suzanne Malherbe (pseudonym Marcel Moore) met at school in their teens and became both lovers and collaborators, inseparable until Lucy’s death in 1954. Cahun is by far the better known of the two; this book establishes for the first time the extent of Moore’s contributions to the self-portraits. Their photographs, books, and documents were acquired by The Jersey Heritage Trust acquired the largest collection of their work in the world in the 1990s; this book is the first catalog of the collection.

    Cited as an influence by such envelope-pushing directors as Spike Jonze and P. T. Anderson, Altman has created a genre all his own, notable for its improvised, overlapping dialogue and creative cinematography. One of the key moviemakers of the 1970s--commonly considered the heyday of American film--Altman's irrepressible combination of unorthodox vision and style is most clearly evidenced in the fourteen movies he released across that decade. By fine-tuning his talent in a diverse array of genres, including westerns, thrillers, and loopy, absurdist comedies--all subtly altered to fit his signature métier--he cemented his place as one of our most esteemed directors.In these conversations with David Thompson, Altman reflects on his start in industrial filmmaking, as well as his tenure in television directing Alfred Hitchcock Presents and Bonanza, and his big break in feature films as the director of the enormously popular M*A*S*H, a project for which he was the last possible resort behind fourteen other directors. The resulting portrait reveals a quixotic man whose films continue to delight and challenge audiences, both in the United States and beyond.

    Jennifer Ritterhouse asks how children learned this racial "etiquette," which was sustained by coercion and the threat of violence. More broadly, she asks how individuals developed racial self-consciousness. Parental instruction was an important factor--both white parents' reinforcement of a white supremacist worldview and black parents' oppositional lessons in respectability and race pride. Children also learned much from their interactions across race lines. The fact that black youths were often eager to stand up for themselves, despite the risks, suggests that the emotional underpinnings of the civil rights movement were in place long before the historical moment when change became possible. Meanwhile, a younger generation of whites continued to enforce traditional patterns of domination and deference in private, while also creating an increasingly elaborate system of segregation in public settings. Exploring relationships between public and private and between segregation, racial etiquette, and racial violence, Growing Up Jim Crow sheds new light on tradition and change in the South and the meanings of segregation within southern culture.

    This important volume, whose title combines Gertrude Stein's famous motto, "Rose is a rose is a rose is a rose," with the name of Marcel Duchamp's feminine alter ego, Rrose Selavy, features portraits, self-portraits and photomontages in which the gender of the subject is highlighted through performance for the camera or through technical manipulation of the image. In many of the works, photography's strong aura of realism and objectivity promotes a fantasy of total gender transformation. In other pieces, the photographic representation articulates an incongruity between the posing body and its assumed costume. Features work by Cecil Beaton, Brassa', Claude Cahun, Marcel Duchamp, Hannah H�ch, Man Ray, Janine Antoni, Matthew Barney, Nan Goldin, Lyle Ashton Harris, Robert Mapplethorpe, Annette Messager, Yasumasa Morimura, Catherine Opie, Lucas Samaras, Cindy Sherman, Inez van Lamsweerde and Andy Warhol.

    It was also a time of cultural revolution, in music (The Beatles, the Stones, the ascendancy of rock 'n' roll), literature (Ken Kesey, Richard Brautigan, Kurt Vonnegut, et al.), journalism (Tom Wolfe's New Journalism and Hunter Thompson's Gonzo journalism), films (Mike Nichols, Bob Rafelson, Sam Peckinpah), and the heady conflation of Fine Art with the Pop Art movement (Andy Warhol, Roy Lichtenstein, David Hockney).Comics were undergoing their own revolution and no one epitomized underground comix and psychedelia more than Victor Moscoso, whose posters for such bands as The Grateful Dead, Big Brother The Holding Company and the Steve Miller Blues Band, stand as enduring works of art and instantly recognizable icons of their time. Moscoso (along with fellow artists Rick Griffin, Stanley Mouse, Wes Wilson, Alton Kelley and Peter Max) revolutionized the poster aesthetic and defined the visual culture of a generation. R. Crumb invited Moscoso to join the Zap Comix collective in 1968, and Moscoso's work has appeared in every issue from Zap #2 to present. His comix work contrasted with his fellow artists (R. Crumb, S. Clay Wilson, Gilbert Shelton, et al.) by his unique stylization, less confrontational point of view, hallucinatory visual rhythms, and wordless, dreamlike stories.Sex, Rock 'N' Roll Optical Illusions is Victor Moscoso's first major, career-spanning retrospective, from his earliest poster work in 1966 to his most recent graphic experimentation. Optical Illusions contains his best posters that advertised bands playing in San Francisco's famous dance ballrooms of the time—the Avalon, the Matrix, and the Fillmoreas well as many of his Zap Comix contributions, and his solo comix work, many in Moscoso's signature color. This wide-ranging career retrospective—Moscoso's famous technique employing "vibrating colors" that he pioneered in his posters is impeccably reproduced with as much fidelity to the original as modern printing can achieve, his black-and-white and full color comix work is collected here for the first time is an intense, vibrant, and revelatory experience.

    There is a pervasive perception of the region as a hinterland inhabited by a backward and developmentally stunted people. Economically, culturally, and technologically suspended in an era gone by, this Appalachia is regarded as one of America's enduring social and economic problems. But there is another perception of Appalachia-home to the beautiful mountain system for which the region is named. It is a quaint retreat into the past, reflecting the integrity of a people with a pioneering spirit and lifestyle that pays homage to a simpler time. Until now, there has been no general reference work that captures the complexities of this enigmatic region. The only guide of its kind, the Encyclopedia of Appalachia is replete with information on every aspect of Appalachia's history, land, culture, and people. Containing more than 2,000 entries in 30 sections, the Encyclopedia is designed for quick reference and access to the information you need to know. Teachers, students, scholars, historians, and browsers with a passing interest in this beautiful and richly distinct region will quickly come to rely on the Encyclopedia of Appalachia as the authoritative resource on Appalachia's past and present. The Encyclopedia details subjects traditionally associated with Appalachia-folklore, handcrafts, mountain music, foods, and coal mining-but goes far beyond regional stereotypes to treat such wide-ranging topics as the aerospace industry, Native American foodways, ethnic diversity in the coalfields, education reform, linguistic variation, and the contested notion of what it means to be Appalachian, both inside and outside the region.Researched and developed by the Center for Appalachian Studies and Services at East Tennessee State University, this 1,840-page compendium includes all thirteen states that constitute the northern, central, and southern subregions of Appalachia-from New York to Mississippi. With thorough, detailed, yet accessible entries on everything from Adventists to zinc mining, the Encyclopedia of Appalachia is an indispensable, one-stop guide to all things Appalachian.

    It has everything one would expect to find down an alley in the ghetto, with one addition: horses. The men and boys of Fletcher Street have used their passion for riding and bonds with their rides to build their and their community’s sense of worth. They describe their passion for horses as having kept them from the temptations of street life. Fletcher Street by Martha Camarillo documents the lives of these men and the boys they mentor, who board their horses in abandoned houses or makeshift stables, and ride them through the streets of Philly. Camarillo’s work is valuable not only because it illuminates a fascinating new aspect of culture, but also because it challenges those who see it. Her photographs force viewers to confront their own preconceptions of sport as representative of social status, and race as a demarcation of class. The power of Camarillo’s exploration of this underrepresented community is based on the strength of the men themselves: urban horsemen who have ridden away from the ’hood and toward a better future.

    Frederick M. Smith proposes that positive oracular or ecstatic possession is the most common form of spiritual expression in India, and that it has been linguistically distinguished from negative, disease-producing possession for thousands of years.In South Asia possession has always been broader and more diverse than in the West, where it has been almost entirely characterized as "demonic." At best, spirit possession has been regarded as a medically treatable psychological ailment and at worst, as a condition that requires exorcism or punishment. In South (and East) Asia, ecstatic or oracular possession has been widely practiced throughout history, occupying a position of respect in early and recent Hinduism and in certain forms of Buddhism.Smith analyzes Indic literature from all ages-the earliest Vedic texts; the Mahabharata; Buddhist, Jain, Yogic, Ayurvedic, and Tantric texts; Hindu devotional literature; Sanskrit drama and narrative literature; and more than a hundred ethnographies. He identifies several forms of possession, including festival, initiatory, oracular, and devotional, and demonstrates their multivocality within a wide range of sects and religious identities.Possession is common among both men and women and is practiced by members of all social and caste strata. Smith theorizes on notions of embodiment, disembodiment, selfhood, personal identity, and other key issues through the prism of possession, redefining the relationship between Sanskritic and vernacular culture and between elite and popular religion. Smith's study is also comparative, introducing considerable material from Tibet, classical China, modern America, and elsewhere.Brilliant and persuasive, The Self Possessed provides careful new translations of rare material and is the most comprehensive study in any language on this subject.

    But he is now best known for the remarkable diary he kept for most of his adult life, which has been compared with that of Samuel Pepys and hailed as 'a treasure of contemporary English literature'. The first of three, this volume covers its first dozen years, beginning with his return to work for the National Trust during the Second World War, and ending with his tempestuous marriage to the exotic Alvilde Chaplin. The diary vividly portrays the hectic social life of London during the Blitz, when in the intervals between struggling to save a disintegrating architectural heritage he enjoys a dizzying variety of romantic experiences with both sexes. His descriptions of visits to harassed country-house owners are as perceptive as they are hilarious. With the war's end, the mood changes as he portrays a world of gloom and austerity. He shares the prevailing pessimism, yet during these years arranges the transfer of some of England's loveliest houses to the safe keeping of the National Trust.Finally he escapes from England to live on the Continent with his beautiful paramour, yet remains restless and dissatisfied. The diaries of James Lees-Milne were originally published in twelve volumes between 1975 and 2005. Michael Bloch, James Lees-Milne's literary executor and editor of the last five volumes of the complete work, has produced this skilful compilation from the first five volumes -- including interesting new material omitted from the original publications.

    The give-away matchbook was one of the most pervasive means ever found of putting promotional images into the hands of the public. Small and disposable, matchbooks were not only a highly successful marketing tool for a wide variety of products, they were also the repositories for a wealth of anonymous design creativity. Fantasies of ocean travel, bathing beauties, regal leisure, and tropical locales adorned the covers, as did hand-lettered typography, stylized illustration, and eye-catching color. This red-hot celebration brings the ubiquitous matchbook's art to life in all its pulp panache and visual zing.

    However, full evidence of their roles has until nowremained scant and dispersed, eclipsed in historical opinion formed through thetexts of men.In magisterial scale Red Velvet Seat restores this film culture tovisibility, using women’s written accounts from the beginnings up to 1950 tounderstand the significance of cinema for them. Sources include fashion andparenting magazines, newspapers and literary journals, memoirs and etiquetteguides, while contributors range from novelists such as Virginia Woolf, Coletteand Rebecca West to psychoanalysts, poets, social reformers, labor organizers,film editors, screen beauties, and race activists. For each section, AntoniaLant and Ingrid Periz provide an introduction, explaining the historicalcontext and linking their themes to the major social and political movements oftheir time, as well as to more traditionally feminine concerns. Compendious and absorbing, Red Velvet Seat is an invaluablecontribution to the history of cinema.

    Within a political community it stands for inclusion and universalism, but to outsiders, citizenship means exclusion. Because these aspects of citizenship appear spatially and jurisdictionally separate, they are usually regarded as complementary. In fact, the inclusionary and exclusionary dimensions of citizenship dramatically collide within the territory of the nation-state, creating multiple contradictions when it comes to the class of people the law calls aliens--transnational migrants with a status short of full citizenship. Examining alienage and alienage law in all of its complexities, The Citizen and the Alien explores the dilemmas of inclusion and exclusion inherent in the practices and institutions of citizenship in liberal democratic societies, especially the United States. In doing so, it offers an important new perspective on the changing meaning of citizenship in a world of highly porous borders and increasing transmigration.As a particular form of noncitizenship, alienage represents a powerful lens through which to examine the meaning of citizenship itself, argues Linda Bosniak. She uses alienage to examine the promises and limits of the equal citizenship ideal that animates many constitutional democracies. In the process, she shows how core features of globalization serve to shape the structure of legal and social relationships at the very heart of national societies.

    Brooks argues that from the mid-nineteenth century to the early twentieth, black transatlantic activists, actors, singers, and other entertainers frequently transformed the alienating conditions of social and political marginalization into modes of self-actualization through performance. Brooks considers the work of African American, Anglo, and racially ambiguous performers in a range of popular entertainment, including racial melodrama, spectacular theatre, moving panorama exhibitions, Pan-Africanist musicals, Victorian magic shows, religious and secular song, spiritualism, and dance. She describes how these entertainers experimented with different ways of presenting their bodies in public—through dress, movement, and theatrical technologies—to defamiliarize the spectacle of “blackness” in the transatlantic imaginary.Brooks pieces together reviews, letters, playbills, fiction, and biography in order to reconstruct not only the contexts of African American performance but also the reception of the stagings of “bodily insurgency” which she examines. Throughout the book, she juxtaposes unlikely texts and entertainers in order to illuminate the complicated transatlantic cultural landscape in which black performers intervened. She places Adah Isaacs Menken, a star of spectacular theatre, next to Sojourner Truth, showing how both used similar strategies of physical gesture to complicate one-dimensional notions of race and gender. She also considers Henry Box Brown’s public re-enactments of his escape from slavery, the Pan-Africanist discourse of Bert Williams’s and George Walker’s musical In Dahomey (1902–04), and the relationship between gender politics, performance, and New Negro activism in the fiction of the novelist and playwright Pauline Hopkins and the postbellum stage work of the cakewalk dancer and choreographer Aida Overton Walker. Highlighting the integral connections between performance and the construction of racial identities, Brooks provides a nuanced understanding of the vitality, complexity, and influence of black performance in the United States and throughout the black Atlantic.

    Although the term 'honeymoon' was coined in the eighteenth century, the ritual increased in popularity throughout the Victorian period, until by the end of the century it became a familiar accompaniment to the wedding for all but the poorest classes. Using letters and diaries of 61 real-life honeymooning couples, as well as novels from Frankenstein to Middlemarch that feature honeymoon scenarios, Michie explores the cultural meanings of the honeymoon, arguing that, with its emphasis on privacy and displacement, the honeymoon was central to emerging ideals of conjugality and to ideas of the couple as a primary social unit.

    Bleak tools of the cold war, they embodied the rigid organization and mechanical conformity that made the military-industrial complex possible. But by the 1990s—and the dawn of the Internet—computers started to represent a very different kind of world: a collaborative and digital utopia modeled on the communal ideals of the hippies who so vehemently rebelled against the cold war establishment in the first place. From Counterculture to Cyberculture is the first book to explore this extraordinary and ironic transformation. Fred Turner here traces the previously untold story of a highly influential group of San Francisco Bay–area entrepreneurs: Stewart Brand and the Whole Earth network. Between 1968 and 1998, via such familiar venues as the National Book Award–winning Whole Earth Catalog, the computer conferencing system known as WELL, and, ultimately, the launch of the wildly successful Wired magazine, Brand and his colleagues brokered a long-running collaboration between San Francisco flower power and the emerging technological hub of Silicon Valley. Thanks to their vision, counterculturalists and technologists alike joined together to reimagine computers as tools for personal liberation, the building of virtual and decidedly alternative communities, and the exploration of bold new social frontiers. Shedding new light on how our networked culture came to be, this fascinating book reminds us that the distance between the Grateful Dead and Google, between Ken Kesey and the computer itself, is not as great as we might think.

    The author provides a historical overview and critical analysis of the black church and its current engagement with lesbian and gay Christians, and shares ways in which black churches can learn to reach out and confront all types of oppression - not just race - in order to do the work of the black community.

    All it takes is a single clever stroke of the G-pen to instantly change a manga character's mood from one extreme to the other: glad to sad, sassy to shy, angry to embarrassed. Illustrator Saori Takarai presents original pencil sketches alongside her finished full-color drawings to show just how the transformations take place. In addition, each of the facial expressions is labeled with the Japanese word for the mood being depicted, along with common Japanese conversational phrases and English translations, making this delightful book a great gift for aspiring artists, language enthusiasts and manga fans alike.

    Readers of all ages will delight in this drum-beating, hand-clapping, foot-stomping celebration of culture and tradition.Come along as we explore the fascinating origins of African dance, as rich and diverse as the continent itself. Discover unique rituals, colorful costumes, and rhythmic instruments. Learn about dances that have been passed from generation to generation through the ages. See those very same dances come alive with a new generation of dancers. In captivating detail Drumbeat In Our Feet captures the beauty, history, and energy of African dance. Readers of all ages will delight in this drum-beating, hand-clapping, foot-stomping celebration of culture and tradition.

    Tells the story of Rugby League through times of great social, political and economic upheaval, using previously unexplored archival sources to illuminate the class-conscious structures that shaped the development of the sport.

    Burke's interpretations of Shakespeare have influenced important lines of contemporary scholarship; playwrights and directors have been stirred by his dramaturgical investigations; and many readers outside academia have enjoyed his ingenious dissections of what makes a play function. Burke's intellectual project continually engaged with Shakespeare's works, and Burke's writings on Shakespeare, in turn, have had an immense impact on generations of readers. Carefully edited and annotated, with helpful cross-references, Burke's fascinating interpretations of Shakespeare remain challenging, provocative, and accessible. Read together, these pieces form an evolving argument about the nature of Shakespeare's artistry. Included are thirteen analyses of individual plays and poems, an introductory lecture explaining his approach to reading Shakespeare, and a comprehensive appendix of scores of Burke's other references to Shakespeare. The editor, Scott L. Newstok, also provides a historical introduction and an account of Burke's legacy. This edition fulfils Burke's own vision of collecting in one volume his Shakespeare criticism, portions of which had appeared in the many books he had published throughout his lengthy career. Here, Burke examines Hamlet, Twelfth Night, Julius Caesar, Venus and Adonis, Othello, Timon of Athens, Antony and Cleopatra, Coriolanus, King Lear, Troilus and Cressida, A Midsummer Night's Dream, Macbeth, The Merchant of Venice, The Tempest, Falstaff, the Sonnets, and Shakespeare's imagery. KENNETH BURKE (1897-1993) was the author of many books, including the landmark Motivorum trilogy: A Grammar of Motives (1945), A Rhetoric of Motives (1950), and Essays Toward a Symbolic of Motives, 1950-1955 (2007). He has been hailed as one of the most original American thinkers of the twentieth century and possibly the greatest rhetorician since Cicero. Burke's enduring familiarity with Shakespeare helped shape his own theory of dramatism, an ambitious elaboration of the "all the world's a stage" conceit. Burke is renowned for his far-reaching 1951 essay on Othello, which wrestles with concerns still relevant to scholars more than half a century later; his imaginative ventriloquism of Mark Antony's address over Caesar's body has likewise found a number of appreciative readers, as have his many other essays on the playwright. SCOTT L. NEWSTOK is Assistant Professor of English at Gustavus Adolphus College and Andrew W. Mellon Post-Doctoral Fellow at Yale University.

    This can be grasped from understanding the complex social processes of evolution. From looking at recent developments in other disciplines but particularly in science - and the biology of complex systems - she argues that we are currently going through a paradigm shift in the long revolution of modern thought, from 'The Age of Reduction' to 'The Age of Emergence'. Through looking at the complex emergence of human society and culture, we can get a better understanding of how 'the whole creature' operates. Such an understanding serves to undermine the neoliberal philosophy of possessive individualism, whose outlook could be seen to be underpinned by a crude Social Darwinism; but, equally, its sense of humans as evolved and embodied creatures also undermines those who believe there is no existence outside discourse.

    Although the camping experience has a special place in the popular imagination, few scholars have given serious thought to this peculiarly American phenomenon. Why were summer camps created? What concerns and ideals motivated their founders? Whom did they serve? How did they change over time? What factors influenced their design?To answer these and many other questions, Abigail A. Van Slyck trains an informed eye on the most visible and evocative aspect of camp life: its landscape and architecture. She argues that summer camps delivered much more than a simple encounter with the natural world. Instead, she suggests, camps provided a man-made version of wilderness, shaped by middle-class anxieties about gender roles, class tensions, race relations, and modernity and its impact on the lives of children. Following a fascinating history of summer camps and a wide-ranging overview of the factors that led to their creation, Van Slyck examines the intersections of the natural landscape with human-built forms and social activities. In particular, she addresses changing attitudes toward such subjects as children’s health, sanitation, play, relationships between the sexes, Native American culture, and evolving ideas about childhood. Generously illustrated with period photographs, maps, plans, and promotional images of camps throughout North America, A Manufactured Wilderness is the first book to offer a thorough consideration of the summer camp environment.

    Drawing on in-depth interviews and extended ethnographic research in a range of hotel jobs, including concierge, bellperson, and housekeeper, Sherman gives an insightful analysis of what exactly luxury service consists of, how managers organize its production, and how workers and guests negotiate the inequality between them. She finds that workers employ a variety of practices to assert a powerful sense of self, including playing games, comparing themselves to other workers and guests, and forming meaningful and reciprocal relations with guests. Through their contact with hotel staff, guests learn how to behave in the luxury environment and come to see themselves as deserving of luxury consumption. These practices, Sherman argues, help make class inequality seem normal, something to be taken for granted. Throughout, Class Acts sheds new light on the complex relationship between class and service work, an increasingly relevant topic in light of the growing economic inequality in the United States that underlies luxury consumption.

    Outstanding contributors include Pierre Macherey, Charles Wolfe, Alex Callinicos and Judith Revel

    By examining the rise of the Nation of Islam, the Black Power Movement of the 1960s and 1970s, and the "Afrocentric era" of the 1980s through 1990s Austin shows how theories of race have shaped ideas about the meaning of "Blackness" within different time periods of the twentieth-century. Achieving Blackness provides both a fascinating history of Blackness and a theoretically challenging understanding of race and ethnicity. Austin traces how Blackness was defined by cultural ideas, social practices and shared identities as well as shaped in response to the social and historical conditions at different moments in American history. Analyzing black public opinion on black nationalism and its relationship with class, Austin challenges the commonly held assumption that black nationalism is a lower class phenomenon. In a refreshing and final move, he makes a compelling argument for rethinking contemporary theories of race away from the current fascination with physical difference, which he contends sweeps race back to its misconceived biological underpinnings. Achieving Blackness is a wonderful contribution to the sociology of race and African American Studies.

    With illustrations that capture faithfully the life of Aesop and over a hundred fables with additional special black figure style illustrations, this book is a gem for all ages. Through this book, Aesop and his fables continue to live for a new generation just as they were treasured and passed down to us from our forefathers.

    Marine, photographer Craig Barber returns twenty-eight years later to a country first seen in combat. Haunted by witnessed atrocities, Barber carries his memories of war back to Vietnam to quiet his ghosts. In the Vietnamese countryside, armed only with a handmade pinhole camera, he captures images of bomb craters turned into fish-rearing ponds, parts from airstrip runways used as window grates, and shell casings functioning as fence posts. In a country where half the population is under twenty and has no memory of war, Barber’s ethereal platinum prints give hope that healing and change is on the horizon.Craig Barber, known for provocative landscape photographs and recognized among today’s premier platinum printers, has had over 60 solo exhibitions and has pieces in numerous collections including the George Eastman House in Rochester, the Victoria & Albert Museum in London, the Brooklyn Museum of Art in New York, and the Biblioteque Nationale de France in Paris. Barber lives in New York’s Hudson Valley and teaches photography workshops across the globe.Alison Devine Nordstrom, curator for the George Eastman House, has curated over 100 exhibitions of photography and major surveys of contemporary installation, landscape, portraiture, and journalism. She has worked extensively with historical photographs relating to the construction of race and place, and is the author of numerous catalogue essays, chapters, articles, and reviews in academic publications. She lives in New York.

    Both disability studies and queer theory are centrally concerned with how bodies, pleasures, and identities are represented as "normal" or as abject, but Crip Theory is the first book to analyze thoroughly the ways in which these interdisciplinary fields inform each other.Drawing on feminist theory, African American and Latino/a cultural theories, composition studies, film and television studies, and theories of globalization and counter-globalization, Robert McRuer articulates the central concerns of crip theory and considers how such a critical perspective might impact cultural and historical inquiry in the humanities. Crip Theory puts forward readings of the Sharon Kowalski story, the performance art of Bob Flanagan, and the journals of Gary Fisher, as well as critiques of the domesticated queerness and disability marketed by the Millennium March, or Bravo TV's Queer Eye for the Straight Guy. McRuer examines how dominant and marginal bodily and sexual identities are composed, and considers the vibrant ways that disability and queerness unsettle and re-write those identities in order to insist that another world is possible.

    Damascus was Rafik Schami's home for 25 years before he went into exile, and he never forgot it. This 'Pearl of the Orient' is still the city he loves more than any other. Thirty years later, and now a prize-winning novelist, Schami leapt at the chance to write about his former home town. There were, however, two seemingly insurmountable barriers - time and geography. So Schami's sister Marie wandered through Damascus for a year on his behalf, relaying curiosities, sounds, personalities, tastes and the smells of the Old City, while Schami wrote them down, relishing the diverse mark left on Damascene cuisine by its multifarious history.

    She explores cinema's role as a tool of nationalism in the US and the Arab world, and the challenges the Arab cinemas present to Hollywood's dominant representations of Middle Eastern politics.

    

    The ability to read and write was considered essential for educated persons, and Africans from all walks of life strove to participate in the new literary culture. Karin Barber and an international group of Africanist scholars have uncovered a trove of personal diaries, letters, obituaries, pamphlets, and booklets stored away in tin-trunks, suitcases, and cabinets that reveal individuals involved in the new occupation of the colonial era--putting pen to paper. Africa's Hidden Histories taps into rare primary sources and considers the profusion of literary culture, the propensity to collect and archive text, and the significance attached to reading as a form of self-improvement. As it explores the innovative, intense, and sociable interest in reading and writing, this book opens new avenues for understanding a rich and hidden history of Africa's creative expression.

    The voyage, from Aqaba on the Red Sea to Alexandretta in southern Turkey, begins again in September 2001, haunted by the 9/11 attacks on America and the ensuing invasion of Iraq.Along the route, Glass visits the Israeli settlements and Arab towns on whose land the settlements were constructed, speaks to Israeli conscripts and Palestinian demonstrators, to priests, rabbis and mullahs, politicians and assassins, the tortured and their torturers. He also revisits the scene of his captivity, confronting the men who kidnapped him over two decades ago.

    The final chapter draws together the underlying concern of the book with affect and poetics and discusses the politics of pastiche.

    Even as workplaces and public institutions such as the military have become racially integrated, racial separation in Christian religious congregations is the norm. And yet some congregations remain stubbornly, racially mixed. People of the Dream is the most complete study of this phenomenon ever undertaken. Author Michael Emerson explores such questions as: how do racially mixed congregations come together? How are they sustained? Who attends them, how did they get there, and what are their experiences? Engagingly written, the book enters the worlds of these congregations through national surveys and in-depth studies of those attending racially mixed churches. Data for the book was collected over seven years by the author and his research team. It includes more than 2,500 telephone interviews, hundreds of written surveys, and extensive visits to mixed-race congregations throughout the United States.People of the Dream argues that multiracial congregations are bridge organizations that gather and facilitate cross-racial friendships, disproportionately housing people who have substantially more racially diverse social networks than do other Americans. The book concludes that multiracial congregations and the people in them may be harbingers of racial change to come in the United States.

    Since the 1960s numerous writers, artists, philosophers, and social theorists have tried to home in on the patterns and rhythms of our daily activities. This book provides a detailed mapof this territory, linking the pioneering work of such key figures as Georges Perec and Michel de Certeau, to currents in Surrealism, ethnography, fiction, film, and photography.

    It is ideally suited for readers interested in world writing in English, contemporary literature, postcolonial writing, cultural studies, and postmodern culture.

    While savage excess occasionally prevails, we still struggle to reflect God's image and order in our societies.Using law and religion as a pair of lenses, John Witte expertly surveys the stormy yet lush landscape of the western tradition. After a concise history of rights in the west, he then focuses on a diverse yet coherent series of landmarks, from Luther's "Freedom of a Christian" to contemporary Russian religious freedom, from battles over the First Amendment to the ongoing importance of marriage. Throughout, Witte's reflections center on the constant tension between religion and law, between church and state. God's Joust, God's Justice" provides a clear vista of the debates over law and religion in the west, enabling readers to competently proceed towards a more integrated understanding of these foundational elements of western democracy.

    Politicians and journalists across the ideological spectrum eagerly denounce “victimism.” Accusations of “playing the victim” have become a convenient way to ridicule or condemn. President George W. Bush even blamed an Islamic “culture of victimization” for 9/11. The Cult of True Victimhood shows how the panic about domestic and foreign victims has transformed American politics, warping the language we use to talk about suffering and collective responsibility.With forceful and lively prose, Alyson Cole investigates the ideological underpinnings, cultural manifestations, and political consequences of anti-victimism in an array of contexts, including race relations, the feminist movement, conservative punditry, and the U.S. legal system. Being a victim, she contends, is no longer a matter of injuries or injustices endured, but a stigmatizing judgment of individual character. Those who claim victim status are cast as shamefully passive or cynically manipulative. Even the brutalized Central Park jogger came forth to insist that she is not a victim, but a survivor.Offering a fresh perspective on major themes in American politics, Cole demonstrates how this new use of “victim” to derogate underlies seemingly disparate social and political debates from the welfare state, criminal justice, and abortion to the war on terror.

    Using archival material and works of Bunyan, Shaftesbury, Goldsmith, Smart, and Wordsworth, Branch shows that the rise of spontaneity was intimately connected to the forces of commerce and science at the dawn of the Enlightenment. By focusing on the language in which spontaneity was defended and on its psychological repercussions, Rituals of Spontaneity challenges previous understanding of secularization and demonstrates the deep, often troubling connections between religion and secularism in modernity.

    historiography, Haunted by Empire brings postcolonial critiques to bear on North American history and draws on that history to question the analytic conventions of postcolonial studies. The contributors to this innovative collection examine the critical role of “domains of the intimate” in the consolidation of colonial power. They demonstrate how the categories of difference underlying colonialism—the distinctions advanced as the justification for the colonizer’s rule of the colonized—were enacted and reinforced in intimate realms from the bedroom to the classroom to the medical examining room. Together the essays focus attention on the politics of comparison—on how colonizers differentiated one group or set of behaviors from another—and on the circulation of knowledge and ideologies within and between imperial projects. Ultimately, this collection forces a rethinking of what historians choose to compare and of the epistemological grounds on which those choices are based.Haunted by Empire includes Ann Laura Stoler’s seminal essay “Tense and Tender Ties” as well as her bold introduction, which carves out the exciting new analytic and methodological ground animated by this comparative venture. The contributors engage in a lively cross-disciplinary conversation, drawing on history, anthropology, literature, philosophy, and public health. They address such topics as the regulation of Hindu marriages and gay sexuality in the early-twentieth-century United States; the framing of multiple-choice intelligence tests; the deeply entangled histories of Asian, African, and native peoples in the Americas; the racial categorizations used in the 1890 U.S. census; and the politics of race and space in French colonial New Orleans. Linda Gordon, Catherine Hall, and Nancy F. Cott each provide a concluding essay reflecting on the innovations and implications of the arguments advanced in Haunted by Empire.Contributors. Warwick Anderson, Laura Briggs, Kathleen Brown, Nancy F. Cott, Shannon Lee Dawdy, Linda Gordon, Catherine Hall, Martha Hodes, Paul A. Kramer, Lisa Lowe, Tiya Miles, Gwenn A. Miller, Emily S. Rosenberg, Damon Salesa, Nayan Shah, Alexandra Minna Stern, Ann Laura Stoler, Laura Wexler

    In Play Reconsidered, rather than viewing play simply as a preoccupation of the young and a vehicle for skill development, Thomas S. Henricks argues that it's a social and cultural phenomenon of adult life, enveloped by wider structures and processes of society. In that context, he argues that a truly sociological approach to play should begin with a consideration of the largely overlooked writings on play and play-related topics by some of the classic sociological thinkers of the twentieth century. Henricks explores Karl Marx's analysis of creativity in human labor, examines Emile Durkheim's observations on the role of ritual and the formation of collective consciousness, extends Max Weber's ideas about the process of rationalization to the realm of expressive culture and play, surveys Georg Simmel's distinctive approach to sociology and sociability, and discusses Erving Goffman's focus on human conduct as process and play as "encounter." These and other discussions of the contributions of more recent sociologists are framed by an initial consideration of Johan Huizinga's famous challenge to understand the nature and significance of play. In a closing synthesis, Henricks distinguishes play from other forms of human social expression, particularly ritual, communitas, and work.

    It is a reputation built upon such monuments as The Christian Tradition, & his most recent work, Creeds & Confessions of Faith in the Christian Tradition. These essays by colleagues & former students of Pelikan were given during a yearlong, nationwide celebration of his 80th birthday, culminating in 12/03 at Yale University, where Pelikan himself gave the final lecture. The general theme of the series was the impact of Orthodoxy on Western culture. Contributors include: John Erickson, Valerie Hotchkiss, Patrick Henry, Andrew Louth, Anthony Ugolnik, John Anthony McGuckin, Speros Vryonis Jr, James H. Billington & Vartan Gregorian. Besides his essay, 'The Will to Believe & the Need for Creed,' Pelikan adds, for the 1st time, a personal memoir of his life as a scholar.

    Young calls “U.S. Third World Leftists,” activists of color who appropriated theories and strategies from Third World anticolonial struggles in their fight for social and economic justice in the United States during the “long 1960s.” Nearly thirty countries in Africa, Asia, and Latin America declared formal independence in the 1960s alone. Arguing that the significance of this wave of decolonization to U.S. activists has been vastly underestimated, Young describes how literature, films, ideologies, and political movements that originated in the Third World were absorbed by U.S. activists of color. She shows how these transnational influences were then used to forge alliances, create new vocabularies and aesthetic forms, and describe race, class, and gender oppression in the United States in compelling terms.Young analyzes a range of U.S. figures and organizations, examining how each deployed Third World discourse toward various cultural and political ends. She considers a trip that LeRoi Jones, Harold Cruse, and Robert F. Williams made to Cuba in 1960; traces key intellectual influences on Angela Y. Davis’s writing; and reveals the early history of the hospital workers’ 1199 union as a model of U.S. Third World activism. She investigates Newsreel, a late 1960s activist documentary film movement, and its successor, Third World Newsreel, which produced a seminal 1972 film on the Attica prison rebellion. She also considers the L.A. Rebellion, a group of African and African American artists who made films about conditions in the Watts neighborhood of Los Angeles. By demonstrating the breadth, vitality, and legacy of the work of U.S. Third World Leftists, Soul Power firmly establishes their crucial place in the history of twentieth-century American struggles for social change.

    Bush says that, In our free society, people have the right to choose how they live their lives. But our government and the Religious Right are successfully censoring what you read, hear, and see; limiting your access to contraception; legislating good moral values; and brainwashing your kids that God hates premarital sex. The Right has politicized private life, expanding the zone of public sexuality. This guarantees policies that will worsen social problems and increase personal anxiety, providing proof that sexuality is fundamentally negative--so citizens demand more sex-negative policies. With examples ripped from today's headlines, with brutal honesty and a wicked sense of humor, Marty Klein names names, challenges political hypocrisy, and shows the financial connections between government and conservative religious groups that are systematically taking away your rights. And, in the process, changing American society--forever.

    But as Erica Fudge relates in Brutal Reasoning, the discussions were not as straightforward--or as reflexively anthropocentric--as has been assumed.Surveying a wide range of texts-religious, philosophical, literary, even comic-Fudge explains the crucial role that reason played in conceptualizations of the human and the animal, as well as the distinctions between the two. Brutal Reasoning looks at the ways in which humans were conceptualized, at what being human meant, and at how humans could lose their humanity. It also takes up the questions of what made an animal an animal, why animals were studied in the early modern period, and at how people understood, and misunderstood, what they saw when they did look.From the influence of classical thinking on the human-animal divide and debates surrounding the rationality of women, children, and Native Americans to the frequent references in popular and pedagogical texts to Morocco the Intelligent Horse, Fudge gives a new and vital context to the human perception of animals in this period. At the same time, she challenges overly simplistic notions about early modern attitudes to animals and about the impact of those attitudes on modern culture.