Unfortunately, skillful propagandists have been so successful in promoting this romanticized view that the Lost Cause has assumed a life of its own. Misrepresenting the war's true origins and its actual course, the myth of the Lost Cause distorts our national memory. In The Myth of the Lost Cause and Civil War History, nine historians describe and analyze the Lost Cause, identifying ways in which it falsifies history -- creating a volume that makes a significant contribution to Civil War historiography.

    The selections in this anthology show how Orwell developed as writer and as thinker; inevitably, too, they reflect and illuminate the history of the time of troubles in which he lived and worked. “A magnificent tribute to the probity, consistency and insight of Orwell’s topical writings” (Alfred Kazin). Introduction by Richard H. Rovere.

    But in the end, its electronic couplings proved too complex and expensive, the political will failed, and the project died in 1987. The story of Aramis is told by several different parties, none of which take precedence over any other: a young engineer and his professor, who act as detective to ferret out the reasons for the project's failure; company executives and elected officials; a sociologist; and finally Aramis itself, who delivers a passionate plea: technological innovation has needs and desires, especially a desire to be born, but cannot live without the sustained commitment of those who have created it.

    How we attend makes all the difference to the world we experience. And nowadays in the West we generally attend in a rather unusual way: governed by the narrowly focussed, target-driven left hemisphere of the brain.Forget everything you thought you knew about the difference between the hemispheres, because it will be largely wrong. It is not what each hemisphere does - they are both involved in everything - but how it does it, that matters. And the prime difference between the brain hemispheres is the manner in which they attend. For reasons of survival we need one hemisphere (in humans and many animals, the left) to pay narrow attention to detail, to grab hold of things we need, while the other, the right, keeps an eye out for everything else. The result is that one hemisphere is good at utilising the world, the other better at understanding it.Absent, present, detached, engaged, alienated, empathic, broad or narrow, sustained or piecemeal, attention has the power to alter whatever it meets. The play of attention can both create and destroy, but it never leaves its object unchanged. How you attend to something - or don't attend to it - matters a very great deal. This book helps you to see what it is you may have been trained by our very unusual culture not to see.

    This was the work of an elite group known as Unit 731, led by Japan's answer to Joseph Mengele, Dr Shiro Ishii.Under their initiative, thousands of individuals were held captive and infected with virulent strains of anthrax, plague, cholera, and other epidemic and viral diseases. Soon entire Chinese villages were being hit with biological bombs. Even American POWs were targeted. All told, more than 250,000 people were infected, and the vast majority died. Yet, after the war, US occupation forces under General Douglas MacArthur struck a deal with these doctors that shielded them from accountability.Provocative, alarming and utterly compelling, A Plague Upon Humanity draws on important original research to expose one of the most shameful chapters in human history.

    From a young age he was consumed by photography, chess, and, above all else, movies. He was a self‑taught filmmaker and self‑proclaimed outsider, and his films exist in a unique world of their own outside the Hollywood mainstream. Kubrick’s Jewishness played a crucial role in his idea of himself as an outsider. Obsessed with rebellion against authority, war, and male violence, Kubrick was himself a calm, coolly masterful creator and a talkative, ever‑curious polymath immersed in friends and family.   Drawing on interviews and new archival material, Mikics for the first time explores the personal side of Kubrick’s films.

    In this insightful book, writtenwith dry wit and sharp insight, James C. Cobb explains how the South first came to be seen--and then came to see itself--as a region apart from the rest of America.As Cobb demonstrates, the legend of the aristocratic Cavalier origins of southern planter society was nurtured by both northern and southern writers, only to be challenged by abolitionist critics, black and white. After the Civil War, defeated and embittered southern whites incorporated theCavalier myth into the cult of the Lost Cause, which supplied the emotional energy for their determined crusade to rejoin the Union on their own terms. After World War I, white writers like Ellen Glasgow, William Faulkner and other key figures of Southern Renaissance as well as their AfricanAmerican counterparts in the Harlem Renaissance--Cobb is the first to show the strong links between the two movements--challenged the New South creed by asking how the grandiose vision of the South's past could be reconciled with the dismal reality of its present. The Southern self-imageunderwent another sea change in the wake of the Civil Rights movement, when the end of white supremacy shook the old definition of the Southern way of life--but at the same time, African Americans began to examine their southern roots more openly and embrace their regional, as well as racial, identity. As the millennium turned, the South confronted a new identity crisis brought on by global homogenization: if Southern culture is everywhere, has the New South become the No South?Here then is a major work by one of America's finest Southern historians, a magisterial synthesis that combines rich scholarship with provocative new insights into what the South means to southerners and to America as well.

    Francione is known for his criticism of animal welfare laws and regulations, his abolitionist theory of animal rights, and his promotion of veganism and nonviolence as the baseline principles of the abolitionist movement. In this collection, Francione advances the most radical theory of animal rights to date. Unlike Peter Singer, Francione maintains that we cannot morally justify using animals under any circumstances, and unlike Tom Regan, Francione's theory applies to all sentient beings, not only to those who have more sophisticated cognitive abilities.

    Hill provides an incisive analysis of everyday language to reveal the underlying racist stereotypes that continue to circulate in American culture.* Provides a detailed background on the theory of race and racism* Reveals how racializing discourse--talk and text that produces and reproduces ideas about races and assigns people to them--facilitates a victim-blaming logic* Integrates a broad and interdisciplinary range of literature, from sociology, social psychology, justice studies, critical legal studies, philosophy, literature, and other disciplines that have studied racism, as well as material from anthropology and sociolinguistics* Part of the "Blackwell Studies in Discourse and Culture Series"

    In Writing History, Writing Trauma, Dominick LaCapra provides a broad-ranging, critical inquiry into the problem of trauma, notably with respect to major historical events. In a series of interlocking essays, he explores theoretical and literary-critical attempts to come to terms with trauma as well as the crucial role post-traumatic testimonies—particularly Holocaust testimonies—have assumed in recent thought and writing. In doing so, he adapts psychoanalytic concepts to historical analysis and employs sociocultural and political critique to elucidate trauma and its after effects in culture and in people.In the first chapter LaCapra addresses trauma from the perspective of history as a discipline. He then lays a theoretical groundwork for the book as a whole, exploring the concept of historical specificity and insisting on the difference between transhistorical and historical trauma. Subsequent chapters consider how Holocaust testimonies raise the problem of the role of affect and empathy in historical understanding, and respond to the debates surrounding Daniel Jonah Goldhagen's book Hitler's Willing Executioners: Ordinary Germans and the Holocaust. The book's concluding essay, "Writing (About) Trauma," examines the various ways that the voice of trauma emerges in written and oral accounts of historical events. Theoretically ambitious and historically informed, Writing History, Writing Trauma is an important contribution from one of today's foremost experts on trauma.

    Yu’s celebrated translation of The Journey to the West reinvigorated one of Chinese literature’s most beloved classics for English-speaking audiences when it first appeared thirty years ago. Yu’s abridgment of his four-volume translation, The Monkey and the Monk, finally distills the epic novel’s most exciting and meaningful episodes without taking anything away from their true spirit. These fantastic episodes recount the adventures of Xuanzang, a seventh-century monk who became one of China’s most illustrious religious heroes after traveling for sixteen years in search of Buddhist scriptures. Powerfully combining religious allegory with humor, fantasy, and satire, accounts of Xuanzang’s journey were passed down for a millennium before culminating in the sixteenth century with The Journey to the West. Now, readers of The Monkey and the Monk can experience the full force of his lengthy quest as he travels to India with four animal disciples, most significant among them a guardian-monkey known as “the Great Sage, Equal to Heaven.” Moreover, in its newly streamlined form, this acclaimed translation of a seminal work of world literature is sure to attract an entirely new following of students and fans. “A new translation of a major literary text which totally supersedes the best existing version. . . . It establishes beyond contention the position of The Journey to the West in world literature, while at the same time throwing open wide the doors to interpretive study on the part of the English audience.”—Modern Language Notes, on the unabridged translation

    Beginning with one of the foundations of queer theory—his famous meditation on how sex leads to a shattering of the self, “Is the Rectum a Grave?”—this volume charts the inspired connections Bersani has made between sexuality, psychoanalysis, and aesthetics.   Over the course of these essays, Bersani grapples with thinkers ranging from Plato to Descartes to Georg Simmel. Foucault and Freud recur as key figures, and although Foucault rejected psychoanalysis, Bersani contends that by considering his ideas alongside Freud’s, one gains a clearer understanding of human identity and how we relate to one another. For Bersani, art represents a crucial guide for conceiving new ways of connecting to the world, and so, in many of these essays, he stresses the importance of aesthetics, analyzing works by Genet, Caravaggio, Proust, Almodóvar, and Godard.   Documenting over two decades in the life of one of the best minds working in the humanities today, Is the Rectum a Grave? and Other Essays is a unique opportunity to explore the fruitful career of a formidable intellect.

    Aries traces the evolution of the concept of childhood from the end of the Middle Ages, when the child was regarded as a small adult, to the present child-centered society, by means of diaries, paintings, games, and school curricula.Ironically, he finds that individualism, far from triumphing in our time, has been held in check by the family, and that the increasing power of the tightly-knit family circle has flourished at the expense of the rich-textured communal society of earlier times. Translated from the French by Robert Baldick.

    Yet the term itself did not exist before the emergence of the HIV/AIDS epidemic in the 1980s. How did this idea so swiftly come to exert such a strong grip on the scientific, media, and popular consciousness? In Patient Zero, Richard A. McKay interprets a wealth of archival sources and interviews to demonstrate how this seemingly new concept drew upon centuries-old ideas—and fears—about contagion and social disorder. McKay presents a carefully documented and sensitively written account of the life of Gaétan Dugas, a gay man whose skin cancer diagnosis in 1980 took on very different meanings as the HIV/AIDS epidemic developed—and who received widespread posthumous infamy when he was incorrectly identified as patient zero of the North American outbreak. McKay shows how investigators from the US Centers for Disease Control inadvertently created the term amid their early research into the emerging health crisis; how an ambitious journalist dramatically amplified the idea in his determination to reframe national debates about AIDS; and how many individuals grappled with the notion of patient zero—adopting, challenging and redirecting its powerful meanings—as they tried to make sense of and respond to the first fifteen years of an unfolding epidemic. With important insights for our interconnected age, Patient Zero untangles the complex process by which individuals and groups create meaning and allocate blame when faced with new disease threats. What McKay gives us here is myth-smashing revisionist history at its best.

    From Jamestown to the Marlboro Man, the plant occupied the heart of the nation’s economy and expressed its enduring myths. But today smoking rates have declined and smokers are exiled from many public spaces. The story of tobacco’s fortunes may seem straightforward: science triumphed over our addictive habits and the cynical machinations of tobacco executives. Yet the reality is more complicated. Both the cigarette’s popularity and its eventual decline reflect a parallel course of shifting political priorities. The tobacco industry flourished with the help of the state, but it was the concerted efforts of citizen nonsmokers who organized to fight for their right to clean air that led to its undoing.After the Great Depression, public officials and organized tobacco farmers worked together to ensure that the government’s regulatory muscle was more often deployed to promote tobacco than to protect the public from its harms. Even as evidence of the cigarette’s connection to cancer grew, medical experts could not convince officials to change their stance. What turned the tide, Sarah Milov argues, was a new kind of politics: a movement for nonsmokers’ rights. Activists and public-interest lawyers took to the courts, the streets, city councils, and boardrooms to argue for smoke-free workplaces and allied with scientists to lobby elected officials.The Cigarette restores politics to its rightful place in the tale of tobacco’s rise and fall, illustrating America’s continuing battles over corporate influence, individual responsibility, collective choice, and the scope of governmental power.