Henry Nash Smith shows, with vast comprehension, the influence of the nineteenth-century West in all its variety and strength, in special relation to social, economic, cultural, and political forces. He traces the myths and symbols of the Westward movement such as the general notion of a Westward-moving Course of Empire, the Wild Western hero, the virtuous yeoman-farmer--in such varied nineteenth-century writings as Leaves of Grass, the great corpus of Dime Novels, and most notably, Frederick Jackson Turner's The Frontier in American History. Moreover, he synthesizes the imaginative expression of Western myths and symbols in literature with their role in contemporary politics, economics, and society, embodied in such forms as the idea of Manifest Destiny, the conflict in the American mind between idealizations of primitivism on the one hand and of progress and civilization on the other, the Homestead Act of 1862, and public-land policy after the Civil War.The myths of the American West that found their expression in nineteenth-century words and deeds remain a part of every American's heritage, and Smith, with his insight into their power and significance, makes possible a critical appreciation of that heritage.

    It gives moral legitimacy to the state. It makes limited forms of dissent and incremental change possible. The liberal class posits itself as the conscience of the nation. It permits us, through its appeal to public virtues and the public good, to define ourselves as a good and noble people. Most importantly, on behalf of the power elite the liberal class serves as bulwarks against radical movements by offering a safety valve for popular frustrations and discontentment by discrediting those who talk of profound structural change. Once this class loses its social and political role then the delicate fabric of a democracy breaks down and the liberal class, along with the values it espouses, becomes an object of ridicule and hatred. The door that has been opened to proto-fascists has been opened by a bankrupt liberalism The Death of the Liberal Class examines the failure of the liberal class to confront the rise of the corporate state and the consequences of a liberalism that has become profoundly bankrupted. Hedges argues there are five pillars of the liberal establishment – the press, liberal religious institutions, labor unions, universities and the Democratic Party— and that each of these institutions, more concerned with status and privilege than justice and progress, sold out the constituents they represented. In doing so, the liberal class has become irrelevant to society at large and ultimately the corporate power elite they once served.

    It will prove indispensable to students of art and art history as well as students of cultural studies. Mirzoeff begins by defining what visual culture is, and explores how and why visual media - fine art, cinema, the Internet, advertising, performance, photography, television - have become so central to contemporary everyday life. He argues that the visual is replacing the linguistic as our primary means of communicating with each other and of understanding our postmodern world. Part One of the Introduction presents a history of modern ways of seeing, including: * the formal practices of line and colour in painting* photographys claim to represent reality * virtual reality, from the nineteenth century to the present. In Part Two, Mirzoeff examines: * the visualization of race, sexuality and human identity in culture* gender and sexuality and questions of the gaze in visual culture* representations of encounters with the other, from colonial narratives to Science Fiction texts such as The Thing, Independence Day, Star Trek and The X-Files * the death of Princess Diana and the popular mourning which followed as marking the coming of age of a global visualized culture.

    Sharp and concise, it is, without doubt, the most important work on literary criticism that has emerged out of the tradition of Marxist philosophy and social theory since the nineteenth century.

    However, only once in a while does a genius emerge whose work is of such brilliance and magnitude that it surpasses all existing levels. Charles Chaplin was such an artist and his extraordinary career is a stunning testament to both his own genius and to the development of that unique popular art form--the cinema.

    Marilyn Monroe: A Life in Pictures is the only book to bring together all of the most iconic images of the legendary bombshell. Glamorous shots by celebrity photographers mix with casual snapshots and childhood portraits to span Marilyn's luminous but too-short life. Hundreds of evocative images, both lush and poignant, are interwoven with quotations by and about Marilyn to create an elegant collective portrait like no other. Aesthetically arresting throughout, this volume illuminates the life of a legend, both onscreen and off.

    The engaging articles on all key issues related to the anthropology of religion grab the attention of students, while giving them an excellent foundation in contemporary ideas and approaches in the field. The multiple authors included in each chapter represent a range of interests, geographic foci, and ways of looking at each subject. Divided into ten chapters, this book begins with a broad view of anthropological ways of looking at religion, and moves on to some of the core topics within the subject, such as myth, ritual, and the various types of religious specialists.

    He had come to see if the rumors were true—if an army of blue-suited soldiers had swept in from the East and utterly defeated his ancestral enemies. As Narbona gazed down on the battlements and cannons of a mighty fort the invaders had built, he realized his foes had been vanquished—but what did the arrival of these “New Men” portend for the Navajo?Narbona could not have known that “The Army of the West,” in the midst of the longest march in American military history, was merely the vanguard of an inexorable tide fueled by a self-righteous ideology now known as “Manifest Destiny.” For twenty years the Navajo, elusive lords of a huge swath of mountainous desert and pasturelands, would ferociously resist the flood of soldiers and settlers who wished to change their ancient way of life or destroy them.

    Dividing the time into three periods: 600-900, 900-1500 and 1500-1800, they set the artistic development in each era within its historical context and use art as a window into Islamic culture. Written in a lively and accessible style, and illustrated throughout with photographs, maps and plans, the book captures the essence of Islamic culture as expressed in its buildings, books and applied arts, and provides an essential introduction to the subject for both the student and the general reader.

    Kasson examines the signs of crisis in American life a century ago, signs that new forces of modernity were affecting men's sense of who and what they really were.When the Prussian-born Eugene Sandow, an international vaudeville star and bodybuilder, toured the United States in the 1890s, Florenz Ziegfeld cannily presented him as the "Perfect Man," representing both an ancient ideal of manhood and a modern commodity extolling self-development and self-fulfillment. Then, when Edgar Rice Burroughs's Tarzan swung down a vine into the public eye in 1912, the fantasy of a perfect white Anglo-Saxon male was taken further, escaping the confines of civilization but reasserting its values, beating his chest and bellowing his triumph to the world. With Harry Houdini, the dream of escape was literally embodied in spectacular performances in which he triumphed over every kind of threat to masculine integrity -- bondage, imprisonment, insanity, and death. Kasson's liberally illustrated and persuasively argued study analyzes the themes linking these figures and places them in their rich historical and cultural context. Concern with the white male body -- with exhibiting it and with the perils to it --reached a climax in World War I, he suggests, and continues with us today.

    Some of the 50 flower images in this collection, all in colour, date from the early 1980s, but many of them from the months leading to his death in 1989.

    J. Clark rewrites the history of modern art. With the fall of the Berlin Wall, he explains, the project called socialism may have come to an end at roughly the same moment as modernism. Did modernism and socialism depend on each other for their vitality—for their sense of the future and their wish to live in a fully material world? Have they died? Aware of modernism’s foibles and blind spots, but passionately attached to the movement’s wildness, Clark poses these fundamental questions in Farewell to an Idea. Modernism, Clark argues, was an extreme answer to an extreme condition—the one Max Weber summed up as “the disenchantment of the world.” Clark focuses on instances of maximum stress, when the movement revealed its true nature. The book begins with Jacques-Louis David, painting at the height of the Terror in 1793, then leaps forward to Pissarro a hundred years later, struggling to picture Two Young Peasant Women ina way that agreed with his anarchist politics. Next the author turns in succession to Cézanne’s paintings of the Grandes Baigneuses and their coincidence in time (and maybe intention) with Freud’s launching of psychoanalysis; to Picasso’s Cubism; and to avant-garde art after the Russian Revolution. Clark concludes with a reading of Jackson Pollock’s tragic version of abstraction and suggests a new set of terms to describe avant-garde art—perhaps in its final flowering—in America after 1945. Shifting between broad, speculative history and intense analysis of specific works, Clark not only transfigures our usual understanding of modern art, he also launches a new set of proposals about modernity itself.

    Simultaneously a political, social and oral history, this book will quickly become the preeminent short history of Russia's recent past. Photos.

    His research helped to define--and continues to give depth to--the area of American studies concerned with the links between scientific and technological advances, and the way society and culture both determine these links. The Machine in the Garden fully examines the difference between the pastoral and progressive ideals which characterized early 19th-century American culture, and which ultimately evolved into the basis for much of the environmental and nuclear debates of contemporary society.This new edition is appearing in celebration of the 35th anniversary of Marx's classic text. It features a new afterword by the author on the process of writing this pioneering book, a work that all but founded the discipline now called American Studies.

    Today, mental disturbance is most commonly viewed through a medical lens, but societies have also sought to make sense of it through religion or the supernatural, or by constructing psychological or social explanations in an effort to tame the demons of unreason. Madness in Civilization traces the long and complex history of this affliction and our attempts to treat it.Beautifully illustrated throughout, Madness in Civilization takes readers from antiquity to today, painting a vivid and often harrowing portrait of the different ways that cultures around the world have interpreted and responded to the seemingly irrational, psychotic, and insane. From the Bible to Sigmund Freud, from exorcism to mesmerism, from Bedlam to Victorian asylums, from the theory of humors to modern pharmacology, the book explores the manifestations and meanings of madness, its challenges and consequences, and our varied responses to it. It also looks at how insanity has haunted the imaginations of artists and writers and describes the profound influence it has had on the arts, from drama, opera, and the novel to drawing, painting, and sculpture.Written by one of the world’s preeminent historians of psychiatry, Madness in Civilization is a panoramic history of the human encounter with unreason.