Author: Judith Hamera File Type: pdf How does structural economic change look and feel? How are such changes normalized? Who represents hope? Who are the cautionary tales? Unfinished Business argues that U.S. deindustrialization cannot be understood apart from issues of race, and specifically apart from images of, and works by and about African Americans that represent or resist normative or aberrant relationships to work and capital in transitional times. It insists that Michael Jacksons performances and coverage of his life, plays featuring Detroit, plans for the citys postindustrial revitalization, and Detroit installations The Heidelberg Project and Mobile Homestead have something valuable to teach us about three decades of structural economic transition in the U.S., particularly about the changing nature of work and capitalism between the mid 1980s and 2016. Jackson and Detroit offer examples of the racialization of deindustrialization, how it operates as a structure of feeling and as representations as well as a shift in the dominant mode of production, and how industrializations successor mode, financialization, uses imagery both very similar to and very different from its predecessor. **

Author: Johannes von Moltke File Type: pdf During the Weimar Republic, Siegfried Kracauer established himself as a trenchant theorist of film, culture, and modernity, and he is now considered one of the key thinkers of the twentieth century. When he arrived in Manhattan aboard a crowded refugee ship in 1941, however, he was virtually unknown in the United States and had yet to write his best-known books, From Caligari to Hitler and Theory of Film. Johannes von Moltke details the intricate ways in which the American intellectual and political context shaped Kracauers seminal contributions to film studies and shows how, in turn, Kracauers American writings helped shape the emergent discipline. Using archival sources and detailed readings, von Moltke asks what it means to consider Kracauer as the New York Intellectual he became in the last quarter century of his life. Adopting a transatlantic perspective on Kracauers work, von Moltke demonstrates how he pursued questions in conversation with contemporary critics from Theodor Adorno to Hannah Arendt, from Clement Greenberg to Robert Warshow questions about the origins of totalitarianism and the authoritarian personality about high and low culture about liberalism, democracy, and what it means to be human. From these wide-flung debates, Kracauers own voice emerges as that of an incisive cultural critic invested in a humanist understanding of the cinema. **

Author: Elizabeth R. Varon File Type: pdf *Winner, Library of Virginia Literary Award for Nonfiction*** Winner, Eugene Feit Award in Civil War Studies, New York Military Affairs Symposium Winner of the Dan and Marilyn Laney Prize of the Austin Civil War Round Table Finalist, Jefferson Davis Award of the Museum of the Confederacy Best Books of 2014, Civil War Monitor 6 Civil War Books to Read Now, Diane Rehm Show, NPR Lees surrender to Grant at Appomattox Court House evokes a highly gratifying image in the popular mind -- it was, many believe, a moment that transcended politics, a moment of healing, a moment of patriotism untainted by ideology. But as Elizabeth Varon reveals in this vividly narrated history, this rosy image conceals a seething debate over precisely what the surrender meant and what kind of nation would emerge from war. The combatants in that debate included the iconic Lee and Grant, but they also included a cast of characters previously overlooked, who brought their own understanding of the wars causes, consequences, and meaning. In Appomattox, Varon deftly captures the events swirling around that well remembered-but not well understood-moment when the Civil War ended. She expertly depicts the final battles in Virginia, when Grants troops surrounded Lees half-starved army, the meeting of the generals at the McLean House, and the shocked reaction as news of the surrender spread like an electric charge throughout the nation. But as Varon shows, the ink had hardly dried before both sides launched a bitter debate over the meaning of the war and the nations future. For Grant, and for most in the North, the Union victory was one of right over wrong, a vindication of free society for many African Americans, the surrender marked the dawn of freedom itself. Lee, in contrast, believed that the Union victory was one of might over right the vast impersonal Northern war machine had worn down a valorous and unbowed South. Lee was committed to peace, but committed, too, to the restoration of the Souths political power within the Union and the perpetuation of white supremacy. These two competing visions of the wars end paved the way not only for Southern resistance to reconstruction but also our ongoing debates on the Civil War, 150 years later. Did Americas best days lie in the past or in the future? For Lee, it was the past, the era of the founding generation. For Grant, it was the future, represented by Northern moral and material progress. They held, in the end, two opposite views of the direction of the country-and of the meaning of the war that had changed that country forever. **

Author: Linda Nochlin File Type: epub The first comprehensive anthology of art historian Linda Nochlins work, including her landmark essays on the position and influence of women artistsLinda Nochlin is one of the most accessible, provocative, and innovative art historians of our time. In 1971 she published her essay Why Have There Been No Great Women Artists?a dramatic feminist call-to-arms that called traditional art historical practices into question and led to a major revision of the discipline. Women Artists brings together twenty-nine essential essays from throughout Nochlins career, making this the definitive anthology of her writing about women in art. Included are her major thematic texts Women Artists After the French Revolution and Starting from Scratch The Beginnings of Feminist Art History, as well as the landmark essay and its rejoinder Why Have There Been No Great Women Artists? Thirty Years After. These appear alongside monographic entries focusing on a selection of major women artists including Mary Cassatt, Louise Bourgeois, Cecily Brown, Kiki Smith, Miwa Yanagi, and Sophie Calle. Women Artists also presents two new essays written specifically for this book and an interview with Nochlin investigating the position of women artists today. 230 illustrations **