Bøker utgitt av University of Michigan Press

Any and all songs are capable of being remixed. But not all remixes are treated equally. Rock This Way examines transformative musical works--cover songs, remixes, mash-ups, parodies, and soundalike songs--to discover what contemporary American culture sees as legitimate when it comes to making music that builds upon other songs. Through examples of how popular discussion talked about such songs between 2009 and 2018, Mel Stanfill uses a combination of discourse analysis and digital humanities methods to interrogate our broader understanding of transformative works and where they converge at the legal, economic, and cultural ownership levels. Rock This Way provides a new way of thinking about what it means to re-create and borrow music, how the racial identity of both the reusing artist and the reused artist matters, and the ways in which the law polices artists and their works. Ultimately, Stanfill demonstrates that the extent to which a work is seen as having new expression or meaning is contingent upon notions of creativity, legitimacy, and law, all of which are shaped by white supremacy.

"Creativity" is a word that excites and dazzles us. It promises brilliance and achievement, a shield against conformity, a channel for innovation across the arts, sciences, technology, and education, and a mechanism for economic revival and personal success. But it has not always evoked these ideas. The Creativity Complex traces the history of how creativity has come to mean the things it now does, and explores the ethical implications of how we use this term today for both the arts and for the social world more broadly. Richly researched, the book explores how creativity has been invoked in arenas as varied as Enlightenment debates over the nature of cognition, Victorian-era intelligence research, the Cold War technology race, contemporary K-12 education, and even modern electoral politics. Ultimately, The Creativity Complex asks how our ideas about creativity are bound up with those of self-fulfillment, responsibility, and the individual, and how these might seduce us into joining a worldview and even a set of social imperatives that we might otherwise find troubling.

Life, Earth, Colony explores the ideas, life, and historical significance of German zoologist turned geographer Friedrich Ratzel (1844-1904), famous for developing the foundations of geopolitical thought. Ratzel produced a remarkable body of work that revolutionized the study of space, movement, colonization, and war. He also served as a source of intellectual inspiration for national socialism, particularly through his Lebensraum (living space) concept, which understood all life as being caught in an eternal struggle for space. This book closely analyzes this radical conservative intellectual, focusing on his often-overlooked ethnography, biogeography, travel, and creative writing, and colonial activism as well as his more widely-known political geography. Life, Earth, Colony finds that there is an as yet unexplored necropolitical impulse at the heart of Ratzel's entire oeuvre, a preoccupation with death and dying, which had a profound impact on twentieth-century history.

From Bill Clinton playing his saxophone on The Arsenio Hall Show to Barack Obama referencing Jay Z's song "Dirt Off Your Shoulder," politicians have used music not only to construct their personal presidential identities but to create the broader identity of the American presidency. Through music, candidates can appear relatable, show cultural competency, communicate values and ideas, or connect with a specific constituency. On a less explicit level, episodes such as Clinton's sax-playing and Obama's shoulder brush operate as aural and visual articulations of race and racial identity. But why do candidates choose to engage with race in this manner? And why do supporters and detractors on YouTube and the Twittersphere similarly engage with race when they create music videos or remixes in homage to their favorite candidates? With Barack Obama, Ben Carson, Kamala Harris, and Donald Trump as case studies, Tracks on the Trail: Popular Music, Race, and the US Presidency sheds light on the factors that motivate candidates and constituents alike to articulate race through music on the campaign trail and shows how the racialization of sound intersects with other markers of difference and ultimately shapes the public discourse surrounding candidates, popular music, and the meanings attached to race in the 21st century. Gorzelany-Mostak explores musical engagement broadly, including official music in the form of candidate playlists and launch event setlists, as well as unofficial music in the form of newly composed campaign songs, mashups, parodies, and remixes.

When the young Princess Sonshi became a Buddhist nun in the year 984, a scholar-official of the royal court was commissioned to create a guide to the Buddhist religion that would be accessible for her. He did so in the form of the illustrated works of fiction (monogatari) that appealed to women readers of her time and class. The text has survived in later manuscripts; the illustrations, if they ever existed, have not. This revised translation recreates Sonshi's experience of receiving this multimedia presentation, with illustrations selected to help contemporary readers visualize its content and essays that provide context on the religious and cultural experience of the author. The Three Treasures is a unique document that opens a window onto the world of Buddhist religious experience--especially for women--in high classical Japan, the time of Sei Shōnagon's Pillow Book and Murasaki Shikibu's Tale of Genji.

Told in Letters is a study of the English novel before it came of age with Richardson's Pamela. The first book to trace the history and methods of using letters to tell a story, it draws on more than 200 little-known works written before Pamela. Many of these were designed for a public that had little concern with art. Here we see the origins of the psychological novel in its most primitive form. We also discover the achievements of early letter fiction such as the "familiar letter" and the widely imitated innovations of French fiction. In addition, Told in Letters portrays the Grub Street world that gave birth to popular literature, and describes the power that booksellers and popular taste had over these early novels. Finally, Richardson is reassessed in the light of his predecessors' writing, and we understand better the origins of a literary technique that did so much to revolutionize English fiction in the middle of the eighteenth century.

The Fate of the Object traces the historical shift in focus from the "difficult" essential object of modernist theater, art, and poetry to its transformation as a sign in a postmodern field of signs. In modern art, the central object had been the abstract painting; in theater, the body of the actor; in poetry, the sonic, visual and grammatical elements of the poem. Spanning several disciplinary boundaries, this ambitious and pioneering book examines how the very process of refinement to locate the essential modernist object dissolves the figure of that object into its signifying ground. Jon Erickson argues that this historical shift from modern object to postmodern sign reflects significant transformations in capitalist society--among them the shift from a production economy to a service economy, the change from a sensually rich to a conceptually alienated cultural consciousness, and the rise of poststructuralist theory as the predominant determiner of value within contemporary art culture.Erickson examines the body as the central object of theater and performance through the theories of Craig, Sartre, Brecht, Artaud, and Grotowski. The art chapter discusses such artists as Malevich, Ad Reinhardt, Duchamp, Warhol and Kosuth, tracing the progression of the abstract painting to its reduction or disappearance in conceptualism and minimalism. The poetry chapter examines Pound's Imagism, Concrete and Sound Poetry, and the contributions of Gertrude Stein and the recent Language Poets. Finally, the author questions the role poststructuralist theory has played in the shift from modern object to postmodern sign and how it may affect our attitudes toward the materiality of the world. Jon Erickson is Assistant Professor of Drama, Ohio State University.

Literary studies of James Joyce, perhaps more so than those of any other author, have been enriched by important developments in literary theory in the last twenty-five years. Noting a curious gap in this scholarship, M. Keith Booker brings the work of Mikhail Bakhtin, unquestionably one of the most important literary theorists of this century, to bear on Joyce's relationship to six of his literary predecessors. In clear and readable prose, Booker explores Joyce's dialogues not only with Homer, Dante, and Shakespeare, his three most obvious predecessors, but with Rabelais, Goethe, and Dostoevsky, three literary figures important in Bakhtin's theoretical work.These six writers provide the opportunity to examine Joyce's work with regard to several of Bakhtin's most important concepts. If Homer represents the authority of epic, Rabelais represents for Bakhtin the subversive multivocal energies of carnivalesque genres. As opposed to his description of Dante's attempts to escape from historicity, Bakhtin figures Goethe as the epitome of engagement with the temporality of everyday history. And Bakhtin's generic denial of polyphony in the works of Shakespeare contrasts with Bakhtin's identification of Dostoevsky as the most polyphonic writer in all the world of literature.Together, Booker's comparative readings suggest a Joyce whose works are politically committed, historically engaged, and socially relevant. In short, they suggest a Joyce whose work differs radically from conventional notions of modernist literature as culturally elitist, historically detached, and more interested in individual psychology than in social reality.M. Keith Booker is Professor of English, University of Arkansas.

Double Passage presents, in their own words, the lives and experiences of thirteen men and women from the island of Barbados who emigrated to North America and Britain and then years later returned home. They tell of their decisions to leave the familiarity and security of home for an uncertain future in cities of the industrial world; they explain what it is like to be black and immigrant in the predominantly white societies they settled in; and they reveal their struggles to find work and decent housing, to develop new relationships, and to save enough money to be able to return home and assume the affluent lifestyle expected of returnees. Double Passage is an extraordinary book that is able both to inform and to entertain.

This book departs from stereotypes that often dominate Western discourse about Muslim societies. The Muslim world encompasses a wide range of countries--among them Turkey, Iraq, Egypt, Senegal, Saudi Arabia, and Morocco--each with a varying degree of religious stricture. Generalizations, therefore, can be erroneous and misleading. The contributors to this book--prominent scholars in anthropology, history, sociology, and political science--examine such issues as the ideology and political practices of Iran's ruling Shi'ite clerics, the impact of state policies on the status of women, the controversy over parliamentary government in the Arab world, the role of modern intellectuals, and charisma and leadership in tribal societies. The arguments the authors put forward often overturn conventional opinion about the Muslim world. This original and important book reminds us that Muslim society is not a monolith, but that it encompasses a rich variety of cultures.

Anne Sexton: Telling the Tale contains some of the best and most representative writing on the life and work of this poet. The volume spans the course of her career from the 1960 publication of To Bedlam and Park Way Back to the works that were published after her death in 1974. Of special interest to the scholar and critic are the studies focusing on the materials, themes, and techniques of Sexton's poetry, especially in relation to those of her predecessors and contemporaries.

Ezra Pound and E. E. Cummings carried on a long and varied correspondence from the 1920s until Cummings's death in 1962. This volume collects all of the important letters from this important friendship in the history of modern poetry.Throughout the correspondence both poets reveal themselves and their beliefs to a remarkable degree. Pound entrusted to Cummings details of his political outlook in the 1930s and 1940s, including his opinions about Mussolini's Italy. The letters to Cummings also shed new light on the question of Pound's sanity after World War II. Although he was diagnosed as mentally unfit, the letters generally show no evidence of paranoia, only of his characteristic eccentricity. Similarly, these letters should provoke a reevaluation of Cummings. Critics have treated Cummings's political views as either strictly private matters or merely incidental to his art. The letters, however, show that Cummings's radically conservative political opinions are wholly consistent with his poetics, and raise the question of the relation between Cummings's political principles and his enthusiasm for particular forms (and particular stars) of mass entertainment.In addition to their political revelations, the letters are steeped in the literary climate--and literary gossip--of the times. Pound comments often and candidly on Cummings's poetry and prose; both Pound and Cummings send light verse to each other. And the poets exchange anecdotes about such figures as Henry James, Wyndham Lewis, T. S. Eliot, Edmund Grosse, Max Eastman, and Aldous Huxley, among other writers.There is much here to interest and delight both fans and foes of Pound and Cummings. The book will be of primary importance to students and scholars of modern poetry, especially those who emphasize the intersection of literary works and political history.Barry Ahearn is Associate Professor of English, Tulane University.

David Hotchkiss Price, a specialist in Renaissance cultural and ecclesiastical history, has broken new ground with this comprehensive analysis of Renaissance humanism as the foundation for Dürer's religious art and, in particular, for Dürer's reception of the Reformation movements. Price also offers an innovative study of the relationships between text and image, and a pioneering assessment of the representation of Jews in Dürer's religious art. David Price is Associate Professor of History and of Church History, Southern Methodist University.

A long-overdue assessment of W. D. Snodgrass's influence on contemporary poetry and his evolution as an artist

Examines Trollope in terms of Romantic literary art

Listening with a Feminist Ear is a study of the cultural politics and possibilities of sound in cinema. Eschewing ocularcentric and siloed disciplinary formations, the book takes seriously the radical theoretical and methodological potential of listening. It models a feminist interpretive practice that is not just attuned to how power and privilege are materialized in sound, but that engenders new, counter-hegemonic imaginaries. Focusing on mainstream Bombay cinema, Sundar identifies singing, listening, and speaking as key sites in which gendered notions of identity and difference take form. Charting new paths through seven decades of film, media, and cultural history, Sundar identifies key shifts in women's playback voices and the Islamicate genre of the qawwali. She also conceptualizes spoken language as sound, and turns up the volume on a capacious, multilingual politics of belonging that scholarly and popular accounts of nation typically render silent. All in all, Listening with a Feminist Ear offers a critical sonic sensibility that reinvigorates debates about the gendering of voice and body in cinema, and the role of sound and media in conjuring community.

The Daughter's Dilemma breaks new ground in literary studies through its application of family systems theory to the analysis of nineteenth-century domestic novels. Cohen argues for structural correspondences between families and novels: as systems seeking closure, they are governed by certain analogous laws. She argues further that the father-daughter dyad is the pivotal structure by which the nuclear family and the domestic novel were able to define themselves as closed systems. The study treats novels by Samuel Richardson, Jane Austen, Emily Brontë, George Eliot, and Henry James and places them in the context of the writers' individual family experiences. Drawing on recent work in literary and feminist criticism, anthropology, history, and psychoanalysis, as well as family systems theory, Cohen seeks to critique the limitations of these theoretical models even as she employs them to illuminate the texts under discussion. The study's approach leads to insights about the contemporary family and about the present state of literature and literary criticism. Cohen concludes by suggesting that the modern period marked the demise of an ideology favoring closed systems. The result has been both a nostalgia for those systems and a redefinition of experience and relationship as open and subject to endless interpretation. Such an ideological reformulation helps explain the present insistence by literary theorists on the inescapability of the text and the "reality" of representation.

Written by a longtime resident of Japan, Politics and the News Media in Japan describes and analyzes political communication in Japan with a particular focus on the relationship between the news media and politicians. In this pioneering work, Ofer Feldman shows how the close connection between reporters and members of the Japanese National Diet influences the coverage of politics in the media and how the news media and reporters function as information sources for Diet members. The author discusses the importance of the national dailies in Japanese political life; reporters' work patterns and their formal and informal interaction with political news sources; the objectives reporters and politicians have vis-à-vis one another; and how Japanese cultural factors affect the role reporters play in politics. This volume fills a serious gap in the literature on the Japanese media and its role in the political system by focusing on the structure and process of news-gathering by Japanese reporters. It is the first work based on a survey of rank-and-file members of the Japanese National Diet; newsmen and editors of national and local newspapers, news agencies, and broadcast media; political party officials; and secretaries to Diet members. It will appeal especially to those interested in comparative politics, comparative mass communication, and Japanese studies.

To be born into the middle or upper classes of Matthew Arnold's England was in a sense to be born into the classical tradition. The precise contour and uses of the tradition, in Arnold's thought and writing, are the subject of this unique study by Warren D. Anderson. In Matthew Arnold and the Classical Tradition, Anderson shows how the young poet first experimented with his classical heritage, how he moved toward deep involvement and then withdrew to a more objective position. The author examines Arnold's school and university background, his poetry and later prose, his relationship to Stoicism and Epicureanism. The resulting study is absolutely central to an appreciation of Arnold and to an understanding of the classical foundations of Western literature. It shows clearly and accurately the ways in which the nineteenth century interpreted the fifth century B.C.

Few musicians can boast careers as long and productive as that of jazz instrumentalist Garvin Bushell. In Jazz from the Beginning, Bushell vividly recounts his musical experiences and reflects on some of the major personalities who shaped the history of jazz. Bushell's memoir vibrates with the excitement of being a part of the evolution of jazz. He began his career as a teenager, playing clarinet in a circus band. In the 1920s, he played gigs in rowdy Harlem cabarets and was a member of the Sam Wooding ensemble, one of the first black musical groups to tour Europe, Russia, and South America. In the 1930s, he performed with the big bands of Fletcher Henderson, Cab Calloway, and Chick Webb. In the 1950s and 1960s he participated in the Dixieland revival and in the modern experiments of Eric Dolphy and John Coltrane. Bushell also recalls with candor the scarring experiences of racial prejudice he encountered while touring America and Europe. Mark Tucker has carefully compiled Bushell's memoirs from a series of thirty-one taped interviews made in the summer of 1986. His text preserves Bushell's warmth and personality and provides scholars and music lovers alike with a critical analysis of African-American music and an important record of seventy years of American musical history.

In the analysis of Hill's poetry and critical ideas, Vincent Sherry illuminates Hill's often obscure and oblique language, drawing connections between the rich verbal textures of the verse and the poet's recurring concerns as a critic. The author focuses on Hill's work in the context of postwar British literature and relates it to American as well as British extensions of literary modernism. The result is an engaging and far-ranging study of one of England's most contemporary poets.

The publication of the original Alcohol, Science and Society in 1945 was an important part of the history of alcohol studies in America. Many books on alcohol and alcoholism have appeared since then, but none with the broad, interdisciplinary sweep of this early work. Now there is Alcohol, Science and Society Revisited. This volume updates the information and research generated in alcohol studies over the past thirty-seven years and points the direction for future research in the field. An array of experts has contributed original essays covering the full range of fields related to alcohol studies, which will be of interest to both students and professionals. The subjects include: psychology, sociology, physiology, biology, medicine, history, anthropology, religion, economics, and epidemiology, as well as prevention, intervention, legislation, and social control.

This collection, for the first time, explores women's self-conceptions and representations of women's and gender roles in society in their own Expressionist works. How did women approach themes commonly considered to be characteristic of the Expressionist movement, and did they address other themes or aesthetics and styles not currently represented in the canon? Women in German Expressionism centers its analysis on gender, together with difference, ethnicity, intersectionality, and identity, to approach artworks and texts in more nuanced ways, engaging solidly established theoretical and sociohistorical approaches that enhance and update our understanding of the material under investigation. It moves beyond the masculine, "New Man," viewpoint so firmly associated with German Expressionism and examines alternative, critical, and divergent interpretations of the changing world at the time. This collection seeks to broaden the theorization, scholarship, and reception of German Expressionism by--much belatedly--including works by women, and by shifting or redefining firmly established concepts and topics carrying only the imprint of male authors and artists to this day.

Examination of the tension between oral composition and poetic creativity

The Visual Life of Romantic Theater examines the dynamism and vibrancy of stage spectacle and its impact in an era of momentous social upheaval and aesthetic change. Situating theatrical production as key to understanding visuality ca. 1780-1830, this book places the stage front and center in Romantic scholarship by re-envisioning traditional approaches to artistic and social creation in the period. How, it asks, did dramaturgy and stagecraft influence aesthetic and sociopolitical concerns? How does a focus on visuality expand our understanding of the historical experience of theatergoing? In what ways did stage performance converge with visual culture beyond the theater? How did extratheatrical genres engage with theatrical sight and spectacle? Finally, how does a focus on dramatic vision change the way we conceive of Romanticism itself? The volume's essays by emerging and established scholars provide exciting and suggestive answers to these questions, along with a more capacious conception of Romantic theater as a locus of visual culture that reached well beyond playhouse walls.

Zachary C. Shirkey argues that the United States is overly reliant on the active use of force and should employ more peaceful foreign policy tools. Force often fails to achieve its desired ends for both tactical and strategic reasons and is relatively infungible, making it an inappropriate tool for many US foreign policy goals. Rather than relying on loose analogies or common sense as many books on US grand strategy do, American Dove bases its argument directly on an eclectic mix of academic literature, including realist, liberal, and constructivist theory as well as psychology. Shirkey also argues against retrenchment strategies, such as offshore balancing and strategic restraint as lacking a moral component that leaves them vulnerable to hawkish policies that employ moral arguments in favor of action. US withdrawal would weaken the existing liberal international security, economic, and legal orders--orders that benefit the United States. Rather, the book argues the United States needs an energetic foreign policy that employs passive uses of force such as deterrence and nonmilitary tools such as economic statecraft, international institutions, international law, and soft power. Such a policy leaves room for a moral component, which is necessary for mobilizing the American public and would uphold the existing international order. Last, Shirkey argues that to be successful, doves must frame their arguments in terms of strategy rather than in terms of costs and must show that dovish policies are consistent with national honor and a broad range of American values. American Dove offers a framework for US grand strategy and a plan for persuading the public to adopt it.

Divined Intervention provides an innovative institutionalist account for why religion enables political activism in some settings, but not others. Christopher W. Hale argues that decentralized religious institutions facilitate grassroots collective action, and he uses a multimethod approach to test this explanation against several theoretical alternatives. Utilizing nationally representative Mexican survey data, the book's statistical analyses demonstrate that decentralization by the Catholic Church is positively associated with greater individual political activism across the country. Using case studies centered in the Mexican states of Chiapas, Yucatán, and Morelos, the author shows that religious decentralization encourages reciprocal cooperative interactions at a local level. This then increases the ability of religion to provide goods and services to its local adherents. These processes then prompt the growth of organizational capacities at the grassroots, enabling secular political activism.Because this theoretical framework is grounded in human behavior, it shows how local institutions politically organize at the grassroots level. Divined Intervention also offers an improved understanding of religion's relationship with political activism, a topic of ever-increasing significance as religion fuels political engagement across the globe. The book further synthesizes seemingly disparate approaches to the study of collective action into a cohesive framework. Finally, there is some debate as to the impact of ethnic diversity on the provision of public goods, and this study helps us understand how local institutional configurations can enable collective action across ethnic boundaries.

The first book to explore the origins of the vampire slayer "A fascinating comparison of the original vampire myths to their later literary transformations."--Adam Morton, author of On Evil "From the Balkan Mountains to Beverly Hills, Bruce has mapped the vampire's migration. There's no better guide for the trek."--Jan L. Perkowski, Professor, Slavic Department, University of Virginia, and author of Vampires of the Slavs and The Darkling: A Treatise on Slavic Vampirism "The vampire slayer is our protector, our hero, our Buffy. But how much do we really know about him--or her? Very little, it turns out, and Bruce McClelland shows us why: because the vampire slayer is an unsettling figure, almost as disturbing as the evil she is set to destroy. Prepare to be frightened . . . and enlightened."--Corey Robin, author of Fear: The History of a Political Idea "What is unique about this book is that it is the first of its kind to focus on the vampire hunter, rather than the vampire. As such, it makes a significant contribution to the field. This book will appeal to scholars and researchers of folklore, as well as anyone interested in the literature and popular culture of the vampire."--Elizabeth Miller, author of Dracula and A Dracula Handbook "Shades of Van Helsing! Vampirologist extraordinaire Bruce McClelland has managed that rarest of feats: developing a radically new and thoroughly enlightening perspective on a topic of eternal fascination. Ranging from the icons of popular culture to previously overlooked details of Balkan and Slavic history and folk practice, he has rethought the borders of life and death, good and evil, saint and sinner, vampires and their slayers. Excellent scholarship, and a story that never flags."--Bruce Lincoln, Caroline E. Haskell Professor of History of Religions, University of Chicago, and author of Theorizing Myth: Narrative, Ideology, and Scholarship, Authority: Construction and Corrosion, and Death, War, and Sacrifice: Studies in Ideology and Practice

Papers presented at the third biennial meeting of the International J. A. Schumpeter Society

In countries with multiparty political systems, we assume--if the system is going to work--that parties have relatively stable positions on policy, that these positions diverge, and that voters make choices based on policy preferences. Yet much of the research on voter behavior and party competition does not support these assumptions. In Party Competition, James Adams applies the insights of behavioral research to an examination of the policy strategies that political parties (and candidates) employ in seeking election. He argues that vote-seeking parties are motivated to present policies that appeal to voters, whose bias toward these policies is based in part on reasons that have nothing to do with policy. He demonstrates that this strategic logic has profound implications for party competition and responsible party government. Adams's innovative fusion of research methodologies presents solutions to issues of policy stability and voter partisanship. His theory's supported by an in-depth analysis of empirical applications to party competition in Britain, France, and the United States in the postwar years. Party Competition and Responsible Party Government will appeal to readers interested in the study of political parties, voting behavior and elections, as well as to scholars specializing in French, British, and American politics. James Adams is Assistant Professor of Political Science, University of California, Santa Barbara.