Our newest In Conversation video centers the design of political scandals in Mexico from the 1960s to 1980s. Join Jocelyn Olcott, Professor of History and International Comparative Studies and Director of Gender, Sexuality, and Feminist Studies at Duke University, as she talks with Vanessa Freije about her new book, Citizens of Scandal: Journalism, Secrecy, and the Politics of Reckoning in Mexico. Freije is an Assistant Professor of International Studies at the University of Washington in Seattle. They discuss finding an archive for studying the creation of scandals and the role that scandals have in imagining a shared common sense.
On the third day of our Open Access Week blog series, we’re glad to feature a significant project completed earlier this year: the digitization of all 20th-century volumes (1918–1999) of the Hispanic American Historical Review (HAHR), which are available open access. The volumes are accessible here.
This long run of issues allows for students and researchers alike to trace the development of key themes in Latin American historiography across time.
Founded in 1918, HAHR pioneered the study of Latin American history and culture in the United States. Today, HAHR publishes rigorous scholarship on every facet of Latin American history and culture. It is edited by Martha Few, Zachary Morgan, Matthew Restall, and Amara Solari.
“[HAHR] has been central now for a hundred years in helping establish the field and really point to the absolute best scholarship within Latin American history,” said Gisela Fosado, Editorial Director at Duke University Press and member of the HAHR Board of Editors. “It’s always going to be pushing the field, defining the field, bringing out a really wide range of voices.”
As the days cool and leaves turn so should your new book pages! This month our new book titles will go great with your favorite hot drink.
Examining black performance practices that critique Western humanism, R. A. Judy offers an extended meditation on questions of blackness, the human, epistemology, and the historical ways in which the black being is understood in Sentient Flesh.
In Sensory Experiments, Erica Fretwell examines how psychophysics—a nineteenth-century scientific movement originating in Germany dedicated to the empirical study of sensory experience—became central to the process of creating human difference along the lines of race, gender, and ability in nineteenth-century America.
Brigitte Fielder presents an alternative theory of how race is constructed in Relative Races with readings of nineteenth-century personal narratives, novels, plays, stories, poems, and images to illustrate how interracial kinship follows non-heteronormative, non-biological, and non-patrilineal models of inheritance in nineteenth-century literary culture.
The Sense of Brown, which he was completing at the time of his death, is José Esteban Muñoz’s treatise on brownness and being as well as his most direct address to queer Latinx studies. Joshua Chambers-Letson and Tavia Nyong′o have edited the book and written an introduction.
Lyle Fearnley situates the production of ecological facts about the likely epicenter of viral pandemics inside the shifting cultural landscapes of agrarian change and the geopolitics of global health in the timely new book Virulent Zones.
Amalia Leguizamón reveals how the Argentine state, agribusiness, and their allies in the media and sciences deploy narratives of economic redistribution, scientific expertise, and national identity as a way to gain the public’s consent to grow genetically modified soybeans despite the massive environmental and social costs in Seeds of Power.
Drawing on ethnographic research with policy makers, politicians, activists, scholars, and the public in Manchester, England, Hannah Knox in Thinking Like a Climate confronts the challenges climate change poses to knowledge production and modern politics.
In Wild Things Jack Halberstam offers an alternative history of sexuality by tracing the ways in which the wild—a space located beyond normative borders of sexuality—offers sources of opposition to knowing and being that transgress Euro-American notions of the modern subject.
Saiba Varma in The Occupied Clinic, explores spaces of military and humanitarian care in Indian-controlled Kashmir—the world’s most militarized place—to examine the psychic, ontological, and political entanglements between medicine and violence.
With Cowards Don′t Make History, Joanne Rappaport examines the work of a group of Colombian social scientists led by Orlando Fals Borda, who in the 1970s developed a model of “participatory action research” in which they embedded themselves into local communities to use their research in the service of social and political organizing.
Vanessa Freije explores the causes and consequences of political scandals in Mexico from the 1960s through the 1980s in Citizens of Scandal, showing how Mexico City reporters began to denounce government corruption during this period in ways that defined the Mexican public sphere in the late twentieth century .
In Building Socialism, Christina Schwenkel analyzes the collaboration between East German and Vietnamese architects and urban planners as they attempted to transform the bombed-out industrial city of Vinh into a model socialist city.
Political theorist and anticapitalist activist Sabu Kohso uses the 2011 Fukushima nuclear disaster to illuminate the relationship between nuclear power, capitalism, and the nation-state in Radiation and Revolution, showing how nuclear power has become the organizing principle of the global order.
In Black Diamond Queens Maureen Mahon documents the major contributions African American women vocalists such as Big Mama Thornton, Betty Davis, Tina Turner, and Merry Clayton have made to rock and roll throughout its history.
Ethiraj Gabriel Dattatreyan in The Globally Familiar examines how the young men of Delhi’s hip hop scene construct themselves on- and off-line and how digital platforms offer these young men the means to reimagine themselves and their city through hip hop.
In essays addressing topics ranging from cinema, feminism, and art to hip hop, urban slums, and digital technology, Sujatha Fernandes in The Cuban Hustle explores the multitudinous ways ordinary Cubans have sought to hustle, survive, and create expressive cultures in the aftermath of the Soviet Union’s collapse.
In Genetic Afterlives, Noah Tamarkin illustrates how Lemba people in South Africa give their own meanings to the results of DNA tests that substantiated their ancestral connections to Jews and employ them to manage competing claims of Jewish ethnic and religious identity, African indigeneity, and South African citizenship.
Shane Denson examines the ways in which computer-generated digital images displace and transform the traditional spatial and temporal relationships that viewers had with conventional analog forms of cinema in Discorrelated Images.
Media Primitivism by Delinda Collier finds alternative concepts of mediation in African art by closely engaging with electricity-based works since 1944.
Writing in Space, 1973-2019 gathers the writings of conceptual artist Lorraine O’Grady as edited by Aruna D’Souza, including artist statements, scripts, magazine articles, critical essays on art and culture, and interviews.
Acknowledging the difficulty for artists in the twenty-first century to effectively critique systems of power, in The Play in the System Anna Watkins Fisher theorizes parasitism—a form of resistance in which artists comply with dominant structures as a tool for practicing resistance from within.
Filled with advice from over fifty contributors, this completely revised and expanded edition of our popular book The Academic’s Handbook guides academics at every career stage, whether they are first entering the job market or negotiating post-tenure challenges of accepting leadership and administrative roles. The volume is edited by Lori A. Flores and Jocelyn H. Olcott.
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“Cold War Feminisms in East Asia,” a new issue of positions: asia critique, unpacks three contested and varied concepts: the Cold War, feminism, and East Asia. Contributors challenge conventional understandings of these terms, discussing the temporality of the Cold War as “victoriously ended,” the spatialization of East Asia as an Orientalist category “over there,” and the myopia of Western feminism.
The issue, edited by Suzy Kim, asks how the Cold War shaped feminist movements and cultures in their critical analyses and possibilities for organization; how the women’s movements before the Cold War destabilize Cold War paradigms; and what challenges remain for contemporary theory and praxes for women, sexual minorities, and other dispossessed communities as a result of Cold War feminisms in East Asia.
Read the free introduction, as well as Kozue Akibayashi’s “Cold War Shadows of Japan’s Imperial Legacies for Women in East Asia,” which is free through the end of October. The full table of contents is available here.
Literally Swiss, the European Literature Network and Pro Helvetia have launched the first French Book Week, an online forum dedicated to French literature, translation and publishing in the UK. We’re happy to share our new and upcoming French Studies titles as part of the celebration. UK customers can purchase these books from our European distributor, Combined Academic Publishers.
The Birth of Solidarity: The History of the French Welfare State by François Ewald is edited by Melinda Cooper and translated from the French by Timothy Scott Johnson. The Birth of Solidarity—first published in French in 1986, revised in 1996, with the revised edition appearing here in English for the first time—is one of the most important historical and philosophical studies of the rise of the welfare state. It’s is a classic work of social and political theory that will appeal to all those interested in labor power, the making and dismantling of the welfare state, and Foucauldian notions of governmentality, security, risk, and the limits of liberalism.
Paris in the Dark: Going to the Movies in the City of Light, 1930–1950 by Eric Smoodin takes readers on a journey through the streets, cinemas, and theaters of Paris to sketch a comprehensive picture of French film culture during the 1930s and 1940s. Judith Mayne says, “Paris in the Dark is an outstanding study of the spaces and places of Parisian filmgoing and a major contribution to French film studies.”
The Wombs of Women: Race, Capital, Feminism by Françoise Vergès will be published in August. Translated by Kaiama L. Glover, The Wombs of Women examines the scandal of white doctors forcefully terminating the pregnancies of thousands of poor women of color on the French island of Réunion during the 1960s, showing how they resulted from the legacies of the racialized violence of slavery and colonialism. Vergès traces the long history of colonial state intervention in black women’s wombs during the slave trade and postslavery imperialism as well as in current birth control politics. She examines the women’s liberation movement in France in the 1960s and 1970s, showing that by choosing to ignore the history of the racialization of women’s wombs, French feminists inevitably ended up defending the rights of white women at the expense of women of color.
We also invite you to check out our journal French Historical Studies, the leading journal on the history of France, which publishes articles and commentaries on all periods of French history from the Middle Ages to the present. The journal’s diverse format includes forums, review essays, special issues, and articles in French, as well as bilingual abstracts of the articles in each issue. Also featured are bibliographies of recent articles, dissertations, and books in French history and announcements of fellowships, prizes, and conferences of interest to French historians.
William Craft Brumfield is Professor of Slavic Studies at Tulane University. Brumfield, who began photographing Russia in 1970, is the foremost authority in the West on Russian architecture. He is the author, editor, and photographer of numerous books, including Architecture at the End of the Earth: Photographing the Russian North and Lost Russia: Photographing the Ruins of Russian Architecture, both also published by Duke University Press. In 2019 he was awarded the Russian state Order of Friendship medal—the highest decoration of the Russian Federation given to foreign nationals—for his study and promotion of Russia’s cultural legacy. Brumfield’s photographs of Russian architecture have been exhibited at numerous galleries and museums and are part of the Image Collections at the National Gallery of Art in Washington, DC. In this Q&A, he discusses his new book Journeys through the Russian Empire: The Photographic Legacy of Sergey Prokudin-Gorsky, a lavishly illustrated volume featuring hundreds of full-color images of Russian architecture and landscapes taken by early-twentieth-century photographer Sergey Prokudin-Gorsky juxtaposed against those of his own.
Tell us about Sergey Prokudin-Gorsky and why he embarked on his photographic journeys.
Sergei Mikhailovich Prokudin-Gorsky was born in 1863 on his family’s estate in central Russia. As a member of the middle nobility, he received a good education with emphasis on technical subjects. Study in Germany and France deepened his research in chemistry, optics and color theory with the goal of creating a camera for color images. Taking a prototype developed by the German chemist Adolf Miethe, Prokudin-Gorsky devised a reliable, if cumbersome, camera.
Yet Prokudin-Gorsky did not stop with the invention, which he saw as the means to an end. He conceived a grand project that would apply the technology to photographic documentation of the Russian Empire in its vast diversity. During the decade before World War I he engaged in a blur of activity in the sphere of professional photography, primarily in St. Petersburg.
For posterity, however, the main legacy was his documentary campaigns that extended from the Caucasus to Central Asia to the White Sea. Between 1903 and 1916 he traveled over a dauntingly large part of the Russian Empire and took some 3,000 photographs with the process, which involved three exposures on a glass plate. 1909 was a particularly significant year for his work. In May Tsar Nicholas II invited the photographer to the imperial residence at Tsarskoe Selo to show his images of Russia through an elaborate projector. Following this presentation, Prokudin-Gorsky gained the support of the imperial court to continue his travels. The august patronage accelerated the pace of the photographer’s work, which received essential logistical support from the Ministry of Transportation.
We can assume that Prokudin-Gorsky believed in the Russian Empire as a force for enlightenment and technical progress. At the same time, he could not have been unaware of fundamental threats to the empire’s stability, including the 1905 revolution. I explore this ambivalence in the book’s concluding essay, “Over the Abyss”. After the revolutions of 1917, Prokudin-Gorsky seems to have accommodated himself to the new Soviet regime, but with the assassination of Nicholas and his family in July 1918, the photographer left Russia the following month, never to return. (Shockingly, one of his Yekaterinburg photographs includes the house in whose basement the murders occurred.) He ultimately resettled in France and regained a large part of his collection of glass negatives. Following his death in Paris in September 1944, his heirs sold the collection to the Library of Congress in 1948.
What is special and unusual about Prokudin-Gorsky’s photographic techniques?
The exposure process required an elongated, chemically treated glass plate that dropped in three steps past a lens. Different color filters were placed in front of the lens for each of the three exposures. It was something of a Rube Goldberg device, but when the three exposures were combined (through a projector or in the lab), the process produced images of remarkable quality. The lens and the process had their inherent limitations, but Prokudin-Gorsky’s mastery transcended them.
Why do you think Prokudin-Gorsky’s work resonates so much with Russians today?
Many reasons. Pride that yet another Russian proved such an adept inventor. Then there is the fascination with the sheer unexpected beauty of the images. Most importantly, perhaps, his work allows them to reconnect on so many levels with their heritage, and especially with a vision of that heritage before the cataclysms of the 1917 revolutions, a massively destructive civil war and the upheavals that followed in Soviet history during the 20th century. The photographs allow them to reconnect with a profoundly important part of their identity. There is a great thirst among many Russians of whatever generation to regain a sense of cultural and historical connectedness. When the Prokudin-Gorsky collection was made available online by the Library of Congress, a floodgate of emotion and interest was opened. These pre-revolutionary images suggest something indelibly Russian that has persisted notwithstanding the cataclysms of the 20th century. To be sure, this reconnection is not a simple matter I discuss some of the ambiguities in the introductory essay, and I return to them in the conclusion.
What inspired you to juxtapose your own photographs with Prokudin-Gorsky’s?
Actually, the project was an unexpected gift, a commission from the Library of Congress in 1985. Before then I had only a vague impression of his work; but after the appearance in October 1984 of my first book, Gold in Azure: One Thousand Years of Russian Architecture, word got around Washington that I had traveled widely in Russia and knew something about photography. One thing led to another, and in the summer of 1985 I was invited by the Library of Congress to curate the first exhibit devoted to Prokudin-Gorsky’s work. That exhibit opened at the Library in 1986, and subsequently traveled to museums around the country. From the first moments of work with his collection, I was astounded by the discovery that I had covered much of the same territory, including the fabled Central Asian cities of Samarkand and Bukhara. My mantra became, “I too have seen this.”
What challenges did you encounter while photographing these Russian landmarks?
A thorough answer to this question would require a separate book. There have been so many improbable journeys during the half-century range of my work in the former Soviet Union and in Russia specifically—for example, my trip to Uzbekistan as a graduate student in May 1972. This greatest possible treasure was part of a final trip arranged at the end of the academic year by the Foreign Section of Leningrad State University. The itinerary, unimaginable today, included the astounding monuments of Islamic architecture in Uzbekistan, the three Caucasus republics, and the Ukrainian port of Odessa. I was the only American who joined the small group. Most of my compatriots were energetically completing archival research, microfilming, and additional scholarly duties. I, however, was giddy at the prospect of going to Central Asia. To this day I do not understand how anyone with an ounce of curiosity about the planet could not have gone.
For all the rigors of traveling on our risible budget, the trip proved from a photographic point of view to be one of the most rewarding in my life. Imagine my astonishment in the summer of 1985 when I opened the Prokudin-Gorsky albums of contact prints at the Library of Congress and saw his photographs of Samarkand and Bukhara taken some six decades before my own. I witnessed those architectural monuments in much the same state as he did at the beginning of the 20th century. With the appearance of Journeys, those 1972 photographs of Samarkand and Bukhara—a very different culture from the one I usually study—will finally reach the public.
Another challenging area in my photographic work was the Russian North, historically defined as the area around the White Sea, Here again, my documentary campaigns overlapped with the journeys of Prokudin-Gorsky almost a century earlier, including his final Russian journey in 1916 (the subject of Chapter Eight). Especially rich in wooden architecture, the North could be a difficult environment for photographic work, not only because of the distances over poor roads, but also due to the climate variations. The summer in that Arctic region has its own lyrical beauty (together with swarms of blood-thirsty mosquitoes), yet the extremes of winter yielded some of the most distinctive photographs. Days of trudging with cameras through snow in intense cold were followed with evenings near the crackling heat of wood-burning brick stoves. And there were a few convivial toasts.
At the same time, during the late 1990s, I embarked on what in was in geographical terms by far the largest expansion of my regional field work. The vehicle for this expansion, which would ultimately take me through the Urals and Siberia to Russia’s Far Eastern port of Vladivostok, was an Internet project titled “Meeting of Frontiers,” initiated by James Billington, the librarian of Congress, with the support of the US Congress and major libraries of the Russian Federation. The project’s basic premise consisted of many parallels between the transcontinental destinies of the United States and Russia: the Russians move east, the Americans move west; they come into contact (occasionally violent and exploitative) with aboriginal peoples; they build railroads; and they create narratives—with substantial elements of myth—about their respective Pacific destinies.
In 1998, Billington asked me as a photographer and a specialist in Russian architecture to create a photographic component that would illustrate and illuminate this epic movement as reflected in the architecture of settlements along the way east. My relations with the library had always been productive and included my work in 1985–86 as guest curator for the first traveling exhibit of the photographs of Sergey Prokudin-Gorsky. I was, therefore, convinced of the program’s potential and its impact on my field work.
Between 1999 and 2002, I made five trips over territory that extended from the European approaches to the Ural Mountains to Vladivostok, at the southeastern tip of Russia. Each trip brought extraordinary gains in my knowledge of Russia, and each made exhaustive demands on my endurance. I should add that during my travels in Siberia, as in the Russian North, I was often met with a degree of generous hospitality that threatened to overwhelm my work. Not coincidentally, “Meeting of Frontiers” allowed me to expand my earlier Prokudin-Gorsky work at the Library by visiting the areas that he photographed in the Urals and Western Siberia.
Do you have a favorite photograph by Prokudin-Gorsky?
It is difficult to choose one, because they are so varied and so rich. Favorite in what sense? In what category? I specialize in Russia’s architectural heritage, which is so vividly presented in his work. Yet the photograph that haunts my memory is the one with children sitting on a levee in Belozersk. They are squinting in the late afternoon sun. Behind them is the dome of the Church of St. Paraskeva, ruined during the Soviet period (as my corresponding photograph shows), His photograph was taken in 1909, and I could not help but wonder what happened to those children in the following decades, decades that brought such unending trials to Russia.
Read the introduction to Journeys through the Russian Empire free online and save 30% on the book with coupon code E20BRMFL.
We are now mid-way through the summer, and it’s not too late to stock up on books to add to your summer reading list. Check out these brand new titles coming out in July!
Journeys through the Russian Empire is a lavishly illustrated volume that features hundreds of full-color images of Russian architecture and landscapes taken by early-twentieth-century photographer Sergey Prokudin-Gorsky and juxtaposed against those of contemporary photographer and scholar William Craft Brumfield. Together their images document Russia’s architectural, artistic, and cultural heritage. This one will look gorgeous on your coffee table!
The contributors to Paper Trails, edited by Sarah B. Horton and Josiah Heyman, examine migrants’ relationship to the state through requirements to obtain identification documents in order to get legal status.
Written for humanities graduate students and the faculty they study with, Katina L. Rogers’s Putting the Humanities PhD to Work grounds practical career advice in a nuanced consideration of how graduate training can lead to meaningful and significant careers beyond the academy.
In Keith Haring’s Line, Ricardo Montez traces the drawn and painted line that was at the center of Keith Haring’s artistic practice, engaging with Haring’s messy relationships to race-making and racial imaginaries.
In ¡Presente!, Diana Taylor offers the theory of presente as a model of standing by and with victims of structural and endemic violence by being physically and politically present in situations where it seems that nothing can be done.
Drawing on numerous interviews with artists, dealers, and curators, in Latinx Art Arlene Dávila explores how and why the contemporary international art market continues to overlook, devalue, and marginalize Latinx art and artists.
In The Wombs of Women, Françoise Vergès examines the scandal of white doctors forcefully terminating the pregnancies of thousands of poor women of color on the French island of Réunion during the 1960s, showing how they resulted from the legacies of the racialized violence of slavery and colonialism.
In Embodying Relation, Allison Moore examines the tensions between the local and the global in the art photography movement that blossomed in Bamako, Mali, in the 1990s, showing contemporary Malian photography to be a rich example of Western notions of art meeting traditional cultural precepts to forge new artistic forms, practices, and communities.
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Sanford Levinson holds the W. St. John Garwood and W. St. John Garwood, Jr. Centennial Chair in Law at the University of Texas Law School. In today’s guest post he writes about how his 1998 book Written in Stone continues to be relevant but in constant need of updating. We published a 20th Anniversary Edition in 2018. Through August 31, 2020 we are offering a 40% discount on the book with coupon code STONE40. We hope you’ll consider adding it to your reading list or syllabus.
This fall, for the third time, I will be teaching a “reading course” at the Harvard Law School on “Monuments and Memorialization.” Needless to say, among the readings is my Duke University Press book Written in Stone: Public Monuments in Changing Societies. Originally published in 1998, the Press published a second edition in 2018, with what turned out to be a new afterword of some 20,000 words, together with a new cover—a picture of Robert E. Lee’s statue being removed from Lee Circle in New Orleans—and a variety of other new photographs of controversial monuments. When the second edition was initially planned in 2016, the thought was that I would write a new afterword of about 5,000 words and that the new edition would be published in early 2018 (at the latest). As John Lennon famously sang, though, “Life is what happens to you while you’re busy making other plans.” Among the things that happened between initial plan and publication in September 2015 was the massacre in Charleston, the 2016 March in Charlottesville, Virginia, and the ensuing taking down of many monuments, particularly in the states of the Confederacy. And, of course, at the present time the entire country is experiencing the aftermath of the murder by a Minneapolis police officer of George Floyd in Minneapolis, including the renewed attention on monuments (and building names) across the country. For example, Lake Calhoun, in Minneapolis, named after John C. Calhoun, the leading defender of the slavocracy in his long career in American politics, was renamed, though not without controversy, Bde Maka Ska, described by the Minneapolis Star Tribune as “its original Dakota name.
Given events in Minneapolis; Richmond, Virginia; Bristol, England; and Brussels, Belgium, to name only and handful of recent locales where monuments have come down or places renamed, friends have encouraged me to prepare a third edition of Written in Stone. There is a good reason for not doing so at the present time: Such an edition, at least at this time, would have to be published in a loose-leaf version! As I prepare my syllabus for the course this fall, I find myself revising it almost literally every day, as new actions are undertaken and arguments presented. Just this week, toward the end of June, 2020, for example, it appears very likely that Washington and Lee University, in Lexington, Virginia, will drop Robert E. Lee’s name, though, no doubt, some students, both African-American and white, might at least wonder why the slaveowning George Washington deserves continued honor.
And Princeton University, after deciding in 2018 to retain Woodrow Wilson’s name for its eminent School of Public Affairs, announced that it would drop it. Princeton President Christopher L. Eisgruber wrote an op-ed in the Washington Post explaining his own change of mind. Eisgruber took note of “Wilson’s genuine achievements,” not to mention his centrality to the development of Princeton because of his service as one of Eisgruber’s predecessors. Wilson, therefore, “is a far different figure than John C. Calhoun or Robert E. Lee, people whose pro-slavery commitments defined their careers and who were sometimes honored for the purpose of supporting segregation or racism. Princeton honored Wilson without regard to, and perhaps even in ignorance of, his racism.” Eisgruber now believes that “ignorance” was “precisely the problem. Princeton is part of an America that has too often disregarded, ignored and turned a blind eye to racism, allowing the persistence of systems that discriminate against black people….” There is nothing innocent about naming programs or buildings. “When a university names its public policy school for a political leader, it inevitably offers the honoree as a role model for its students. However grand some of Wilson’s achievements may have been, his racism disqualifies him from that role.” It is no longer possible to “disregard or ignore racism when deciding whom we hold up to our students as heroes or role models…. Our commitment to eliminate racism must be unequivocal, and that is why we removed the name of Princeton’s modern-day founder from its School of Public and International Affairs.”
Fortunately, Written in Stone, especially in its expanded second edition, pays extended attention to a number of analyses of policies about monuments that were prepared at a variety of universities, including Harvard, Yale, Princeton, Duke, and the University of Texas, as well as by a special committee appointed by the Mayor of New York. I also treat at length an absolutely remarkable speech by former New Orleans mayor Mitch Landrieu explaining his decision to remove a number of Confederate statues from the city’s public space, including the aforementioned one of Robert E. Lee.
At the present time, there are two central issues at the forefront of the controversy over monuments and memorialization. First, who exactly deserves the kind of public honor that is conveyed, say, by a statue in front of a major public building? In New York City, for example, a statue of Theodore Roosevelt in front of the New York Museum of Natural History that was explicitly considered by the Mayor’s Committee, which recommended against removing it, has now been slated for removal because it demeans African- and Native-Americans in placing them in a decidedly subordinate position to Roosevelt atop his horse. Many statues of Christopher Columbus are being removed, not to mention, of course, the myriad of statues honoring those who took up arms against the United States in 1861-65 and vigorously advocated the maintenance of white supremacy (including lynchings) thereafter. Some of these examples seem quite easy to resolve. Others, as with Roosevelt, Columbus, or Woodrow Wilson, appear considerably more difficult.
But, especially to a lawyer like myself, a second important issue involves the process by which decisions to remove (or maintain) statues or to rename buildings or, as in Minnesota, lakes, should be made. Even if one heartily approves, for example, of attempts to remove the slaveowning and anti-Native American Andrew Jackson’s statue from Lafayette Park, in Washington, one can, at the same time, be disturbed if that decision, in effect, is made by demonstrators (or, as some people might describe them, a “mob”). It is not simply that a structured process would give people an opportunity to make a variety of conflicting arguments, with the final decision made by bodies ranging from a city council to the voters in a local referendum; rather, it is almost certainly also the case that the losers who might lament the demotion of their own “heroes” from the public square might at least feel somewhat mollified if they felt they had a fair opportunity to make their arguments and they lost “fair and square.”
Summer is just around the corner. As this new season begins, we’re releasing some exciting titles in history, art, anthropology, and more. Check out these brand new books arriving in June!
A Primer for Teaching Pacific Histories is a guide for college and high school teachers who are teaching Pacific histories for the first time or for experienced teachers who want to reinvigorate their courses. It can also serve those who are training future teachers to prepare their own syllabi, as well as teachers who want to incorporate Pacific histories into their world history courses.
In Disordering the Establishment, Lily Woodruff examines the development of artistic strategies of political resistance in France in the decades following World War II, showing how artists countered establishment ideology, challenged traditional art institutions, appealed to direct political engagement, and grappled with French intellectuals’ modeling of society.
Pointing out that presumptions of solidarity, antagonism, or incommensurability between Black and Native communities are insufficient to understand the relationships between both groups, the scholars, artists, and activists contributing to Otherwise Worlds investigate the complex relationships between settler colonialism and anti-Blackness to explore the political possibilities that emerge from such inquiries. This volume is edited by Tiffany Lethabo King, Jenell Navarro, and Andrea Smith.
In Trafficking, Hector Amaya examines how the dramatic escalation of drug violence in Mexico in 2008 transformed how people discussed violence and the rules of participation in the public sphere.
Sa’ed Atshan and Katharina Galor draw on ethnographic fieldwork and interviews in The Moral Triangle to explore the asymmetric relationships between Germans and Israeli and Palestinian immigrants in the context of official German policies, public discourse, and the impact of coming to terms with the past. You can watch Assistant Editor Sandra Korn interview Atshan and Galor here.
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We regret that in the ongoing efforts to mitigate the spread of the COVID-19 virus, we will be unable to meet with you during the Berkshire Conference of Women, Genders, and Sexualities, which has been cancelled. Check out the virtual conference to listen to pre-recorded plenaries.
We know that many of you look forward to stocking up on new books at special discounts at our conferences, so we are pleased to extend a 30% discount on all in-stock books and journal issues. Use coupon code BERKS20 to save 30% when ordering online. Journal subscriptions and society memberships don’t qualify for the 30% discount.
Check out some of the exciting titles we would have featured in our booth at the Berks.
In I Never Left Home, poet and revolutionary Margaret Randall tells the moving, captivating, and astonishing story of her life, from her childhood in New York to joining the Sandanista movement in Nicaragua, from escaping political repression in Mexico to raising a family and teaching college. Watch a video of Margaret Randall discussing her memoir here.
In Second World, Second Sex, Kristen Ghodsee recuperates the lost history of feminist activism from the so-called Second World, showing how women from state socialist Bulgaria and socialist-leaning Zambia created networks and alliances that challenged American women’s leadership of the global women’s movement. Listen to an interview with Kristen Ghodsee here.
Jennifer C. Nash reframes black feminism’s engagement with intersectionality in Black Feminism Reimagined, contending that black feminists should let go of their possession and policing of the concept in order to better unleash black feminist theory’s visionary and world-making possibilities. Read an interview with Jennifer Nash here.
Lynn M. Thomas constructs a transnational history of skin lighteners in South Africa and beyond in Beneath the Surface, theorizing skin and skin color as a site for antiracist struggle and lighteners as a technology of visibility that both challenges and entrenches racial and gender hierarchies. Watch an interview with Lynn Thomas on South African TV here.
From The Guiding Light to Passions, Elana Levine traces the history of daytime television soap operas as an innovative and highly gendered mass cultural form in Her Stories. Read an interview with Elana Levine in Jezebel here.
In Mafalda, Isabella Cosse examines the history, political commentary, and influence of the world-famous comic character Mafalda from her Argentine origins in 1964 to her global reach in the 1990s. Recently, the Argentinan goverment has been using Mafalda to educate citizens about wearing face masks during the pandemic. Read Cosse’s blog post on the campaign here.
The contributors to Spirit on the Move examine Pentecostalism’s appeal to black women worldwide and the ways it provides them with a source of community, access to power, and way to challenge social inequalities. This volume is edited by Judith Casselberry and Elizabeth A. Pritchard.
Ana María Reyes examines how the polarizing art of Beatriz González disrupted Cold War aesthetic discourses and the politics of class and modernization in 1960s Colombia in The Politics of Taste.
In Vexy Thing, Imani Perry recenters patriarchy to contemporary discussions of feminism through a social and literary analysis of cultural artifacts—ranging from nineteenth-century slavery court cases and historical vignettes to literature and contemporary art—from the Enlightenment to the present. Read an interview with Imani Perry here.
If you were hoping to connect with one of our editors about your book project at the Berks, please reach out to them by email. See our editors’ specialties and contact information here and our submissions guidelines here. We are now accepting submissions online!
Our journal issues in women’s and gender studies are also included in our 30%-off sale.
In “(En)gendering: Chinese Women’s Art in the Making,” new from positions, contributors—including artists, art historians, critics, and curators—consider how the work of contemporary women artists has generated new approaches to and perspectives on the Chinese art canon.
“Radical Transnationalism: Reimagining Solidarities, Violence, Empires,” an issue of Meridians, looks at the expansive domains of transnational feminism, considering its relationship to different regions, historical periods, fields, and methodologies.
As you prepare for your fall classes, be they virtual or in-person, we invite you to check out our Feminist Politics and Women’s Rights syllabus and our Revisiting Queer Studies syllabus. Both feature journal articles that are freely available until September 30, 2020 as well as suggested books you might want to teach.
Once again, we’re sorry to miss you in person but hope the 30% discount will make it possible for you to pick up some new books and journal issues. Use coupon BERKS20 at checkout.