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|Author||: Frances Kathryn Pohl|
"Framing America takes an inclusive approach to American art. Along with comprehensive coverage of the canon, it expands and integrates treatment of frequently marginalized groups, while also addressing domestic arts and a range of political and social contexts. This fully revised fourth edition, reorganized in response to readers' suggestions, includes thirty-two chapters now arranged into nine parts, and available in two separate volumes; part openers featuring timelines and introductions that highlight how major events and artistic movements relate chronologically; increased coverage of the lives and work of women, African Americans, and Native Americans; new images--from a sixteenth-century print of the Spanish conquest of the Americas and a seventeenth-century embroidered altar frontal from New France, to nineteenth century American Impressionist landscape paintings and photographic portraits of San Francisco's Chinatown and Civil War battlefields; new review questions at the end of each chapter; instructor resources, including a fully revised test bank, the author's notes on using the book, links to further relevant material, and images for instructors"--
|Author||: Paul Andersen,Jayne Kelly,Paul Preissner|
Originating in 1832 in Chicago with a balloon-framed warehouse designed by George Washington Snow, the technique of timber framing--also known at the time as "Chicago construction"--introduced softwood construction to the world. Timber frame construction quickly came to dominate the built landscape of America because of the ready availability of the principal material required, the simplicity of construction, and its ability to be erected by low or unskilled workers. The result was a built environment that erased typological and class distinctions of architectural production, as both rich and poor live in houses that are built the same way. American Framing: The Architecture of a Specific Anonymity is a visual and textual exploration of the conditions and consequences of these ubiquitous structures, the architecture which enables architecture. Archival drawings and historical images, along with newly commissioned photographs by Linda Robbennolt, Daniel Shea, and Chris Strong, in addition to plans and drawings, shed new light on this quintessentially American method of construction.
|Author||: Diana Kendall|
|Editor||: Rowman & Littlefield Publishers|
Framing Class explores how the media, including television, film, and news, depict wealth and poverty in the United States. Fully updated and revised throughout, the second edition of this groundbreaking book now includes discussions of new media, updated media sources, and provocative new examples from movies and television, such as The Real Housewives series and media portrayals of the new poor and corporate executives in the recent recession. The book introduces the concepts of class and media framing to students and analyzes how the media portray various social classes, from the elite to the very poor. Its accessible writing and powerful examples make it an ideal text or supplement for courses in sociology, American studies, and communications.
|Author||: Karen Callaghan and Frauke Schnell, eds.|
|Editor||: University of Pittsburgh Press|
Most issues in American political life are complex and multifaceted, subject to multiple interpretations and points of view. How issues are framed matters enormously for the way they are understood and debated. For example, is affirmative action a just means toward a diverse society, or is it reverse discrimination? Is the war on terror a defense of freedom and liberty, or is it an attack on privacy and other cherished constitutional rights? Bringing together some of the leading researchers in American politics, Framing American Politics explores the roles that interest groups, political elites, and the media play in framing political issues for the mass public. The contributors address some of the most hotly debated foreign and domestic policies in contemporary American life, focusing on both the origins and process of framing and its effects on citizens. In so doing, these scholars clearly demonstrate how frames can both enhance and hinder political participation and understanding.
|Author||: Norma Basch|
|Editor||: Univ of California Press|
"Anyone who imagines social lament over divorce to be a very recent phenomenon should read Norma Basch's book, which tells a fascinating set of stories about law and about culture in the United States, from the forging of divorce provision in the Revolutionary era to the moral ambiguities and acknowledged hypocrisies it caused a century later. Tacking between the social facts of rising divorce and the alarmed or enthusiastic commentary on it, Framing American Divorce guides us through the social landscape of nineteenth-century America."—Nancy Cott, author of The Grounding of Modern Feminism "A careful, fascinating study of divorce in nineteenth-century America, which penetrates its legal logic, its diverse passions, and its prurient appeal."—Joyce Appleby, coauthor of Telling the Truth about History "In a pathbreaking study that situates legal history in the larger social and cultural context of nineteenth-century America, Framing American Divorce transforms our understanding of the sexual and social contract that has defined our most intimate relations. Executed with a singular power and persuasiuveness, Basch's narrative is a compelling rereading of the past that has resonance for the present.—Mary C. Kelley, Dartmouth College
|Author||: Lisa C. Uhrik|
Use this book as a personal or group workbook using the READ3 framework to refine your personal manifesto - your own Declarations of Interdependence for yourself, your family, and your community
|Author||: Winfried Fluck,Donald E. Pease,John Carlos Rowe|
What is the state of American studies in the twenty-first century?
|Author||: Joe R. Feagin|
In this book Joe Feagin extends the systemic racism framework in previous Routledge books by developing an innovative concept, the white racial frame. Now four centuries-old, this white racial frame encompasses not only the stereotyping, bigotry, and racist ideology emphasized in other theories of "race," but also the visual images, array of emotions, sounds of accented language, interlinking interpretations and narratives, and inclinations to discriminate that are still central to the frame’s everyday operations. Deeply imbedded in American minds and institutions, this white racial frame has for centuries functioned as a broad worldview, one essential to the routine legitimation, scripting, and maintenance of systemic racism in the United States. Here Feagin examines how and why this white racial frame emerged in North America, how and why it has evolved socially over time, which racial groups are framed within it, how it has operated in the past and in the present for both white Americans and Americans of color, and how the latter have long responded with strategies of resistance that include enduring counter-frames. In this new edition, Feagin has included much new interview material and other data from recent research studies on framing issues related to white, black, Latino, and Asian Americans, and on society generally. The book also includes a new discussion of the impact of the white frame on popular culture, including on movies, video games, and television programs as well as a discussion of the white racial frame’s significant impacts on public policymaking, immigration, the environment, health care, and crime and imprisonment issues.
|Author||: Dave Erickson|
|Editor||: Post Hill Press|
What happened to General Flynn was a cog in the machine that powered the biggest political scandal in American history. The set up began when people who worked for the sitting president of the United States of America, Barack H. Obama, weaponized agencies of the government to spy on the Donald Trump campaign—justifying it with manufactured evidence paid for by Hillary Clinton and the Democratic National Committee. But, when their effort to defeat Trump failed on Election Night, the administration launched a deep-state assault that began with one of the most subversive criminal acts ever committed in American politics. "He was an innocent man. He was targeted by the Obama administration and he was targeted in order to try and take down a president.” —President Donald J. Trump
|Author||: Glenn Adamson|
|Editor||: Bloomsbury Publishing USA|
A groundbreaking and endlessly surprising history of how artisans created America, from the nation's origins to the present day. At the center of the United States' economic and social development, according to conventional wisdom, are industry and technology-while craftspeople and handmade objects are relegated to a bygone past. Renowned historian Glenn Adamson turns that narrative on its head in this innovative account, revealing makers' central role in shaping America's identity. Examine any phase of the nation's struggle to define itself, and artisans are there-from the silversmith Paul Revere and the revolutionary carpenters and blacksmiths who hurled tea into Boston Harbor, to today's “maker movement.” From Mother Jones to Rosie the Riveter. From Betsy Ross to Rosa Parks. From suffrage banners to the AIDS Quilt. Adamson shows that craft has long been implicated in debates around equality, education, and class. Artisanship has often been a site of resistance for oppressed people, such as enslaved African-Americans whose skilled labor might confer hard-won agency under bondage, or the Native American makers who adapted traditional arts into statements of modernity. Theirs are among the array of memorable portraits of Americans both celebrated and unfamiliar in this richly peopled book. As Adamson argues, these artisans' stories speak to our collective striving toward a more perfect union. From the beginning, America had to be-and still remains to be-crafted.
|Author||: Ed Guerrero|
|Editor||: Temple University Press|
From D.W. Griffith's The Birth of a Nation to Spike Lee's Malcolm X, Ed Guerrero argues, the commercial film industry reflects white domination of American society. Written with the energy and conviction generated by the new black film wave, Framing Blackness traces an ongoing epic—African Americans protesting screen images of blacks as criminals, servants, comics, athletes, and sidekicks. These images persist despite blacks' irrepressible demands for emancipated images and a role in the industry. Although starkly racist portrayals of blacks in early films have gradually been replaced by more appealing characterizations, the legacy of the plantation genre lives on in Blaxpoitation films, the fantastic racialized imagery in science fiction and horror films, and the resubordination of blacks in Reagan-era films. Probing the contradictions of such images, Guerrero recalls the controversies surrounding role choices by stars like Sidney Poitier, Eddie Murphy, Whoopie Goldberg, and Richard Pryor. Throughout his study, Guerrero is attentive to the ways African Americans resist Hollywood's one-dimensional images and superficial selling of black culture as the latest fad. Organizing political demonstrations and boycotts, writing, and creating their own film images are among the forms of active resistance documented. The final chapter awakens readers to the artistic and commercial breakthrough of black independent filmmakers who are using movies to channel their rage at social injustice. Guerrero points out their diverse approaches to depicting African American life and hails innovative tactics for financing their work. Framing Blackness is the most up-to-date critical study of how African Americans are acquiring power once the province of Hollywood alone: the power of framing blackness. In the series Culture and the Moving Image, edited by Robert Sklar.
|Author||: Imke Köhler|
|Editor||: Walter de Gruyter GmbH & Co KG|
There is great power in the use of words: words create most of what we consider to be real and true. Framing our words and narratives is thus a tool of power – but a power that also comes with limitations. This intriguing issue is the topic of Framing the Threat, an investigation of the relationship between language and security and of how discourse creates the scope of possibility for political action. In particular, the book scrutinizes and compares the security narratives of the former US presidents George W. Bush and Barack Obama. It shows how their framings of identity, i.e., of the American ‘self’ and the enemy ‘other’ facilitated a certain construction of threat that shaped the presidents’ detention and interrogation policies. By defining what was necessary in the name of national security, Bush’s narrative justified the operation of the detention center at Guantanamo Bay and rendered the mistreatment of detainees possible – a situation that would have otherwise been illegal. Bush’s framings therefore enabled legal limits to be pushed and made the violation of rules appear legitimate. Obama, in contrast, constructed a threat scenario that required an end to rule violations, and the closure of Guantanamo for security reasons. According to this narrative, a return to the rule of law was imperative if the American people were to be kept safe. However, Obama’s framing was continually challenged, and it was never able to dominate public discourse. Consequently, Framing the Threat argues Obama was unable to implement the policy changes he had announced.
|Author||: Debra Walker King|
|Editor||: University of Virginia Press|
In this compelling new study, Debra Walker King considers fragments of experience recorded in oral histories and newspapers as well as those produced in twentieth-century novels, films, and television that reveal how the black body in pain functions as a rhetorical device and as political strategy. King's primary hypothesis is that, in the United States, black experience of the body in pain is as much a construction of social, ethical, and economic politics as it is a physiological phenomenon. As an essential element defining black experience in America, pain plays many roles. It is used to promote racial stereotypes, increase the sale of movies and other pop culture products, and encourage advocacy for various social causes. Pain is employed as a tool of resistance against racism, but it also functions as a sign of racism's insidious ability to exert power over and maintain control of those it claims--regardless of race. With these dichotomous uses of pain in mind, King considers and questions the effects of the manipulation of an unspoken but long-standing belief that pain, suffering, and the hope for freedom and communal subsistence will merge to uplift those who are oppressed, especially during periods of social and political upheaval. This belief has become a ritualized philosophy fueling the multiple constructions of black bodies in pain, a belief that has even come to function as an identity and community stabilizer. In her attempt to interpret the constant manipulation and abuse of this philosophy, King explores the redemptive and visionary power of pain as perceived historically in black culture, the aesthetic value of black pain as presented in a variety of cultural artifacts, and the socioeconomic politics of suffering surrounding the experiences and representations of blacks in the United States. The book introduces the term Blackpain, defining it as a tool of national mythmaking and as a source of cultural and symbolic capital that normalizes individual suffering until the individual--the real person--disappears. Ultimately, the book investigates America's love-hate relationship with black bodies in pain.
|Author||: Zulema Valdez|
The book's central focus explores?several?"myths" associated with American entrepreneurship:?the idea that small business owners are "job creators"; that?entrepreneurs are?the "backbone" or?"engine" of the economy; that entrepreneurship provides a path of economic mobility for immigrants, ethnic and racial minorities, and women;?that the Horatio Algiers "rags to riches" story is possible for anyone willing to work hard. Instead, I provide a critical perspective that challenges these myths of American enterprise, arguing that?successful entrepreneurship requires access to social and economic capital resources and support that are often distributed along the lines of race, class, and gender in the highly stratified American economy and society.
|Author||: Sara L. Crosby|
|Editor||: University of Iowa Press|
According to Sara Crosby, the new popular ‘power of horror’—in writings by Poe and many others—gave American authors a new way of moving beyond beauty through the ‘poisonous muse.’ This new power corresponds to the vitalizing changes in Jacksonian America and brings with it a major change in US literary history. Her study of these changes in the US cultural scene is an incredibly engaging, vibrant narrative.
|Author||: Naomi Mandel|
|Editor||: University of Virginia Press|
In Against the Unspeakable, Naomi Mandel offers a paradigm of reading that will enable the crucial work on comparative atrocities and the representation of suffering to move beyond the impasse of "unspeakability." Discussing a variety of texts such as Toni Morrison's Beloved, Steven Spielburg's Schindler's List, and William Styron's Confessions of Nat Turner, Mandel asks: What does the evocation of the limits of language enable writers, authors, and critics to do?
|Author||: Jane Rhodes|
|Editor||: University of Illinois Press|
A potent symbol of black power and radical inspiration, the Black Panthers still evoke strong emotions. This edition of Jane Rhodes's acclaimed study examines the extraordinary staying power of the Black Panthers in the American imagination. Probing the group's longtime relationship to the media, Rhodes traces how the Panthers articulated their message through symbols and tactics the mass media could not resist. By exploiting press coverage through everything from posters to public appearances to photo ops, the Panthers created a linguistic and symbolic universe as salient today as during the group's heyday. They also pioneered a sophisticated version of mass media activism that powers contemporary African American protest. Featuring a timely new preface by the author, Framing the Black Panthers is a breakthrough reconsideration of a fascinating phenomenon.