Fourteen scholars who work on campus or in the theater address this issue of what it means to play offstage. With their individual definition of what "offstage" could mean, the results were, predictably, varied. They employed a variety of critical approaches to the question of what happens when the play moves into the audience or beyond the physical playhouse itself? What are the social, cultural, and political ramifications? Questions of "how" and "why" actors play offstage admit the larger "role" their production has for the world outside the theater, and hence this collection's sub-title: "The Theater As a Presence or Factor in the Real World." Among the various topics, the essays include: breaking the "fourth wall" and thereby making the audience part of the performance; the theater of political protest (one contributor staged Waiting for Godot in Zuccotti Park as part of the Occupy Wall Street protests); "landscape" or "town" theater using citizens as actors or trekking theater where the production moves among various locations in the community; the way principles of the theater can inform corporate management; the genre of semi-scripted comedy and quasi-impromptu spectacle (such as reality TV or flash mobs); digitalized performances of Shakespeare; the role of Greek Theater in the midst of the country's current economic and political crisis; how the area outside the theater became part of the performance inside Shakespeare's Globe; Timothy Leary's Psychedelic Celebrations designed to reproduce the offstage experience of LSD; WilliamVollmann's use of Noh theater to fashion a personal model and process of life-transformation; liminal theater which erases the line between onstage and off. The collection thus complements through actual performance criticism those studies that see the theater as a commentary on issues-social, political, economic; and it reverses the Editor's own earlier collection The Audience As Player, which examined interactive theater where the spectator comes onstage.

The Boomers are the generation that changed everything, from economics to politics to popular culture. This book examines the myriad ways and long-reaching consequences of the now fully "grown up" Baby Boomer generation on America. Once upon a time, the members of the Baby Boomer generation were young, idealistic, and hungry to change the world. And they did create sweeping, irreversible changes throughout American society-but probably not in the ways their younger selves imagined they would. Now that the Boomers are in their late-adult or retirement years, their tremendous legacy can clearly be perceived. In retrospect, the paths the members of this generation took to come to power-and how they came to terms with that power-are also apparent. This single-volume work supplies a broad yet detailed critical guide to the Boomer Generation, containing essays on key people, moments, and phenomena not only during the Boomers' 1960s heyday but also their extensive influences on American culture decades afterward. The contributors address key topics such as the rise of feminism; Civil Rights; the Vietnam War and the anti-war movement; the Beatles, the Grateful Dead, and rock 'n roll; gay rights; idealism, narcissism, and materialism; the influence of television on America, and vice versa; and the transition of Boomers from being "Yippies" to "Yuppies." This work is an ideal text for students in undergraduate or graduate courses in television studies, media studies, cultural studies, and American studies; and is highly appropriate as a supplemental text in literature, history, and philosophy surveys. Supplies comprehensive, critical analysis of the legacy of the Boomer Generation that examines the benefits and drawbacks of the enormous changes this generation of Americans instituted Presents accessible but rigorous, scholarly analysis from a broad range of experts in multiple fields Spotlights the ways in which pop culture at large has responded to the Boomers' influence or example-sometimes in vehement opposition and at other times with imitation or flattery

This study of clothing during British colonial America examines items worn by the well-to-do as well as the working poor, the enslaved, and Native Americans, reconstructing their wardrobes across social, economic, racial, and geographic boundaries. Clothing through American History: The British Colonial Era presents, in six chapters, a description of all aspects of dress in British colonial America, including the social and historical background of British America, and covering men's, women's, and children's garments. The book shows how dress reflected and evolved with life in British colonial America as primitive settlements gave way to the growth of towns, cities, and manufacturing of the pre-Industrial Revolution. Readers will discover that just as in the present day, what people wore in colonial times represented an immediate, visual form of communication that often conveyed information about the real or intended social, economic, legal, ethnic, and religious status of the wearer. The authors have gleaned invaluable information from a wide breadth of primary source materials for all of the colonies: court documents and colonial legislation; diaries, personal journals, and business ledgers; wills and probate inventories; newspaper advertisements; paintings, prints, and drawings; and surviving authentic clothing worn in the colonies.

Women have always been inextricably linked to food, especially in its production and preparation. This link, which applies cross-culturally, has seldom been fully acknowledged or celebrated. The role of women in this is usually taken for granted and therefore often rendered unimportant or invisible. This book presents a wide-ranging, interdiscplinary and comprehensive feminist analysis of women's central role in many aspects of the world's food systems and cultures. This central role is examined through a range of lenses, namely cross-cultural, intergenerational, and socially diverse.

An Alternative History of Bicycles and Motorcycles: Two-Wheeled Transportation and Material Culture accounts for the nineteenth-century creation and development of two-wheeled vehicles, both human-powered and motorized. Specifically, the book focuses on the period from 1885 (which saw the appearance, simultaneously, of the Safety bicycle and the Einspur, the first motorcycle) to 1920, while exploring implications for later bicycling and motorcycling. We argue that invention of these vehicles, rather than the product of gifted individuals, should be seen as the consequence of a number of historical, economic, cultural and political forces that intersect so unpredictably that the notion of a genius inventor is reductive. The common evolutionary model of development from the bicycle to the motorcycle oversimplifies both the technology and its origins. Stripping the vehicles of all their material and cultural associations, such a model fails to advance our understanding of the devices, their creators, and their riders. Taking a contemporary vehicle and tracing its lineage creates a false sense of evolutionary necessity in its creation, and fails to account for the many possible developmental paths that were, for whatever reason, abandoned. By contrast, our book adopts a material culture approach, a form of inquiry that stresses the connections between artifacts and social relations. We consider not simply the bicycle and motorcycle as material objects but focus also on the complex socio-political and economic convergences that produced the materials, materials that in turn themselves shaped the vehicles' appearance, function, and adoption by riders.

By the summer of 1974, the island of Cyprus was home to two separate refugee communities. Charting the displaced cultures of the Greek Cypriot community in the south, and that of the Turkish communities in the north, Lisa Dikomitis provides a moving and detailed qualitative ethnography of the refugee experience in Cyprus. In her groundbreaking study, made possible by the opening of the north/south border during fieldwork, Dikomitis demonstrates how both ethnic groups are linked by their histories of displacement to a single 'place of desire', a small mountainous village located in the north of the island. By identifying the specific social and cultural meanings that the notions of home, identity, justice and suffering have come to have for both populations, Cyprus and its Places of Desire will appeal to scholars and students of Cypriot, Turkish and Greek history as well as those with an interest in the fields of anthropology, sociology and identity.

Hipsters have always used clothing, hairstyle, gesture, and slang to mark their distance from consensus culture, yet it is music that has always been the privileged means of cultural disaffiliation, the royal road to hip. Hipness in postwar America became an indelible part of the nation's intellectual and cultural landscape, and during the past half century, hip sensibility has structured self-understanding and self-representation, thought and art, in various recognizable ways. Although hipness is a famously elusive and changeable quality, what remains recognizable throughout its history in American intellectual life is a particular conception of the individual's alienation from society-alienation due not to any specific political wrong but to something more radical, a clash of perception and consciousness. The dominant culture thus constitutes a system bent on foreclosing the creativity, self-awareness, and self-expression by which people might find satisfaction in their lives. The hipster's project is to imagine this system and define himself against it; his task is to resist being stamped in its uniform, squarish mold. Culture then becomes the primary medium of hip resistance rather than political action as such, and this resistance is manifested in aesthetic creation, be that artworks or the very self. Music has stood consistently at the center of the evolving and alienated hipster's self-structuring: every hip subculture at least tags along with some kind of music (as the musically ungifted Beats did with jazz), and for many subcultures music is their raison d'etre. In Dig, author Phil Ford argues that hipness is in fact wedded to music at an altogether deeper level. In hip culture it is sound itself, and the faculty of hearing, that is the privileged part of the sensory experience. Ford's discussion of songs and albums in context of the social and political world illustrates how hip intellectuals conceived of sound as a way of challenging meaning - that which is cognitive and abstract, timeless and placeless - with experience - that which is embodied, concrete and anchored in place and time. Through Charlie Parker's "Ornithology," Ken Nordine's "Sound Museum," Bob Dylan's "Ballad of a Thin Man," and a string of other lucid and illuminating examples, Ford shows why and how music became a central facet of hipness and the counterculture. Shedding new light on an elusive and enigmatic culture, Dig is essential reading for students and scholars of popular music and culture, as well as anyone fascinated by the counterculture movement of the mid-twentieth-century.

The DJ stands at a juncture of technology, performance and culture in the increasingly uncertain climate of the popular music industry, functioning both as pioneer of musical taste and gatekeeper of the music industry. Together with promoters, producers, video jockeys (VJs) and other professionals in dance music scenes, DJs have pushed forward music techniques and technological developments in last few decades, from mashups and remixes to digital systems for emulating vinyl performance modes. This book is the outcome of international collaboration among academics in the study of electronic dance music. Mixing established and upcoming researchers from the US, Canada, the UK, Germany, Austria, Sweden, Australia and Brazil, the collection offers critical insights into DJ activities in a range of global dance music contexts. In particular, chapters address digitization and performativity, as well as issues surrounding the gender dynamics and political economies of DJ cultures and practices.

Despite the widely publicised prejudice faced by women in Hollywood, since around 1990 a significant minority of female directors have been making commercially and culturally impactful films there across the full range of genres. This book explores movies by filmmakers Amy Heckerling, Nora Ephron, Nancy Meyers, Catherine Hardwicke, Sofia Coppola, Kimberly Peirce, Kathryn Bigelow and Greta Gerwig, including many which are still critically neglected or derided, seeing them as offering a new understanding of genre filmmaking. That is, like many other contemporary films but in a striking proportion within the smaller set of mainstream movies by women, this body of work revels in a heightened genre status that allows its authors to simultaneously address 'intellectual' cinephilic pleasures and bodily-emotive ones. Arguing through close analysis that these films demonstrate the inseparability of such strategies of engagement in contemporary genre cinema, Heightened Genre reclaims women's mainstream filmmaking for feminism through a recalibration of genre theory itself.

Swiss-born Emer de Vattel (1714-1767) was one of the last eminent thinkers of natural law. He shaped the later part of early-modern natural jurisprudence. At the time, the subject had become a fashionable academic sub-discipline in both jurisprudence and philosophy. Vattel's considerable impact on statesmen, political thinkers, diplomats and lawyers during his lifetime and after rested primarily on the fact that his The Law of Nations (1758) transformed natural law into the basis of a more comprehensive and practicable theory of interstate relations. His ideas served to promote reform programmes whose comprehensive natures spanned the domains of economic reform, constitutionalism and international diplomacy and foreign trade policy. Vattel's conception centred round the principle that defined all sovereign states as nations composed of societies of free men and profoundly influenced legal and political debates in the eighteenth and nineteenth centuries.

More than half a billion adults and 40 million children on the planet are obese. Diabetes is a worldwide epidemic. Evidence increasingly shows that these illnesses are linked to the other major Western diseases: hypertension, heart disease, even Alzheimer's and cancer, and that shockingly, sugar is likely the single root cause. Yet the nutritional advice we receive from public health bodies is muddled, out of date, and frequently contradictory, and in many quarters still promotes the unproven hypothesis that fats are the greatest evil.With expert science and compelling storytelling, Gary Taubes investigates the history of nutritional science which, shaped by a handful of charismatic and misguided individuals, has for a hundred years denied the impact of sugar on our health. He exposes the powerful influence of the food industry which has lobbied for sugar's ubiquity - the Sugar Association even today promoting 'sugar's goodness' - and the extent that the industry has corrupted essential scientific research. He delves into the science of sugar, exposes conventional thinking that sugar is 'empty calories' as a myth, and finds that its addictive pleasures are resulting in worldwide consumption as never experienced before, to devastating effect. The Case Against Sugar is a revelatory read, which will fundamentally change the way we eat.

Offering a challenging new argument for the collaborative power of craft, this ground-breaking volume analyses the philosophies, politics and practicalities of collaborative craft work. The book is accessibly organised into four sections covering the cooperation and compromises required by the collaborative process; the potential of recent technological advances for the field of craft; the implications of cross-disciplinary and cross-cultural collaborations for authority and ownership; and the impact of crafted collaborations on the institutions where we work, learn and teach. With cutting-edge essays by established makers and artists such as Allison Smith (US) and Brass Art (UK), curator Lesley Millar, textile designer Trish Belford and distinguished thinker Glenn Adamson, Collaborating Through Craft will be essential reading for students, artists, makers, curators and scholars across a number of fields.

Despite the brevity of its run and the diminutive size of its audience, The English Intelligencer is a key publication in the history of literary modernism in the British Isles. Emerging in the mid-1960s from a dissatisfaction with the prevailing norms of 'Betjeman's England', the young writers associated with it were catalysed by the example of Donald Allen's The New American Poetry as they sought to establish a revitalised modernist poetics. Late Modernism and The English Intelligencer gives the first full account of the extraordinary history of this publication, bringing to light extensive new archival material to establish an authoritative contextualisation of its operation and its relationship with post-war British poetry. This material provides compelling new insights into the work of the Intelligencer poets themselves and, more broadly, the continued presence of an international poetic modernism as a vital force in Britain in the second half of the twentieth century.

Addressing the pleasures and dangers of cultural identity in the age of mass media and global migration, these essays range from a commentary on the redrawing of the boundaries of contemporary art to a mapping of the controversial theory of hybridity.

During the 2010s in Turkey, LGBTQ activists, groups, and individuals persisted against social, political, and legal adversity. Erasure during the Gezi Park Protests in 2013, a Pride parade ban in Istanbul in 2016, and indefinite ban on all LGBTQ events in Ankara in 2017 directly aimed at ending the activities, visibility, and existence of LGBTQ organization in the two biggest cities in Turkey. This work examines the ways in which LGBTQ activists engaged in talkback against these restrictions that impacted the lives of LGBTQ individuals and how said individuals endured such adversity. Focusing on the elements of discourse used by LGBTQ activists, this work argues oppositional discourses need to address as well as remedy the various elements of normative discourses-constructions of space, time, and affect-in order to be deemed a talkback, instead of merely perpetuating the normativities of oppressive discourses.

The true life story of Elvis's original guitarist, the masterful Scotty Moore When Elvis Presley first showed up at Sam Phillips's Memphis-based Sun Records studio, he was a shy teenager in search of a sound. Phillips invited a local guitarist named Scotty Moore to stand in. Scotty listened carefully to the young singer and immediately realized that Elvis had something special. Along with bass player Bill Black, the trio recorded an old blues number called "That's All Right, Mama." It turned out to be Elvis's first single and the defining record of his early style, with a trilling guitar hook that swirled country and blues together and minted a sound with unforgettable appeal. Its success launched a whirlwind of touring, radio appearances, and Elvis's first break into movies. Scotty was there every step of the way as both guitarist and manager, until Elvis's new manager, Colonel Tom Parker, pushed him out. Scotty and Elvis would not perform together again until the classic 1968 "comeback" television special. Scotty never saw Elvis after that. With both Bill Black and Elvis gone, Scotty Moore is the only one left to tell the story of how Elvis and Scotty transformed popular music and how Scotty created the sound that became a prototype for so many rock guitarists to follow. Thoroughly updated, this edition delivers guitarist Scotty Moore's story as never before. Scotty Moore, Nashville, Tennessee, is the sole survivor of the Sun Records sessions of July 1954 during which he, Elvis Presley, and Bill Black, with Sam Phillips at the engineering sound board, blended country and blues into a new art form that would shake up American culture for decades to come. James L. Dickerson, Jackson, Mississippi, is a freelance author and journalist who has published dozens of books.

Public relations is a wide field of practice that encompasses the communicative processes carried out by the organization's internal and external stakeholders. Due to its multidisciplinary nature, it is in touch with many topics and fields, which necessitates viewing the concept of public relations from a wide and sophisticated perspective as well as handling it through different dimensions. The study focuses on public relations topics and incorporates, within this context, 20 fields of practice, each of which has been detailed in a separate chapter. In addition to handling the general status of the mentioned fields in international literature, it makes efforts to present the panorama of Turkey, making evaluations about Turkey in particular.

Since World War II, historians have analysed a phenomenon of "white flight" plaguing the urban areas of the northern United States. One of the most interesting cases of "white flight" occurred in the Chicago neighborhoods of Englewood and Roseland, where seven entire church congregations from one denomination, the Christian Reformed Church, left the city in the 1960s and 1970s and relocated their churches to nearby suburbs. In Shades of White Flight, sociologist Mark T. Mulder investigates the migration of these Chicago church members, revealing how these churches not only failed to inhibit white flight, but actually facilitated the congregations' departure. Using a wealth of both archival and interview data, Mulder sheds light on the forces that shaped these midwestern neighborhoods and shows that, surprisingly, evangelical religion fostered both segregation as well as the decline of urban stability. Indeed, the Roseland and Englewood stories show how religion - often used to foster community and social connectedness - can sometimes help to disintegrate neighborhoods. Mulder describes how the Dutch CRC formed an insular social circle that focused on the local church and Christian school - instead of the local park or square or market - as the center point of the community. Rather than embrace the larger community, the CRC subculture sheltered themselves and their families within these two places. Thus it became relatively easy - when black families moved into the neighborhood - to sell the church and school and relocate in the suburbs. This is especially true because, in these congregations, authority rested at the local church level and in fact they owned the buildings themselves. Revealing how a dominant form of evangelical church polity - congregationalism - functioned within the larger phenomenon of white flight, Shades of White Flight lends new insights into the role of religion and how it can affect social change, not always for the better.

One of the most unusual decisions of the leaders of the French Revolution - and one that had immense practical as well as symbolic impact - was to abandon customarily-accepted ways of calculating date and time to create a Revolutionary calendar. The experiment lasted from 1793 to 1805, and prompted all sorts of questions about the nature of time, ways of measuring it and its relationship to individual, community, communication and creative life. This study traces the course of the Revolutionary Calendar, from its cultural origins to its decline and fall. Tracing the parallel stories of the calendar and the literary genius of its creator, Sylvain Marechal, from the Enlightenment to the Napoleonic era, Sanja Perovic reconsiders the status of the French Revolution as the purported 'origin' of modernity, the modern experience of time, and the relationship between the imagination and political action.

'A fascinating, comprehensive study that forces us to think again about what law is, and why it matters ... For those who want to understand why human society has emerged as it has, this is essential reading' Rana Mitter, author of China's Good War The laws now enforced throughout the world are almost all modelled on systems developed in Europe in the eighteenth and nineteenth centuries. During two hundred years of colonial rule, Europeans exported their laws everywhere they could. But they weren't filling a void: in many places, they displaced traditions that were already ancient when Vasco Da Gama first arrived in India. Where, then, did it all begin? And what has law been and done over the course of human history? In The Rule of Laws, pioneering anthropologist Fernanda Pirie traces the development of the world's great legal systems - Chinese, Indian, Roman, and Islamic - and the innumerable smaller traditions they inspired.

Essays by Ian Andrews, Roland Boer, Heidi Brush, Angela Hubler, Cynthia Anne McLeod, Carl F. Miller, Jana Mikota, Mervyn Nicholson, Jane Rosen, Sharon Smulders, Justyna Deszcz-Tryhubczak, Anastasia Ulanowicz, Naomi Wood A significant body of scholarship examines the production of children's literature by women and minorities, as well as the representation of gender, race, and sexuality. But few scholars have previously analyzed class in children's literature. This definitive collection remedies that by defining and exemplifying historical materialist approaches to children's literature. The introduction of Little Red Readings lucidly discusses characteristics of historical materialism, the methodological approach to the study of literature and culture first outlined by Karl Marx, defining key concepts and analyzing factors that have marginalized this tradition, particularly in the United States. The thirteen essays here analyze a wide range of texts--from children's bibles to Mary Poppins to The Hunger Games--using concepts in historical materialism from class struggle to the commodity. Essayists apply the work of Marxist theorists such as Ernst Bloch and Fredric Jameson to children's literature and film. Others examine the work of leftist writers in India, Germany, England, and the United States. The authors argue that historical materialist methodology is critical to the study of children's literature, as children often suffer most from inequality. Some of the critics in this collection reveal the ways that literature for children often functions to naturalize capitalist economic and social relations. Other critics champion literature that reveals to readers the construction of social reality and point to texts that enable an understanding of the role ordinary people might play in creating a more just future. The collection adds substantially to our understanding of the political and class character of children's literature worldwide, and contributes to the development of a radical history of children's literature.

This book weaves together research on cultural change in Central Europe and Eurasia: notably, Bosnia and Herzegovina, Kazakhstan, Latvia, Poland, Russia, and Ukraine. Examining massive cultural shifts in erstwhile state-communist nations since 1989, the authors analyze how the region is moving in both freeing and restrictive directions. They map out these directions in such arenas as LGBTQ protest cultures, new Russian fiction, Polish memory of Jewish heritage, ethnic nationalisms, revival of minority cultures, and loss of state support for museums. From a comparison of gender constructions in 30 national constitutions to an exploration of a cross-national artistic collaborative, this insightful book illuminates how the region's denizens are swimming in changing tides of transnational cultures, resulting in new hybridities and innovations. Arguing for a decolonization of the region and for the significance of culture, the book appeals to a wide, interdisciplinary readership interested in cultural change, post-communist societies, and globalization.