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From the mid-1960s to the early 1970s, revolutions in theory, politics, and cultural experimentation swept around the world. These changes had as great a transformative impact on the right as on the left. A touchstone for activists, artists, and theorists of all stripes, the year 1968 has taken on new significance for the present moment, which bears certain uncanny resemblances to that time. The Long 1968 explores the wide-ranging impact of the year and its aftermath in politics, theory, the arts, and international relations and its uses today."

Museums display much more than artifacts; Museum Culture makes us on a tour through the complex of ideas, values and symbols that pervade and shape the practice of exhibiting today. Bringing together a broad range of perspectives from history, art history, critical theory and sociology, the contributors to this new collection argue that museums have become a central institution and metaphor in contemporary society.Discussing exhibition histories and practice in Western Europe, the former Soviet Union, Israel and the United States, the authors explore the ways in which museums assign meaning to art through various kinds of exhibitions and display strategies, examining the political implications of these strategies and the forms of knowledge they invoke and construct. The collection also discusses alternative exhibition forms, the involvement of some museums with the more spectacular practices of mass media culture, and looks at how museums construct their public.

In 1979, provoked by the Three Mile Island nuclear accident, governors of states hosting disposal facilities for low-level radioactive waste (LLRW) refused to accept additional shipments. The resulting shortage of disposal sites for wastes spurred Congress to devolve responsibility for establishing new, geographically diffuse LLRW disposal sites to states and regional compacts, with siting authorities often employing socio-economic and political data to target communities that would give little resistance to their plans. The communities, however, were far from compliant, organizing nearly 1000 opposition events that ended up blocking the implementation of any new disposal sites. Sherman provides comprehensive coverage of this opposition, testing hypotheses regarding movement mobilization and opposition strategy by analyzing the frequency and disruptive qualities of activism. In the process, he bridges applied policy questions about hazardous waste disposal with broader questions about the dynamics of social movements and the intergovernmental politics of policy implementation. The issues raised in this book are sure to be renewed as interest grows in nuclear power and the disposal of the resulting waste remains uncertain.

In 1979, provoked by the Three Mile Island nuclear accident, governors of states hosting disposal facilities for low-level radioactive waste (LLRW) refused to accept additional shipments. The resulting shortage of disposal sites for wastes spurred Congress to devolve responsibility for establishing new, geographically diffuse LLRW disposal sites to states and regional compacts, with siting authorities often employing socio-economic and political data to target communities that would give little resistance to their plans. The communities, however, were far from compliant, organizing nearly 1000 opposition events that ended up blocking the implementation of any new disposal sites. Sherman provides comprehensive coverage of this opposition, testing hypotheses regarding movement mobilization and opposition strategy by analyzing the frequency and disruptive qualities of activism. In the process, he bridges applied policy questions about hazardous waste disposal with broader questions about the dynamics of social movements and the intergovernmental politics of policy implementation. The issues raised in this book are sure to be renewed as interest grows in nuclear power and the disposal of the resulting waste remains uncertain.

Museums, modern concepts of culture, and ideas about difference arose together and are inextricably entwined. Relationships of difference notably, of gender, ethnicity, nationality, and race have become equally important concerns of scholarship in humanities and contemporary museum practice. Museums and Difference offers the perspectives of scholars and museum professionals in tandem, using the concept of difference to reexamine how museums construct themselves, their collections, and their publics. Essays explore a wide range of examples from around the world and from the 19th century to the present, including case studies of special exhibitions as well as broad surveys of institutions in Europe, the United States, and Japan."

This issue presents new directions in the study of the civil unrest in France during May 1968 on its fiftieth anniversary. Authors from France and the United States emphasize the nature and experience of the political upheaval in May 1968, the long-term cultural impacts of events in Paris, and the ways in which these events figures into a global context. Contributors offer new ways of understanding and interpreting the discord by focusing on the emotional and cultural resonance of the events of May 1968 in activism and popular culture. Other essays explore the relation of student activism in former French colonies to events in France, place the events of May 1968 in a global context by considering diplomatic and radical networks between Europe and the United States, and examine the cultural relationship between France and Germany. Contributors: Ludivine Bantigny, Francoise Blum, Tony Come, Boris Gobille, Bethany Keenan, Salar Mohandesi, Donald Reid, Sandrine Sanos, Daniel Sherman

Museums display much more than artifacts; Museum Culture makes us on a tour through the complex of ideas, values and symbols that pervade and shape the practice of exhibiting today. Bringing together a broad range of perspectives from history, art history, critical theory and sociology, the contributors to this new collection argue that museums have become a central institution and metaphor in contemporary society. Discussing exhibition histories and practice in Western Europe, the former Soviet Union, Israel and the United States, the authors explore the ways in which museums assign meaning to art through various kinds of exhibitions and display strategies, examining the political implications of these strategies and the forms of knowledge they invoke and construct. The collection also discusses alternative exhibition forms, the involvement of some museums with the more spectacular practices of mass media culture, and looks at how museums construct their public.

One of the bloodiest conflicts in human history, World War I devastated France, leaving behind battlefields littered with the remains of the dead. Daniel Sherman takes a close look at the human impact of this Great War by examining the ways in which the French remembered their veterans and war dead after the armistice. Arguing that memory is more than just a record of experience, Sherman's cultural history offers a radically new perspective on how commemoration of WWI helped to shape postwar French society and politics.
Sherman shows how a wartime visual culture saturated with images of ordinary foot soldiers, together with contemporary novels, memoirs, and tourist literature, promoted a distinctive notion of combat experience. The contrast between battlefield and home front, soldier and civilian was the basis for memory and collective gratitude. Postwar commemoration, however, also grew directly out of the long and agonized search for the remains of hundreds of thousands of missing soldiers, and the sometimes contentious debates over where to bury them. For this reason, the local monument, with its inscribed list of names and its functional resemblance to tombstones, emerged as the focal point of commemorative practice. Sherman traces every step in the process of monument building as he analyzes commemoration's competing goals--to pay tribute to the dead, to console the bereaved, and to incorporate mourners' individual memories into a larger political discourse.
Extensively illustrated, Sherman's study offers a visual record of a remarkable moment in the history of public art. It is at once a moving account of a culture haunted by war and a sophisticated analysis of thepolitical stakes of memory in the twentieth century.
Winner of the 2000 J. Russell Major Prize of the American Historical Association

From the mid-1960s to the early 1970s, revolutions in theory, politics, and cultural experimentation swept around the world. These changes had as great a transformative impact on the right as on the left. A touchstone for activists, artists, and theorists of all stripes, the year 1968 has taken on new significance for the present moment, which bears certain uncanny resemblances to that time. The Long 1968 explores the wide-ranging impact of the year and its aftermath in politics, theory, the arts, and international relations and its uses today."