In the early 1930's, the International Ladies' Garment Workers' Union (ILGWU) organized large numbers of Black and Hispanic workers through a broadly conceived program of education, culture, and community involvement. The ILGWU admitted these new members, the overwhelming majority of whom were women, into racially integrated local unions and created structures to celebrate ethnic differences. All Together Different revolves around this phenomenon of interracial union building and worker education during the Great Depression. Investigating why immigrant Jewish unionists in the International Ladies' Garment Workers' Union (ILGWU) appealed to an international force of coworkers, Katz traces their ideology of a working-class based cultural pluralism, which Daniel Katz newly terms "mutual culturalism," back to the revolutionary experiences of Russian Jewish women. These militant women and their male allies constructed an ethnic identity derived from Yiddish socialist tenets based on the principle of autonomous national cultures in the late nineteenth century Russian Empire. Built on original scholarship and bolstered by exhaustive research, All Together Different offers a fresh perspective on the nature of ethnic identity and working-class consciousness and contributes to current debates about the origins of multiculturalism.

In the early 1930's, the International Ladies' Garment Workers' Union (ILGWU) organized large numbers of Black and Hispanic workers through a broadly conceived program of education, culture, and community involvement. The ILGWU admitted these new members, the overwhelming majority of whom were women, into racially integrated local unions and created structures to celebrate ethnic differences. All Together Different revolves around this phenomenon of interracial union building and worker education during the Great Depression. Investigating why immigrant Jewish unionists in the International Ladies' Garment Workers' Union (ILGWU) appealed to an international force of coworkers, Katz traces their ideology of a working-class based cultural pluralism, which Daniel Katz newly terms "mutual culturalism," back to the revolutionary experiences of Russian Jewish women. These militant women and their male allies constructed an ethnic identity derived from Yiddish socialist tenets based on the principle of autonomous national cultures in the late nineteenth century Russian Empire. Built on original scholarship and bolstered by exhaustive research, All Together Different offers a fresh perspective on the nature of ethnic identity and working-class consciousness and contributes to current debates about the origins of multiculturalism.

Indispensable volume of previously unavailable poetry by an American master Be Brave to Things shows legendary San Francisco Renaissance poet Jack Spicer at the top of his form, with his blistering intelligence, painful double-edged wit, and devastating will to truth everywhere on display. Much of the poetry here has never before been published, but the volume also includes much out-of-print or hard to find work, as well as Spicer's three major plays, which have never been collected. Here one finds major unfinished projects, early and alternate versions of well-known Spicer poems, shimmering stand-alone lyrics, and intricate extended "books" and serial poems. This new cache of Spicer material will be indispensable for any student of 20th century American poetry, proffering a trove of primary material for Spicer's growing readership to savor and enjoy. "When your body brushed against me. . ." When your body brushed against me I remembered How we used to catch butterflies in our hands Down in the garden. We were such patient children Following them from flower to flower Waiting and hoping. With our cupped hands we used to catch them And they answered us with a soft tickle For they never stopped flying. In bed I remembered them and cried for The touch of their fast wings, the impatience Of their bright colors I am too old for such games But even tonight, now your body has reminded me of butterflies I lie here awake, pretending.

This study takes as its point of departure an essential premise: that the widespread phenomenon of expatriation in American modernism is less a flight from the homeland than a dialectical return to it, but one which renders uncanny all tropes of familiarity and immediacy which 'fatherlands' and 'mother tongues' are traditionally seen as providing. In this framework, similarly totalising notions of cultural authenticity are seen to govern both exoticist mystification and 'nativist' obsessions with the purity of the 'mother tongue.' At the same time, cosmopolitanism, translation, and multilingualism become often eroticised tropes of violation of this model, and in consequence, simultaneously courted and abhorred, in a movement which, if crystallised in expatriate modernism, continued to make its presence felt beyond.
Beginning with the late work of Henry James, this book goes on to examine at length Ezra Pound and Gertrude Stein, to conclude with the uncanny regionalism of mid-century San Francisco Renaissance poet Jack Spicer, and the deterritorialised aesthetic of Spicer's peer, John Ashbery. Through an emphasis on modernism as a space of generalized interference, the practice and trope of translation emerges as central to all of the writers concerned, while the book remains in constant dialogue with key recent works on transnationalism, transatlanticism, and modernism.

This is the first full-length critical monograph on Jack Spicer's work. In the years since his death from alcohol poisoning, San Francisco Renaissance poet Jack Spicer (1925-1965) has gradually come to be recognized as one of most intriguing, demanding, and rewarding of the so-called 'New American Poetry' poets who were first published in Donald Allen's historic anthology of that name. Informed by much archival material only recently made available, The Poetry of Jack Spicer, examines Spicer's post-Poundian translation projects; his crucial theories of the 'serial poem' and inspiration as 'dictation'; his contrarian take on queer poetics; his insistently uncanny regionalism; and his elaboration of an epistolary poetics of interpellation and address.

Additional Author Lucretia G. Floor. Edited By Julia Braun Kessler. Foreword By Rensis Likert.

Additional Author Lucretia G. Floor. Edited By Julia Braun Kessler. Foreword By Rensis Likert.

Studienarbeit aus dem Jahr 2002 im Fachbereich Psychologie - Beratung, Therapie, einseitig bedruckt, Note: 1,0, Ludwig-Maximilians-Universitat Munchen (Psychologie & Padagogik), Veranstaltung: Kernfachseminar, 24 Quellen im Literaturverzeichnis, Sprache: Deutsch, Abstract: Was tun gluckliche Paare, um sich in ihrer Beziehung als wichtig und wirksam zu erfahren? Gibt es einen verborgenen Bauplan fur ein in Liebe gelebtes Leben? In der vorliegenden Hausarbeit wird zunachst die Entstehung von Partnerschaften anhand von Partnerwahl- und Attraktionstheorien behandelt. Weiter werden die verschiedenen Modelle zur Paarbeziehung besonders unter dem Aspekt der Paarkommunikation erortert, um schliesslich zur Frage zu gelangen, welche Aufgaben gluckliche Paare bewaltigen und welche Kompetenzen sie entwickeln. Was sind die Kennzeichen gelingender Partnerschaften

This study takes as its point of departure an essential premise: that the widespread phenomenon of expatriation in American modernism is less a flight from the homeland than a dialectical return to it, but one which renders uncanny all tropes of familiarity and immediacy which 'fatherlands' and 'mother tongues' are traditionally seen as providing. In this framework, similarly totalizing notions of cultural authenticity are seen to govern both exoticist mystification and 'nativist' obsessions with the purity of the 'mother tongue.' At the same time, cosmopolitanism, translation, and multilingualism become often eroticized tropes of violation of this model, and in consequence, simultaneously courted and abhorred, in a movement which, if crystallized in expatriate modernism, continued to make its presence felt beyond.

Beginning with the late work of Henry James, this book goes on to examine at length Ezra Pound and Gertrude Stein, to conclude with the uncanny regionalism of mid-century San Francisco Renaissance poet Jack Spicer, and the deterritorialized aesthetic of Spicer's peer, John Ashbery. Through an emphasis on modernism as a space of generalized interference, the practice and trope of translation emerges as central to all of the writers concerned, while the book remains in constant dialogue with key recent works on transnationalism, transatlanticism, and modernism.