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As architects and designers, we struggle to reconcile ever
increasing environmental, humanitarian, and technological demands
placed on our projects. Our new geological era, the Anthropocene,
marks humans as the largest environmental force on the planet and
suggests that conventional anthropocentric approaches to design
must accommodate a more complex understanding of the
interrelationship between architecture and environment Here, for
the first time, editor Ariane Lourie Harrison collects the essays
of architects, theorists, and sustainable designers that together
provide a framework for a posthuman understanding of the design
environment. An introductory essay defines the key terms, concepts,
and precedents for a posthuman approach to architecture, and nine
fully illustrated case studies of buildings from around the globe
demonstrate how issues raised in posthuman theory provide rich
terrain for contemporary architecture, making theory concrete. By
assembling a range of voices across different fields, from urban
geography to critical theory to design practitioners, this
anthology offers a resource for design professionals, educators,
and students seeking to grapple the ecological mandate of our
current period. Case studies include work by Arakawa and Gins,
Arons en Gelauff, Casagrande, The Living, Minifie van Schaik, R
& Sie (n), SCAPE, Studio Gang, and xDesign. Essayists include
Gilles Clement, Matthew Gandy, Francesco Gonzales de Canales,
Elizabeth Grosz, Simon Guy, Seth Harrison, N. Katherine Hayles,
Ursula Heise, Catherine Ingraham, Bruno Latour, William J.
Mitchell, Matteo Pasquinelli, Erik Swyngedouw, Sarah Whatmore,
Jennifer Wolch, Cary Wolfe, and Albena Yaneva
As architects and designers, we struggle to reconcile ever
increasing environmental, humanitarian, and technological demands
placed on our projects. Our new geological era, the Anthropocene,
marks humans as the largest environmental force on the planet and
suggests that conventional anthropocentric approaches to design
must accommodate a more complex understanding of the
interrelationship between architecture and environment Here, for
the first time, editor Ariane Lourie Harrison collects the essays
of architects, theorists, and sustainable designers that together
provide a framework for a posthuman understanding of the design
environment. An introductory essay defines the key terms, concepts,
and precedents for a posthuman approach to architecture, and nine
fully illustrated case studies of buildings from around the globe
demonstrate how issues raised in posthuman theory provide rich
terrain for contemporary architecture, making theory concrete. By
assembling a range of voices across different fields, from urban
geography to critical theory to design practitioners, this
anthology offers a resource for design professionals, educators,
and students seeking to grapple the ecological mandate of our
current period. Case studies include work by Arakawa and Gins,
Arons en Gelauff, Casagrande, The Living, Minifie van Schaik, R
& Sie (n), SCAPE, Studio Gang, and xDesign. Essayists include
Gilles Clement, Matthew Gandy, Francesco Gonzales de Canales,
Elizabeth Grosz, Simon Guy, Seth Harrison, N. Katherine Hayles,
Ursula Heise, Catherine Ingraham, Bruno Latour, William J.
Mitchell, Matteo Pasquinelli, Erik Swyngedouw, Sarah Whatmore,
Jennifer Wolch, Cary Wolfe, and Albena Yaneva
A complete course in Tunisian crochet, from beginner to advanced
stitches, plus 20 beautiful patterns for accessories. Tunisian
crochet is often referred to and thought of as “the blanket
stitch,” but the designs in this book showcase the range of
stitches and fabrics you can create with Tunisian. No blankets
here! Beautiful, colorful, lacy shawls, scarves, hats and more
really bring out the possibilities of Tunisian. Photo tutorials are
included for all Tunisian stitches, from beginning to advanced, so
this book is for anyone who wants to learn Tunisian or those who
are ready to go beyond the basics. Includes instructions for
left-handed crocheters as well as right-handed.
Originally published in 1900 and set in fin-de-siecle California,
Heirs of Yesterday by Emma Wolf (1865-1932) uses a love story to
explore topics such as familial loyalty, the conflict between
American individualism and ethno-religious heritage, and
anti-Semitism in the United States. The introduction, co-authored
by Barbara Cantalupo and Lori Harrison-Kahan, includes biographical
background on Wolf based on new research and explores key literary,
historical, and religious contexts for Heirs of Yesterday. It
incorporates background on the rise of Reform Judaism and the late
nineteenth-century Jewish community in San Francisco, while also
considering Wolf's relationship to the broader literary movement of
realism and to other writers of her time. As Cantalupo and
Harrison-Kahan demonstrate, the publication history and reception
of Heirs of Yesterday illuminate competing notions of Jewish
American identity at the turn of the twentieth century. Compared to
the familiar ghetto tales penned by Yiddish-speaking, Eastern
European immigrant writers, Heirs of Yesterday offers a very
different narrative about turn-of-the-twentieth-century Jewish life
in the United States. The novel's central characters, physician
Philip May and pianist Jean Willard, are not striving immigrants in
the process of learning English and becoming American. Instead,
they are native-born citizens who live in the middle-class
community of San Francisco's Pacific Heights, where they interact
socially and professionally with their gentile peers. Tailored for
students, scholars, and readers of women's studies, Jewish studies,
and American literature and history, this new edition of Heirs of
Yesterday highlights the art, historical value, and controversial
nature of Wolf's work.
During the first half of the twentieth century, American Jews
demonstrated a commitment to racial justice as well as an
attraction to African American culture. Until now, the debate about
whether such black-Jewish encounters thwarted or enabled Jews'
claims to white privilege has focused on men and representations of
masculinity while ignoring questions of women and femininity. The
White Negress investigates literary and cultural texts by Jewish
and African American women, opening new avenues of inquiry that
yield more complex stories about Jewishness, African American
identity, and the meanings of whiteness. Lori Harrison-Kahan
examines writings by Edna Ferber, Fannie Hurst, and Zora Neale
Hurston, as well as the blackface performances of vaudevillian
Sophie Tucker and controversies over the musical and film
adaptations of Show Boat and Imitation of Life. Moving between
literature and popular culture, she illuminates how the dynamics of
interethnic exchange have at once produced and undermined the
binary of black and white.
Originally published in 1900 and set in fin-de-siecle California,
Heirs of Yesterday by Emma Wolf (1865-1932) uses a love story to
explore topics such as familial loyalty, the conflict between
American individualism and ethno-religious heritage, and
anti-Semitism in the United States. The introduction, co-authored
by Barbara Cantalupo and Lori Harrison-Kahan, includes biographical
background on Wolf based on new research and explores key literary,
historical, and religious contexts for Heirs of Yesterday. It
incorporates background on the rise of Reform Judaism and the late
nineteenth-century Jewish community in San Francisco, while also
considering Wolf's relationship to the broader literary movement of
realism and to other writers of her time. As Cantalupo and
Harrison-Kahan demonstrate, the publication history and reception
of Heirs of Yesterday illuminate competing notions of Jewish
American identity at the turn of the twentieth century. Compared to
the familiar ghetto tales penned by Yiddish-speaking, Eastern
European immigrant writers, Heirs of Yesterday offers a very
different narrative about turn-of-the-twentieth-century Jewish life
in the United States. The novel's central characters, physician
Philip May and pianist Jean Willard, are not striving immigrants in
the process of learning English and becoming American. Instead,
they are native-born citizens who live in the middle-class
community of San Francisco's Pacific Heights, where they interact
socially and professionally with their gentile peers. Tailored for
students, scholars, and readers of women's studies, Jewish studies,
and American literature and history, this new edition of Heirs of
Yesterday highlights the art, historical value, and controversial
nature of Wolf's work.
The Superwoman and Other Writings by Miriam Michelson is the first
collection of newspaper articles and fiction written by Miriam
Michelson (1870-1942), best-selling novelist, revolutionary
journalist, and early feminist activist. Editor Lori Harrison-Kahan
introduces readers to a writer who broke gender barriers in
journalism, covering crime and politics for San Francisco's top
dailies throughout the 1890s, an era that consigned most female
reporters to writing about fashion and society events. In the
book's foreword, Joan Michelson-Miriam Michelson's great-great
niece, herself a reporter and advocate for women's equality and
advancement-explains that in these trying political times, we need
the reminder of how a ""girl reporter"" leveraged her fame and
notoriety to keep the suffrage movement on the front page of the
news. In her introduction, Harrison-Kahan draws on a variety of
archival sources to tell the remarkable story of a brazen, single
woman who grew up as the daughter of Jewish immigrants in a Nevada
mining town during the Gold Rush. The Superwoman and Other Writings
by Miriam Michelson offers a cross-section of Michelson's eclectic
career as a reporter by showcasing a variety of topics she covered,
including the treatment of Native Americans, profiles of suffrage
leaders such as Susan B. Anthony and Charlotte Perkins Gilman, and
police corruption. The book also traces Michelson's evolution from
reporter to fiction writer, reprinting stories such as ""In the
Bishop's Carriage"" (1904), a scandalous picaresque about a female
pickpocket; excerpts from the Saturday Evening Post series, ""A
Yellow Journalist"" (1905), based on Michelson's own experiences as
a reporter in the era of Hearst and Pulitzer; and the title
novella, The Superwoman, a trailblazing work of feminist utopian
fiction that has been unavailable since its publication in The
Smart Set in 1912. Readers will see how Michelson's newspaper work
fueled her imagination as a fiction writer and how she adapted
narrative techniques from fiction to create a body of journalism
that informs, provokes, and entertains, even a century after it was
written.
The Superwoman and Other Writings by Miriam Michelson is the first
collection of newspaper articles and fiction written by Miriam
Michelson (1870-1942), best-selling novelist, revolutionary
journalist, and early feminist activist. Editor Lori Harrison-Kahan
introduces readers to a writer who broke gender barriers in
journalism, covering crime and politics for San Francisco's top
dailies throughout the 1890s, an era that consigned most female
reporters to writing about fashion and society events. In the
book's foreword, Joan Michelson-Miriam Michelson's great-great
niece, herself a reporter and advocate for women's equality and
advancement-explains that in these trying political times, we need
the reminder of how a ""girl reporter"" leveraged her fame and
notoriety to keep the suffrage movement on the front page of the
news. In her introduction, Harrison-Kahan draws on a variety of
archival sources to tell the remarkable story of a brazen, single
woman who grew up as the daughter of Jewish immigrants in a Nevada
mining town during the Gold Rush. The Superwoman and Other Writings
by Miriam Michelson offers a cross-section of Michelson's eclectic
career as a reporter by showcasing a variety of topics she covered,
including the treatment of Native Americans, profiles of suffrage
leaders such as Susan B. Anthony and Charlotte Perkins Gilman, and
police corruption. The book also traces Michelson's evolution from
reporter to fiction writer, reprinting stories such as ""In the
Bishop's Carriage"" (1904), a scandalous picaresque about a female
pickpocket; excerpts from the Saturday Evening Post series, ""A
Yellow Journalist"" (1905), based on Michelson's own experiences as
a reporter in the era of Hearst and Pulitzer; and the title
novella, The Superwoman, a trailblazing work of feminist utopian
fiction that has been unavailable since its publication in The
Smart Set in 1912. Readers will see how Michelson's newspaper work
fueled her imagination as a fiction writer and how she adapted
narrative techniques from fiction to create a body of journalism
that informs, provokes, and entertains, even a century after it was
written.
During the first half of the twentieth century, American Jews
demonstrated a commitment to racial justice as well as an
attraction to African American culture. Until now, the debate about
whether such black-Jewish encounters thwarted or enabled Jews'
claims to white privilege has focused on men and representations of
masculinity while ignoring questions of women and femininity. The
White Negress investigates literary and cultural texts by Jewish
and African American women, opening new avenues of inquiry that
yield more complex stories about Jewishness, African American
identity, and the meanings of whiteness. Lori Harrison-Kahan
examines writings by Edna Ferber, Fannie Hurst, and Zora Neale
Hurston, as well as the blackface performances of vaudevillian
Sophie Tucker and controversies over the musical and film
adaptations of Show Boat and Imitation of Life. Moving between
literature and popular culture, she illuminates how the dynamics of
interethnic exchange have at once produced and undermined the
binary of black and white.
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