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Applies new understandings of realism as a political aesthetic to
Progressive Era Literature, arguing for its radicalism politically
and culturally Offers an original interpretation of the
contribution of American anthropology and social science to the
development of literature and culture in the 20th century New
readings of canonical and non-canonical texts of the period 1880
1930, placing Edith Wharton, WD Howells, Stephen Crane Jose Mart
and others alongside works by other working-class reformers,
journalists, political radicals and anthropologists working in the
Progressive Era U.S.A. New approach to realism that explores it as
a form of modernism in the arts Develops a theory of the
intersections of class and culture in U.S. literature that
contributes to ongoing discussions in the method wars This book is
an account of how American realism in the Progressive Era
contributed to debates about modernity. It uses the anthropological
theories of Franz Boas, and Jacques Ranciere's work on aesthetics
and politics to develop a mode of reading class and culture that
challenges conventional interpretations that pit the two modes of
representation in opposition. It paints a picture of the
late-nineteenth century, prior to modernism, as an aesthetically
exciting, original, and politically radical stage in American life
to reinvigorate realism as a radical aesthetic practice, with
implications for understandings of American literature both in the
past and into the future.
This book is an outgrowth of a Research Symposium on the Modular
Representation Theory of Finite Groups, held at the University of
Virginia in May 1998. The main themes of this symposium were
representations of groups of Lie type in nondefining (or cross)
characteristic, and recent developments in block theory. Series of
lectures were given by M. Geck, A. Kleshchev and R. Rouquier, and
their brief was to present material at the leading edge of research
but accessible to graduate students working in the field. The first
three articles are substantial expansions of their lectures, and
each provides a complete account of a significant area of the
subject together with an extensive bibliography. The remaining
articles are based on some of the other lectures given at the
symposium; some again are full surveys of the topic covered while
others are short, but complete, research articles. The opportunity
has been taken to produce a book of enduring value so that this is
not a conference proceedings in the conventional sense. Material
has been updated so that this book, through its own content and in
its extensive bibliographies, will serve as an invaluable resource
for all those working in the area, whether established researchers
or graduate students who wish to gain a general knowledge of the
subject starting from a single source.
It looked for a while as if Michael Collins would spend his life
breaking concrete and throwing rocks for the Vittorio Scalese
Construction Company. He liked the work and he liked the pay. But a
chance remark by one of his coworkers made him realize that he
wanted to involve himself in something bigger, something more
meaningful than crushing rocks and drinking beer.
In his acclaimed first memoir, "Hot Lights, Cold Steel"," "
Collins wrote passionately about his four-year surgical residency
at the prestigious Mayo Clinic. "Blue Collar, Blue Scrubs "turns
back the clock, taking readers from his days as a construction
worker to his entry into medical school, expertly infusing his
journey to become a doctor with humanity, compassion, and humor.
From the first time he delivers a baby to being surrounded by death
and pain on a daily basis, Collins compellingly writes about how
medicine makes him confront, in a very deep and personal way, the
nature of God and suffering--and how delicate life can be.
Startling changes are taking place in Western Europe; this study
argues that the U.S. strategic response should be no less dramatic.
Michael J. Collins describes a creation of a new type of political
organization--a new way for nations to integrate themselves
politically in Western Europe--and contends that this new model is
dynamic enough to rival older historical paradigms. Western
Europeans are making massive changes in their international
arrangements, with each other and the outside world, to permit a
natural evolution of national cultures along with the development
of an intra-European culture. This changing political and economic
situation in Europe has already affected the way the United States
looks at the world diplomatically, and it may soon alter the
general thrust of U.S. military strategy with regard to NATO.
Europeans and Americans alike are questioning how much longer a
united Europe can expect American troops to defend them against the
Soviet Union, now that the Cold War era has ended. U.S. military
strategy must change because the world is changing, and the
increasing power of Western Europe is a major factor in the
equation.
Collins concludes that the Common Market Countries can no longer
be understood as a simple collection of nation-states joined in a
cartel or economic alliance, calling for a change in U.S. foreign
policy and strategy. Chapter 1 describes the developments in
Western Europe since World War II. Chapters 2 and 3 discuss how the
new Western European alliance interacts along both military and
political lines. Chapter Four describes the character of Western
Europe and the replacement of the nation-state concept with a new
flexibility in dealing with each other and the surrender of
sovereignty by the constituent states in limited but decisive
areas. The final two chapters suggest possible policy and strategic
responses by the United States. A chapter on strategic implications
is bound to be controversial, particularly to traditional military
strategists. These thought-provoking analyses and policy
implementations will interest scholars and students of European
History and Politics, Comparative Politics, United States Foreign
Policy and Defense, as well as government policy makers and
decision makers in international business.
This book argues that to truly understand the short story form, one
mustlook at how it was shaped by the lively, chaotic, and deeply
politicizedworld of 19th-century transatlantic theater and
performance culture. Byresurrecting long-neglected theatrical
influences on representative worksof short fiction, Michael J.
Collins demonstrates that it was the unrulyculture of the stage
that first energized this most significant of Americanart forms.
Whether it was Washington Irving's first job as theatercritic,
Melville's politically controversial love of British drama,
Alcott'sthwarted dreams of stage stardom, Poe and Lippard's
dramatizations ofpeculiarly bloodthirsty fraternity hazings, or
Hawthorne's fascination withautomata, theater was a key imaginative
site for the major pioneers of theAmerican short story. The book
shows how perspectives from theater studies, anthropology,and
performance studies can enrich readings of the short story
form.Moving beyond arbitrary distinctions between performance and
text,it suggests that this literature had a social life and was
engaged withquestions of circumatlantic and transnational culture.
It suggests thatthe short story itself was never conceived as a
nationalist literary form,but worked by mobilizing cosmopolitan
connections and meanings. Inso doing, the book resurrects a
neglected history of American Federalismand its connections to
British literary forms.
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