Böcker utgivna av Wayne State University Press

A groundbreaking scholarly anthology devoted to examining canonical and lesser-known films of the blaxploitation movement to demonstrate the richness, depth, and complexity of this intriguing period in motion picture history.

Siamanto was one of the 250 Armenian intellectuals and leaders executed by the Turkish government at the onset of the century's first genocide. This collection of poetry depicts the atrocities committed by the Ottoman Turkish government against its Armenian population during the early-1900s.

Literature has always played a central role in creating and disseminating culturally specific notions of citizenship, nationhood, and belonging. In Reconfiguring Citizenship and National Identity in the North American Literary Imagination, author Kathy-Ann Tan investigates metaphors, configurations, parameters, and articulations of U.S. and Canadian citizenship that are enacted, renegotiated, and revised in modern literary texts, particularly during periods of emergence and crisis. Tan brings together for the first time a selection of canonical and lesser-known U.S. and Canadian writings for critical consideration. She begins by exploring literary depiction of "e;willful"e; or "e;wayward"e; citizens and those with precarious bodies that are viewed as threatening, undesirable, unacceptable-including refugees and asylum seekers, undocumented migrants, deportees, and stateless people. She also considers the rights to citizenship and political membership claimed by queer bodies and an examination of "e;new"e; and alternative forms of citizenship, such as denizenship, urban citizenship, diasporic citizenship, and Indigenous citizenship. With case studies based on works by a diverse collection of authors-including Nathaniel Hawthorne, Djuna Barnes, Etel Adnan, Sarah Schulman, Walt Whitman, Gail Scott, and Philip Roth-Tan uncovers alternative forms of collectivity, community, and nation across a broad range of perspectives. In line with recent cross-disciplinary explorations in the field, Reconfiguring Citizenship and National Identity in the North American Literary Imagination shows citizenship as less of a fixed or static legal entity and more as a set of symbolic and cultural practices. Scholars of literary studies, cultural studies, and citizenship studies will be grateful for Tan's illuminating study.

The Dick Van Dyke Show (CBS 1961-66) was a uniquely self-reflexive sitcom that drew on vaudevillian tropes at a time when vaudeville-based comedy variety was disappearing from television. At the same time, it reflected the liberal politics of the Kennedy era and gave equal time to home and work as it ushered in a new image of the sitcom family. In The Dick Van Dyke Show, author Joanne Morreale analyzes the series' innovative form and content that altered the terrain of the television sitcom. Morreale begins by finding the roots of The Dick Van Dyke Show in the vaudeville-based comedy variety show and the "e;showbiz"e; sitcom, even as it brought notable updates to the form. She also considers how the series reflects the social context of Kennedy's New Frontier and its impact on the television industry, as The Dick Van Dyke Show responded to criticisms of television as mass entertainment. She goes on to examine the series as an early example of quality television that also pointed to the complex narrative of today, examining the show's progressive representations of race, ethnicity, and gender that influenced the content of later sitcoms. Morreale concludes by considering The Dick Van Dyke Show's afterlife, suggesting that the various reappearances of the characters and the show itself demonstrates television's "e;transseriality."e; Fans of The Dick Van Dyke Show and readers interested in American television and cultural history will appreciate this insightful reading of the series.

Although the iconic television series Father Knows Best (CBS 1954-55; NBC 1955-58; CBS 1958-60) has enjoyed a long history in rerun syndication and an enduring fan base, it is often remembered as cultural shorthand for 1950s-era conformism and authoritarianism. In this study of Father Knows Best, author Mary R. Desjardins examines the program, its popularity, and its critical position within historical, industrial, and generic contexts to challenge oversimplified assumptions about the show's use of comedy and melodrama in exploring the place of family in mid-twentieth-century American society. Desjardins begins by looking at Father Knows Best within media and production contexts, including its origin on radio, its place in the history of Screen Gems telefilm production, and its roots in the backgrounds and creative philosophies of co-producer Eugene Rodney and star-producer Robert Young. She goes on to examine the social contexts for the creation and reception of the series, especially in the era's emphasis on family togetherness, shared parenting by both father and mother, and generational stages of the life cycle. Against this background, Desjardins also discusses several Father Knows Best episodes in-depth to consider their treatment of conflicts over appropriate gender roles for women. She concludes by exploring how the series' cast participated in reevaluations of the Anderson family's meaning in relation to "e;real families"e; of the fifties, through television specials, talk show appearances, magazine and book interviews, and documentaries. Blending melodrama and comedy, naturalistic acting, and stylized cinematic visuals, Father Knows Best dramatized ideological tensions in the most typical situations facing the American family. Scholars of mid-century American popular culture and film history as well as fans of the show will appreciate Desjardin's measured analysis.

Examines how psychological and physical suffering, as portrayed on screen and experienced in personal lives, has affected the images, performances, and fortunes of stars from the 1940s to present.

The meaning of citizenship and the way that it is expressed by an individual varies with age, develops over time, and is often learned by interacting with members of other generations. In Generations, Richard Marback presents contributions that explore this temporal dimension of membership in political communities through a variety of rich disciplinary perspectives.

The story of one of America's first families of photography, documenting the history of the Goodridge studio for three-quarters of a century. It weaves photographic and regional history with the narrative of a family whose lives paralleled the social and political happenings of the country.

Vladimir Jabotinsky's famous autobiography, published in English for the first time.

The Jews of Hungary is the first comprehensive history in any language of the unique Jewish community that has lived in the Carpathian Basin for eighteen centuries, from Roman times to the present. Noted historian and anthropologist Raphael Patai, himself a native of Hungary, tells in this pioneering study the fascinating story of the struggles, achievements, and setbacks that marked the flow of history for the Hungarian Jews. He traces their seminal role in Hungarian politics, finance, industry, science, medicine, arts, andliterature, and their surprisingly rich contributions to Jewish scholarship and religious leadership both inside Hungary and in the Western world. In the early centuries of their history Hungarian Jews left no written works, so Patai had to piece together a picture of their life up to the sixteenth century based on documents and reports written by non-Jewish Hungarians and visitors from abroad. Once Hungarian Jewish literary activity began, the sources covering the life and work of the Jews rapidly increased in richness. Patai made full use of the wealth of information contained in the monumental eighteen-volume series of the Hungarian Jewish Archives and the other abundant primary sources available in Latin, German, Hebrew, Hungarian, Yiddish, and Turkish, the languages in vogue in various periods among the Jews of Hungary. In his presentation of the modern period he also examined theliterary reflection of Hungarian Jewish life in the works of Jewish and non-Jewish Hungarian novelists, poets, dramatists, andjournalists. Patai's main focus within the overall history of the Hungarian Jews is their culture and their psychology. Convinced that what is most characteristic of a people is the culture which endows its existence with specific coloration, he devotes special attention to the manifestations of Hungarian Jewish talent in the various cultural fields, most significantly literature, the arts, and scholarship. Based on the available statistical data Patai shows that from the nineteenth century, in all fields ofHungarian culture, Jews played leading roles not duplicated in any other country. Patai also shows that in the Hungarian Jewish culture a specific set of psychological motivations had a highly significant function. The Hungarian national character trait of emphatic patriotism was present in an even more fervent form in the Hungarian Jewish mind. Despite their centuries-old struggle against anti-Semitism, and especially from the nineteenth century on, Hungarian Jews remained convinced that they were one hundred percent Hungarians, differing in nothing but denominational variation from the Catholic and Protestant Hungarians. This mindset kept them apart and isolated from the Jewries of the Western world until overtaken by the tragedy of the Holocaust in the closing months of World War II.

In its intimate joining of self and machine, video gaming works to extend the body into a fluid, dynamic, unstable, and discontinuous entity. While digital gaming and culture has become a popular field of academic study, there has been a lack of sustained philosophical analysis of this direct gaming experience. In Parables of the Posthuman: Digital Realities, Gaming, and the Player Experience, author Jonathan Boulter addresses this gap by analyzing video games and the player experience philosophically. Finding points of departure in phenomenology and psychoanalysis, Boulter argues that we need to think seriously about what it means to enter into a relationship with the game machine and to assume (or to have conferred upon you) a machinic, posthuman identity. Parables of the Posthuman approaches the experience of gaming by asking: What does it mean for the player to enter the machinic "e;world"e; of the game? What forms of subjectivity does the game offer to the player? What happens to consciousness itself when one plays? To this end, Boulter analyzes the experience of particular role-playing video games, including Fallout 3, Half-Life 2, Bioshock, Crysis 2, and Metal Gear Solid 4. These games both thematize the idea of the posthuman-the games are "e;about"e; subjects whose physical and intellectual capacities are extended through machine or other prosthetic means-and also enact an experience of the posthuman for the player, who becomes more than what he was as he plays the game. Boulter concludes by exploring how the game acts as a parable of what the human, or posthuman, may look like in times to come. Academics with an interest in the intersection of philosophy, psychoanalysis, and popular culture forms and video gamers with an interest in thinking about the implications of gaming will enjoy this volume.

A transnational and interdisciplinary look at the trials of Jews accused of collaborating with the Nazis.

This little red book brings together many of the longtime Detroit mayor's most unforgettable lines in a format meant to recall the famous little red book of quotations from Chairman Mao Tse-Tung. This edition features quotations that did not make it into the original book and a chronology outlining Coleman Young's life and career.

This work approaches Frances Harper as a feminist and as a writer. The author, Melba Boyd, reflects upon the impact of Harper's legacy on another artist/activist - herself.

After the Holocaust's near complete destruction of European Yiddish cultural centers, the Yiddish language was largely viewed as a remnant of the past, tragically eradicated in its prime. In Survivors and Exiles: Yiddish Culture after the Holocaust, Jan Schwarz reveals that, on the contrary, Yiddish culture in the two and a half decades after the Holocaust was in dynamic flux. Yiddish writers and cultural organizations maintained a staggering level of activity in fostering publications and performances, collecting archival and historical materials, and launching young literary talents. Schwarz traces the transition from the Old World to the New through the works of seven major Yiddish writers-including well-known figures (Isaac Bashevis Singer, Avrom Sutzkever, Yankev Glatshteyn, and Chaim Grade) and some who are less well known (Leib Rochman, Aaron Zeitlin, and Chava Rosenfarb). The first section, Ground Zero, presents writings forged by the crucible of ghettos and concentration camps in Vilna, Lodz, and Minsk-Mazowiecki. Subsequent sections, Transnational Ashkenaz and Yiddish Letters in New York, examine Yiddish culture behind the Iron Curtain, in Israel and the Americas. Two appendixes list Yiddish publications in the book series Dos poylishe yidntum (published in Buenos Aires, 1946-66) and offer transliterations of Yiddish quotes. Survivors and Exiles charts a transnational post-Holocaust network in which the conflicting trends of fragmentation and globalization provided a context for Yiddish literature and artworks of great originality. Schwarz includes a wealth of examples and illustrations from the works under discussion, as well as photographs of creators, making this volume not only a critical commentary on Yiddish culture but also an anthology of sorts. Readers interested in Yiddish studies, Holocaust studies, and modern Jewish studies will find Survivors and Exiles a compelling contribution to these fields.

With the end of apartheid, South African cinema is at a turning point. But how can there be a discussion of national cinema when only the elite minority has so far participated in it? This collection looks at a film industry which has excluded its own black majority and how it will overcome this.

During the Great Migration of African Americans from the South to the cities of the Northeast, Midwest, and West, the local black church was essential in the making and reshaping of urban areas. In Detroit, there was one church and one minister in particular that demonstrated this power of the pulpit-Second Baptist Church of Detroit ("e;Second,"e; as many members called it) and its nineteenth pastor, the Reverend Robert L. Bradby. In Race, Religion, and the Pulpit: Rev. Robert L. Bradby and the Making of Urban Detroit, author Julia Marie Robinson explores how Bradby's church became the catalyst for economic empowerment, community building, and the formation of an urban African American working class in Detroit. Robinson begins by examining Reverend Bradby's formative years in Ontario, Canada; his rise to prominence as a pastor and community leader at Second Baptist in Detroit; and the sociohistorical context of his work in the early years of the Great Migration. She goes on to investigate the sometimes surprising nature of relationships between Second Baptist, its members, and prominent white elites in Detroit, including Bradby's close relationship to Ford Motor Company and Henry Ford. Finally, Robinson details Bradby's efforts as a "e;race leader"e; and activist, roles that were tied directly to his theology. She looks at the parts the minister played in such high-profile events as the organizing of Detroit's NAACP chapter, the Ossian Sweet trial of the mid-1920s, the Scottsboro Boys trials in the 1930s, and the controversial rise of the United Auto Workers in Detroit in the 1940s. Race, Religion, and the Pulpit presents a full and nuanced picture of Bradby's life that has so far been missing from the scholarly record. Readers interested in the intersections of race and religion in American history, as well as anyone with ties to Detroit's Second Baptist Church, will appreciate this thorough volume.

Depending on dialect, the Anishinaabemowin word "e;weweni"e; expresses thanks, exactitude, ease, and sincerity. In addition, the word for "e;relatives"e; is "e;nindenwemaaganag"e;: those whose "e;enewewe,"e; or voices, sound familiar. In Weweni, poet Margaret Noodin brings all of these meanings to bear in a unique bilingual collection. Noodin's warm and perceptive poems were written first in the Modern Anishinaabemowin double-vowel orthography and appear translated on facing pages in English. From planetary tracking to political contrasts, stories of ghosts, and messages of trees, the poems in Weweni use many images to speak to the interconnectedness of relationships, moments of difficulty and joy, and dreams and cautions for the future. As poems move from Anishinaabemowin to English, the challenge of translation offers multiple levels of meaning-English meanings found in Anishinaabe words long as rivers and knotted like nets, English approximations that bend the dominant language in new directions, and sets of signs and ideas unable to move from one language to another. In addition to the individual dialogues played out beween Noodin's poems, the collection as a whole demonstrates a fruitful and respectful dialogue between languages and cultures. Noodin's poems will be proof to students and speakers of Anishinaabemowin that the language can be a vital space for modern expression and, for those new to the language, a lyric invitation to further exploration. Anyone interested in poetry or linguistics will enjoy this one-of-a-kind volume.

This study analyses the relationship between two powerful forces - church organizations and urban politics - within New York City and Detroit from the late 19th through the 20th century.

In Israel, anthropologists have customarily worked in their "e;home"e;-in the company of the society that they are studying. In the Company of Others: The Development of Anthropology in Israel by Orit Abuhav details the gradual development of the field, which arrived in Israel in the early twentieth century but did not have an official place in Israeli universities until the 1960s. Through archival research, observations and interviews conducted with active Israeli anthropologists, Abuhav creates a thorough picture of the discipline from its roots in the Mandate period to its current place in the Israeli academy. Abuhav begins by examining anthropology's disciplinary borders and practices, addressing its relationships to neighboring academic fields and ties to the national setting in which it is practiced. Against the background of changes in world anthropology, she traces the development of Israeli anthropology from its pioneering first practitioners-led by Raphael Patai, Erich Brauer, and Arthur Ruppin-to its academic breakthrough in the 1960s with the foreign-funded Bernstein Israel Research Project. She goes on to consider the role and characteristics of the field's professional association, the Israeli Anthropological Association (IAA), and also presents biographical sketches of fifty significant Israeli anthropologists. While Israeli anthropology has historically been limited in the numbers of its practitioners, it has been expansive in the scope of its studies. Abuhav brings a firsthand perspective to the crises and the highs, lows, and upheavals of the discipline in Israeli anthropology, which will be of interest to anthropologists, historians of the discipline, and scholars of Israeli studies.

The Edward Lewis Wallant Award was founded by the family of Dr. Irving and Fran Waltman in 1963 and is supported by the University of Hartford's Maurice Greenberg Center for Judaic Studies. It is given annually to an American writer, preferably early in his or her career, whose fiction is considered significant for American Jews. In The New Diaspora: The Changing Landscape of American Jewish Fiction, editors Victoria Aarons, Avinoam J. Patt, and Mark Shechner, who have all served as judges for the award, present vital, original, and wide-ranging fiction by writers whose work has been considered or selected for the award. The resulting collection highlights the exemplary place of the Wallant Award in Jewish literature. With a mix of stories and novel chapters, The New Diaspora reprints selections of short fiction from such well-known writers as Rebecca Goldstein, Nathan Englander, Jonathan Safran Foer, Dara Horn, and Julie Orringer. The first half of the anthology presents pieces by winners of the Wallant award, focusing on the best work of recent winners. The New Diaspora's second half reflects the evolving landscape of American Jewish fiction over the last fifty years, as many authors working in America are not American by birth, and their fiction has become more experimental in nature. Pieces in this section represent authors with roots all over the world-including Russia (Maxim Shrayer, Nadia Kalman, and Lara Vapnyar), Latvia (David Bezmozgis), South Africa (Tony Eprile), Canada (Robert Majzels), and Israel (Avner Mandelman, who now lives in Canada). This collection offers an expanded canon of Jewish writing in North America and foregrounds a vision of its variety, its uniqueness, its cosmopolitanism, and its evolving perspectives on Jewish life. It celebrates the continuing vitality and fresh visions of contemporary Jewish writing, even as it highlights its debt to history and embrace of collective memory. Readers of contemporary American fiction and Jewish cultural history will find The New Diaspora enlightening and deeply engaging.

While the number of Asians in Michigan was small for a good portion of the state's history, many Asian-derived communities have settled in the area and grown significantly over time. In Asian Americans in Michigan: Voices from the Midwest, editors Sook Wilkinson and Victor Jew have assembled forty-one contributors to give an intimate glimpse into Michigan's Asian-American communities, creating a fuller picture of these often overlooked groups. Accounts in the collection come from a range of perspectives, including first-generation immigrants, those born in the United States, and third- and fourth-generation Americans of Asian heritage. In five sections, contributors consider the historical and demographic origins of Michigan's Asian American communities, explore their experiences in memory and legacy keeping, highlight particular aspects of community culture and heritage, and comment on prospects and hopes for the future. This volume's vibrant mix of contributors trace their ancestries back to East Asia (China, Japan, Korea, Taiwan), South Asia (Bangladesh, India, Pakistan), and Southeast Asia (Cambodia, Laos, Philippines, Thailand, Vietnam, and the Hmong). Though each contributor writes from his or her unique set of experiences, Asian Americans in Michigan also reveals universal values and memories held by larger communities. Asian Americans in Michigan makes clear the significant contributions by individuals in many fields-including art, business, education, religion, sports, medicine, and politics-and demonstrates the central role of community organizations in bringing ethnic groups together and preserving memories. Readers interested in Michigan history, sociology, and Asian American studies will enjoy this volume.

From Paul Verhoeven's The Cold Heart in 1950 to Konrad Petzold's The Story of the Goose Princess and Her Loyal Horse Falada in 1989, East Germany's state-sponsored film company, DEFA (Deutsche Film-Aktiengesellschaft), produced over forty feature-length, live-action fairy-tale films based on nineteenth-century folk and literary tales. While many of these films were popular successes and paved the way for the studio's other films to enter the global market, DEFA's fairy-tale corpus has not been studied in its entirety. In The Politics of Magic: DEFA Fairy-Tale Films, Qinna Shen fills this gap by analyzing the films on thematic and formal levels and examining their embedded agendas in relation to the cultural politics of the German Democratic Republic. In five chapters, Shen compares the films with earlier print versions of the same stories and analyzes revisions made in DEFA's film adaptations. She also distinguishes the DEFA fairy-tale films from National Socialist, West German, and Disney adaptations of the same tales. Her archival work reconstitutes the cultural-historical context in which films were produced and received, and incorporates the films into the larger narrative of DEFA. For the first time, the banned DEFA fairy-tale comedy, The Robe (1961/1991), is discussed in depth. The book's title The Politics of Magic is not intended to suggest that DEFA fairy-tale films were merely mouthpieces of official ideology and propaganda. On the contrary, Shen shows that the films run the gamut from politically dogmatic to implicitly subversive, from kitschy to experimental. She argues that the fairy-tale cloak permitted them to convey ideology in a subtle, indirect manner that allowed viewers to forget Cold War politics for a while and to delve into a world of magic where politics took on an allegorical form. The fact that some DEFA fairy-tale films developed an international audience (particularly The Story of Little Mook and Three Hazelnuts for Cinderella) not only attests to these films' universal appeal but also to the surprising marketability of this branch of GDR cinema and its impact beyond the GDR's own narrow temporal and geographic boundaries. Shen's study will be significant reading for teachers and students of folklore studies and for scholars of German, Eastern European, cultural, film, media, and gender studies.

One of the most successful series of its time, Have Gun-Will Travel became a cultural phenomenon in the late 1950s and made its star, Richard Boone, a nationwide celebrity. The series offered viewers an unusual hero in the mysterious, Shakespeare-spouting gunfighter known only as "e;Paladin"e; and garnered a loyal fan base, including a large female following. In Have Gun-Will Travel, film scholar Gaylyn Studlar draws on a remarkably wide range of episodes from the series' six seasons to show its sophisticated experimentation with many established conventions of the Western. Studlar begins by exploring how the series made the television Western sexy, speaking to mid-twentieth century anxieties and aspirations in the sexual realm through its "e;dandy"e; protagonist and more liberal expectations of female sexuality. She also explores the show's interest in a variety of historical issues and contemporaneous concerns-including differing notions of justice and the meaning of racial and cultural difference in an era marked by the civil rights movement. Through a production history of Have Gun-Will Travel, Studlar provides insight into the television industry of the late 1950s and early 1960s, showing how, in this transition period in which programming was moving from sponsor to network control, the series' star exercised controversial influence on his show's aesthetics. Because Have Gun-Will Travel was both so popular and so different from its predecessors and rivals, it presents a unique opportunity to examine what pleasures and challenges television Westerns could offer their audiences. Fans of the show as well as scholars of TV history and the Western genre will enjoy this insightful volume.

Explores the proliferation of humor in recent cinema of the Middle East and its possible ramifications for cinematic representation, art, and politics.