Survivor. The Bachelor. Extreme Makeover. Big Brother. Joe Millionaire. American Idol. The Osbournes. It is virtually impossible to turn on a television without coming across some sort of reality programming. Yet, while this genre has rapidly moved from the fringes of television culture to its lucrative core, critical attention has not kept pace. Beginning by unearthing its historical roots in early reality shows like Candid Camera and wending its way through An American Family, Cops, and The Real World to the most recent crop of reality programs, Reality TV is the first book to address the economic, visual, cultural, and audience dimensions of reality television. The essays provide a complex and comprehensive picture of how and why this genre emerged, what it means, how it differs from earlier television programming, and how it engages societies, industries, and individuals. Topics range from the construction of televisual "reality" to the changing face of criminal violence on TV, to issues of surveillance, taste, and social control. By spanning reality television's origins in the late 1940s to its current overwhelming popularity, Reality TV demonstrates both the tenacity of the format and its enduring ability to speak to our changing political and social desires and anxieties. Contributors include: Nick Couldry, Mary Beth Haralovich, John Hartley, Chuck Kleinhans, Derek Kompare, Jon Kraszewski, Kathleen LeBesco, Justin Lewis, Ted Magder, Jennifer Maher, Anna McCarthy, Rick Morris, Chad Raphael, Elayne Rapping, Jeffrey Sconce, Michael W. Trosset, Pamela Wilson.
Ethnic literature figures prominently in the current debate on multiculturalism, but even its supporters have had little to say about it as literature, stressing instead its political and sociological context. Thomas J. Ferraro, in this lively and accessible study of modern fiction by Americans of immigrant background, argues that the best of these stories demand—and reward—close reading and attention to questions of genre and literary form. Ferraro engages the literature of immigration and mobility by asking what motivates its authors and what their work actually accomplishes. He concentrates on five diverse examples of the "up-from-the-ghetto" narrative: Mario Puzo's The Godfather, Anzia Yezierska's Bread Givers, Henry Roth's Call It Sleep, Henry Miller's "The Tailor Shop," and Maxine Hong Kingston's The Woman Warrior. To Ferraro the unsuspected value of these works is that they recast the conventions of ethnic representation, illustrating the power of ethnic writing to capture and redirect the national literary imagination. Ferraro's sharply observed reading of these five works shows how such reenactments of immigrant mobility test the ideology of assimilation against the writer's experience. Ethnic Passages will refocus discussion of how literature addresses the American conflict between ethnic heritage and the greater opportunities of "mainstream" society.
Tobias Döring uses Postcolonialism as a backdrop to examine and question the traditional genres of travel writing, nature poetry, adventure tales, autobiography and the epic, assessing their relevance to, and modification by, the Caribbean experience. Caribbean-English Passages opens an innovative and cross-cultural perspective, in which familiar oppositions of colonial/white versus postcolonial/black writing are deconstructed. English identity is thereby questioned by this colonial contact, and Caribbean-English writing radically redraws the map of world literature. This book is essential reading for students of Postcolonial Literature at both undergraduate and postgraduate level.
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Students need purposeful practice on analyzing graphics to improve reading comprehension. These fifth grade texts capture student interest with focused, standards-based activities that provide targeted practice opportunities.
Sources and Legacies of the New Left's Founding Manifesto
Author: Richard Flacks
Publisher: University of Pennsylvania Press
The Port Huron Statement was the most important manifesto of the New Left student movement of the 1960s. Initially drafted by Tom Hayden and debated over the course of three days in 1962 at a meeting of student leaders, the statement was issued by Students for a Democratic Society as their founding document. Its key idea, "participatory democracy," proved a watchword for Sixties radicalism that has also reemerged in popular protests from the Arab Spring to Occupy Wall Street. Featuring essays by some of the original contributors as well as prominent scholars who were influenced by the manifesto, The Port Huron Statement probes the origins, content, and contemporary influence of the document that heralded the emergence of a vibrant New Left in American culture and politics. Opening with an essay by Tom Hayden that provides a sweeping reflection on the document's enduring significance, the volume explores the diverse intellectual and cultural roots of the Statement, the uneasy dynamics between liberals and radicals that led to and followed this convergence, the ways participatory democracy was defined and deployed in the 1960s, and the continuing resonances this idea has for political movements today. An appendix includes the complete text of the original document. The Port Huron Statement offers a vivid portrait of a unique moment in the history of radicalism, showing that the ideas that inspired a generation of young radicals more than half a century ago are just as important and provocative today. Contributors: Robert Cohen, Richard Flacks, Jennifer Frost, Daniel Geary, Barbara Haber, Grace Elizabeth Hale, Tom Hayden, Michael Kazin, Nelson Lichtenstein, Jane Mansbridge, Lisa McGirr, James Miller, Robert J. S. Ross, Michael Vester, Erik Olin Wright.
Winner of the Wallace Berry Award, Society for Music Theory Winner of the Deems Taylor/Virgil Thomson Award, ASCAP What is it about the music you love that makes you want to hear it again? Why do we crave a "hook" that returns, again and again, within the same piece? And how does a song end up getting stuck in your head? Whether it's a motif repeated throughout a composition, a sample looped under an electronic dance beat, a passage replayed incessantly by a musician in a practice room-or an "earworm" burrowing through your mind like a broken record-repetition is nearly as integral to music as the notes themselves. Its centrality has been acknowledged by everyone from evolutionary biologist W. Tecumseh Fitch, who has called it a "design feature" of music, to the composer Arnold Schoenberg who admitted that "intelligibility in music seems to be impossible without repetition." And yet, stunningly little is actually understood about repetition and its role in music. On Repeat offers the first in-depth inquiry into music's repetitive nature, focusing not on a particular style, or body of work, but on repertoire from across time periods and cultures. Author Elizabeth Hellmuth Margulis draws on a diverse array of fields including music theory, psycholinguistics, neuroscience, and cognitive psychology, to look head-on at the underlying perceptual mechanisms associated with repetition. Her work sheds light on a range of issues from repetition's use as a compositional tool to its role in characterizing our behavior as listeners, and then moves beyond music to consider related implications for repetition in language, learning, and communication. Written in engaging prose, and enlivening otherwise complex concepts for the specialist and non-specialist alike, On Repeat will captivate scholars and students across numerous disciplines from music theory and history, to psychology and neuroscience-and anyone fascinated by the puzzle of repetition in music.
We live in a time much like the postwar era. A time of arch political conservatism and vast social conformity. A time in which our nation’s leaders question and challenge the patriotism of those who oppose their policies. But before there was Jon Stewart, Al Franken, or Bill Maher, there were Mort Sahl, Stan Freberg, and Lenny Bruce—liberal satirists who, through their wry and scabrous comedic routines, waged war against the political ironies, contradictions, and hypocrisies of their times. Revel with a Cause is their story. Stephen Kercher here provides the first comprehensive look at the satiric humor that flourished in the United States during the 1950s and early 1960s. Focusing on an impressive range of comedy—not just standup comedians of the day but also satirical publications like MAD magazine, improvisational theater groups such asSecond City, the motion picture Dr. Strangelove, and TV shows like That Was the Week That Was—Kercher reminds us that the postwar era saw varieties of comic expression that were more challenging and nonconformist than we commonly remember. His history of these comedic luminaries shows that for a sizeable audience of educated, middle-class Americans who shared such liberal views, the period’s satire was a crucial mode of cultural dissent. For such individuals, satire was a vehicle through which concerns over the suppression of civil liberties, Cold War foreign policies, blind social conformity, and our heated racial crisis could be productively addressed. A vibrant and probing look at some of the most influential comedy of mid-twentieth-century America, Revel with a Cause belongs on the short list of essential books for anyone interested in the relationship between American politics and popular culture.