The American classic about a young girl's coming-of-age at the turn of the century. This P.S. edition features an extra 16 pages of insights into the book, including author interviews, recommended reading, and more.
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To comprehensively address the complexities of current socio-ecological problems involved in global environmental change, it is indispiseble to achieve an integration of ecological understanding and ethical values. Contemporary science proposes an inclusive ecosystem concept that recognizes humans as components. Contemporary environmental ethics includes eco-social justice and the realization that as important as biodiversity is cultural diversity, inter-cultural, inter-institutional, and international collaboration requiring a novel approach known as biocultural conservation. Right action in confronting the challenges of the 21st century requires science and ethics to be seamlessly integrated. This book resulted from the 14th Cary Conference that brought together leading scholars and practitioners in ecology and environmental philosophy to discuss core terminologies, methods, questions, and practical frameworks for long-term socio-ecological research, education, and decision making.
Presents a major new interpretation of the Ashcan School of Art, arguing that these artists made the working-class city at the turn of the century a subject for beautiful art. At the beginning of the twentieth century the Ashcan School of Art blazed onto the art scene, introducing a revolutionary vision of New York City. In contrast to the elite artists who painted the upper class bedecked in finery, in front of magnificent structures, or the progressive reformers who photographed the city as a slum, hopeless and full of despair, the Ashcan School held the unique belief that the industrial working-class city was a fit subject for great art. In Beauty in the City, Robert A. Slayton illustrates how these artists portrayed the working classes with respect and gloried in the drama of the subways and excavation sites, the office towers, and immigrant housing. Their art captured the emerging metropolis in all its facets, with its potent machinery and its class, ethnic, and gender issues. By exposing the realities of this new, modern America through their art—expressed in what they chose to draw, not in how they drew it—they created one of the great American art forms. “A delight for the eyes, a treat for city lovers, and a fine example of how historians can use art, Beauty in the City will enrich such fields as urban history, art history, the history of New York City, and America in the twentieth century. Robert Slayton has identified a group of artists who saw in the gritty details of city life real beauty and social meaning.” — Hasia R. Diner, author of Roads Taken: The Great Jewish Migrations to the New World and the Peddlers Who Forged the Way “A century ago, the Ashcan painters created an art that was of, by, and for urban Americans—in all their exhilarating pluralism. Robert Slayton analyzes and celebrates their accomplishment in a work that combines brilliant scholarship and a profound passion for his subject. To his great credit, he reveals ‘the beauty already there.’” — Michael Kazin, author of War Against War: The American Fight for Peace, 1914–1918 “With great narrative skill and finely drawn characters, Robert Slayton paints a vivid picture of New York and the art world in the early twentieth century. He reminds us that these artists and the city they inhabited continue to influence our perspective—about class, about gender, about race—a century later. This book is a wonderful, vibrant look at a forgotten part of our history.” — Terry Golway, author of Machine Made: Tammany Hall and the Creation of Modern American Politics
Ghettos, Tramps, and Welfare Queens: Down & Out on the Silver Screen explores how American movies have portrayed poor and homeless people from the silent era to today. It provides a novel kind of guide to social policy, exploring how ideas about poor and homeless people have been reflected in popular culture and evaluating those images against the historical and contemporary reality. Richly illustrated and examining nearly 300 American-made films released between 1902 and 2015, Ghettos, Tramps, and Welfare Queens finds and describes representations of poor and homeless people and the places they have inhabited throughout the century-long history of U.S. cinema. It moves beyond the merely descriptive to deliberate whether cinematic representations of homelessness and poverty changed over time, and if there are patterns to be discerned. Ultimately, the text offers a preliminary response to a handful of harder questions about causation and consequence: Why are these portrayals as they are? Where do they come from? Are they a reflection of American attitudes and policies toward marginalized populations, or do they help create them? What does this all mean for politics and policymaking? Of interest to movie buffs and film scholars, cultural critics and historians, policy analysts, and those curious to know more about homelessness and American poverty, Ghettos, Tramps, and Welfare Queens is a unique window into American politics, history, policy, and culture -- it is an entertaining and enlightening journey.
Smith looks at how family stories entered the American popular imagination and shaped collective dreams in the immediate post-war years and the early '50s. She argues that works such as 'Death of a Salesman' posed new demands for social respect, new definitions of nationhood, citizenship and democracy.
In 1999, Elia Kazan (1909-2003) received an honorary Oscar for lifetime achievement; it was a controversial award, for in 1952 he had given testimony to the HUAC Committee, for which he was ostracized by many. That Oscar also acknowledged Kazan's remarkable contribution to American and world cinema, making such films as 'On the Waterfront' and 'A Streetcar Named Desire'. Kazan's life in the cinema is due a reassessment, one that is presented expertly and gracefully by Brian Neve in this book, drawing on previously neglected and some hitherto untapped sources. Focussing in particular on the producer-director's post-'On the Waterfront', New York based independent work, and on his key artistic collaborations, including those with Tennessee Williams, John Steinbeck and Budd Schulberg, Neve gives a fascinating reassessment of Kazan's famed technique with such actors as Marlon Brando and James Dean, and his lifetime concern to provoke and photograph 'authentic' behaviour. He reveals a pattern, through the films, of personally resonant themes, relating for example to ethnicity and the American immigrant myth. He reviews Kazan's style, from the colour and wide screen of 'East of Eden' to the creative use of location in his Amercian South films, including 'Baby Doll'. He debates the reception of Kazan's work and the controversy - which dogged his career - of his 1952 Congressional testimony. These elements and more make this a very readable and memorable, fresh portrayal of the film career of this ever fascinating director. ‘Working with an impressively wide variety of archival material, including Kazan’s personal papers and notebooks, Brian Neve here offers a solidly researched, insightful, and historically grounded portrait of Elia Kazan, his working methods, his 19 feature films from 'A Tree Grows in Brooklyn' (1945) to 'The Last Tycoon' (1976), and his place in the cinematic and social world of his age.’ - Chuck Maland, Professor of Cinema Studies & American Studies, University of Tennessee
Ehwa tries to cope with her widowed mother's finding of new love, while she, after falling in love with Duksam, a young wrestler, discovers the pain of heartbreak when Master Cho sends Duksam away and asks for her hand in marriage himself, in a Korean nov