Description : 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.
Description : Madame de Souza was an eighteenth-century political journalist of undisputed talent. She did not fear to accuse religion of falsely justifying intolerant political attitudes, or using indoctrination for little human gain. She dared to show that this achieved immediate social dislocation, and, in the long-term, grief and financial dysfunction. Eugénie et Mathilde, which documents revolutionary decisions made in Emigration, and the irrevocable futility of losing family, home, rank and property in war, fully reflects her approach. It is a complex and compelling story of one family and its experience of 1789-1797 - the years of exile during the French Revolution. Heart-rending decisions, forced departures, capital punishment and death of loved-ones make the novel as topical now as it was on the eve of Napoleon’s Russian Campaign. Souza’s plea for tolerance, fraternity and compromise on the part of the State and its enemies has a relevance that stretches out to the 21st Century; her message to include women in politics and not to make them suffer the unnecessary death of fathers, husbands, children and friends is even more current.This edition lifts the veil on a literary form of anti-sentimental romance, or the art of making historically accurate accounts masquerade as fiction. That, more than anything else, was Madame de Souza’s forte.
Description : This volume offers a complete translation of the Samyutta Nikaya, The Connected Discourses of the Buddha, the third of the four great collections in the Sutta Pitaka of the Pali Canon. The Samyutta Nikaya consists of fifty-six chapters, each governed by a unifying theme that binds together the Buddha's suttas or discourses. The chapters are organized into five major parts. The first, The Book with Verses, is a compilation of suttas composed largely in verse. This book ranks as one of the most inspiring compilations in the Buddhist canon, showing the Buddha in his full grandeur as the peerless "teacher of gods and humans." The other four books deal in depth with the philosophical principles and meditative structures of early Buddhism. They combine into orderly chapters all the important short discourses of the Buddha on such major topics as dependent origination, the five aggregates, the six sense bases, the seven factors of enlightenment, the Noble Eightfold Path, and the Four Noble Truths. Among the four large Nikayas belonging to the Pali Canon, the Samyutta Nikaya serves as the repository for the many shorter suttas of the Buddha where he discloses his radical insights into the nature of reality and his unique path to spiritual emancipation. This collection, it seems, was directed mainly at those disciples who were capable of grasping the deepest dimensions of wisdom and of clarifying them for others, and also provided guidance to meditators intent on consummating their efforts with the direct realization of the ultimate truth. The present work begins with an insightful general introduction to the Samyutta Nikaya as a whole. Each of the five parts is also provided with its own introduction, intended to guide the reader through this vast, ocean-like collection of suttas. To further assist the reader, the translator has provided an extensive body of notes clarifying various problems concerning both the language and the mean
Description : In the 1970s, while politicians and activists outside prisons debated the proper response to crime, incarcerated people helped shape those debates though a broad range of remarkable political and literary writings. Lee Bernstein explores the forces that sparked a dramatic "prison art renaissance," shedding light on how incarcerated people produced powerful works of writing, performance, and visual art. These included everything from George Jackson's revolutionary Soledad Brother to Miguel Pinero's acclaimed off-Broadway play and Hollywood film Short Eyes. An extraordinary range of prison programs--fine arts, theater, secondary education, and prisoner-run programs--allowed the voices of prisoners to influence the Black Arts Movement, the Nuyorican writers, "New Journalism," and political theater, among the most important aesthetic contributions of the decade. By the 1980s and '90s, prisoners' educational and artistic programs were scaled back or eliminated as the "war on crime" escalated. But by then these prisoners' words had crossed over the wall, helping many Americans to rethink the meaning of the walls themselves and, ultimately, the meaning of the society that produced them.
Description : Winner of the 2009 Society for Cinema and Media Studies Katherine Singer Kovacs Book Award The Midwest of popular imagination is a "Heartland" characterized by traditional cultural values and mass market dispositions. Whether cast positively —; as authentic, pastoral, populist, hardworking, and all-American—or negatively—as backward, narrow–minded, unsophisticated, conservative, and out-of-touch—the myth of the Heartland endures. Heartland TV examines the centrality of this myth to television's promotion and development, programming and marketing appeals, and public debates over the medium's and its audience's cultural worth. Victoria E. Johnson investigates how the "square" image of the heartland has been ritually recuperated on prime time television, from The Lawrence Welk Show in the 1950s, to documentary specials in the 1960s, to The Mary Tyler Moore Show in the 1970s, to Ellen in the 1990s. She also examines news specials on the Oklahoma City bombing to reveal how that city has been inscribed as the epitome of a timeless, pastoral heartland, and concludes with an analysis of network branding practices and appeals to an imagined "red state" audience. Johnson argues that non-white, queer, and urban culture is consistently erased from depictions of the Midwest in order to reinforce its "reassuring" image as white and straight. Through analyses of policy, industry discourse, and case studies of specific shows, Heartland TV exposes the cultural function of the Midwest as a site of national transference and disavowal with regard to race, sexuality, and citizenship ideals.