Looks at how documentary photographers have contested the idea of the American dream, and discusses the work of Francis Benjamin Johnston, Lewis Hine, Walker Evans, Dorothea Lange, William Klein, Diane Arbus, and Robert Frank
Memories of catastrophes - those which occur naturally and those which are consequences of human actions - loom large in the modern consciousness. This volume draws on the latest scholarship to investigate this phenomenon in both contemporary and historical contexts.
In the wake of Guantanamo Bay, extraordinary renditions, and secret torture centres in Eastern Europe and elsewhere, Revenge versus Legality addresses the relationship between law and wild or vigilante justice; between the power to enforce retribution and the desire to seek revenge. Taking up a variety of narratives from the eras of Romanticism, Realism, Modernism and the Contemporary period, and including new theories to explain the interactions that occur between legalistic courtroom justice and the vigilante variety, Revenge versus Legality analyzes some of the main obstacles to justice, ranging from judicial corruption, to racism and imperialism. The book culminates in a consideration of that form of crime or lawlessness that poses the most serious threat to the rule of law: vigilante justice masquerading as legality. With its mixture of politics, literature, law, and film, this lively and accessible book offers a timely reflection on the enduring phenomenon of revenge.
In Achieving Autobiographical Form Nicholas Meihuizen argues that significant autobiographies achieve singular forms. This is demonstrated in an examination of works by Yeats, Conrad, Martin Amis, Frank Kermode, Andrew Motion, Roy Campbell, Richard Murphy, and J.M. Coetzee.
Franklin D. Roosevelt once described the South as "the nation's number one economic problem." These twelve original, interdisciplinary essays on southern indigence between the World Wars share a conviction that poverty is not just a dilemma of the marketplace but also a cultural and political construction. Although previous studies have examined the web of coercive social relations in which sharecroppers, wage laborers, and other poor southerners were held in place, this volume opens up a new perspective. These essays show that professed forces of change and modernization in the South--writers, photographers, activists, social scientists, and policymakers--often subtly upheld the structures ...
Photography became a dominant medium in cultural life starting in the late nineteenth century. As it happened, viewers increasingly used their reactions to photographs to comment on and debate public issues as vital as war, national identity, and citizenship. Cara A. Finnegan analyzes a wealth of newspaper and magazine articles, letters to the editor, trial testimony, books, and speeches produced by viewers in response to specific photos they encountered in public. From the portrait of a young Lincoln to images of child laborers and Depression-era hardship, Finnegan treats the photograph as a locus for viewer engagement and constructs a history of photography's viewers that shows how Americans used words about images to participate in the politics of their day. As she shows, encounters with photography helped viewers negotiate the emergent anxieties and crises of U.S. public life through not only persuasion but action, as well.
Portraits. We know what they are, but why do we make them? Americans have been celebrating themselves in portraits since the arrival of the first itinerant portrait painters to the colonies. They created images to commemorate loved ones, glorify the famous, establish our national myths, and honor our shared heroes. Whether painting in oil, carving in stone, casting in bronze, capturing on film, or calculating in binary code, we spend considerable time creating, contemplating, and collecting our likenesses. In this sumptuously illustrated book, Richard H. Saunders explores our collective understanding of portraiture, its history in America, how it shapes our individual and national identity, and why we make portraits - whether for propaganda and public influence or for personal and private appreciation. American Faces is a rich and fascinating view of ourselves.