University Press Of Kentucky

Philip Roth is widely acknowledged as one of the twentieth century's most prolific and acclaimed writers. Roth's first novel, Goodbye, Columbus (1959), received the National Book Award, and he followed this stunning debut with more than thirty books -- earning another National Book Award, two National Book Critics Circle awards, three PEN/Faulkner Awards, and the Pulitzer Prize. Throughout his career, Roth delighted in controversy but often denied that he sought a role as a public intellectual. His statements and vigorous support of suppressed writers in communist Czechoslovakia, however, tell a different story.

In A Political Companion to Philip Roth, established and rising scholars explore the myriad political themes in the author's work. Several of the contributors examine Roth's writings on Jewish identity, Zionism, and American attitudes toward Israel, as well as the influence of his work in other countries. Others investigate Roth's articulation of the roles of gender and sexuality in US culture. This interdisciplinary examination offers a more complete portrait of Roth as a public intellectual and cultural icon. Not only will it fill a gap in scholarship, but it will also provide a broader perspective on the nature and purpose of the acclaimed writer's political thought.

Literary scholars and historians have long considered W. E. B. Du Bois (1868-1963) an extremely influential writer and a powerful cultural critic. The author of more than one hundred books, hundreds of published articles, and founding editor of the NAACP journal The Crisis, Du Bois has been widely studied for his profound insights on the politics of race and class in America. An activist as well as a scholar, Du Bois proclaimed, "I stand in utter shamelessness and say that whatever art I have for writing has been used always for propaganda for gaining the right of black folk to love and enjoy."

In A Political Companion to W. E. B. Du Bois, Nick Bromell assembles essays from both new and established scholars from a variety of disciplines to explore Du Bois's contributions to American political thought. The contributors establish a conceptual context within which to read the author, revealing how richly and variously he engaged with the aesthetic and theological modalities of political thinking and action. This volume further reveals how Du Bois's work challenges and revises contemporary political theory, providing commentary on the author's strengths and limitations as a theorist for the twenty-first century. In doing so, it helps readers gain an understanding of how Du Bois's work and life continue to stimulate lively and constructive debate about the theory and practice of democracy in America.

Possessing a unique beauty and refined acting skills, Ann Dvorak (1911-1979) found success in Hollywood at a time when many actors were still struggling to adapt to the era of talkies. Seemingly destined for A-list fame, critics touted her as "Hollywood's New Cinderella" after film mogul Howard Hughes cast her as Cesca in the gangster film Scarface (1932). Dvorak's journey to superstardom was derailed when she walked out on her contractual obligations to Warner Bros. for an extended honeymoon. Later, she initiated a legal dispute over her contract, an action that was unprecedented at a time when studios exercised complete control over actors' careers. As the first full-length biography of an often-overlooked actress, Ann Dvorak: Hollywood's Forgotten Rebel explores the life and career of one of the first individuals who dared to challenge the studio system that ruled Tinseltown. The actress reached her pinnacle during the early 1930s, when the film industry was relatively uncensored and free to produce movies with more daring storylines. She played several female leads in films including The Strange Love of Molly Louvain (1932), and Three on a Match (1932), and Heat Lightning (1934), but after her walk-out, Warner Bros retaliated by casting her in less significant roles. Following the casting conflicts and illness, Dvorak filed a lawsuit against the Warner Bros. studio, setting a precedent for other stars who eventually rebelled against the established Hollywood system. In this insightful memoir, Christina Rice explores the spirited rebellion of a talented actress whose promising career fell victim to the studio empire.

Characterized by grandiose song-and-dance numbers featuring ornate geometric patterns and mimicked in many modern films, Busby Berkeley's unique artistry is as recognizable and striking as ever. From his years on Broadway to the director's chair, Berkeley is notorious for his inventiveness and signature style. Through sensational films like 42nd Street (1933), Gold Diggers of 1933 (1933), Footlight Parade (1933), and Dames (1934), Berkeley sought to distract audiences from the troubles of the Great Depression. Although his bold technique is familiar to millions of moviegoers, Berkeley's life remains a mystery. Buzz: The Life and Art of Busby Berkeley is a telling portrait of the filmmaker who revolutionized the musical and changed the world of choreography. Employing personal letters, interviews, studio memoranda, and Berkeley's private memoirs, Spivak unveils the colorful life of one of cinema's greatest artists.

In this provocative interpretation of New Deal diplomacy, Howard Jablon challenges the view that the State Department was wiser and more expert at international maneuver than was President Franklin D. Roosevelt in the early years of his presidency. These were years of growing world tension, with the preliminary shots of World War II being fired as Japan took over Manchuria, Italy made Ethiopia an extension of its new Roman Empire, and all the European great powers tried out their new weaponry in Spain. The author argues that the department's advice in this period actually led to unfortunate decisions which later had a considerable impact on events leading to World War II.

Former Secretary of State Cordell Hull wrote in his memoirs that the United States was at the "oriental crossroads of decision" in 1934. Hull and his colleagues in the State Department did not suggest blocking the Japanese. Instead, they recommended continuing the ineffective nonrecognition policy. Consequently, the roads taken by American diplomacy at this and other junctures were equally unfortunate.

To date no one has criticized the influence of the State Department on New Deal diplomacy. Crossroads of Decision represents a timely and important contribution to our understanding of both the State Department and foreign policy in this interwar period of rapid change, when diplomatic courses were set that allowed for no turning back.

" Kent Brown's stunning account of the career of Lt. Alonzo Hereford Cushing offers valuable insights into the nature of the Civil War and the men who fought it. Brown's vivid descriptions of the heat and exhaustion of forced marches, of the fury of battle, have seldom been matched in Civil War literature.

Throughout his career, Preston Sturges (1898-1959) was known for bringing sophistication and wit to the genre of comedy, establishing himself as one of the most valuable writer-directors in 1940s Hollywood. Today, more than fifty years after they were originally produced, his films have lost little of their edge and remain extremely popular. Intrepid Laughter is an essential guide to the life and work of this luminary of the stage and screen, following Sturges from his unusual childhood, to his

Bobbie Ann Mason burst onto the American literary scene during a renaissance of short fiction that Raymond Carver called a "literary phenomenon." Anne Tyler hailed Mason as "a full-fledged master of the short story." Mason's work, charged with a spirit of exploration, garnered both popular and critical acclaim.

This reader collects outstanding examples of Mason's award-winning work from throughout her writing career and provides a unique look at the development of one of the country's finest writers. Patchwork contains short stories first published in the New Yorker and other leading periodicals; chapters from Mason's acclaimed novels, including In Country, An Atomic Romance, and The Girl in the Blue Beret; and riveting excerpts from Mason's eclectic nonfiction. Some examples of Mason's recent explorations in flash fiction appear here in print for the first time.

Mason's writing glows with a nuanced understanding of the struggles and pathos of American life in the twentieth and twenty-first centuries. George Saunders writes in his introduction, "Bobbie Ann Mason is a strange and beautiful writer.... Her stories exist to gently touch on, and praise, even mourn, what it feels like to be alive in this moment." Patchwork conveys Mason's extraordinary talent and range as a writer.

"An excellent survey of religion and its significance in the first eighty-five years of Kentucky's history. John B. Boles is professor of History at Rice University and managing editor of the Journal of Southern History . He is the author and editor of several books, including Masters and Slaves in the House of the Lord, Black Southerners, and The Great Revival. He edits the series ""Religion in the South"" for the University Press of Kentucky.

Without question, few directors have had such a powerful influence on the film industry and the moviegoing public as Steven Spielberg. Often referred to as the most successful American filmmaker of all time, Spielberg has been nominated for the Academy Award for Best Director six times, winning twice-for Schindler's List in 1994 and Saving Private Ryan in 1999. Seven of his films have received the Best Picture Oscar nomination. He has brought to life some of the most popular heroes of all time,

A Choice Outstanding Academic Title Flourishing in the United States during the 1940s and 50s, the bleak, violent genre of filmmaking known as film noir reflected the attitudes of writers and auteur directors influenced by the events of the turbulent mid-twentieth century. Films such as Force of Evil, Night and the City, Double Indemnity, Laura, The Big Heat, The Killers, Kiss Me Deadly and, more recently, Chinatown and The Grifters are indelibly American. Yet the sources of this genre were fo

Andrew Dickos's Street with No Name traces the film noir genre back to its roots in German Expressionist cinema and the French cinema of the interwar years. Dickos describes the development of the film noir in America from 1941 through the 1970s and examines how this development expresses a modern cinema. He argues that, in its most satisfying form, the film noir exists as a series of conventions with an iconography and characters of distinctive significance. Through stylized lighting and urban settings, these films tell a melodramatic narrative involving characters who commit crimes predicated on destructive passions, corruption, and a submission to human weakness and fate.

Unlike other studies of the noir, Street with No Name follows its development in a loosely historical style that associates certain noir directors with those features in their films that helped define the scope of the genre. Dickos examines notable directors such as Orson Welles, Fritz Lang, Otto Preminger, and Robert Siodmak. He also charts the genre's influence on such celebrated postwar French filmmakers as Jean-Pierre Melville, Francois Truffaut, and Jean-Luc Godard.

Addressing the aesthetic, cultural, political, and social concerns depicted in the genre, Street with No Name demonstrates how the film noir generates a highly expressive, raw, and violent mood as it exposes the ambiguities of modern postwar society.

"At the conclusion of WWII, no part of the world experienced a more dramatic transformation than East Asia. The region's political stability throughout the postwar period prompted exponential economic growth that ultimately established South Korea, Japan, and China as East Asia's most important powers. While many citizens of these nations now live in a time of unprecedented prosperity, the arrangement that supported this region's transformation is fragile. With the second largest economy and a burgeoning military sector, China is widely acknowledged as the preeminent rising world power. The onus of maintaining balance in the region now rests primarily with South Korea and Japan in partnership with the United States. However, because of long-standing weaknesses in South Korea-Japan relations and an inconsistent US commitment to the region, the possibility that China could usher in a more uncertain era of revisionism has never been more likely. In Strengthening South Korea-Japan Relations: East Asia's International Order and a Rising China, Dennis Patterson and Jangsup Choi address the historical roots of this weak alliance. Combining decades of research with current public opinion data, the authors warn that the tendency of these nations to rely on the United States to maintain the status quo has become dangerously unstable. A new strategy, one of cooperation and collaboration, is needed to prevent China from upending the region's current liberal international order"--

In the brilliant world of Vienna at the turn of the century four men-Karl Renner, Otto Bauer, Max Adler, and Friedrich Adler-sought to develop political and economic resolutions to the racial and cultural tensions that were beginning to strain the bonds of the Austro-Hungarian Empire. In this highly original study of these Austro-Marxists, Mark E. Blum uses the insights of depth psychology to trace the roots of their political philosophy in their family and social backgrounds. The Austro-Marxist

Many combat veterans refuse to discuss their experiences on the line. With the passage of time and the unreliability of memory, it becomes difficult to understand the true nature of war. In The Line: Combat in Korea, January-February 1951, retired Army colonel William T. Bowers uses firsthand, eyewitness accounts of the Korean War to offer readers an intimate look at the heroism and horror of the battlefront. These interviews of soldiers on the ground are particularly telling because they were c

Every generation produces a counterculture icon. Joss Whedon, creater of the long-running television series Buffy the Vampire Slayer, is famed for his subversive wit, rich characters, and extraordinary plotlines. His renown has only grown with subsequent creations, including Angel, Firefly, Dollhouse, and the innovative online series Dr. Horrible's Sing-Along Blog. Through premises as unusual as a supernatural detective agency run by a vampire and a Western set in outer space, Whedon weaves stories about characters forced to make commonplace moral decisions under the most bizarre of circumstances.

The Philosophy of Joss Whedon examines Whedon's plots and characterizations to reveal their philosophical takes on the limits of personal freedom, sexual morality, radical evil, and Daoism.

Film noir is a classic genre characterized by visual elements such as tilted camera angles, skewed scene compositions, and an interplay between darkness and light. Common motifs include crime and punishment, the upheaval of traditional moral values, and a pessimistic stance on the meaning of life and on the place of humankind in the universe. Spanning the 1940s and 1950s, the classic film noir era saw the release of many of Hollywood's best-loved studies of shady characters and shadowy underworlds, including Double Indemnity, The Big Sleep, Touch of Evil, and The Maltese Falcon. Neo-noir is a somewhat loosely defined genre of films produced after the classic noir era that display the visual or thematic hallmarks of the noir sensibility. The essays collected in The Philosophy of Neo-Noir explore the philosophical implications of neo-noir touchstones such as Blade Runner, Chinatown, Reservoir Dogs, Memento, and the films of the Coen brothers. Through the lens of philosophy, Mark T. Conard and the contributors examine previously obscure layers of meaning in these challenging films. The contributors also consider these neo-noir films as a means of addressing philosophical questions about guilt, redemption, the essence of human nature, and problems of knowledge, memory and identity. In the neo-noir universe, the lines between right and wrong and good and evil are blurred, and the detective and the criminal frequently mirror each other's most debilitating personality traits. The neo-noir detective -- more antihero than hero -- is frequently a morally compromised and spiritually shaken individual whose pursuit of a criminal masks the search for lost or unattainable aspects of the self. Conard argues that the films discussed in The Philosophy of Neo-Noir convey ambiguity, disillusionment, and disorientation more effectively than even the most iconic films of the classic noir era. Able to self-consciously draw upon noir conventions and simultaneously subvert them, neo-noir directors push beyond the earlier genre's limitations and open new paths of cinematic and philosophical exploration.

"For decades, James Bawden and Ron Miller have established themselves as maestros of provocative interviews, giving fans unmatched insights into the lives of Hollywood A-listers. In their fourth collection, the authors pay tribute to film pioneers who lit up Tinseltown from the 1930s through the 1960s. They Made the Movies features conversations with legendary directors who created many of film's all-time classics, including Frank Capra (It's A Wonderful Life, 1946), Richard Fleischer (20,000 Leagues Under the Sea, 1954), Alfred Hitchcock (Psycho, 1960), Ralph Nelson (Lilies of the Field, 1963), Robert Wise (The Sound of Music, 1965), and Chuck Jones (How the Grinch Stole Christmas! 1966). Tantalizing firsthand details about many acclaimed films are revealed, such as the revelation of Mervyn LeRoy's first-choice of lead actress for The Wizard of Oz ("Shirley Temple . . . but Shirley couldn't sing like Judy [Garland]"), Billy Wilder's insights on directing ("You have to be a sycophant, a sadist, a nurse, a philosopher"), and how megaproducer Hal B. Wallis purchased an unproduced play titled Everyone Comes to Rick's and transformed it into Casablanca ("The part [of Sam] almost went to Lena Horne, but I thought she was too beautiful"). The authors also celebrate the contributions of marginalized filmmakers such as Ida Lupino, James Wong Howe, Oscar Micheaux, and Luis Valdez, who prevailed in Hollywood despite the discrimination they faced throughout their careers. They Made the Movies appeals to film and television enthusiasts of all ages"--