A timely study, erudite and exciting, about the ordinary—and oftentimes unseen—lives of memorials Memorials are commonly studied as part of the commemorative infrastructure of modern society. Just as often, they are understood as sites of political contestation, where people battle over the meaning of events. But most of the time, they are neither. Instead, they take their rest as ordinary objects, part of the street furniture of urban life. Most memorials are “turned on” only on special days, such as Memorial Day, or at heated moments, as in August 2017, when the Robert E. Lee monument in Charlottesville was overtaken by a political maelstrom. The rest of the time they are turned off. This book is about the everyday life of memorials. It explores their relationship to the pulses of daily life, their meaning within this quotidian context, and their place within the development of modern cities. Through Andrew Shanken’s close historical readings of memorials, both well-known and obscure, two distinct strands of scholarship are thus brought together: the study of the everyday and memory studies. From the introduction of modern memorials in the wake of the French Revolution through the recent destruction of Confederate monuments, memorials have oscillated between the everyday and the “not-everyday.” In fact, memorials have been implicated in the very structure of these categories. The Everyday Life of Memorials explores how memorials end up where they are, grow invisible, fight with traffic, get moved, are assembled into memorial zones, and are drawn anew into commemorations and political maelstroms that their original sponsors never could have imagined. Finally, exploring how people behave at memorials and what memorials ask of people reveals just how strange the commemorative infrastructure of modernity is.
Today's globalization debates pit neoliberals, who favour even deeper integration into the global economy, against neo-mercantilists, who call for a relatively selective approach to globalization and the return to more interventionist industrial policies. Both sides claim to have the facts on their side. Inspired by the work of economists Ha-Joon Chang and Dani Rodrik, editors Andrew Smith and Dimitry Anastakis bring together essays from both historians and economists in this collection to test claims that wealth comes from either protectionism or free trade. With empirical research that spans more than a century of Canadian history, Smart Globalization demonstrates that Canada’s success stemmed neither from complete openness to globalization or policies of isolation and self-sufficiency.
Published on the occasion of the expo's 75th anniversary, Into the Void Pacific is the first architectural history of the 1939 San Francisco WorldÕs Fair. While fairs of the 1930's turned to the future as a foil to the Great Depression, the Golden Gate International Exposition conjured up geographical conceits to explore the nature of the city's place in what organizers called "Pacific Civilization." Andrew Shanken adopts D.H. LawrenceÕs suggestive description of California as a way of thinking about the architecture of the Golden Gate International Exposition, using the phrase Òvoid PacificÓ to suggest the isolation and novelty of California and its habit of looking West rather than back over its shoulder to the institutions of the East Coast and Europe. The fair proposed this vision of the Pacific as an antidote to the troubled Atlantic world, then descending into chaos for the second time in a generation. Architects took up the theme and projected the regionalist sensibilities of Northern California onto Asian and Latin American architecture. Their eclectic, referential buildings drew widely on the cultural traditions of ancient Cambodia, China, and Mexico, as well as the International Style, Art Deco, and the Bay Region Tradition. The book explores how buildings supported the cultural and political work of the fair and fashioned a second, parallel world in a moment of economic depression and international turmoil. Yet it is also a tale of architectural compromise, contingency, and symbolism gone awry. With chapters organized around the creation of Treasure Island and the key areas and pavilions of the fair, this study takes a cut through the work of William Wurster, Bernard Maybeck, Timothy Pflueger, and Arthur Brown, Jr., among others. Shanken also looks closely at buildings as buildings, analyzing them in light of local circumstances, regionalist sensibilities, and national and international movements at that crucial moment when modernism and the Beaux-Arts intersected dynamically.
During the Second World War, American architecture was in a state of crisis. The rationing of building materials and restrictions on nonmilitary construction continued the privations that the profession had endured during the Great Depression. At the same time, the dramatic events of the 1930s and 1940s led many architects to believe that their profession--and society itself--would undergo a profound shift once the war ended, with private commissions giving way to centrally planned projects. The magazine Architectural Forum coined the term "194X" to encapsulate this wartime vision of postwar architecture and urbanism. In a major study of American architecture during World War II, Andrew M. Shanken focuses on the culture of anticipation that arose in this period, as out-of-work architects turned their energies from the built to the unbuilt, redefining themselves as planners and creating original designs to excite the public about postwar architecture. Shanken recasts the wartime era as a crucible for the intermingling of modernist architecture and consumer culture. Challenging the pervasive idea that corporate capitalism corrupted the idealism of modernist architecture in the postwar era, 194X shows instead that architecture's wartime partnership with corporate American was founded on shared anxieties and ideals. Business and architecture were brought together in innovative ways, as shown by Shanken's persuasive reading of magazine advertisements for Revere Copper and Brass, U.S. Gypsum, General Electric, and other companies that prominently featured the work of leading progressive architects, including Louis I. Kahn, Eero Saarinen, and Walter Gropius. Although the unexpected prosperity of the postwar era made the architecture of 194X obsolete before it could be built and led to its exclusion from the story of twentieth-century American architecture, Shanken makes clear that its anticipatory rhetoric and designs played a crucial role in the widespread acceptance
Understanding Wine Chemistry Understand the reactions behind the world’s most alluring beverages The immense variety of wines on the market is the product of multiple chemical processes – whether acting on components arising in the vineyard, during fermentation, or throughout storage. Winemaking decisions alter the chemistry of finished wines, affecting the flavor, color, stability, and other aspects of the final product. Knowledge of these chemical and biochemical processes is integral to the art and science of winemaking. Understanding Wine Chemistry has served as the definitive introduction to the chemical components of wine, their properties, and their reaction mechanisms. It equips the knowledgeable reader to interpret and predict the outcomes of physicochemical reactions involved with winemaking processes. Now updated to reflect recent research findings, most notably in relation to wine redox chemistry, along with new Special Topics chapters on emerging areas, it continues to set the standard in the subject. Readers of the second edition of Understanding Wine Chemistry will also find: Case studies throughout showing chemistry at work in creating different wine styles and avoiding common adverse chemical and sensory outcomes Detailed treatment of novel subjects like non-alcoholic wines, non-glass alternatives to wine packaging, synthetic wines, and more An authorial team with decades of combined experience in wine chemistry research and education Understanding Wine Chemistry is ideal for college and university students, winemakers at any stage in their practice, professionals in related fields such as suppliers or sommeliers, and chemists with an interest in wine.
A companion to Andrew F. Smith’s critically acclaimed and popular Eating History: Thirty Turning Points in the Making of American Cuisine, this volume recounts the individuals, ingredients, corporations, controversies, and myriad events responsible for America’s diverse and complex beverage scene. Smith revisits the country’s major historical moments—colonization, the American Revolution, the Whiskey Rebellion, the temperance movement, Prohibition, and its repeal—and he tracks the growth of the American beverage industry throughout the world. The result is an intoxicating encounter with an often overlooked aspect of American culture and global influence. Americans have invented, adopted, modified, and commercialized tens of thousands of beverages—whether alcoholic or nonalcoholic, carbonated or caffeinated, warm or frozen, watery or thick, spicy or sweet. These include uncommon cocktails, varieties of coffee and milk, and such iconic creations as Welch’s Grape Juice, Coca-Cola, root beer, and Kool-Aid. Involved in their creation and promotion were entrepreneurs and environmentalists, bartenders and bottlers, politicians and lobbyists, organized and unorganized criminals, teetotalers and drunks, German and Italian immigrants, savvy advertisers and gullible consumers, prohibitionists and medical professionals, and everyday Americans in love with their brew. Smith weaves a wild history full of surprising stories and explanations for such classic slogans as “taxation with and without representation;” “the lips that touch wine will never touch mine;” and “rum, Romanism, and rebellion.” He reintroduces readers to Samuel Adams, Thomas Jefferson, George Washington, and the colorful John Chapman (Johnny Appleseed), and he rediscovers America’s vast literary and cultural engagement with beverages and their relationship to politics, identity, and health.
During the Second World War, American architecture was in a state of crisis. The rationing of building materials and restrictions on nonmilitary construction continued the privations that the profession had endured during the Great Depression. At the same time, the dramatic events of the 1930s and 1940s led many architects to believe that their profession--and society itself--would undergo a profound shift once the war ended, with private commissions giving way to centrally planned projects. The magazine Architectural Forum coined the term "194X" to encapsulate this wartime vision of postwar architecture and urbanism. In a major study of American architecture during World War II, Andrew M. Shanken focuses on the culture of anticipation that arose in this period, as out-of-work architects turned their energies from the built to the unbuilt, redefining themselves as planners and creating original designs to excite the public about postwar architecture. Shanken recasts the wartime era as a crucible for the intermingling of modernist architecture and consumer culture. Challenging the pervasive idea that corporate capitalism corrupted the idealism of modernist architecture in the postwar era, 194X shows instead that architecture's wartime partnership with corporate American was founded on shared anxieties and ideals. Business and architecture were brought together in innovative ways, as shown by Shanken's persuasive reading of magazine advertisements for Revere Copper and Brass, U.S. Gypsum, General Electric, and other companies that prominently featured the work of leading progressive architects, including Louis I. Kahn, Eero Saarinen, and Walter Gropius. Although the unexpected prosperity of the postwar era made the architecture of 194X obsolete before it could be built and led to its exclusion from the story of twentieth-century American architecture, Shanken makes clear that its anticipatory rhetoric and designs played a crucial role in the widespread acceptance
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