Are you ripped? Do you need to work on your abs? Do you know your ideal body weight? Your body fat index? Increasingly, Americans are being sold on a fitness ideal — not just thin but toned, not just muscular but cut — that is harder and harder to reach. In Body Panic, Shari L. Dworkin and Faye Linda Wachs ask why. How did these particular body types come to be “fit”? And how is it that having an unfit, or “bad,” body gets conflated with being an unfit, or “bad,” citizen? Dworkin and Wachs head to the newsstand for this study, examining ten years worth of men’s and women’s health and fitness magazines to determine the ways in which bodies are “made” in today’s culture. They dissect the images, the workouts, and the ideology being sold, as well as the contemporary links among health, morality, citizenship, and identity that can be read on these pages. While women and body image are often studied together, Body Panic considers both women’s and men’s bodies side-by-side and over time in order to offer a more in-depth understanding of this pervasive cultural trend.
In this, the third volume of an interdisciplinary history of the United States since the Civil War, Sean Dennis Cashman provides a comprehensive review of politics and economics from the tawdry affluence of the 1920s throught the searing tragedy of the Great Depression to the achievements of the New Deal in providing millions with relief, job opportunities, and hope before America was poised for its ascent to globalism on the eve of World War II. The book concludes with an account of the sliding path to war as Europe and Asia became prey to the ambitions of Hitler and military opportunists in Japan. The book also surveys the creative achievements of America's lost generation of artists, writers, and intellectuals; continuing innovations in transportation and communications wrought by automobiles and airplanes, radio and motion pictures; the experiences of black Americans, labor, and America's different classes and ethnic groups; and the tragicomedy of national prohibition. The cast of characters includes FDR, the New Dealers, Eleanor Roosevelt, George W. Norris, William E. Borah, Huey Long, Henry Ford, Clarence Darrow, Ernest Hemingway, Scott Fitzgerald, W.E.B. DuBois, A. Philip Randolph, Orson Welles, Wendell Willkie, and the stars of radio and the silver screen. The first book in this series, America in the Gilded Age, is now accounted a classic for historiographical synthesis and stylisic polish. America in the Age of the Titans, covering the Progressive Era and World War I, and America in the Twenties and Thirties reveal the author's unerring grasp of various primary and secondary sources and his emphasis upon structures, individuals, and anecdotes about them. The book is lavishly illustrated with various prints, photographs, and reproductions from the Library of Congress, the Museum of Modern Art, and the Whitney Museum of American Art.
Losing her smile to synkinesis after unresolved Bell’s palsy changed how Faye Linda Wachs was seen by others and her internal experience of self. In Metamorphosis, interviewing over one hundred people with acquired facial difference challenged her presumptions about identity, disability, and lived experience. Participants described microaggressions, internalizations, and minimalizations and their impact on identity. Heartbreakingly, synkinesis disrupts the ability to have shared moments. When one experiences spontaneous emotion, wrong nerves trigger misfeel and misperception by others. One is misread by others and receives confusing internal information. Communication of and to the self is irrevocably damaged. Wachs describes the experience as a social disability. People found a host of creative ways to reinvigorate their sense of self and self-expression. Like so many she interviewed, Wachs experiences a process of change and growth as she is challenged to think more deeply about ableism, identity, and who she wants to be.
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