Cool. It was a new word and a new way to be, and in a single generation, it became the supreme compliment of American culture. The Origins of Cool in Postwar America uncovers the hidden history of this concept and its new set of codes that came to define a global attitude and style. As Joel Dinerstein reveals in this dynamic book, cool began as a stylish defiance of racism, a challenge to suppressed sexuality, a philosophy of individual rebellion, and a youthful search for social change. Through eye-opening portraits of iconic figures, Dinerstein illuminates the cultural connections and artistic innovations among Lester Young, Humphrey Bogart, Robert Mitchum, Billie Holiday, Frank Sinatra, Jack Kerouac, Albert Camus, Marlon Brando, and James Dean, among others. We eavesdrop on conversations among Jean-Paul Sartre, Simone de Beauvoir, and Miles Davis, and on a forgotten debate between Lorraine Hansberry and Norman Mailer over the "white Negro" and black cool. We come to understand how the cool worlds of Beat writers and Method actors emerged from the intersections of film noir, jazz, and existentialism. Out of this mix, Dinerstein sketches nuanced definitions of cool that unite concepts from African-American and Euro-American culture: the stylish stoicism of the ethical rebel loner; the relaxed intensity of the improvising jazz musician; the effortless, physical grace of the Method actor. To be cool is not to be hip and to be hot is definitely not to be cool. This is the first work to trace the history of cool during the Cold War by exploring the intersections of film noir, jazz, existential literature, Method acting, blues, and rock and roll. Dinerstein reveals that they came together to create something completely new—and that something is cool.
Cool. It was a new word and a new way to be, and in a single generation, it became the supreme compliment of American culture. The Origins of Cool in Postwar America uncovers the hidden history of this concept and its new set of codes that came to define a global attitude and style. As Joel Dinerstein reveals in this dynamic book, cool began as a stylish defiance of racism, a challenge to suppressed sexuality, a philosophy of individual rebellion, and a youthful search for social change. Through eye-opening portraits of iconic figures, Dinerstein illuminates the cultural connections and artistic innovations among Lester Young, Humphrey Bogart, Robert Mitchum, Billie Holiday, Frank Sinatra, Jack Kerouac, Albert Camus, Marlon Brando, and James Dean, among others. We eavesdrop on conversations among Jean-Paul Sartre, Simone de Beauvoir, and Miles Davis, and on a forgotten debate between Lorraine Hansberry and Norman Mailer over the "white Negro" and black cool. We come to understand how the cool worlds of Beat writers and Method actors emerged from the intersections of film noir, jazz, and existentialism. Out of this mix, Dinerstein sketches nuanced definitions of cool that unite concepts from African-American and Euro-American culture: the stylish stoicism of the ethical rebel loner; the relaxed intensity of the improvising jazz musician; the effortless, physical grace of the Method actor. To be cool is not to be hip and to be hot is definitely not to be cool. This is the first work to trace the history of cool during the Cold War by exploring the intersections of film noir, jazz, existential literature, Method acting, blues, and rock and roll. Dinerstein reveals that they came together to create something completely new—and that something is cool.
The highly publicized obscenity trial of Radclyffe Hall's The Well of Loneliness (1928) is generally recognized as the crystallizing moment in the construction of a visible modern English lesbian culture, marking a great divide between innocence and deviance, private and public, New Woman and Modern Lesbian. Yet despite unreserved agreement on the importance of this cultural moment, previous studies often reductively distort our reading of the formation of early twentieth-century lesbian identity, either by neglecting to examine in detail the developments leading up to the ban or by framing events in too broad a context against other cultural phenomena. Fashioning Sapphism locates the novelist Radclyffe Hall and other prominent lesbians -- including the pioneer in women's policing, Mary Allen, the artist Gluck, and the writer Bryher -- within English modernity through the multiple sites of law, sexology, fashion, and literary and visual representation, thus tracing the emergence of a modern English lesbian subculture in the first two decades of the twentieth century. Drawing on extensive new archival research, the book interrogates anew a range of myths long accepted without question (and still in circulation) concerning, to cite only a few, the extent of homophobia in the 1920s, the strategic deployment of sexology against sexual minorities, and the rigidity of certain cultural codes to denote lesbianism in public culture.
Presenting the DJ as an example of the digital griot--a high-tech storyteller--this book shows how African American storytelling traditions and their digital manifestations can help scholars and teachers shape composition studies, linking oral, print, and digital production in ways that centralize African American discursive practices as part of a multicultural set of ideas and pedagogical commitments.
At dawn on a brutally cold January morning, Joel Berger crouched in the icy grandeur of the Teton Range. It had been three years since wolves were reintroduced to Yellowstone after a sixty-year absence, and members of a wolf pack were approaching a herd of elk. To Berger’s utter shock, the elk ignored the wolves as they went in for the kill. The brutal attack that followed—swift and bloody—led Berger to hypothesize that after only six decades, the elk had forgotten to fear a species that had survived by eating them for hundreds of millennia. Berger’s fieldwork that frigid day raised important questions that would require years of travel and research to answer: Can naive animals avoid extinction when they encounter reintroduced carnivores? To what extent is fear culturally transmitted? And how can a better understanding of current predator-prey behavior help demystify past extinctions and inform future conservation? The Better to Eat You With is the chronicle of Berger’s search for answers. From Yellowstone’s elk and wolves to rhinos living with African lions and moose coexisting with tigers and bears in Asia, Berger tracks cultures of fear in animals across continents and climates, engaging readers with a stimulating combination of natural history, personal experience, and conservation. Whether battling bureaucracy in the statehouse or fighting subzero wind chills in the field, Berger puts himself in the middle of the action. The Better to Eat You With invites readers to join him there. The thrilling tales he tells reveal a great deal not only about survival in the animal kingdom but also the process of doing science in foreboding conditions and hostile environments.
The black rhino is nature's tank, feared by all animals. Even lions will break off a hunt to detour around one. And yet the black rhino is on the edge of extinction, its numbers dwindling from 100,000 at the turn of the century, to less than 2,500 today. The reason is that in places like Yemen, China, Korea, Taiwan, and Thailand, the rhino's horn is more valuable than gold, so valuable that people will risk their lives to harvest it. To deter rhino poachers, African governments have spent millions--on helicopters, paramilitary operations, fences and guard dogs, even relocation to protected areas. Finally, Namibia decided to de-horn its rhino population, in a last ditch effort to stop the slaughter. In 1991, Carol Cunningham and Joel Berger, and their eighteen-month-old daughter Sonja, went to Namibia to weigh the effects of de-horning on rhinos. In Horn of Darkness, they tell the story of three years in the Namib Desert, studying Africa's last sizable population of free-roaming black rhinos. This is the closest most readers will come to experiencing life in the remaining wilds of Africa. Cunningham and Berger, writing nate chapters, capture what it is like to leave the comforts of civilization, to camp for months at a time in a land filled with deadly predators, to study an animal that is reclusive, unpredictable, and highly dangerous. The authors describe staking out water holes in the dead of the night, creeping to within twenty-seven meters of rhinos to photograph them, all the while keeping a lookout for hyenas, elephants, and lions. They recount many heart-pounding escapes--one rhino forces Carol Cunningham up a tree, an unseen lion in hot pursuit of hyenas races right past a frozen Joel Berger--and capture the adrenaline rush of inching closer to a rhino that might flee--or charge--at any moment. They also give readers a clear sense of the careful, patient work involved in studying animals, the frustration of long days without finding rhinos or seeing other people, coping with heat and thirst (the Namib desert is one of the driest on Earth), with dirt and insects, driving hundreds of kilometers in a Land Rover packed to capacity, slowing amassing records on one hundred individual rhinos over the course of several years. And perhaps most important, the authors reveal that the data they collected suggests that the de-horning project might backfire--that in the four years after de-horning began, calf survival was down (the evidence suggests that hyenas might be preying on calves and the horn less mothers couldn't defend their offspring). They also describe the dark side of scientific work, from the petty jealousy of other scientists--outside researchers were often seen as ecological imperialists--to the controversy that erupted after the authors published their findings, as furious officials of the Namibian conservation program denounced their findings and through delays and other tactics effectively withheld a permit to allow the couple to continue their study. Weaving together the historical accounts of other naturalists, a vividly detailed look at life in the wild, and a behind-the-scenes glimpse of scientific work and the dark side of the conservation movement, Horn of Darkness is destined to be a classic work on the natural world.
The peptide hormones are small proteins that regulate cellular metabolism through their specific interactions with tissues of the endocrine, nervous, and immune systems, as well as in embry onic development. During the past ten years, refinements in the techniques of recombinant DNA technology have resulted in the cloning of genes encoding approximately 50 different hormonal and regulatory peptides, including those in which the peptides themselves and the mRNAs encoding the peptides are present in only trace amounts in the tissues of origin. In addition to provid ing the coding sequences of recognized hormonal and regulatory peptides, gene sequencing has uncovered new bioactive peptides encoded in the precursor pro hormones that are then liberated along with the hormonal peptides during cellular cleavages of the precursors. The encoding of multiple peptides in a single mono cistronic mRNA appears to be a genetic mechanism for the gener ation of biologic diversification without requiring amplification of gene sequences. Two of the objectives in the assembly of this book are to pre sent, in one volume, the known primary structures of the genes encoding several of the polypeptide hormones and related regulatory peptides, and to provide an account of the various ap proaches that have been used to identify and select the cloned genes encoding these polypeptides. The contents of the two in troductory chapters are intended to provide the reader with a brief background of the approaches to gene cloning and the struc ture and expression of hormone-encoding genes.
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