I was expatriated by a man with an axe. The man and the axe were alike visionary and unreal, though it needed a very considerable effort of the will to hold them at mental arm's length. I had work on hand which imperatively demanded to be finished, and I was so broken down by a long course of labour that it was a matter of actual difficulty with me when I sat down at my desk of a morning to lay hold of the thread of last night's work, and to recall the personages who had moved through my manuscript pages for the past three or four months. The day's work always began with a fog, which at first looked impenetrable, but would brighten little by little until I could see my ideal friends moving in it, and could recognise their familiar lineaments. Then the fog would disperse altogether, and a certain indescribable, exultant, feverish brightness would succeed it, and in this feverish brightness my ideal friends would move and talk as it were of their own volition.
At its peak in the 1950s and 1960s, automobile manufacturing was the largest, most profitable industry in the United States and residents of industry hubs like Detroit and Flint, Michigan had some of the highest incomes in the country. Over the last half-century, the industry has declined, and American automakers now struggle to stay profitable. How did the most prosperous industry in the richest country in the world crash and burn? In Wrecked, sociologists Joshua Murray and Michael Schwartz offer an unprecedented historical-sociological analysis of the downfall of the auto industry. Through an in-depth examination of labor relations and the production processes of automakers in the U.S. and Japan both before and after World War II, they demonstrate that the decline of the American manufacturers was the unintended consequence of their attempts to weaken the bargaining power of their unions. Today Japanese and many European automakers produce higher quality cars at lower cost than their American counterparts thanks to a flexible form of production characterized by long-term sole suppliers, assembly and supply plants located near each other, and just-in-time delivery of raw materials. While this style of production was, in fact, pioneered in the U.S. prior to World War II, in the years after the war, American automakers deliberately dismantled this system. As Murray and Schwartz show, flexible production accelerated innovation but also facilitated workers’ efforts to unionize plants and carry out work stoppages. To reduce the efficacy of strikes and combat the labor militancy that flourished between the Depression and the postwar period, the industry dispersed production across the nation, began maintaining large stockpiles of inventory, and eliminated single sourcing. While this restructuring of production did ultimately reduce workers’ leverage, it also decreased production efficiency and innovation. The U.S. auto industry has struggled ever since to compete with foreign automakers, and formerly thriving motor cities have suffered the consequences of mass deindustrialization. Murray and Schwartz argue that new business models that reinstate flexible production and prioritize innovation rather than cheap labor could stem the outsourcing of jobs and help revive the auto industry. By clarifying the historical relationships between production processes, organized labor, and industrial innovation, Wrecked provides new insights into the inner workings and decline of the U.S. auto industry.
David Christie Murray (1847-1907) was an English novelist. His works include Aunt Rachel (1886), Schwartz: A History, (1889), In Direst Peril (1894), The Making of a Novelist (1894), My Contemporaries in Fiction (1897), Despair's Last Journey (1901), V.C.: A Chronicle of Castle Barfield and of the Crimea (1904), Recollections (1908), Bulldog and Butterfly, Julia and Her Romeo: A Chronicle of Castle Barfield, An Old Meerschaum, The Romance of Giovanni Calvotti and Young Mr. Barter's Repentance.
Anthrax scares. Airplane crashes. The AIDS epidemic. Presidential election polls and voting results. Global warming. All these news stories require scientific savvy, first to report, and then-for the average person-to understand. It Ain't Necessarily So cuts through the confusion and inaccuracies surrounding media reporting of scientific studies, surveys, and statistics. Whether the problem is bad science, media politics, or a simple lack of information or knowledge, this book gives news consumers the tools to penetrate the hype and dig out the facts. "Whether it's a scientific study on day care or health care, hunger in America or the environment, once it gets into the hands of journalists - look out! You may think you're getting the straight story - but it ain't necessarily so, as this aptly named book makes clear. But beware: It Ain't Necessarily So may confirm your worst fears about the media. Which is precisely why it's such an important contribution to our understanding of how things really operate inside the American newsroom." (Bernard Goldberg, author of Bias)
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Pearl Primus (1919-1994) blazed onto the dance scene in 1943 with stunning works that incorporated social and racial protest into their dance aesthetic. In "The Dance Claimed Me," Peggy and Murray Schwartz, friends and colleagues of Primus, offer an intimate perspective on her life and explore her influences on American culture, dance, and education. They trace Primus's path from her childhood in Port of Spain, Trinidad, through her rise as an influential international dancer, an early member of the New Dance Group (whose motto was "Dance is a weapon"), and a pioneer in dance anthropology. Primus traveled extensively in the United States, Europe, Israel, the Caribbean, and Africa, and she played an important role in presenting authentic African dance to American audiences. She engendered controversy in both her private and professional lives, marrying a white Jewish man during a time of segregation and challenging black intellectuals who opposed the "primitive" in her choreography. Her political protests and mixed-race tours in the South triggered an FBI investigation, even as she was celebrated by dance critics and by contemporaries like Langston Hughes. For "The Dance Claimed Me," the Schwartzes interviewed more than a hundred of Primus's family members, friends, and fellow artists, as well as other individuals to create a vivid portrayal of a life filled with passion, drama, determination, fearlessness, and brilliance.
The originality of this volume is to reveal to the reader the fascination of some unfamiliar sensory organs that are sometimes ignored and often misunderstood. These receptors have only recently been identified and their functional specificity is in some cases still a matter for discussion. The four classes of sensory organs considered here differ widely from one another in many respects. One might even say that the only thing they have in common is that they belong to cold-blooded vertebrates. These classes are: 1. the directionally sensitive lateral-line mechanoreceptors of fishes and amphi bians (Chapter 7); 2. the pseudobranchial organs of some teleosts, equipped with pressoreceptors and at least three other types of receptors (osmo- and chemoreceptors) (Chapter 8); 3. the infrared-sensitive pit organs of some snake families (Chapter 9) ; 4. the various kinds of electroreceptors found in several marine and freshwater fish families (Chapters 2 to 6). The first three classes of receptors mentioned above thus rate only one chapter each, whereas five chapters are devoted to the electroreceptors. Electroreception has aroused enormous interest among physiologists in specialties ranging from molecular biology to animal behavior. The resulting quantity of research and discussion fully justifies this disproportion. However, it cannot be denied that the contents of the volume must appear unbalanced and heterogeneous, yet it should not be perceived as a mere juxtaposition of particular and unrelated cases.
Describes Delphi seminars, a teaching method developed by the authors during the 1970's at the Center for the Psychological Study of the Arts at the State University of New York, Buffalo. Designed primarily for the teaching of literature and the arts, the method can be applied to any subject at any level. The goal of the Delphi seminars is to engage students with the subject matter beginning with their personal experiences with the text.
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