After World War II, American organizations launched efforts to improve the lives of foreign children, from war orphans in Europe and Japan to impoverished youth in the developing world. Providing material aid, education, and emotional support, these programs had a deep humanitarian underpinning. But they were also political projects. Sara Fieldston’s comprehensive account Raising the World shows that the influence of child welfare agencies around the globe contributed to the United States’ expanding hegemony. These organizations filtered American power through the prism of familial love and shaped perceptions of the United States as the benevolent parent in a family of nations. The American Friends Service Committee, Foster Parents’ Plan, and Christian Children’s Fund, among others, sent experts abroad to build nursery schools and orphanages and to instruct parents in modern theories of child rearing and personality development. Back home, thousands of others “sponsored” overseas children by sending money and exchanging often-intimate letters. Although driven by sincere impulses and sometimes fostering durable friendships, such efforts doubled as a form of social engineering. Americans believed that child rearing could prevent the rise of future dictators, curb the appeal of communism, and facilitate economic development around the world. By the 1970s, child welfare agencies had to adjust to a new world in which American power was increasingly suspect. But even as volunteers reconsidered the project of reshaping foreign societies, a perceived universality of children’s needs continued to justify intervention by Americans into young lives across the globe.
New York City's Lower East Side, long viewed as the space of what Jacob Riis notoriously called the "other half," was also a crucible for experimentation in photography, film, literature, and visual technologies. This book takes an unprecedented look at the practices of observation that emerged from this critical site of encounter, showing how they have informed literary and everyday narratives of America, its citizens, and its possible futures. Taking readers from the mid-nineteenth century to the present, Sara Blair traces the career of the Lower East Side as a place where image-makers, writers, and social reformers tested new techniques for apprehending America--and their subjects looked back, confronting the means used to represent them. This dynamic shaped the birth of American photojournalism, the writings of Stephen Crane and Abraham Cahan, and the forms of early cinema. During the 1930s, the emptying ghetto opened contested views of the modern city, animating the work of such writers and photographers as Henry Roth, Walker Evans, and Ben Shahn. After World War II, the Lower East Side became a key resource for imagining poetic revolution, as in the work of Allen Ginsberg and LeRoi Jones, and exploring dystopian futures, from Cold War atomic strikes to the death of print culture and the threat of climate change. How the Other Half Looks reveals how the Lower East Side has inspired new ways of looking-and looking back-that have shaped literary and popular expression as well as American modernity.
What makes a good school? A prominent Harvard educator looks for the answers in six schools that have earned reputations for excellence: George Washington Carver High School in Atlanta; John F. Kennedy High School in the Bronx, New York; Highland Park High School near Chicago; Bookline High School in Brookline, Massachusetts; St. Paul's in Concord, New Hampshire; and the Milton Academy, near Boston.
Iraq was the first postcolonial state recognized as legally sovereign by the League of Nations amid the twentieth-century wave of decolonization movements. It also emerged as an early laboratory of development projects designed by Iraqi intellectuals, British colonial officials, American modernization theorists, and postwar international agencies. Familiar Futures considers how such projects—from the country's creation under British mandate rule in 1920 through the 1958 revolution to the first Ba'th coup in 1963—reshaped Iraqi everyday habits, desires, and familial relations in the name of a developed future. Sara Pursley investigates how Western and Iraqi policymakers promoted changes in schooling, land ownership, and family law to better differentiate Iraq's citizens by class, sex, and age. Peasants were resettled on isolated family farms; rural boys received education limited to training in agricultural skills; girls were required to take home economics courses; and adolescents were educated on the formation of proper families. Future-oriented discourses about the importance of sexual difference to Iraq's modernization worked paradoxically, deferring demands for political change in the present and reproducing existing capitalist relations. Ultimately, the book shows how certain goods—most obviously, democratic ideals—were repeatedly sacrificed in the name of the nation's economic development in an ever-receding future.
REMEX presents the first comprehensive examination of artistic responses and contributions to an era defined by the North American Free Trade Agreement (1994–2008). Marshaling over a decade’s worth of archival research, interviews, and participant observation in Mexico City and the Mexico–US borderlands, Amy Sara Carroll considers individual and collective art practices, recasting NAFTA as the most fantastical inter-American allegory of the turn of the millennium. Carroll organizes her interpretations of performance, installation, documentary film, built environment, and body, conceptual, and Internet art around three key coordinates—City, Woman, and Border. She links the rise of 1990s Mexico City art in the global market to the period’s consolidation of Mexico–US border art as a genre. She then interrupts this transnational art history with a sustained analysis of chilanga and Chicana artists’ remapping of the figure of Mexico as Woman. A tour de force that depicts a feedback loop of art and public policy—what Carroll terms the “allegorical performative”—REMEX adds context to the long-term effects of the post-1968 intersection of D.F. performance and conceptualism, centralizes women artists’ embodied critiques of national and global master narratives, and tracks post-1984 border art’s “undocumentation” of racialized and sexualized reconfigurations of North American labor pools. The book’s featured artwork becomes the lens through which Carroll rereads a range of events and phenomenon from California’s Proposition 187 to Zapatismo, US immigration policy, 9/11 (1973/2001), femicide in Ciudad Juárez, and Mexico’s war on drugs.
Inside this book are short biographical sketches about the many artists represented in the Library of Congress' Swann Collection compiled by Erwin Swann (1906-1973). In the early 1960s, Swann, a New York advertising executive started collecting original cartoon drawings of artistic and humorous interest. Included in the collection are political prints and drawings, satires, caricatures, cartoon strips and panels, and periodical illustrations by more than 500 artists, most of whom are American. The 2,085 items range from 1780-1977, with the bulk falling between 1890-1970. The Collection includes 1,922 drawings, 124 prints, 14 paintings, 13 animation cels, 9 collages, 1 album, 1 photographic print, and 1 scrapbook.
Sara Fieldston shows how humanitarian child welfare agencies sponsored by Americans filtered political power through the prism of familial love after World War II. These well-meaning institutions shaped perceptions of the United States as the benevolent parent in a family of nations, and helped to expand American hegemony around the globe.
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