This book is a series of stories based on the childhood of an artist and her present-day life in a small town. Her pets play a large role in the stories as they come to life with their thoughts and words and interact with the townfolk. These stories have a fairy-tale quality to them and are appropriate for adults or for adults to read to children."--
Debrett's Peerage & Baronetage is the only up-to-date printed reference guide to the United Kingdom's titled families: the hereditary peers, life peers and peeresses, and baronets, and their descendants who form the fascinating tapestry of the peerage. This is the first ebook edition of Debrett's Peerage &Baronetage, and it also contains information relating to:The Royal FamilyCoats of ArmsPrincipal British Commonwealth OrdersCourtesy titlesForms of addressExtinct, dormant, abeyant and disclaimed titles.Special features for this anniversary edition include:The Roll of Honour, 1920: a list of the 3,150 people whose names appeared in the volume who were killed in action or died as a result of injuries sustained during the First World War.A number of specially commissioned articles, including an account of John Debrett's life and the early history of Debrett's Peerage and Baronetage, a history of the royal dukedoms, and an in-depth feature exploring the implications of modern legislation and mores on the ancient traditions of succession.
Walter Benjamin's magnum opus was a book he did not live to write. In The Dialectics of Seeing, Susan Buck-Morss offers an inventive reconstruction of the Passagen Werk, or Arcades Project, as it might have taken form. Working with Benjamin's vast files of citations and commentary which contain a myriad of historical details from the dawn of consumer culture, Buck-Morss makes visible the conceptual structure that gives these fragments philosophical coherence. She uses images throughout the book to demonstrate that Benjamin took the debris of mass culture seriously as the source of philosophical truth. The Paris Arcades that so fascinated Benjamin (as they did the Surrealists whose "materialist metaphysics" he admired) were the prototype, the 19th century "ur-form" of the modern shopping mall. Benjamin's dialectics of seeing demonstrate how to read these consumer dream houses and so many other material objects of the time—from air balloons to women's fashions, from Baudelaire's poetry to Grandville's cartoons—as anticipations of social utopia and, simultaneously, as clues for a radical political critique. Buck-Morss plots Benjamin's intellectual orientation on axes running east and west, north and south—Moscow Paris, Berlin-Naples—and shows how such thinking in coordinates can explain his understanding of "dialectics at a standstill." She argues for the continuing relevance of Benjamin's insights but then allows a set of "afterimages" to have the last word.
This book explores the role of bodily, sensory experience in early Christianity (first – seventh centuries AD) by focusing on the importance of smell in ancient Mediterranean culture. Following its legalization in the fourth century Roman Empire, Christianity cultivated a dramatically flourishing devotional piety, in which the bodily senses were utilized as crucial instruments of human-divine interaction. Rich olfactory practices developed as part of this shift, with lavish uses of incense, holy oils, and other sacred scents. At the same time, Christians showed profound interest in what smells could mean. How could the experience of smell be construed in revelatory terms? What specifically could it convey? How and what could be known through smell? Scenting Salvation argues that ancient Christians used olfactory experience for purposes of a distinctive religious epistemology: formulating knowledge of the divine in order to yield, in turn, a particular human identity. Using a wide array of Pagan, Jewish, and Christian sources, Susan Ashbrook Harvey examines the ancient understanding of smell through religious rituals, liturgical practices, mystagogical commentaries, literary imagery, homiletic conventions; scientific, medical, and cosmological models; ascetic disciplines, theological discourse, and eschatological expectations. In the process, she argues for a richer appreciation of ancient notions of embodiment, and of the roles the body might serve in religion.
Is late modern art 'anti-aesthetic'? What does it mean to label a piece of art 'affectless'? These traditional characterisations of 1960s and 1970s art are radically challenged in this subversive art history. By introducing feeling to the analysis of this period, Susan Best acknowledges the radical and exploratory nature of art in late modernism. Her book focuses on four highly influential female artists - Eva Hesse, Lygia Clark, Ana Mendieta and Theresa Hak Kyung Cha - and it explores how their art transformed established avant-garde protocols by introducing an affective dimension. This aspect of their work, while often noted, has never before been analysed in detail. Visualizing Feeling also addresses a methodological blind spot in art history: the interpretation of feeling, emotion and affect. It demonstrates that the affective dimension, alongside other materials and methods of art, is part of the artistic means of production and innovation. This is the first thorough re-appraisal of aesthetic engagement with affect in post-1960s art. The book also extends and enlarges the applications of psychoanalytic theory to art history. Susan Best draws on a rich array of psychologists and psychoanalytic thinkers such as: André Green, Sarah Kofman, Melanie Klein, Donald Winnicott, Ignacio Matte-Blanco, Silvan Tomkins and Daniel Stern. In addition, key aesthetic ideas and concepts are interrogated, including expressive theories of art, beauty and the sublime, and embodied responses to art. By creatively re-evaluating late modern art, Susan Best offers a new way of thinking about subjectivity and feeling which acknowledges and celebrates the achievements of the feminine avant-garde.
This compelling study traces the changes in women's lives in France from 1789 to the present. Susan K. Foley surveys the patterns of women's experiences in the socially-segregated society of the early nineteenth century, and then traces the evolution of their lifestyles to the turn of the twenty-first century, when many of the earlier social distinctions had disappeared. Focusing on women's contested place within the political nation, Women in France since 1789 examines: - The on-going strength of notions of sexual difference - Recurrent debates over gender - The anxiety created by women's perceived departure from ideals of womanhood - Major controversies over matters such as reproductive rights, significant cultural changes, and women's often under-estimated political roles By addressing and exploring these key issues, Foley demonstrates women's efforts over two centuries to create a place in society on their own terms.
Cities are home to over fifty percent of the world's population, a figure which is expected to increase enormously by 2050. Despite the growing demand on urban resources and infrastructure, food is still often overlooked as a key factor in planning and designing cities. Without incorporating food into the design process – how it is grown, transported, and bought, cooked, eaten and disposed of – it is impossible to create truly resilient and convivial urbanism. Moving from the table and home garden to the town, city, and suburbs, Food and Urbanism explores the connections between food and place in past and present design practices. The book also looks to future methods for extending the 'gastronomic' possibilities of urban space. Supported by examples from places across the world, including the UK, Norway, Germany, France, Spain, Portugal, Greece, Romania, Australia and the USA, the book offers insights into how the interplay of physical design and socio-spatial practices centred around food can help to maintain socially rich, productive and sustainable urban space. Susan Parham brings together the latest research from a number of disciplines – urban planning, food studies, sociology, geography, and design – with her own fieldwork on a range of foodscapes to highlight the fundamental role food has to play in shaping the urban future.
Between Race and Reason engages the work of diverse intellectuals who challenge the university's past and present collusion with racism, violence, militarization, and war and seeks to re-imagine the academy as a uniquely privileged site for critique in the interests of today's urgent imperatives for peace and justice.
Reclaiming the first century as common ground rather than the origin of deeply entrenched differences: liberating the past to speak to us in another way. Conventional readings of antiquity cast Athens against Jerusalem, with Athens standing in for "reason" and Jerusalem for "faith." And yet, Susan Buck-Morss reminds us, recent scholarship has overturned this separation. Naming the first century as a zero point--"year one"--that divides time into before and after is equally arbirtrary, nothing more than a convenience that is empirically meaningless. In YEAR 1, Buck-Morss liberates the first century so it can speak to us in another way, reclaiming it as common ground rather than the origin of deeply entrenched differences. Buck-Morss aims to topple various conceptual givens that have shaped modernity as an episteme and led us into some unhelpful postmodern impasses. She approaches the first century through the writings of three thinkers often marginalized in current discourse: Flavius Josephus, historian of the Judaean war; the neo-Platonic philosopher Philo of Alexandria; and John of Patmos, author of Revelation, the last book of the Christian Bible. Also making appearances are Antigone and John Coltrane, Plato and Bulwer-Lytton, al-Farabi and Jean Anouilh, Nicholas of Cusa and Zora Neale Hurston--not to mention Descartes, Kant, Hegel, Kristeva, and Derrida. Buck-Morss shows that we need no longer partition history as if it were a homeless child in need of the protective wisdom of Solomon. Those inhabiting the first century belong together in time, and therefore not to us.
Being women provided them with a particular perspective, expressed first-hand through their letters. Dalton shows how Lespinasse, Roland, Renier Michiel, and Mosconi grappled with differences of ideology, social status, and community, often through networks that mixed personal and professional relations, thus calling into question the actual separation between public and private spheres. Building on the work of Dena Goodman and Daniel Gordon, Dalton shows how a variety of conflicts were expressed in everyday life and sheds new light on Venice as an important eighteenth-century cultural centre.
A historical and critical view of wearable technologies that considers them as acts of communication in a social landscape. Wearable technology—whether a Walkman in the 1970s, an LED-illuminated gown in the 2000s, or Google Glass today—makes the wearer visible in a technologically literate environment. Twenty years ago, wearable technology reflected cultural preoccupations with cyborgs and augmented reality; today, it reflects our newer needs for mobility and connectedness. In this book, Susan Elizabeth Ryan examines wearable technology as an evolving set of ideas and their contexts, always with an eye on actual wearables—on clothing, dress, and the histories and social relations they represent. She proposes that wearable technologies comprise a pragmatics of enhanced communication in a social landscape. “Garments of paradise” is a reference to wearable technology's promise of physical and mental enhancements. Ryan defines “dress acts”—hybrid acts of communication in which the behavior of wearing is bound up with the materiality of garments and devices—and focuses on the use of digital technology as part of such systems of meaning. She connects the ideas of dress and technology historically, in terms of major discourses of art and culture, and in terms of mass media and media culture, citing such thinkers as Giorgio Agamben, Manuel De Landa, and Gilles Deleuze and Félix Guattari. She examines the early history of wearable technology as it emerged in research labs; the impact of ubiquitous and affective approaches to computing; interaction design and the idea of wearable technology as a language of embodied technology; and the influence of open source ideology. Finally, she considers the future, as wearing technologies becomes an increasingly naturalized aspect of our social behavior.
In Surrealism at Play Susan Laxton writes a new history of surrealism in which she traces the centrality of play to the movement and its ongoing legacy. For surrealist artists, play took a consistent role in their aesthetic as they worked in, with, and against a post-World War I world increasingly dominated by technology and functionalism. Whether through exquisite-corpse drawings, Man Ray’s rayographs, or Joan Miró’s visual puns, surrealists became adept at developing techniques and processes designed to guarantee aleatory outcomes. In embracing chance as the means to produce unforeseeable ends, they shifted emphasis from final product to process, challenging the disciplinary structures of industrial modernism. As Laxton demonstrates, play became a primary method through which surrealism refashioned artistic practice, everyday experience, and the nature of subjectivity.
Is the position of women in the workplace changing? In addressing the broad range of issues raised by this question, Gender, Careers and Organisations engages in diverse contemporary debates about economic and organisational restructuring, human agency and strategy, embodiment and sexuality. Drawing on original empirical research into contemporary British banking, nursing and local government, the book both contributes to a reformulation of current debates and to the development of theoretical perspectives on gender, careers and organisations.
This book takes us on a fascinating journey through the world of thought of Miki Kiyoshi, one of Japan s pre-eminent philosophers before the Pacific War, and thus makes us discover the man behind the philosopher. His collaboration with government think-tanks in the late 1930s has made him highly controversial in historiographical debates. His death in prison, six weeks after Japan's defeat, hastened the lifting of pre-war restrictions on civil rights in Japan. He was a prolific, diverse and original thinker, revered by the Japanese as a plain-speaking, deeply humanistic philosopher who connected with the real lives of the people. As a translator, editor and journalist he intoduced many works of western European literature and philosophy into Japan.
This book relates developments in the visual arts and printing to humanist theories of literary and bodily imitation, bringing together fifteenth- and sixteenth-century frescoes, statues, coins, letters, dialogues, epic poems, personal emblems, and printed collections of portraits. Its interdisciplinary analyses show that Renaissance theories of emulating classical heroes generated a deep skepticism about self-presentation, ultimately contributing to a new awareness of representation as representation. Hollow Men shows that the Renaissance questioning of “interiority” derived from a visual ideal, the monument that was the basis of teachings about imitation. In fact, the decline of exemplary pedagogy and the emergence of modern masculine subjectivity were well underway in the mid–fifteenth century, and these changes were hastened by the rapid development of the printed image.
I can't even speak my own language," were the words overheard in a college staffroom that triggered the writing of this book. Calling something 'my own' implies a personal, proprietorial relationship with it. But how can it be your own if you cannot speak it? The Cultural Memory of Language looks at unintended monolingualism - a lack of language fluency in a migratory cultural situation where two or more languages exist at 'home'. It explores family history and childhood language acquisition and attrition. What is the present everyday experience of language use and life between two cultures? Examining interview data, Samata uncovers a sense of inauthenticity felt by people who do not fully share a parent's first language. Alongside this features a sense of concurrent anger, and a need to assign blame. Participation in the language, even to the extent of phatic or formulaic phraseology, occasions feelings of authentic linguistic and cultural inclusion. The book thus uncovers appreciable (and measurable) benefits in positive self-image and a sense of well-being. Looking at how people view language is essential - how they view the language they call their own is even more important and this book does just that in a qualified applied linguistic environment.
Professor Stuard collects here a set of her articles on women and gender in the Middle Ages, beginning with her first, published in 1975. The first section, on marriage, opens with an exploration of the Ragusa/Dubrovnik archives, reaches out to consider patterns of gift-giving at marriage and of consumption. The second section focuses on slavery, specifically women destined for domestic service. The final parts contain historiographical surveys of the field of women and gender studies, and three biographical studies.
The Collector’s Voice is a major four-volume project which brings together in accessible form material relevant to the history and practice of collecting in the European tradition from c. 1500 BC to the present day. The series demonstrates how attitudes to objects, the collecting of objects, and the shape of the museum institution have developed over the past 3000 years. Material presented includes translations of a wide range of original documents: letters, official reports, verse, fiction, travellers' accounts, catalogues and labels. Volume 1: Ancient Voices, edited by Susan Pearce and Alexandra Bounia Volume 2: Early Voices, edited by Susan Pearce and Kenneth Arnold Volume 3: Imperial Voices, edited by Susan Pearce and Rosemary Flanders Volume 4: Contemporary Voices, edited by Susan Pearce and Paul Martin
Medieval courtiers defined themselves in ceremonies and rituals. Tournaments, Maying, interludes, charivaris, and masking invited the English and French nobility to assert their identities in gesture and costume as well as in speech. These events presumed that performance makes a self, in contrast to the modern belief that identity precedes social performance and, indeed, that performance falsifies the true, inner self. Susan Crane resists the longstanding convictions that medieval rituals were trivial affairs, and that personal identity remained unarticulated until a later period. Focusing on England and France during the Hundred Years War, Crane draws on wardrobe accounts, manuscript illuminations, chronicles, archaeological evidence, and literature to recover the material as well as the verbal constructions of identity. She seeks intersections between theories of practice and performance that explain how appearances and language connect when courtiers dress as wild men to interrupt a wedding feast, when knights choose crests and badges to supplement their coats of arms, and when Joan of Arc cross-dresses for the court of inquisition after her capture.
This outstanding collection of Susan McClary's work exemplifies her contribution to a bridging of the gap between historical context, culture and musical practice. The selection includes essays which have had a major impact on the field and others which are less known and reproduced here from hard-to-find sources. The volume is divided into four parts: Interpretation and Polemics, Gender and Sexuality, Popular Music, and Early Music. Each of the essays treats music as cultural text and has a strong interdisciplinary appeal. Together with the autobiographical introduction they will prove essential reading for anyone interested in the life and times of a renegade musicologist.
This revised edition of Garland's 1989 publication updates the core bibliography on Gustave Mahler (as well as his spouse and fellow composer Alma Mahler) by incorporating new research gathered over the past dozen years on his life and professional works. Gustave Mahler, renowned conductor and composer of symphonies and song cycles, is one of the foremost musical figures of the late nineteenth and early twentieth centuries. His symphonies continue to be widely performed and studied through the twenty-first century. Organized in sections according to subject matter, references are arranged alphabetically by the names of authors or editors. Filler’s research has produced sources for musicologists and students in nineteen languages, offering a resource that expands traditional English-language music scholarship.
From mischievous child prodigy to the dynamic Lord of the Dance, an engaging look at the life of Revels founder John Langstaff. On Christmas Eve in 1920, John Meredith Langstaff was born into a music-filled home where a rousing, wassailing carol party was the peak of his family’s year. Half a century later, his inspired Christmas Revels was born, a theatrical weaving of traditional song, folkdance, and drama that has become a beloved institution across the country. Now award-winning author Susan Cooper, a friend and writer for the Revels, traces its roots through the rhythms of Jack Langstaff’s life--from star choirboy (and notorious troublemaker) to his early career as a noted recital singer; from a daunting World W ar II injury to his work as recording artist, TV performer, teacher, and children’s author. Along the way, his passion for music, ritual, and community fused to spark the incomparable Revels, a participatory celebration that promises to draw children of all ages for generations to come.
The Persian Mirror explores France's preoccupation with Persia in the seventeenth century. Long before Montesquieu's Persian Letters, French intellectuals, diplomats and even ordinary Parisians were fascinated by Persia and eagerly consumed travel accounts, fairy tales, and the spectacle of the Persian ambassador's visit to Paris and Versailles in 1715. Using diplomatic sources, fiction and printed and painted images, The Persian Mirror describes how the French came to see themselves in Safavid Persia. In doing so, it revises our notions of orientalism and the exotic and suggests that early modern Europeans had more nuanced responses to Asia than previously imagined.
By offering a new way of thinking about the role of politically engaged art, Susan Best opens up a new aesthetic field: reparative aesthetics. The book identifies an innovative aesthetic on the part of women photographers from the southern hemisphere, who against the dominant modes of criticality in political art, look at how cultural production can be reparative. The winner of the Art Association of Australia and New Zealand best book award in 2017, Reparative Aesthetics contributes an entirely new theory to the interdisciplinary fields of aesthetics, affect studies, feminist theory, politics and photography. Conceptually innovative and fiercely original this book will move us beyond old political and cultural stalemates and into new terrain for analysis and reflection.
The violence and economic devastation of the 1980–1992 civil war in El Salvador drove as many as one million Salvadorans to enter the United States, frequently without authorization. In Nations of Emigrants, the legal anthropologist Susan Bibler Coutin analyzes the case of emigration from El Salvador to the United States to consider how current forms of migration challenge conventional understandings of borders, citizenship, and migration itself. Interviews with policymakers and activists in El Salvador and the United States are juxtaposed with Salvadoran emigrants' accounts of their journeys to the United States, their lives in this country, and, in some cases, their removal to El Salvador. These interviews and accounts illustrate the dilemmas that migration creates for nation-states as well as the difficulties for individuals who must live simultaneously within and outside the legal systems of two countries. During the 1980s, U.S. officials generally regarded these migrants as economic immigrants who deserved to be deported, rather than as political refugees who merited asylum. By the 1990s, these Salvadorans were made eligible for legal permanent residency, at least in part due to the lives that they had created in the United States. Remarkably, this redefinition occurred during a period when more restrictive immigration policies were being adopted by the U.S. government. At the same time, Salvadorans in the United States, who send relatives more than $3 billion in remittances annually, have become a focus of policymaking in El Salvador and are considered key to its future.
Between the waning of the Renaissance and the beginning of the Enlightenment, many fundamental aspects of human behaviour - from expressions of gender to the experience of time - underwent radical changes. While some of these transformations were recorded in words, others have survived in non-verbal cultural media, notably the visual arts, poetry, theatre, music, and dance. Structures of Feeling in Seventeenth-Century Cultural Expression explores how artists made use of these various cultural forms to grapple with human values in the increasingly heterodox world of the 1600s. Essays from prominent historians, musicologists, and art critics examine methods of non-verbal cultural expression through the broad themes of time, motion, the body, and global relations. Together, they show that seventeenth-century cultural expression was more than just an embryonic stage within Western artistic development. Instead, the contributors argue that this period marks some of the most profound changes in European subjectivities.
The Resonance of Unseen Things offers an ethnographic meditation on the “uncanny” persistence and cultural freight of conspiracy theory. The project is a reading of conspiracy theory as an index of a certain strain of late 20th-century American despondency and malaise, especially as understood by people experiencing downward social mobility. Written by a cultural anthropologist with a literary background, this deeply interdisciplinary book focuses on the enduring American preoccupation with captivity in a rapidly transforming world. Captivity is a trope that appears in both ordinary and fantastic iterations here, and Susan Lepselter shows how multiple troubled histories—of race, class, gender, and power—become compressed into stories of uncanny memory. “We really don’t have anything like this in terms of a focused, sympathetic, open-minded ethnographic study of UFO experiencers. . . . The author’s semiotic approach to the paranormal is immensely productive, positive, and, above all, resonant with what actually happens in history.” —Jeffrey J. Kripal, J. Newton Rayzor Professor of Religion, Rice University “Lepselter relates a weave of intimate alien sensibilities in out-off-the-way places which are surprisingly, profoundly, close to home. Readers can expect to share her experience of contact with complex logics of feeling, and to do so in a contemporary America they may have thought they understood.” —Debbora Battaglia, Mount Holyoke College “An original and beautifully written study of contemporary American cultural poetics. . . . The book convincingly brings into relief the anxieties of those at the margins of American economic and civic life, their perceptions of state power, and the narrative continuities that bond them to histories of violence and expansion in the American West.” —Deirdre de la Cruz, University of Michigan
This study develops the notion of dreamworld as both a poetic description of a collective mental state and an analytical concept. Stressing the similarites between East/West the book examines extremes of mass utopia, dreamworld and catastrophe.
The PREEN FAMILY HISTORY STUDY GROUP exists to research the family. DNA analysis has shown that the Preen Family is divided into three groups, each with a common ancestor in the seventeenth century. Volume One discusses the background and early history of the family and then Volumes Two to Four each cover one of the three groups. This book is Volume Two describing the Cardington Group. For more details of the Group, see our website www.preen.org.uk
In this book, Susan McClary examines the mechanisms through which seventeenth-century musicians simulated extreme affective states—desire, divine rapture, and ecstatic pleasure. She demonstrates how every major genre of the period, from opera to religious music to instrumental pieces based on dances, was part of this striving for heightened passions by performers and listeners. While she analyzes the social and historical reasons for the high value placed on expressive intensity in both secular and sacred music, and she also links desire and pleasure to the many technical innovations of the period. McClary shows how musicians—whether working within the contexts of the Reformation or Counter-Reformation, Absolutists courts or commercial enterprises in Venice—were able to manipulate known procedures to produce radically new ways of experiencing time and the Self.
The Art of the Text contributes to the fast-developing dialogue between textual studies and visual culture studies. It focuses on the processes through which writers think and readers respond visually and, in essays by researchers in literature, screen and visual studies, the volume explores the visuality of the literary and non-literary text, with a sustained focus on French material of the later nineteenth and twentieth centuries. Visuality is appraised here not as a state, but as a set of processes of adaptation, resistance, negotiation, and transformation. By reading visually, the contributors here reactivate the visual-textual relations of canonical texts - from Romanticism to Naturalism, Surrealism to high Modernism; from film to fan literature, television to picture language.
In Exiled Home, Susan Bibler Coutin recounts the experiences of Salvadoran children who migrated with their families to the United States during the 1980–1992 civil war. Because of their youth and the violence they left behind, as well as their uncertain legal status in the United States, many grew up with distant memories of El Salvador and a profound sense of disjuncture in their adopted homeland. Through interviews in both countries, Coutin examines how they sought to understand and overcome the trauma of war and displacement through such strategies as recording community histories, advocating for undocumented immigrants, forging new relationships with the Salvadoran state, and, for those deported from the United States, reconstructing their lives in El Salvador. In focusing on the case of Salvadoran youth, Coutin’s nuanced analysis shows how the violence associated with migration can be countered through practices that recuperate historical memory while also reclaiming national membership.
In The Reformation of Feeling, Susan Karant-Nunn looks beyond and beneath the formal doctrinal and moral demands of the Reformation in Germany to examine the emotional tenor of the programs that the emerging creeds--revised Catholicism, Lutheranism, and Calvinism/Reformed theology--developed for their members. As revealed by the surviving sermons from this period, preaching clergy of each faith both explicitly and implicitly provided their listeners with distinct models of a mood to be cultivated. To encourage their parishioners to make an emotional investment in their faith, all three groups drew upon rhetorical elements that were already present in late medieval Catholicism and elevated them into confessional touchstones. This book is exceptional in its presentation of a cultural rather than theological or behavioral study of the broader movement to remake Christianity. As Karant-Nunn conclusively demonstrates, in the eyes of the Reformation's formative personalities strict adherence to doctrine and upright demeanor did not constitute an adequate piety. The truly devout had to engage their hearts in their faith.
An absorbing look at the role of disease and health policy in the construction of race, gender, and class and in urban development in nineteenth- and twentieth-century San Francisco. "Craddock's provocative work offers an invaluable perspective on public health and the construction of race that speaks not only to the past but also to the present." -Bulletin of the History of Medicine "City of Plagues should fuel excitement and increase other geographers' notice of the remarkable work emanating from it. It simply and brilliantly traces how the often-argued triad of power/knowledge/space actually works in a particular place, at a particular time, and around a particular issue. Meticulous and nuanced." -Environment and Planning D: Society and Space "This book provides an engaging, readable, and well-researched account of the social, political, and medical responses to infectious diseases in San Francisco from the mid-nineteenth century to the present day. A wealth of material is brought together to describe, in a geographical, historical, and cultural framework, the experience, among San Francisco's population, of diseases such as tuberculosis, smallpox, syphilis and other sexually transmitted diseases, plague, and, latterly, HIV and AIDS." -Environment and Planning A Susan Craddock is associate professor in the Department of Women's Studies and the Institute for Global Studies at the University of Minnesota.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.