In 1860 farmers accounted for 60 percent of the American workforce; in 1910, 30.5 percent; by 1994, there were too few to warrant a separate census category. The changes wrought by the decline of family farming and the rise of industrial agribusiness typically have been viewed through historical, economic, and political lenses. But as William Conlogue demonstrates, some of the most vital and incisive debates on the subject have occurred in a site that is perhaps less obvious--literature. Conlogue refutes the critical tendency to treat farm-centered texts as pastorals, arguing that such an approach overlooks the diverse ways these works explore human relationships to the land. His readings of works by Willa Cather, Ruth Comfort Mitchell, John Steinbeck, Luis Valdez, Ernest Gaines, Jane Smiley, Wendell Berry, and others reveal that, through agricultural narratives, authors have addressed such wide-ranging subjects as the impact of technology on people and land, changing gender roles, environmental destruction, and the exploitation of migrant workers. In short, Conlogue offers fresh perspectives on how writers confront issues whose site is the farm but whose impact reaches every corner of American society.
Unearthing new ways of thinking about place, pedagogy, and the environment, "On the Measures" argues that place is unstable. To study dimensions of place, the book explores two working landscapes: 1) Scranton, Pennsylvania, an undermined, former coal-mining city, and 2) Marywood University, a Scranton institution that confronts the aftermath of mining. Scranton and Marywood have endured the narrative of extraction that the Anthracite Region once celebrated. Recounting removal of parts of this place to feed other places, the story defines loss here as gain there: the city and college have suffered but the United States has grown stronger. The tale ends badly, however, because the narrative arcs toward exhaustion; the storyline offers little about renewal. Growing up with this narrative, Scrantonians have been fleeing the city for decades; the dominant trend among young people has long been to learn here to move elsewhere. Too few environmental humanists have sufficiently examined the primary place where many work: the university. When they do, they often do not link the university to its local, regional, and national environmental contexts. In exploring where Conlogue teaches, he shows how bound up places of learning are with unsettling sites of resource extraction. Defending the study of literature and history, "On the Measures" shows university students that the disciplines they study are parts of an interdisciplinary web of meaning that includes the contexts of the places where they learn"--
Unearthing new ways of thinking about place, pedagogy, and the environment, "On the Measures" argues that place is unstable. To study dimensions of place, the book explores two working landscapes: 1) Scranton, Pennsylvania, an undermined, former coal-mining city, and 2) Marywood University, a Scranton institution that confronts the aftermath of mining. Scranton and Marywood have endured the narrative of extraction that the Anthracite Region once celebrated. Recounting removal of parts of this place to feed other places, the story defines loss here as gain there: the city and college have suffered but the United States has grown stronger. The tale ends badly, however, because the narrative arcs toward exhaustion; the storyline offers little about renewal. Growing up with this narrative, Scrantonians have been fleeing the city for decades; the dominant trend among young people has long been to learn here to move elsewhere. Too few environmental humanists have sufficiently examined the primary place where many work: the university. When they do, they often do not link the university to its local, regional, and national environmental contexts. In exploring where Conlogue teaches, he shows how bound up places of learning are with unsettling sites of resource extraction. Defending the study of literature and history, "On the Measures" shows university students that the disciplines they study are parts of an interdisciplinary web of meaning that includes the contexts of the places where they learn"--
In 1860 farmers accounted for 60 percent of the American workforce; in 1910, 30.5 percent; by 1994, there were too few to warrant a separate census category. The changes wrought by the decline of family farming and the rise of industrial agribusiness typically have been viewed through historical, economic, and political lenses. But as William Conlogue demonstrates, some of the most vital and incisive debates on the subject have occurred in a site that is perhaps less obvious--literature. Conlogue refutes the critical tendency to treat farm-centered texts as pastorals, arguing that such an approach overlooks the diverse ways these works explore human relationships to the land. His readings of works by Willa Cather, Ruth Comfort Mitchell, John Steinbeck, Luis Valdez, Ernest Gaines, Jane Smiley, Wendell Berry, and others reveal that, through agricultural narratives, authors have addressed such wide-ranging subjects as the impact of technology on people and land, changing gender roles, environmental destruction, and the exploitation of migrant workers. In short, Conlogue offers fresh perspectives on how writers confront issues whose site is the farm but whose impact reaches every corner of American society.
This multi-volume work began as a biography of Martha Wadsworth Coigney, who was a pioneering thought leader and advocate of internationalism in the American theatre during the cold war. It was expanded to include the contributions of her mentors and friends Rosamond Gilder, Maurice McClelland, Roger L. Stevens, and Ellen Stewart. Coigney served as director of the International Theatre Institute (ITI) of the United States for thirty-two years and President of ITI International from 1987-1995. The International Theatre Institute is an independent NGO devoted to the UNESCO mission of peace through mutual understanding. After World War II the organization sustained cultural exchange between artists on either side of the Iron Curtain, across religious divides and war zones.
In Grounded Vision, William Major puts contemporary agrarian thinking into a conciliatory and productive dialogue with academic criticism. He argues that the lack of participation in academic discussions means a loss to both agrarians and academics, since agrarian thought can enrich other ongoing discussions on topics such as ecocriticism, postmodernism, feminism, work studies, and politics--especially in light of the recent upsurge in grassroots cultural and environmental activities critical of modernity, such as the sustainable agriculture and slow food movements.
More troubled and troubling than King Henry IV Part 1, the play continues the story of King Henry's decline and Hal's reform. Though Part 2 echoes the structure of the earlier play, it is a darker and more unsettling world, in which even Falstaff's revelry is more tired and cynical, and the once-merry Hal sloughs off his tavern companions to become King Henry V. James C. Bulman's authoritative edition provides a wealth of incisive commentary on this complex history play.
The Oxford Shakespeare General Editor: Stanley Wells The Oxford Shakespeare offers authoritative texts from leading scholars in editions designed to interpret and illuminate the plays for modern readers - A new, modern-spelling text, collated and edited from all existing printings - On-page commentary and notes explain meaning, staging, language, and allusions - Detailed introduction provides a full account of the play's performance history and explores issues of gender, gift-theory, and ecology - Appendices include source materials and a chronology of major productions worldwide - Illustrated with production photographs and related art - Full index to introduction and commentary - Durable sewn binding for lasting use 'not simply a better text but a new conception of Shakespeare. This is a major achievement of twentieth-century scholarship.' ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
Timon of Athens is a bitterly intriguing study of a fabulously rich man who wastes his wealth on his friends, and, when he is finally impoverished, learns to despise humanity with a hatred that drives him to his grave. This edition offers an up-to-date commentary on the play that is more detailed and more thorough than any previously published, as well as a detailed discussion of Thomas Middleton's collaboration with Shakespeare.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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.