University of Massachusetts Press – förlag

How did the global Cold War influence American politics at home? For Might and Right traces the story of how Cold War defense spending remade participatory politics, producing a powerful and dynamic political coalition that reached across party lines. This "Cold War coalition" favored massive defense spending over social welfare programs, bringing together a diverse array of actors from across the nation, including defense workers, community boosters, military contractors, current and retired members of the armed services, activists, and politicians. Faced with neoliberal austerity and uncertainty surrounding America's foreign policy after the 1960s, increased military spending became a bipartisan solution to create jobs and stimulate economic growth, even in the absence of national security threats.Using a rich array of archival sources, Michael Brenes draws important connections between economic inequality and American militarism that enhance our understanding of the Cold War's continued impact on American democracy and the resilience of the military-industrial complex, up to the age of Donald Trump.

Over the past 50 years, lesbian, gay, bisexual, transgender, and queer professionals have organized to achieve greater inclusion into the fields of science, technology, engineering, and mathematics (STEM). This inclusion, however, has come at a cost. In the 1970s, these professionals sought to radically transform STEM fields by confronting the homophobia and sexism embedded within them. Instead, these fields became more corporatized and privatized, and STEM institutions and workspaces—particularly in the spheres of government and business—became dominated by a focus on individualism, self-improvement/advancement, and meritocracy, which are hallmarks of neoliberalism. For many LGBTQ STEM professionals, inclusion now required becoming more apolitical, pro-capital, and focused on professional development.In Out Doing Science, Tom Waidzunas, Ethan Czuy Levine, and Brandon Fairchild explore this transformation of LGBTQ STEM professionals from oppositional outsiders to assimilationist insiders. Drawing on historical archives, oral interviews, and participant observation of professional societies and workspaces, the authors interrogate the meanings of “inclusion” and why some LGBTQ STEM professionals have benefited from it more than others. They also advocate for a “queer STEM” that challenges and transforms the racism, classism, sexism, cisheterosexism, and imperialism of these fields, institutions, and workspaces. Written in an accessible and engaging style, Out Doing Science will appeal to readers interested in LGBTQ studies, and science and technology studies, as well as anyone who wants to create a more diverse and inclusive work environment.

When Christa Kuljian arrived on the Harvard College campus as a first-year student in the fall of 1980 with copies of Our Bodies, Ourselves and Ms. magazine, she was concerned that the women’s movement had peaked in the previous decade. She soon learned, however, that there was a long way to go in terms of achieving equality for women in academia and that social movements would continue to be a critical force in society. She began researching the history of science and gender biases in science, and how they intersect with race, class, and sexuality.In Our Science, Ourselves, Kuljian tells the origin story of feminist science studies by focusing on the life histories of six key figures—Ruth Hubbard, Rita Arditti, Evelyn Fox Keller, Evelynn Hammonds, Anne Fausto-Sterling, and Banu Subramaniam. These women were part of a trailblazing network of female scientists in the 1970s, 80s, and 90s who were drawn to the Boston area—to Harvard, MIT, and other universities—to study science, to network with other scientists, or to take a job. Inspired by the social and political activism of the women’s movement and organizations such as Science for the People, the Genes and Gender Collective, and the Combahee River Collective, they began to write and teach about women in science, gender and science, and sexist and racist bias and exclusion. They would lead the critiques of E. O. Wilson’s sociobiology in 1975 and Larry Summers’ comments about women in science thirty years later.Drawing on a rich array of sources that combines published journal articles and books with archival materials and interviews with major luminaries of feminist science studies, Kuljian chronicles and celebrates the contributions that these women have made to our collective scientific knowledge and view of the world.

Simultaneously transnational and local, poetry in the twenty-first century is produced across digital networks, shaped through local communities, and evaluated on a global scale. It might start on social media, where a video of a poet circulates and goes viral, gaining international attention without ever going through traditional modes of publication. In Networked Poetics, Susanna L. Sacks introduces readers to the southern African poetry scene in Malawi, Zimbabwe, and South Africa, illustrating how contemporary poetry is shaped, from inception to canonization, by the influence of digital media publication. Interweaving ethnographic observation and extensive literary analysis, Sacks demonstrates that, as more artists in Africa reach wider audiences through online publication, poetic form has shifted to reflect social media’s aesthetic norms of urgency, immediacy, and populism. These changes have, in turn, challenged elite processes of valuation, forcing literary institutions like prizes, festivals, and curricula to accommodate the digital turn.

In Sex Science Self, Bob Ostertag cautions against accepting and defending any technology uncritically—even, maybe even especially, a technology that has become integrally related to identity. Specifically, he examines the development of estrogen and testosterone as pharmaceuticals.Ostertag situates this history alongside the story of an increasingly visible and political lesbian, gay, bisexual, and transgender population. He persuasively argues that scholarship on the development of sex hormone chemicals does not take into account LGBT history and activism, nor has work in LGBT history fully considered the scientific research that has long attempted to declare a chemical essence of gender. In combining these histories, Ostertag reveals the complex motivations behind hormone research over generations and expresses concern about the growing profits from estrogen and testosterone, which now are marketed with savvy ad campaigns to increase their use across multiple demographics.Ostertag does not argue against the use of pharmaceutical hormones. Instead he points out that at a time when they are increasingly available, it is more important than ever to understand the history and current use of these powerful chemicals so that everyone—within the LGBT community and beyond—can make informed choices.In this short, thoughtful, and engaging book, Ostertag tells a fascinating story while opening up a wealth of new questions and debates about gender, sexuality, and medical treatments.

A contribution to the study necessary to understand the place of this small but distinct group of artefacts in the context of the 19th century. The book provides a set of photographs and measured drawings of Shaker furniture for both study and reproduction.

Journalist, editor, critic, translator, and women’s rights advocate, Margaret Fuller was America’s first major female intellectual. Throughout much of the late-19th and 20th centuries, however, critics and scholars largely saw her as a minor figure in the transcendentalist movement with which she is associated, and her work was considered secondary to that of male figures like Emerson and Hawthorne. While her biography—including her marriage to an Italian noble and her dramatic death in a shipwreck—was often the focus, her skill as a writer was generally overlooked, and her intellectual development largely ignored. In the early 1980s, David M. Robinson was one of the first scholars to publish an article that focused on Fuller’s mind and art. Now Transcendent Woman completes and extends this early work. Outlining the development of her philosophy, which Robinson defines as a “purpose-oriented form of thinking, tailored to the commitment and assets of each individual,” he traces Fuller’s intellectual journey, first in relation to her family and the people around her in New England and later in her travels in the midwestern United States and, more importantly, through Europe and her residency in Italy. He focuses first and foremost on what Fuller was reading (Goethe was key), what she was thinking as revealed in her letters and journals, and what she was writing, including seminal works such as Summer on the Lakes and Woman in the Nineteenth Century as well as lesser-known essays, translations, and short stories. Drawing extensively on primary sources, Robinson charts Fuller’s development and achievement as an original thinker and fearless advocate of democracy.

For a Kentucky rifleman who spent his tour trudging through Vietnam's Central Highlands, it was Nancy Sinatra's ""These Boots Are Made for Walkin'."" For a ""tunnel rat"" who blew smoke into the Viet Cong's underground tunnels, it was Jimi Hendrix's ""Purple Haze."" For a black marine distraught over the assassination of Martin Luther King Jr., it was Aretha Franklin's ""Chain of Fools."" And for countless other Vietnam vets, it was ""I Feel Like I'm Fixin' to Die,"" ""Who'll Stop the Rain,"" or the song that gives this book its title.In We Gotta Get Out of This Place, Doug Bradley and Craig Werner place popular music at the heart of the American experience in Vietnam. They explore how and why U.S. troops turned to music as a way of connecting to each other and the World back home and of coping with the complexities of the war they had been sent to fight. They also demonstrate that music was important for every group of Vietnam veterans -- black and white, Latino and Native American, men and women, officers and ""grunts"" -- whose personal reflections drive the book's narrative. Many of the voices are those of ordinary soldiers, airmen, seamen, and marines. But there are also ""solo"" pieces by veterans whose writings have shaped our understanding of the war -- Karl Marlantes, Alfredo Vea, Yusef Komunyakaa, Bill Ehrhart, Arthur Flowers -- as well as songwriters and performers whose music influenced soldiers' lives, including Eric Burdon, James Brown, Bruce Springsteen, Country Joe McDonald, and John Fogerty. Together their testimony taps into memories -- individual and cultural -- that capture a central if often overlooked component of the American war in Vietnam.

The Cuban poet Nicolas Guillen, who was born in the eastern province of Camaguey in 1902, died in 1989. This new edition of his selected poems, reissued thirty years after its original publication, includes an extensive, new introductory essay by Roberto Marquez, one of the original translators and a leading authority on Caribbean and Latin American literature and culture. Celebrated as Cuba's national poet, Guillen also attracted an international following, as evidenced by these tributes written after his death:

The relationship between music and poetry is typical of early Cape Verdean poetry; one thinks, for example, of the mornas/poems by Eugénio Tavares. This sort of poetry existed side-by-side with the emphatically classi-cist poetry that imitated the rhetorical models of the mother-country's canon, an example being the poetry of José Lopes, to whom Arminda Brito dedicates an article in the first section of this edition.The present volume has brought together the contributions of scholars of different nationalities who have dedicated themselves to a study of the literatures in the Portuguese language, as well as those who work in other areas such as Linguistics or Comparative Literature but who have in recent years researched and published works on Cape Verdean literature. These include not only Cape Verdeans but also scholars writing from Brazil, Portugal, the United States, the United Kingdom and Galicia in Spain.

This biography of Betty Friedan traces the development of her feminist outlook from her childhood in Illinois to her marriage. Horowitz offers a reading of ""The Feminine Mystique"" and argues that the roots of Friedan's feminism run deeper than she has led us to believe. The links between the ""Popular Front"" of feminism of the ""Old Left"" and the ""New Left"" feminism of the 1960s is delineated, thereby casting doubt on the claims of novelty that many have made about social movements of the 1960s. He illuminates important details by mining everything from her papers while a student as Smith College, to her articles for the labour press. Horowitz advances the historiography with descriptions of women's experiences of left-wing politics and culture in the 1940s and 1950s and by limning Friedan's place within that context.

This book presents a lively account of the Cambridge folk music scene in the late 1950s and early 1960s. Long out of print, ""Baby, Let Me Follow You Down"" is a classic in the history of American popular culture. The book tells the story of the folk music community in Cambridge, Massachusetts, from its beginnings in living rooms and Harvard Square coffeehouses in the late 1950s to the heyday of the folk music revival in the early 1960s. Hundreds of historical photographs, rescreened for this edition, and dozens of interviews combine to re-create the years when Joan Baez, Bob Dylan, and a lively band of Cambridge folksingers led a generation in the rediscovery of American folk music.Compiled by two musicians who were active participants in the Cambridge folk scene, the volume documents a special time in United States culture when the honesty and vitality of traditional folk music were combined with the raw power of urban blues and the high energy of electric rock and roll to create a new American popular music.

In the 1930s, with the rise of fascism, European intellectuals sought refuge in the United States. Many came to be affiliated with the University in Exile. This book presents the intellectual history of that group, documenting their experiences and influence on European and American thought.

The author views landscaping as an expression of a way of life. This collection of essays is written for the general reader and features articles without footnotes. The subject matter ranges from disquisitions on ordinary houses, yards, farms, and farmsteads to notes on ecology and from the impact of automobile use, mobile homes, shopping centers, and rural and urban planning to philosophical arguments about the meaning of human space and arguments for and against preservation.

Essays examine the way we perceive landscape, the effect of gardens and cities of the past on the landscapes of the present, and the way American architecture has broken with tradition. Discussion relates the importance of space to relativism throughout time.

Firsthand accounts of the numbing experience of industrial work by Robert Linhart, one of the militant leftist intellectuals of 1968 France. Translated by Margaret Crosland.

A detailed work that weaves the histories of different magazines and their various strands of black political thought in this century, proving the claim that black magazines, in providing outlets for black writers and recording their concerns, are therefore historical documents in their own right. The study is replete with factual data, interpetive commentary and appropriately selected quotations. The balance is sustained in explaining the journals' influence on politics, social moevements and aesthetics. The epilogue ties together such aspects as the interrelationships among personalities, journals and the public.