Renewing the American Narrative – serie

From generation to generation, three outstanding American Jewish directors—William Wyler, Sidney Lumet, and Steven Spielberg--advance a tradition of Jewish writers, artists, and leaders who propagate the ethical basis of the American Idea and Creed.

From generation to generation, three outstanding American Jewish directors—William Wyler, Sidney Lumet, and Steven Spielberg--advance a tradition of Jewish writers, artists, and leaders who propagate the ethical basis of the American Idea and Creed.

This book interrogates the repertoire of masculine performance in popular crime fiction and cinema from the 1940s, 50s, and 60s. Demonstrating how anxieties and possibilities of American masculinity are hammered out in works of popular culture, Pulp Virilities provides a rich cultural genealogy of contemporary American social life.

This book interrogates the repertoire of masculine performance in popular crime fiction and cinema from the 1940s, 50s, and 60s. This critical survey of the back alleys of pulp culture reveals American masculinities to be unsettled, contentious, crisis-ridden, racially fraught, and sexually anxious. Libertarian in their sensibilities, self-aggrandizing in their sentiments, resistant to the lures of upper mobility, scornful of white collar and corporate culture, the protagonists of these popular and populist works viewed themselves as working-class heroes cast adrift. Pulp Virilities explores the enduring traditions of hard-boiled and noir literature, casting a critical eye on its depictions of urban life and representations of gender, crime, labor, and race. Demonstrating how anxieties and possibilities of American masculinity are hammered out in works of popular culture, Pulp Virilities provides a rich cultural genealogy of contemporary American social life.

The book explores the liminal aesthetics of U.S. cultural and literary practice. The study suggests that U.S. literary and cultural practice is permeated by ‘moveable designs’—flexible, yet constant features of hegemonial practice that constitute an integral element of American national self-fashioning.

The book explores the liminal aesthetics of U.S. cultural and literary practice. The study suggests that U.S. literary and cultural practice is permeated by ‘moveable designs’—flexible, yet constant features of hegemonial practice that constitute an integral element of American national self-fashioning.

​This book focuses on the war in Afghanistan. In 2010 and 2011, the author took a leave from her faculty position at the University of California, Irvine to train and then deploy as a cultural advisor with two U.S. Army combat units in Afghanistan. Her account begins with the U.S. Army’s four-month training program for cultural advisors, follows her deployment, much of it on missions to remote and volatile areas far from brigade headquarters, and concludes with her uneasy return home.She examines the everyday lives of Americans sent to conduct a war of counterinsurgency, including their sexual exploits on base, their superstitions, even the heroic accounts that military contractors recount in their personal stories of past wars, stories that are sometimes a little too good to be true. In turn, she explores the views of ordinary Afghans to this American occupation.

​This book focuses on the war in Afghanistan. In 2010 and 2011, the author took a leave from her faculty position at the University of California, Irvine to train and then deploy as a cultural advisor with two U.S. Army combat units in Afghanistan. Her account begins with the U.S. Army’s four-month training program for cultural advisors, follows her deployment, much of it on missions to remote and volatile areas far from brigade headquarters, and concludes with her uneasy return home.She examines the everyday lives of Americans sent to conduct a war of counterinsurgency, including their sexual exploits on base, their superstitions, even the heroic accounts that military contractors recount in their personal stories of past wars, stories that are sometimes a little too good to be true. In turn, she explores the views of ordinary Afghans to this American occupation.

This book explores the major challenges that the long-standing and diversely debated demise of postmodernism signifies for American literature, art, culture, history, and politics, in the present, third decade of the twenty-first century.

This book explores the major challenges that the long-standing and diversely debated demise of postmodernism signifies for American literature, art, culture, history, and politics, in the present, third decade of the twenty-first century.

This book challenges the historical common sense that the American Revolution terminated in the birth of the United States. Prevailing narratives of the Revolutionary period rest on the assumption that the war ended with the Treaty of Paris in 1783. Yet from London to Philadelphia, and from the Six Nations’ trans-Appalachian homelands to the shores of Sierra Leone, the decades after the treaty’s signing roil with accounts that disturb the coherence of this chronological division. Insurgent Remains assembles a counter-archive of textual and visual materials—ranging from popular seduction tales and political cartoons to the writings of self-liberated African Americans—that furnishes alternative visions of revolutionary historical experience as an ongoing negotiation with violence and contingency. The book argues that the minor temporalities and political literacies registered in this archive cannot be accommodated by the progressive plot of nationalist history, in which the warfigures as a contest of only two sides (Tory/Whig, British/American, Loyalist/Patriot). Instead, they become legible as “remains”: traces of attachments, modes of collective association, and unresolved struggles that bear insurgent political potential in their own right.