Thomas Siwe
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9780252043130
- eISBN:
- 9780252052019
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252043130.001.0001
- Subject:
- Music, Theory, Analysis, Composition
A substantial body of musical literature for solo and ensemble percussion was created in the twentieth century. This book examines percussion literature’s evolution: how it came to be and the styles ...
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A substantial body of musical literature for solo and ensemble percussion was created in the twentieth century. This book examines percussion literature’s evolution: how it came to be and the styles that composers embraced as they produced a large body of music for percussion instruments alone. The focus is on the music that was created, the various genres that arose, and the composers who contributed seminal works. The question is posed: What world and cultural events brought composers to reject the past and embrace modernism? The twentieth century is notable for its many technological advances as well as for the global conflicts that disrupted the lives of millions. Both had significant impact on the arts. Tape recorders, synthesizers, and computers became useful tools for the avant-garde composer. Artists, exiled from their homelands by the war’s devastation, arrived in the Americas with new ideas to share. On the West Coast of the United States, composers found that percussion music was an ideal accompaniment for a nascent modern dance movement. The end of World War II brought monumental change to higher education and to music education in the States. College-trained percussionists became an important resource for the modern composer, who contributed new solo and ensemble works to the percussion canon. The twentieth century witnessed the rise of the percussive arts to a status equal to that of other instrumental groups.Less
A substantial body of musical literature for solo and ensemble percussion was created in the twentieth century. This book examines percussion literature’s evolution: how it came to be and the styles that composers embraced as they produced a large body of music for percussion instruments alone. The focus is on the music that was created, the various genres that arose, and the composers who contributed seminal works. The question is posed: What world and cultural events brought composers to reject the past and embrace modernism? The twentieth century is notable for its many technological advances as well as for the global conflicts that disrupted the lives of millions. Both had significant impact on the arts. Tape recorders, synthesizers, and computers became useful tools for the avant-garde composer. Artists, exiled from their homelands by the war’s devastation, arrived in the Americas with new ideas to share. On the West Coast of the United States, composers found that percussion music was an ideal accompaniment for a nascent modern dance movement. The end of World War II brought monumental change to higher education and to music education in the States. College-trained percussionists became an important resource for the modern composer, who contributed new solo and ensemble works to the percussion canon. The twentieth century witnessed the rise of the percussive arts to a status equal to that of other instrumental groups.
Bruce J Dierenfield and David A. Gerber
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9780252043208
- eISBN:
- 9780252052088
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252043208.001.0001
- Subject:
- Law, Constitutional and Administrative Law
In 1988, Sandi and Larry Zobrest became agents in the struggle for disability rights when they sued a suburban Tucson, Arizona, school district to obtain public funding for the signed language ...
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In 1988, Sandi and Larry Zobrest became agents in the struggle for disability rights when they sued a suburban Tucson, Arizona, school district to obtain public funding for the signed language interpreter their deaf son Jim needed in high school. Such funding would have been unproblematic under the Education for All Handicapped Children Act (later retitled the Individuals with Disabilities Education Act) if Jim went to a public high school, but they were intent on his attending a Roman Catholic school. The law was unclear on the legality of public money assisting students with disabilities to attend religiously affiliated schools, but it had long been a general principle of interpretation of the Establishment Clause of the First Amendment in the U.S. Supreme Court that governments must be cautious about dispensing public resources to religious institutions. Their successful lawsuit represents a classic American clash of rights. This history of the Zobrests’ lawsuit begins well before they went to court. The narrative extends back to Jim’s birth in 1974, a pediatrician’s diagnosis of deafness, and the efforts of his parents, who are not deaf, to seek resources for their son’s education prior to high school. It analyzes their desire to mainstream Jim for preparation for life in the hearing world, not in the Deaf community, and the succession of choices they made to that end.Less
In 1988, Sandi and Larry Zobrest became agents in the struggle for disability rights when they sued a suburban Tucson, Arizona, school district to obtain public funding for the signed language interpreter their deaf son Jim needed in high school. Such funding would have been unproblematic under the Education for All Handicapped Children Act (later retitled the Individuals with Disabilities Education Act) if Jim went to a public high school, but they were intent on his attending a Roman Catholic school. The law was unclear on the legality of public money assisting students with disabilities to attend religiously affiliated schools, but it had long been a general principle of interpretation of the Establishment Clause of the First Amendment in the U.S. Supreme Court that governments must be cautious about dispensing public resources to religious institutions. Their successful lawsuit represents a classic American clash of rights. This history of the Zobrests’ lawsuit begins well before they went to court. The narrative extends back to Jim’s birth in 1974, a pediatrician’s diagnosis of deafness, and the efforts of his parents, who are not deaf, to seek resources for their son’s education prior to high school. It analyzes their desire to mainstream Jim for preparation for life in the hearing world, not in the Deaf community, and the succession of choices they made to that end.
Joshua Lund
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9780252043178
- eISBN:
- 9780252052057
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252043178.001.0001
- Subject:
- Film, Television and Radio, Film
Werner Herzog is the first book-length study of Werner Herzog’s American (in the hemispheric sense) work. It is also the first sustained, book-length study on the question of the political in ...
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Werner Herzog is the first book-length study of Werner Herzog’s American (in the hemispheric sense) work. It is also the first sustained, book-length study on the question of the political in Herzog’s work. Finally, as part of a series on contemporary directors, it introduces Herzog’s films through the arc of his long career, about 60 films (and counting) over nearly 60 years. The approach is materialist and postcolonial, with systematic attention paid to the historical impulses surrounding the films, both in terms of their history of representation (the stories that the films tell) and their history of production. Special attention is paid to how Herzog upsets our conventional expectations concerning categories such as capital, race, social class, and gender, and to what end. The specific aesthetic grammar of Herzog is essential, especially insofar as it confronts the viewer with political questions of world-historical significance. Although the book deals with dozens of films from across five decades (roughly 1968-2016), its heart is the 1970s and 1980s, and each chapter revolves around a single masterpiece: Aguirre, der Zorn Gottes (1972), Stroszek (1977), Fitzcarraldo (1982), and Cobra Verde (1987). Through these films, Herzog challenges the viewer to rethink the foundational traumas of our liberal capitalist modernity, including discovery and conquest; migration and exploitation; resource extraction; and slavery. The book represents both an introduction to Herzog’s work at large, and a new argument about the significance of his films.Less
Werner Herzog is the first book-length study of Werner Herzog’s American (in the hemispheric sense) work. It is also the first sustained, book-length study on the question of the political in Herzog’s work. Finally, as part of a series on contemporary directors, it introduces Herzog’s films through the arc of his long career, about 60 films (and counting) over nearly 60 years. The approach is materialist and postcolonial, with systematic attention paid to the historical impulses surrounding the films, both in terms of their history of representation (the stories that the films tell) and their history of production. Special attention is paid to how Herzog upsets our conventional expectations concerning categories such as capital, race, social class, and gender, and to what end. The specific aesthetic grammar of Herzog is essential, especially insofar as it confronts the viewer with political questions of world-historical significance. Although the book deals with dozens of films from across five decades (roughly 1968-2016), its heart is the 1970s and 1980s, and each chapter revolves around a single masterpiece: Aguirre, der Zorn Gottes (1972), Stroszek (1977), Fitzcarraldo (1982), and Cobra Verde (1987). Through these films, Herzog challenges the viewer to rethink the foundational traumas of our liberal capitalist modernity, including discovery and conquest; migration and exploitation; resource extraction; and slavery. The book represents both an introduction to Herzog’s work at large, and a new argument about the significance of his films.
Bennetta Jules-Rosette and J. R. Osborn
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9780252043277
- eISBN:
- 9780252052156
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252043277.001.0001
- Subject:
- Society and Culture, African Studies
This book approaches the reframing of African art through dialogues with collectors, curators, and artists on three continents. It explores museum exhibitions, storerooms, artists’ studios, and ...
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This book approaches the reframing of African art through dialogues with collectors, curators, and artists on three continents. It explores museum exhibitions, storerooms, artists’ studios, and venues for community outreach. Part One (Chapters 1-3) addresses the history of ethnographic and art museums, ranging from curiosity cabinets to modernist edifices and virtual websites. Museums are considered in terms of five transformational nodes, which contrast ways in which museums are organized and reach out to their audiences. Diverse groups of artists interact with museums at each node. Part Two (Chapters 4-5) addresses museum practices and art worlds through dialogues with curators and artists examining museums as ecosystems and communities within communities. Processes of display and memory work used by curators and artists are analyzed with semiotic methods to investigate images, signs, and symbols drawn from curating the curators and exploring artists’ experiences. Part Three (Chapters 6-8) introduces new strategies for displaying, disseminating, and reclaiming African art. Approaches include the innovative technology of unmixing and the reframing of art for museums of the future. The book addresses building exchanges through studies of curatorial networks, south-north connections, genre classifications, archives, collections, databases, and learning strategies. These discussions open up new avenues of connectivity that range from local museums to global art markets and environments. In conclusion, the book proposes new methods for interpreting African art inside and outside of museums and remixing the results.Less
This book approaches the reframing of African art through dialogues with collectors, curators, and artists on three continents. It explores museum exhibitions, storerooms, artists’ studios, and venues for community outreach. Part One (Chapters 1-3) addresses the history of ethnographic and art museums, ranging from curiosity cabinets to modernist edifices and virtual websites. Museums are considered in terms of five transformational nodes, which contrast ways in which museums are organized and reach out to their audiences. Diverse groups of artists interact with museums at each node. Part Two (Chapters 4-5) addresses museum practices and art worlds through dialogues with curators and artists examining museums as ecosystems and communities within communities. Processes of display and memory work used by curators and artists are analyzed with semiotic methods to investigate images, signs, and symbols drawn from curating the curators and exploring artists’ experiences. Part Three (Chapters 6-8) introduces new strategies for displaying, disseminating, and reclaiming African art. Approaches include the innovative technology of unmixing and the reframing of art for museums of the future. The book addresses building exchanges through studies of curatorial networks, south-north connections, genre classifications, archives, collections, databases, and learning strategies. These discussions open up new avenues of connectivity that range from local museums to global art markets and environments. In conclusion, the book proposes new methods for interpreting African art inside and outside of museums and remixing the results.
Simidele Dosekun
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9780252043215
- eISBN:
- 9780252052095
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252043215.001.0001
- Subject:
- Society and Culture, Gender Studies
This book concerns young, class-privileged women in the Nigerian city of Lagos who dress in a “spectacularly feminine” style characterised by the extravagant use and combination of normatively ...
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This book concerns young, class-privileged women in the Nigerian city of Lagos who dress in a “spectacularly feminine” style characterised by the extravagant use and combination of normatively feminine technologies of dress: cascading hair extensions, false eyelashes and nails, heavy and immaculate makeup, and so on. Based on interviews with such stylized women, the book offers a critical consideration of the kinds of feminine subjectivities that they are performing and desiring. Tracing the repertoires of individualist choice, pleasure, entitlement and “can do” that run through the women’s talk, it argues that they subscribe passionately to the notion, or what the book frames more specifically as the “postfeminist promise,” that immaculate and spectacularized feminine beauty now constitutes and signals feminine power. Seeing themselves as “already empowered,” then, what the women do not see is the need for cultural critique, nor for feminism in the form of collective political struggle. The first book on postfeminism both as a cultural formation in the global South and as it interpellates black women, the work offers a groundbreaking new understanding of the culture as performative and transnationally mobile, and a richly theorised account of how women live, embody, and to some extent suffer it, in the flesh.Less
This book concerns young, class-privileged women in the Nigerian city of Lagos who dress in a “spectacularly feminine” style characterised by the extravagant use and combination of normatively feminine technologies of dress: cascading hair extensions, false eyelashes and nails, heavy and immaculate makeup, and so on. Based on interviews with such stylized women, the book offers a critical consideration of the kinds of feminine subjectivities that they are performing and desiring. Tracing the repertoires of individualist choice, pleasure, entitlement and “can do” that run through the women’s talk, it argues that they subscribe passionately to the notion, or what the book frames more specifically as the “postfeminist promise,” that immaculate and spectacularized feminine beauty now constitutes and signals feminine power. Seeing themselves as “already empowered,” then, what the women do not see is the need for cultural critique, nor for feminism in the form of collective political struggle. The first book on postfeminism both as a cultural formation in the global South and as it interpellates black women, the work offers a groundbreaking new understanding of the culture as performative and transnationally mobile, and a richly theorised account of how women live, embody, and to some extent suffer it, in the flesh.
Kim E. Nielsen
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9780252043147
- eISBN:
- 9780252052026
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252043147.001.0001
- Subject:
- History, American History: 19th Century
Money, Marriage, and Madness is a story of the medical profession, a woman’s wealth and the gendered property laws in which she operated, marital violence, marriage and divorce, institutional ...
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Money, Marriage, and Madness is a story of the medical profession, a woman’s wealth and the gendered property laws in which she operated, marital violence, marriage and divorce, institutional incarceration, and an alleged bank robbery. Dr. Anna B. Miesse Ott lived in a legal context governing money, marriage, and madness that nearly all nineteenth-century women shared. She benefited from wealth, professional status as a physician, and whiteness, but they did not protect her from the vulnerabilities generated by sexism and ableism. After an 1856 marriage and divorce, Ott served for nearly twenty years as a physician in Madison, Wisconsin and garnered additional wealth. In 1873, her husband and local physicians testified to her insanity, as well as her legal incompetency, and Ott entered the gates of the Wisconsin State Hospital for the Insane where she remained until her 1893 death. Her decades of institutionalization reveal daily life in a late nineteenth-century asylum and the permeability of its walls. Tracing the stories told of her after her death enables analyses of the impact of the diagnosis of mania and institutionalization on our memory of her. In addition, this book explores historical methods, ethics, and dilemmas confronted when historical sources are limited and come not from the subject but from those with greater power.Less
Money, Marriage, and Madness is a story of the medical profession, a woman’s wealth and the gendered property laws in which she operated, marital violence, marriage and divorce, institutional incarceration, and an alleged bank robbery. Dr. Anna B. Miesse Ott lived in a legal context governing money, marriage, and madness that nearly all nineteenth-century women shared. She benefited from wealth, professional status as a physician, and whiteness, but they did not protect her from the vulnerabilities generated by sexism and ableism. After an 1856 marriage and divorce, Ott served for nearly twenty years as a physician in Madison, Wisconsin and garnered additional wealth. In 1873, her husband and local physicians testified to her insanity, as well as her legal incompetency, and Ott entered the gates of the Wisconsin State Hospital for the Insane where she remained until her 1893 death. Her decades of institutionalization reveal daily life in a late nineteenth-century asylum and the permeability of its walls. Tracing the stories told of her after her death enables analyses of the impact of the diagnosis of mania and institutionalization on our memory of her. In addition, this book explores historical methods, ethics, and dilemmas confronted when historical sources are limited and come not from the subject but from those with greater power.
Rini Battacharya Mehta
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9780252043123
- eISBN:
- 9780252052002
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252043123.001.0001
- Subject:
- Film, Television and Radio, Film
Unruly Cinema is a meta-history of Indian cinema’s emergence and growth in correspondence with the colonial, postcolonial, and the neoliberal state. Indian popular cinema has grown steadily from the ...
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Unruly Cinema is a meta-history of Indian cinema’s emergence and growth in correspondence with the colonial, postcolonial, and the neoliberal state. Indian popular cinema has grown steadily from the largest national film industry to a global cultural force. Between 1931 and 2000, Indian cinema overcame Hollywood’s domination of the Indian market, crafted a postcolonial national aesthetic, resisted the high modernist pull of art cinema, and eventually emerged as a seamless extension of India’s neoliberal ambitions. The major agent of these four shifts was a section of the Hindi cinema produced in Bombay, which came to be named and marketed as Bollywood in the twenty-first century. Through a systematic exposition of four historical periods, this book shows how Bollywood’s current dominance is an unlikely result of unruliness, that is, of a disorganized defiance of norms. Perpetually caught between an apathetic and adversarial government and an undefined public, Indian commercial cinema has thrived simply by defying control or normalization. The aesthetic turns of this cinema are guided by counter-effects, often unintended and always unruly.Less
Unruly Cinema is a meta-history of Indian cinema’s emergence and growth in correspondence with the colonial, postcolonial, and the neoliberal state. Indian popular cinema has grown steadily from the largest national film industry to a global cultural force. Between 1931 and 2000, Indian cinema overcame Hollywood’s domination of the Indian market, crafted a postcolonial national aesthetic, resisted the high modernist pull of art cinema, and eventually emerged as a seamless extension of India’s neoliberal ambitions. The major agent of these four shifts was a section of the Hindi cinema produced in Bombay, which came to be named and marketed as Bollywood in the twenty-first century. Through a systematic exposition of four historical periods, this book shows how Bollywood’s current dominance is an unlikely result of unruliness, that is, of a disorganized defiance of norms. Perpetually caught between an apathetic and adversarial government and an undefined public, Indian commercial cinema has thrived simply by defying control or normalization. The aesthetic turns of this cinema are guided by counter-effects, often unintended and always unruly.
Frank Stricker
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9780252043154
- eISBN:
- 9780252052033
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252043154.001.0001
- Subject:
- Sociology, Occupations, Professions, and Work
This book shows that full employment has been rare in the United States in the last 150 years; excessive unemployment has been the norm. Against prominent economists who argue that unemployment is ...
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This book shows that full employment has been rare in the United States in the last 150 years; excessive unemployment has been the norm. Against prominent economists who argue that unemployment is voluntary choice, it shows by analysis and many stories that being unemployed is painful and not something people choose lightly. It argues that hidden unemployment and a continuing labor surplus help explain why average real wages in 2019 are not much above their level of the early 1970s. The book locates consequential ideas about unemployment on a continuum between two opposing views. The free-market view holds that except for external shocks or government mistakes, significant unemployment is rare. People can always find jobs. But the historical record tells another story. For example, with mostly laissez-faire conditions, there were six major depressions from 1873 through 1933.The opposing view is that the business system naturally generates excessive unemployment, and at times depressions with catastrophic levels of joblessness. The book shows how the second model fits past and present facts. It also argues that the official unemployment rate, whose creation in the 1940s was an advance for economic policy, underestimates real unemployment and lessens the impetus for job-creation programs. And that’s a problem. Because many employers are happy with a labor surplus, and because tax cuts for the rich do not create many good jobs, this book argues that only direct job creation by the federal government—financed partly by taxes on the rich—will bring high-wage full employment.Less
This book shows that full employment has been rare in the United States in the last 150 years; excessive unemployment has been the norm. Against prominent economists who argue that unemployment is voluntary choice, it shows by analysis and many stories that being unemployed is painful and not something people choose lightly. It argues that hidden unemployment and a continuing labor surplus help explain why average real wages in 2019 are not much above their level of the early 1970s. The book locates consequential ideas about unemployment on a continuum between two opposing views. The free-market view holds that except for external shocks or government mistakes, significant unemployment is rare. People can always find jobs. But the historical record tells another story. For example, with mostly laissez-faire conditions, there were six major depressions from 1873 through 1933.The opposing view is that the business system naturally generates excessive unemployment, and at times depressions with catastrophic levels of joblessness. The book shows how the second model fits past and present facts. It also argues that the official unemployment rate, whose creation in the 1940s was an advance for economic policy, underestimates real unemployment and lessens the impetus for job-creation programs. And that’s a problem. Because many employers are happy with a labor surplus, and because tax cuts for the rich do not create many good jobs, this book argues that only direct job creation by the federal government—financed partly by taxes on the rich—will bring high-wage full employment.
Tony Perman
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9780252043253
- eISBN:
- 9780252052132
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252043253.001.0001
- Subject:
- Music, Ethnomusicology, World Music
This book is an ethnography of spirit possession ceremonies and accompanying musical practices in the rural Ndau-speaking communities surrounding Chipinge, Zimbabwe. Collectively called madhlozi, ...
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This book is an ethnography of spirit possession ceremonies and accompanying musical practices in the rural Ndau-speaking communities surrounding Chipinge, Zimbabwe. Collectively called madhlozi, these spirits are the “outsider spirits” of distant social encounters that have shaped Ndau identity and history. The purpose of this book is to explain how musicking during ceremonial life in rural Ndau communities in Zimbabwe is meaningfully experienced during a single spirit possession ceremony. It investigates the immediacy of musical experience and the ways in which the ongoing present of ceremonial performance becomes emotional and socially salient. It provides a model rooted in ethnography and semiotic analysis that illuminates the tight relationship between sound, meaning, experience, and emotion, engaging with three overlapping bodies of knowledge: Ndau spiritual life, semiotics, and studies of emotion and affect. Each chapter in Part II focuses on a specific category of spirits and emphasizes an element of semiotic theory to build a model for exploring affect, emotional experience, and ceremonial efficacy: objects, signs, effects, and continuity. The purpose of the ceremonies I describe and analyze is to transform possibility into actuality, desires into reality. Music is uniquely suited to facilitate experiential transformations such as this. Situated within the historical, spiritual, musical, and political contexts of contemporary Ndau life in Zimbabwe, this book explains how important the experience of meaning is to ceremonial life.Less
This book is an ethnography of spirit possession ceremonies and accompanying musical practices in the rural Ndau-speaking communities surrounding Chipinge, Zimbabwe. Collectively called madhlozi, these spirits are the “outsider spirits” of distant social encounters that have shaped Ndau identity and history. The purpose of this book is to explain how musicking during ceremonial life in rural Ndau communities in Zimbabwe is meaningfully experienced during a single spirit possession ceremony. It investigates the immediacy of musical experience and the ways in which the ongoing present of ceremonial performance becomes emotional and socially salient. It provides a model rooted in ethnography and semiotic analysis that illuminates the tight relationship between sound, meaning, experience, and emotion, engaging with three overlapping bodies of knowledge: Ndau spiritual life, semiotics, and studies of emotion and affect. Each chapter in Part II focuses on a specific category of spirits and emphasizes an element of semiotic theory to build a model for exploring affect, emotional experience, and ceremonial efficacy: objects, signs, effects, and continuity. The purpose of the ceremonies I describe and analyze is to transform possibility into actuality, desires into reality. Music is uniquely suited to facilitate experiential transformations such as this. Situated within the historical, spiritual, musical, and political contexts of contemporary Ndau life in Zimbabwe, this book explains how important the experience of meaning is to ceremonial life.
Montse Feu
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9780252043246
- eISBN:
- 9780252052125
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252043246.001.0001
- Subject:
- Sociology, Politics, Social Movements and Social Change
Fighting Fascist Spain pieces together the story of Spanish immigrants in the United States in their fight against fascism, as reflected in the periodical España Libre and the grassroots activism of ...
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Fighting Fascist Spain pieces together the story of Spanish immigrants in the United States in their fight against fascism, as reflected in the periodical España Libre and the grassroots activism of the organization that sustained that publication, the Sociedades Hispanas Confederadas, or the Confederadas. Although Espana Libre was run by Spanish immigrants and exiles and published in Brooklyn and New York City, the organization had a clear transnational consciousness: old migrants and new exiles coalesced in overlapping communities across the United States that were linked to similar antifascist networks in other countries. Fighting Fascist Spain identifies the web of anarchist, anarcho-syndicalist, and socialist connections that facilitated the political engagement of local activists and organizations and enlarged the global reach of the Confederadas during the dictatorship of Francisco Franco (1939–1975) and until democratic elections were held again in Spain (1977). Using extensive and previously ignored literary, visual, and archival sources, the manuscript explores anarchist literature and antifascist humor. The broad objective of Fighting Fascist Spain is not merely to recover evidence of migrant activism and literature but to articulate how workers’ culture and politics shaped their antifascism.Less
Fighting Fascist Spain pieces together the story of Spanish immigrants in the United States in their fight against fascism, as reflected in the periodical España Libre and the grassroots activism of the organization that sustained that publication, the Sociedades Hispanas Confederadas, or the Confederadas. Although Espana Libre was run by Spanish immigrants and exiles and published in Brooklyn and New York City, the organization had a clear transnational consciousness: old migrants and new exiles coalesced in overlapping communities across the United States that were linked to similar antifascist networks in other countries. Fighting Fascist Spain identifies the web of anarchist, anarcho-syndicalist, and socialist connections that facilitated the political engagement of local activists and organizations and enlarged the global reach of the Confederadas during the dictatorship of Francisco Franco (1939–1975) and until democratic elections were held again in Spain (1977). Using extensive and previously ignored literary, visual, and archival sources, the manuscript explores anarchist literature and antifascist humor. The broad objective of Fighting Fascist Spain is not merely to recover evidence of migrant activism and literature but to articulate how workers’ culture and politics shaped their antifascism.
Degrees of Difference
