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Both a life story and a portrait of public higher education during the twentieth century, Harry Huntt Ransom captures the spirit of a dynamic individual who dedicated his talents to nurturing intellectual life in Texas and beyond. Tracing the details of Ransom's youth in Galveston and Tennessee and his education at Yale, where he earned a doctorate, Alan Gribben provides new insight into the factors that shaped Ransom's future as a renowned administrator and defender of the humanities. Ransom's career at the University of Texas began in 1935, when he was hired as an instructor of English. He rose through the ranks to become chancellor, stepping down in 1971 during a volatile period when debates about the University's central mission raged—particularly over the question of commercializing higher education. The development of Ransom's lasting legacy, the Humanities Research Center bearing his name, is explored in depth as well. Bringing to life a legendary figure, Harry Huntt Ransom is a colorful testament to a singular man of letters who had the audacity to propose "that there be established somewhere in Texas—let's say in the capital city—a center of our cultural compass, a research center to be the Bibliothèque Nationale of the only state that started out as an independent nation."
On the history of motion pictures
While the impact that legendary actors and actresses have had on the development of the Hollywood film industry is well known, few have recognised the power of movie fans on shaping the industry. This books redresses that balance, and is the first study of Hollywood's golden era to examine the period from the viewpoint of the fans. Using fan club journals, fan letters, studio production records, and other previously unpublished archival sources, Samantha Barbas reveals how the passion, enthusiasm, and ongoing activism of film fans in Hollywood's golden era transformed early cinema, the modern mass media and American popular culture.
This book questions the conventional wisdom about one of the most controversial episodes in the Cold War, and tells the story of the CIA's backing of the Congress for Cultural Freedom. For nearly two decades during the early Cold War, the CIA secretly sponsored some of the world’s most feted writers, philosophers, and scientists as part of a campaign to prevent Communism from regaining a foothold in Western Europe and from spreading to Asia. By backing the Congress for Cultural Freedom, the CIA subsidized dozens of prominent magazines, global congresses, annual seminars, and artistic festivals. When this operation (QKOPERA) became public in 1967, it ignited one of the most damaging scandals in CIA history. Ever since then, many accounts have argued that the CIA manipulated a generation of intellectuals into lending their names to pro-American, anti-Communist ideas. Others have suggested a more nuanced picture of the relationship between the Congress and the CIA, with intellectuals sometimes resisting the CIA's bidding. Very few accounts, however, have examined the man who held the Congress together: Michael Josselson, the Congress’s indispensable manager—and, secretly, a long time CIA agent. This book fills that gap. Using a wealth of archival research and interviews with many of the figures associated with the Congress, this book sheds new light on how the Congress came into existence and functioned, both as a magnet for prominent intellectuals and as a CIA operation. This book will be of much interest to students of the CIA, Cold War History, intelligence studies, US foreign policy and International Relations in general.
Text & Presentation is an annual publication devoted to all aspects of theatre scholarship. It represents a selection of the best research presented at the international, interdisciplinary Comparative Drama Conference. This anthology includes papers from the 30th annual conference held in Los Angeles, California. Topics covered include Beckett, Brecht, Goethe, Tom Stoppard, dance performance, staged violence, the Comedie Francaise, and Greek and Japanese drama. Reviews of selected books are also included.
Four times in western history: in the 1400s, the early 1800s, the 1880s, and again in the mid-20th century, we learned to duplicate and disseminate the printed word more cheaply. And each time strange events followed. For with each of these changes in the gritty production of glamorous content, expensive and secret bodies of knowledge abruptly became cheap and easy to spread. Once-rare and sometimes disorienting impressions rained down on once-sheltered folks. New and otherwise inexpert hands mixed them into whole new breeds of information, myth, logic, and viewpoints. There were fantastic scientific advances, mass migrations, bold social experiments, financial upheavals, and much bloodshed. In the harrowing decades that followed, powerful new kinds of governments, businesses, and groups came to elbow aside old ones. In all of these periods, there were great, creaking shifts in politics, wealth, religions, and even the way we learn, think, and see. And in the last decade, the costs of producing and distributing printed knowledge have fallen a fifth time, far and fast and almost to free. Paradigms Lost traces the history of the accidents, inventions, forces, eccentrics, and geniuses who accelerated information in the past, examines what happened each time they succeeded, and provides some background for what, if the past is any guide, may be coming.
According to one of Julia Margaret Cameron’s great-nieces, “we never knew what Aunt Julia was going to do next, nor did anyone else.” This is an accurate summation of the life of the British photographer (1815–1879), who took up the camera at age forty-eight and made more than twelve hundred images during a fourteen-year career. Living at the height of the Victorian era, Cameron was anything but conventional, experimenting with the relatively new medium of photography, promoting her own art though exhibition and sale, and pursuing the eminent personalities of her age—Alfred Tennyson, Charles Darwin, Thomas Carlyle, and others—as subjects for her lens. For the first time, all known images by Cameron, one of the most important nineteenth-century artists in any medium, are gathered together in a catalogue raisonné. In addition to a complete catalogue of Cameron’s photographs, there is information on her life and times, initial experiments, artistic aspirations, techniques, small-format images, albums, commercial strategies, sitters, and sources of inspiration. Also provided are a selected bibliography of publications on Cameron, a list of exhibitions of her work held both in her time as well as our own, and a summary of important collections where her pictures can be found.
In his satires of the medieval revival in Punch in the 1850s, Tenniel deyeloped a purely visual, gestural, historicist burlesque that parodied the revival but was also a genuine adaptation of historical forms to a contemporary context. He created a traditionalistic cosmos in which the past permeated and enriched the present - culminating in the great high satire of his Alice work; a triumph of English common sense.