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Applies anthropological techniques to the study of contemporary American behavior
In 1953 Margaret Mead and Rhoda Metraux produced The Study of Culture at a Distance, a compilation of research from this period. This work, long unavailable, presents a rich and complex methodology for the study of cultures through literature, film, informant interviews, focus groups, and projective techniques.
The country's leading authority on use of artifactual evidence in historical research collects twenty-five classic essays and gives his overview of the field of material culture.
The Creolization of American Culture examines the artworks, letters, sketchbooks, music collection, and biography of the painter William Sidney Mount (1807–1868) as a lens through which to see the multiethnic antebellum world that gave birth to blackface minstrelsy. As a young man living in the multiethnic working-class community of New York's Lower East Side, Mount took part in the black-white musical interchange his paintings depict. An avid musician and tune collector as well as an artist, he was the among the first to depict vernacular fiddlers, banjo players, and dancers precisely and sympathetically. His close observations and meticulous renderings provide rich evidence of performance techniques and class-inflected paths of musical apprenticeship that connected white and black practitioners. Looking closely at the bodies and instruments Mount depicts in his paintings as well as other ephemera, Christopher J. Smith traces the performance practices of African American and Anglo-European music-and-dance traditions while recovering the sounds of that world. Further, Smith uses Mount's depictions of black and white music-making to open up fresh perspectives on cross-ethnic cultural transference in Northern and urban contexts, showing how rivers, waterfronts, and other sites of interracial interaction shaped musical practices by transporting musical culture from the South to the North and back. The "Africanization" of Anglo-Celtic tunes created minstrelsy's musical "creole synthesis," a body of melodic and rhythmic vocabularies, repertoires, tunes, and musical techniques that became the foundation of American popular music. Reading Mount's renderings of black and white musicians against a background of historical sites and practices of cross-racial interaction, Smith offers a sophisticated interrogation and reinterpretation of minstrelsy, significantly broadening historical views of black-white musical exchange.
Our nation began with the simple phrase, “We the People.” But who were and are “We”? Who were we in 1776, in 1865, or 1968, and is there any continuity in character between the we of those years and the nearly 300 million people living in the radically different America of today? With Made in America, Claude S. Fischer draws on decades of historical, psychological, and social research to answer that question by tracking the evolution of American character and culture over three centuries. He explodes myths—such as that contemporary Americans are more mobile and less religious than their ancestors, or that they are more focused on money and consumption—and reveals instead how greater security and wealth have only reinforced the independence, egalitarianism, and commitment to community that characterized our people from the earliest years. Skillfully drawing on personal stories of representative Americans, Fischer shows that affluence and social progress have allowed more people to participate fully in cultural and political life, thus broadening the category of “American” —yet at the same time what it means to be an American has retained surprising continuity with much earlier notions of American character. Firmly in the vein of such classics as The Lonely Crowd and Habits of the Heart—yet challenging many of their conclusions—Made in America takes readers beyond the simplicity of headlines and the actions of elites to show us the lives, aspirations, and emotions of ordinary Americans, from the settling of the colonies to the settling of the suburbs.
This book provides a stimulating account of the dominant cultural forms of 1950s America: fiction and poetry; theatre and performance; film and television; music and radio; and the visual arts. Through detailed commentary and focused case studies of influential texts and events - from Invisible Man to West Side Story, from Disneyland to the Seattle World's Fair, from Rear Window to The Americans - the book examines the way in which modernism and the cold war offer two frames of reference for understanding the trajectory of postwar culture. The two core aims of this volume are to chart the changing complexion of American culture in the years following World War II and to provide readers with a critical investigation of 'the 1950s'. The book provides an intellectual context for approaching 1950s American culture and considers the historical impact of the decade on recent social and cultural developments.
Leading African American scholars examine the often neglected cultural context in research and policy development in African American higher education in this collection of essays. Past research has most often been conducted by individuals unfamiliar with the historical and cultural considerations of specific ethnic groups. Therefore, the outcomes of research and the development of programs have been based on deficit models, that is, what is wrong with African Americans, or what they cannot achieve. The book examines the questions; what is the relationship between African Americans' culture and experiences, and how should their culture be integrated into research and practice? How do African Americans' intra- and interrelations differ in higher education? How does understanding African American culture as it relates to higher education research enhance policy-making and practice? What role do HBUCs play in African Americans' participation in higher education? What are the policy and practice implications of past and current research? Scholars and practitioners of education, culture, and race relations will find this collection informative and interesting.
The Cold War era spawned a host of anxieties in American society, and in response, Americans sought cultural institutions that reinforced their sense of national identity and held at bay their nagging insecurities. They saw football as a broad, though varied, embodiment of national values. College teams in particular were thought to exemplify the essence of America: strong men committed to hard work, teamwork, and overcoming pain. Toughness and defiance were primary virtues, and many found in the game an idealized American identity. In this book, Kurt Kemper charts the steadily increasing investment of American national ideals in the presentation and interpretation of college football, beginning with a survey of the college game during World War II. From the Army-Navy game immediately before Pearl Harbor, through the gradual expansion of bowl games and television coverage, to the public debates over racially integrated teams, college football became ever more a playing field for competing national ideals. Americans utilized football as a cultural mechanism to magnify American distinctiveness in the face of Soviet gains, and they positioned the game as a cultural force that embodied toughness, discipline, self-deprivation, and other values deemed crucial to confront the Soviet challenge. Americans applied the game in broad strokes to define an American way of life. They debated and interpreted issues such as segregation, free speech, and the role of the academy in the Cold War. College Football and American Culture in the Cold War Era offers a bold new contribution to our understanding of Americans' assumptions and uncertainties regarding the Cold War.
Presents essays on all phases of the American automobile industry and the effect of its product on individual lives and the culture of the society.
Covering everything from sports to art, religion, music, and entrepreneurship, this book documents the vast array of African American cultural expressions and discusses their impact on the culture of the United States. According to the latest census data, less than 13 percent of the U.S. population identifies as African American; African Americans are still very much a minority group. Yet African American cultural expression and strong influences from African American culture are common across mainstream American culture—in music, the arts, and entertainment; in education and religion; in sports; and in politics and business. African American Culture: An Encyclopedia of People, Traditions, and Customs covers virtually every aspect of African American cultural expression, addressing subject matter that ranges from how African culture was preserved during slavery hundreds of years ago to the richness and complexity of African American culture in the post-Obama era. The most comprehensive reference work on African American culture to date, the multivolume set covers such topics as black contributions to literature and the arts, music and entertainment, religion, and professional sports. It also provides coverage of less-commonly addressed subjects, such as African American fashion practices and beauty culture, the development of jazz music across different eras, and African American business.