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On the cover of Potpourri: Arbaugh, Bartholomew, and Engelhardt Family Lore/ is a photograph taken in San Juan, Puerto Rico, on February 22, 1932, including author William C. Arbaugh and his grandparents, Clara and William G. Arbaugh, with Nora Leone and Alonzo Harvey Arbaugh. In this volume celebrating the family history of the Arbaugh, Bartholomew, and Engelhardt families, Arbaugh captures times past. Fueled by the surprise discovery of a neatly tied bundle of letters, the family history revealed in them led to the preparation of this family memoir. Arbaugh's sisters, Nora Dorothy and Mary Margaret, were soon engrossed along with their brother in letters revealing the heartfelt views of their mother, Clara Engelhardt, and their grandmother. These letters described her interest in William G. Arbaugh, a young college friend she fancied. The letters chronicled the strong bond between Clara and William, eventually leading to their marriage upon completion of their education. These letters and the others they discovered served to deepen their respect for them and furthered their understanding of their idealism and strong faith. Potpourri shares family lore, ranging from Germany and the Caribbean to Indiana and Illinois with a broad reach from life on small-scale family farm prior to common use of electricity to the age of atomic energy.
This book has been written for those who know already a lot about what happened in the Soviet Union from 1917 to 1991. It is at times controversial, at times humorous, and, I hope, constantly provocative. My aim is for readers to say or at least think, Yes, I can now see things more clearly. The principal events of Soviet history are discussed. The central thesis is that the Soviet Union was far from unique, that its ideology bore nearly exclusively the marks of a religion and most of its functioning was derived from the French Revolution, from Nazi Germany, and from Imperial Russia. There is a lot written about the purges, a prediction made in 1984 about the demise of the Soviet Union and a short play about the unsuccessful coup against Gorbachev. The book ends with a light touchjokes about the Soviet system.
"Made in Mexico" examines the aesthetic, political, and sociopolitical aspects of tourism in southern Mexico, particularly in the state of Oaxaca. Tourists seeking "authenticity" buy crafts and festival tickets and spend even more on travel expenses. What does a craft object or a festival moment need to look like or sound like to please both tradition bearers and tourists in terms of aesthetics? Under what conditions are transactions between these parties psychologically healthy and sustainable? What political factors can interfere with the success of this negotiation, and what happens when the process breaks down? With Subcommandante Marcos and the Zapatistas still operating in neighboring Chiapas and unrest on the rise in Oaxaca itself, these are not merely theoretical problems. Chris Goertzen analyzes the nature and meaning of a single craft object, a woven pillowcase from Chiapas, thus previewing what the book will accomplish in greater depth in Oaxaca. He introduces the book's guiding concepts, especially concerning the types of aesthetic intensification that have replaced fading cultural contexts, and the tragic partnership between ethnic distinctiveness and oppressive politics. He then brings these concepts to bear on crafts in Oaxaca and on Oaxaca's Guelaguetza, the anchor for tourism in the state and a festival with an increasingly contested meaning.
Viennese composer Julius Bürger (also named Burger (1897-1995)) intersected with many important figures of 20th century western classical music. Despite success in some of the world's leading opera and broadcasting houses, Burger's true path as a composer was forever altered by the National Socialism. Burger studied with Franz Schreker in Vienna and Berlin. On Bruno Walter's recommendation, Burger later joined Artur Bodanzky as assistant at the Metropolitan Opera in New York. In 1929 he became Otto Klemperer's assistant at Berlin's Kroll Opera, returning to Vienna after Hitler's appointment as Chancellor in 1933. En route to Vienna from London in 1938, Burger and his wife foresaw what lay in store for Austria and detrained in Paris, abandoning their luggage. In 1939 Burger relocated to America and in 1949 he rejoined the staff at the Metropolitan Opera, starting a close working friendship with Dimitri Mitropoulos. His mother and four of his brothers were murdered in the Holocaust. A fifth brother's fate is still unknown.
Planting Empire, Cultivating Subjects examines the stories of ordinary people to explore the internal workings of colonial rule. Chinese, Indians, and Malays learned about being British through the plantations, towns, schools, and newspapers of a modernizing colony. Yet they got mixed messages from the harsh, racial hierarchies of sugar and rubber estates and cosmopolitan urban societies. Empire meant mobility, fluidity, and hybridity, as well as the enactment of racial privilege and rigid ethnic differences. Using sources ranging from administrative files, court transcripts and oral interviews to periodicals and material culture, Professor Lees explores the nature and development of colonial governance, and the ways in which Malayan residents experienced British rule in towns and plantations. This is an innovative study demonstrating how empire brought with it both oppression and economic opportunity, shedding new light on the shifting nature of colonial subjecthood and identity, as well as the memory and afterlife of empire.
A mixture of fascinating facts on many subjects, this text chronicles the evolution and development of the area now known as central Louisiana.