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The newest title in our Campus Guide series takes readers on an architectural tour of University of Massachusetts Amherst. As one of the nation's oldest public universities, and the largest in the Northeast, the University has a rich and storied history. Initially chartered as the Massachusetts Agricultural College, the school has grown from fifty farmers to close to 24,000 students of diverse backgrounds and academic interests. The University's campus has also expectedly experienced parallel growth. From a few barns on the Berkshire foothills, the University now sits atop nearly 1,500 acres. Five carefully considered tours put the architectural history of the campus into context.
In 1863, just a year after Congress enacted the Land-Grant Colleges Act, Massachusetts Agricultural College embarked on its mission to offer instruction to the state's citizens in the agricultural, mechanical, and military arts. The school boasted a faculty of 4 and a student body of 56. As UMass Amherst celebrates its sesquicentennial in 2013, its full-time faculty numbers nearly 1,200 and the combined undergraduate/graduate student population is close to 28,000. The principles that undergirded Mass Aggie's founding continue to form the basis for UMass Amherst's mission of preparing young people to make their way in life by stretching boundaries in all disciplines, from the physical and social sciences to the liberal arts. UMass Rising looks at the school over the course of its first 150 years and mines that history to reveal not only how these principles have been fostered, but also the whys and whos. The engaging text is enhanced by features on all aspects of life at this unique university. The reader encounters a cavalcade of notable people, as well as many little-known anecdotes, from the humorous to the touching. All are anchored by a gathering of contemporary and archival images, some published here for the first time. Distributed for the University of Massachusetts Amherst by University of Massachusetts Press.
A searching account of nineteenth-century salvage anthropology, an effort to preserve the culture of ÒvanishingÓ Indigenous peoples through dispossession of the very communities it was meant to protect. In the late nineteenth century, anthropologists, linguists, archaeologists, and other chroniclers began amassing Indigenous cultural objectsÑcrafts, clothing, images, song recordingsÑby the millions. Convinced that Indigenous peoples were doomed to disappear, collectors donated these objects to museums and universities that would preserve and exhibit them. Samuel Redman dives into the archive to understand what the collectors deemed the tradition of the Òvanishing IndianÓ and what we can learn from the complex legacy of salvage anthropology. The salvage catalog betrays a vision of Native cultures clouded by racist assumptionsÑa vision that had lasting consequences. The collecting practice became an engine of the American museum and significantly shaped public education and preservation, as well as popular ideas about Indigenous cultures. Prophets and Ghosts teases out the moral challenges inherent in the salvage project. Preservationists successfully maintained an important human inheritance, sometimes through collaboration with Indigenous people, but collectorsÕ methods also included outright theft. The resulting portrait of Indigenous culture reinforced the publicÕs confidence in the hierarchies of superiority and inferiority invented by ÒscientificÓ racism. Today the same salvaged objects are sources of invaluable knowledge for researchers and museum visitors. But the question of what should be done with such collections is nonetheless urgent. Redman interviews Indigenous artists and curators, who offer fresh perspectives on the history and impact of cultural salvage, pointing to new ideas on how we might contend with a challenging inheritance.
In Making the Miscellany Megan Heffernan examines the poetic design of early modern printed books and explores how volumes of compiled poems, which have always existed in practice, responded to media change in sixteenth- and seventeenth-century England. Heffernan's focus is not only the material organization of printed poetry, but also how those conventions and innovations of arrangement contributed to vernacular poetic craft, the consolidation of ideals of individual authorship, and centuries of literary history. The arrangement of printed compilations contains a largely unstudied and undertheorized archive of poetic form, Heffernan argues. In an evolving system of textual transmission, compilers were experimenting with how to contain individual poems within larger volumes. By paying attention to how they navigated and shaped the exchanges between poems and their organization, she reveals how we can witness the basic power of imaginative writing over the material text. Making the Miscellany is also a study of how this history of textual design has been differently told by the distinct disciplines of bibliography or book history and literary studies, each of which has handled—and obscured—the formal qualities of early modern poetry compilations and the practices that produced them. Revisiting these editorial and critical approaches, this book recovers a moment when compilers, poets, and readers were alert to a poetics of organization that exceeded the limits of the individual poem.
In a 1572 visit to Warwick, Queen Elizabeth looked out the window of her lodgings and saw local people dancing in the courtyard, a seemingly spontaneous performance meant to entertain her. During her travels, she was treated to fireworks, theatrical performances, and lavish banquets. Reconstructing the formal and informal events that took place throughout Elizabeth's progress visits, events rich in pageantry and ceremony, John M. Adrian demonstrates how communities communicated their character, as well as their financial and political needs, to noble guests. While previous scholars have studied Elizabeth I and her visits to the homes of influential courtiers, Fêting the Queen places a new emphasis on the civic communities that hosted the monarch and their efforts to secure much needed support. Case studies of the university and cathedral cities of Oxford, Canterbury, Sandwich, Bristol, Worcester, and Norwich focus on the concepts of hospitality and space--including the intimate details of the built environment.
Winner of the 2016 Whiting Award One of Publishers Weekly's "Most Anticipated Books of Spring 2016" One of Lit Hub's "10 must-read poetry collections for April" “Reading Vuong is like watching a fish move: he manages the varied currents of English with muscled intuition. His poems are by turns graceful and wonderstruck. His lines are both long and short, his pose narrative and lyric, his diction formal and insouciant. From the outside, Vuong has fashioned a poetry of inclusion.”—The New Yorker "Night Sky with Exit Wounds establishes Vuong as a fierce new talent to be reckoned with...This book is a masterpiece that captures, with elegance, the raw sorrows and joys of human existence."—Buzzfeed's "Most Exciting New Books of 2016" "This original, sprightly wordsmith of tumbling pulsing phrases pushes poetry to a new level...A stunning introduction to a young poet who writes with both assurance and vulnerability. Visceral, tender and lyrical, fleet and agile, these poems unflinchingly face the legacies of violence and cultural displacement but they also assume a position of wonder before the world.”—2016 Whiting Award citation "Night Sky with Exit Wounds is the kind of book that soon becomes worn with love. You will want to crease every page to come back to it, to underline every other line because each word resonates with power."—LitHub "Vuong’s powerful voice explores passion, violence, history, identity—all with a tremendous humanity."—Slate “In his impressive debut collection, Vuong, a 2014 Ruth Lilly fellow, writes beauty into—and culls from—individual, familial, and historical traumas. Vuong exists as both observer and observed throughout the book as he explores deeply personal themes such as poverty, depression, queer sexuality, domestic abuse, and the various forms of violence inflicted on his family during the Vietnam War. Poems float and strike in equal measure as the poet strives to transform pain into clarity. Managing this balance becomes the crux of the collection, as when he writes, ‘Your father is only your father/ until one of you forgets. Like how the spine/ won’t remember its wings/ no matter how many times our knees/ kiss the pavement.’”—Publishers Weekly "What a treasure [Ocean Vuong] is to us. What a perfume he's crushed and rendered of his heart and soul. What a gift this book is."—Li-Young Lee Torso of Air Suppose you do change your life. & the body is more than a portion of night—sealed with bruises. Suppose you woke & found your shadow replaced by a black wolf. The boy, beautiful & gone. So you take the knife to the wall instead. You carve & carve until a coin of light appears & you get to look in, at last, on happiness. The eye staring back from the other side— waiting. Born in Saigon, Vietnam, Ocean Vuong attended Brooklyn College. He is the author of two chapbooks as well as a full-length collection, Night Sky with Exit Wounds. A 2014 Ruth Lilly Fellow and winner of the 2016 Whiting Award, Ocean Vuong lives in New York City, New York.
The Unitarian religious tradition was a product of the same eighteenth-century democratic ideals that fueled the American Revolution and informed the founding of the United States. Its liberal humanistic principles influenced institutions such as Harvard University and philosophical movements like Transcendentalism. Yet, its role in the history of American architecture is little known and studied. In American Unitarian Churches, Ann Marie Borys argues that the progressive values and identity of the Unitarian religion are intimately intertwined with ideals of American democracy and visibly expressed in the architecture of its churches. Over time, church architecture has continued to evolve in response to developments within the faith, and many contemporary projects are built to serve religious, practical, and civic functions simultaneously. Focusing primarily on churches of the nineteenth and twentieth centuries, including Frank Lloyd Wright's Unity Temple and Louis Kahn's First Unitarian Church, Borys explores building histories, biographies of leaders, and broader sociohistorical contexts. As this essential study makes clear, to examine Unitarianism through its churches is to see American architecture anew, and to find an authentic architectural expression of American democratic identity.