Essays on Hitler's Europe

István Deák

NEBRASKA

<p><div>Everywhere you turn today, someone (or something) is talking to youthe television, the radio, cell phones, your computer. If you think some of the novels and stories you read are talking to you too, you're not alone, and you're not mistaken. In this innovative, multidisciplinary work, Irene Kacandes reads contemporary fiction as a form of conversation and as part of the larger conversation that is modern culture.</div> <div> </div> <div>Within a framework of talk as interaction, Kacandes considers texts that can be classified as "statements," that is, texts that wholly or in part ask for their readers to react to talk backto them in certain ways. The works she addressesfrom writers as varied as Harriet O. Wilson, Margaret Atwood, William Faulkner, Virginia Woolf, Graham Swift, Günter Grass, John Barth, Julio Cortázar, and Italo Calvinoconduct their interactions in certain modes to accomplish different sorts of cultural work: storytelling, testimony, apostrophe, and interactivity. By focusing on texts within these groupings, Kacandes is able to relate the different modes of talk fiction to extraliterary cultural developments in our oral ageand to show how such interactions, however contrary to the dominant twentieth-century view of literature as art for art's sake, help to keep literature alive and speaking to us.</div></p>

Talk Fiction Literature and the Talk Explosion

Irene Kacandes

The Problem of Justice Tradition and Law in the Coast Salish World

Bruce Granville Miller

The Walleye War

Larry Nesper

Feathering Custer

William S. Penn

<p>Telling a Good One is the first comprehensive examination of the collaborative process that creates a Native American life story. Kathleen Mullen Sands draws on her partnership with the late Theodore Rios, a Tohono O'odham (formerly Papago) narrator, to address crucial issues surrounding the inscribing of a life story. Sands examines the creative, critical, and cultural processes behind this increasingly popular mode of self-expression. The impetus, initial negotiations, interview process, narrative content and style, and the editing and interpretation phases of a Native American life story are all given equal scrutiny. Of particular interest are Sands's successes and failings as a collaborator and the influence of Tohono O'odham culture and its tradition of storytelling on Rios's actions and words. Sands examines the effects of her personal background and academic training on her actions and decisions, how her experiences compare with other collaborative autobiographies and biographies, and the role of academia and publishers in shaping expectations about the content and format of Native American biographies and autobiographies.</p>

Telling a Good One The Process of a Native American Collaborative Biography

Theodore Rios

Kathleen Mullen Sands

Emancipation through Muscles Jews and Sports in Europe

Lawrence H. Larsen

Harl A. Dalstrom

Kay Calame Dalstrom

Barbara J. Cottrell Larson

American Anthropology, 1921-1945 Papers from the "American Anthropologist"

Cora Du Bois

The Texture of Contact European and Indian Settler Communities on the Frontiers of Iroquoia, 1667-1783

David L. Preston

<p>Human beings have made images continuously for more than thirty thousand years. The oldest known cave paintings are between six and ten times older than the first forms of written language. Images help us organize our thoughts and represent them in our memory. We make images, Jonathan Fineberg argues, because we need them to aid not only in structuring our social and psychological self-conceptions but also in developing the circuitry of our brains.<br></p>
<p><i>Modern Art at the Border of Mind and Brain</i> is a broad investigation by one of the foremost scholars of modern art of the relationship between modern art and the structure of the mind and brain. Based on Fineberg’s Presidential Lectures at the University of Nebraska, his book examines the relationship between artistic production, neuroscience, and the way we make meaning in form. Drawing on the art of Robert Motherwell, Joan Miró, Alexander Calder, Christo, Jean Dubuffet, and others, Fineberg helps us understand the visual unconscious, the limits of language, and the political impact of art. Throughout, he works from the conviction that looking is a form of thinking that has a profound impact on the structure of the mind.</p>

Modern Art at the Border of Mind and Brain

Arts & Photography

FINEBERG, Jonathan

History & Criticism

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