Böcker utgivna av University of Minnesota Press

Drawing on extensive interviews with former teammates, opponents, coaches, friends, and rivals, Schumacher reveals a nuanced portrait of George Mikan, the first dominant big man in professional basketball, and a fascinating look at the birth of the National Basketball Association.

A deeply personal meditation on history and memory, place and displacement by a major writerBorn in a Jamaica still under British rule, the acclaimed and influential writer Michelle Cliff embraced her many identities, shaped by her experiences with the forces of colonialism and oppression: a light-skinned Creole, a lesbian, an immigrant in both England and the United States. In her celebrated novels and short stories, she has probed the intersection of prejudice and oppression with a rare and striking lyricism.In her first book-length collection of nonfiction, Cliff displays the same poetic intensity, interweaving reflections on her life in Jamaica, England, and the United States with a powerful and sustained critique of racism, homophobia, and social injustice. If I Could Write This in Fire begins by tracing her transatlantic journey from Jamaica to England, coalescing around a graceful, elliptical account of her childhood friendship with Zoe, who is dark-skinned and from an impoverished, rural background; the divergent life courses that each is forced to take; and the class and color tensions that shape their lives as adults. The personal is interspersed with fragments of Jamaica’s history and the plight of people of color living both under imperial rule and in contemporary Britain. In other essays and poems, Cliff writes about the discovery of her distinctive, diasporic literary voice, recalls her wild colonial girlhood and sexual awakening, and recounts traveling through an American landscape of racism, colonialism, and genocide—a history of violence embodied in seemingly innocuous souvenirs and tourist sites. A profound meditation on place and displacement, If I Could Write This in Fire explores the complexities of identity as they meet with race, gender, sexuality, nationality, and the legacies of the Middle Passage and European imperialism.

\u201cDucks in a stream, the bridge at St. Anthony Falls, streets of cities and towns, a fish in a net, the glittering lakes seen under low skies. The Face of Minnesota is a fresh, simple, unpretentious statement of a place and time by people who know what Minnesota is because they live there.\u201d —Minor White, Aperture, 1958┬á\u201cJohn Szarkowski is the single most important curator that photography has ever had. Looking at his photographs created over the last fifty years makes me want to weep. They are truly American pictures; one feels his desire to show not just what America was but what it still can be.\u201d —Ingrid Sischy, Vanity Fair, 2005┬áOriginally commissioned to commemorate Minnesota\u2019s centennial in 1958 and out of print for nearly forty years, The Face of Minnesota is a lost masterpiece of photography and an eloquent tribute to the people and places of the North Star state. Republished in celebration of the state\u2019s sesquicentennial, this beautifully produced edition includes contemporary essays about John Szarkowski\u2019s impact on American photography and introduces his work to new generations of Minnesotans. ┬áFeaturing more than 175 arresting photographs as well as essays filled with wit and affection, The Face of Minnesota opens with this statement: \u201cThis book is about Minnesota now. But as a mature man carries on his face and in his bearing the history of his past, so does the look of a place today show its past-what it has been and what it has believed in.\u201d Though Minnesota has changed dramatically during the past fifty years, The Face of Minnesota reveals the simple beauty of the imprint of the past and its deep resonance today.┬áJohn Szarkowski (1925–2007) was director of the photography program at the Museum of Modern Art in New York, where he transformed our understanding of the art of photography through influential exhibitions and books, including Looking at Photographs (1973). In 2005 his work was surveyed in a traveling exhibition, accompanied by the book John Szarkowski: Photographs.┬áVerlyn Klinkenborg joined the editorial board of the New York Times in 1997. He is the author of several works, including The Rural Life. ┬áRichard Benson has worked as a photographer and printer since 1966. He teaches at Yale University and is the coauthor, with John Szarkowski, of A Maritime Album: 100 Photographs and Their Stories.

The complexity and scale of the environmental problems confronting humanity today provoke a wide range of responses, from indifference to anger to creativity. Among a growing number of architects, landscape architects, and planners, however, these problems have inspired a new vision-sustainability-to guide their practices.  In Nature, Landscape, and Building for Sustainability, a diverse group of contributors considers the concept of sustainability, both philosophically and practically. Some take a broad view of the divisions between nature and humanity, exploring the incomprehensible scale of human intervention in the natural world, the relationship between how we feel about nature and what we do about it, and the commodification of the natural world. Other essays focus on sustainable design practices: sustainability\u2019s roots in the American conservation tradition, its utility as a framework for future design practice, and the necessity of moving beyond demonstration projects into the mainstream. Together, these essays suggest that the gap between the promise and reality of sustainable design, although significant, can be bridged through diligence and practice. Contributors: D. Michelle Addington, Yale U; John Beardsley, Harvard Graduate School of Design; Albert Borgmann, U of Montana, Missoula; Peter Buchanan; Peter Del Tredici, Harvard Graduate School of Design; Robert France, Harvard Graduate School of Design; Susannah Hagan, U of East London; Kristina Hill, U of Virginia; Catherine Howett, U of Georgia; Niall Kirkwood, Harvard Graduate School of Design; Lucy R. Lippard; Bill McKibbin; Michael Pollan; Rossana Vaccarino, Vaccarino Associates, St. Thomas. William S. Saunders is editor of Harvard Design Magazine and assistant dean for external relations at Harvard University\u2019s Graduate School of Design. He is editor of five previous Harvard Design Magazine Readers published by the University of Minnesota Press. Robert L. Thayer Jr. is emeritus professor of landscape architecture and founder of the landscape architecture program at the University of California, Davis.

Movements for social change are by their nature oppositional, as are those who join change movements. How people negotiate identity within social movements is one of the central concerns in the field. This volume offers new scholarship that explores issues of diversity and uniformity among social movement participants.

How feminists and Islamists have constituted each other's agendas in Morocco

When it comes to determining the relative quality of architecture, who is best equipped to make the distinctions? Is it the public who lives in and among the buildings? The people who commission and pay for the buildings? Art historians? Or architects themselves?  These provocative essays take up the questions of what people value in architecture and how changing values influence opinions about it. In the intriguing opening essay, Michael Benedikt makes an argument for the role of architects in the delineation of value in architecture. He discusses the differences between icon and canon, a theme threaded through many of the essays. In addition to unexpected analyses of buildings such as Eero Saarinen\u2019s Gateway Arch in St. Louis, Paul Rudolph\u2019s Art and Architecture Building at Yale University, and the work of Antoni Gaud\u00ed and Frank Gehry, the collection includes a clear-eyed look at the role of architecture in addressing social problems.  Ultimately, these essays assert that judging architecture requires more than a refined sensibility. Buildings also need to be evaluated by their impact on the people living within and around them. Contributors: John Beardsley, Harvard Design School; Michael Benedikt, U of Texas, Austin; Tim Culvahouse, California College of the Arts; Lisa Finley, California College of the Arts; Kurt W. Forster, Bauhaus-Universit\u00e4t, Weimar, Germany; Kenneth Frampton, Columbia U; Diane Ghirardo, U of Southern California; Charles Jencks; David Leatherbarrow, U of Pennsylvania; Nancy Levinson; H\u00e9l\u00e8ne Lipstadt; Juhani Pallasmaa, Helsinki U of Technology;  Timothy M. Rohan, U of Massachusetts, Amherst; Roger Scruton; Daniel Willis, Pennsylvania State U. William S. Saunders is editor of Harvard Design Magazine and assistant dean for external relations at Harvard University\u2019s Graduate School of Design. He is the author of Modern Architecture: Photographs by Ezra Stoller and editor of three other Harvard Design Magazine Readers. Michael Benedikt is Hal Box Chair in Urbanism and director of the Center for American Architecture and Design at the School of Architecture at the University of Texas at Austin.

The essays in Small Tech investigate the cultural impact of digital tools and provide fresh perspectives on mobile technologies such as iPods, digital cameras, and PDAs and software functions like cut, copy, and paste and WYSIWYG. Together they advance new thinking about digital environments.

The essays in Small Tech investigate the cultural impact of digital tools and provide fresh perspectives on mobile technologies such as iPods, digital cameras, and PDAs and software functions like cut, copy, and paste and WYSIWYG. Together they advance new thinking about digital environments.

At a time when traditional film theory privileged the purely visual, Film Hieroglyphs introduced a new way of watching film-examining the ways in which writing bears on cinema. Author Tom Conley gives special consideration to the points (ruptures) at which story, image, and writing appear to be at odds with one another.

While gay rights are on the national agenda now, activists have spent decades fighting for their platform, seeing themselves as David against the religious right’s Goliath. At the same time, the religious right has continuously and effectively countered the endeavors of lesbian and gay activists, working to repeal many of the laws prohibiting discrimination based on sexual orientation and to progress a constitutional amendment “protecting” marriage. In this accessible and grounded work, Tina Fetner uncovers a remarkably complex relationship between the two movements—one that transcends political rivalry. Fetner shows how gay activists and the religious right have established in effect a symbiotic relationship in which each side very much affects the development of its counterpart. As lesbian and gay activists demand an end to prejudice, inclusion in marriage, the right to serve in the military, and full citizenship regardless of sexual orientation, the religious right has responded with antigay planks in Republican party platforms and the blocking of social and political change efforts. Fetner examines how the lesbian and gay movement reacts to opposition by changing rhetoric, tone, and tactics and reveals how this connection has influenced—and made more successful—the evolution of gay activism in the United States. Fetner addresses debates that lie at the center of the culture wars and, ultimately, she demonstrates how the contentious relationship between gay and lesbian rights activists and the religious right—a dynamic that is surprisingly necessary to both—challenges assumptions about how social movements are significantly shaped by their rivals.

A long-silenced literary figure speaks for modern Muslim women.

Reveals the invention of the readymade as a critical point in contemporary art. Arguing that the readymade belongs to that moment in the history of painting when both figuration and the practice of painting become "impossible," this book presents a psychoanalytically informed account of the birth of abstraction.

Considers the video game as a distinct cultural form that demands a unique interpretive framework. This book analyzes video games as something to be played rather than as texts to be read, and traces how the "algorithmic culture" created by video games intersects with theories of visuality, realism, allegory, and the avant-garde.

Focuses on representations of capitalism and their political effects. This edition includes an introduction in which the authors address critical responses to "The End of Capitalism" and outlines the economic research and activism they have been engaged in since the book was first published.

During the past thirty years, Native American dance has emerged as a visible force on concert stages throughout North America. In this first major study of contemporary Native American dance, Jacqueline Shea Murphy shows how these performances are at once diverse and connected by common influences.  Demonstrating the complex relationship between Native and modern dance choreography, Shea Murphy delves first into U.S. and Canadian federal policies toward Native performance from the late nineteenth through the early twentieth centuries, revealing the ways in which government sought to curtail authentic ceremonial dancing while actually encouraging staged spectacles, such as those in Buffalo Bill\u2019s Wild West shows. She then engages the innovative work of Ted Shawn, Lester Horton, and Martha Graham, highlighting the influence of Native American dance on modern dance in the twentieth century. Shea Murphy moves on to discuss contemporary concert dance initiatives, including Canada\u2019s Aboriginal Dance Program and the American Indian Dance Theatre. Illustrating how Native dance enacts, rather than represents, cultural connections to land, ancestors, and animals, as well as spiritual and political concerns, Shea Murphy challenges stereotypes about American Indian dance and offers new ways of recognizing the agency of bodies on stage. Jacqueline Shea Murphy is associate professor of dance studies at the University of California, Riverside, and coeditor of Bodies of the Text: Dance as Theory, Literature as Dance.

Features lyrical essays, which draw on the author's experiences as a politically committed, gay Jamaican American to deliver a condemnation of the prejudices, hatreds, and inhumanities that persist in the United States and elsewhere, as both official policy and social reality. This book puts forth a moral and ethical understanding of human rights.