Böcker utgivna av University of Wisconsin Press

Latin Moon in Manhattan paints a vivid portrait of New York City as the land of El Dorado for today's Latino immigrants. From Little Colombia in Queens to the street life of Times Square, the novel introduces an assortment of colourful characters.

In the course of its more than six-hundred-year history, the Ottoman Empire weathered rebellions and mutinies from every quarter, both within the imperial capital and in its far-flung provinces. This collection of essays on the subject of rebellion and mutiny, in the Empire shows that regionalism and ethnic diversity were key contributing factors.

Includes the original Russian text and, for the first time, an English translation of that version. "Antony Wood's translation is fluent and idiomatic; analyses by Dunning et al. are incisive; and the 'case' they make is skillfully argued. . . . Highly recommended."--"Choice"

An award-winning memoir of shy Jewish teenager Moniek Goldner joining forces with hardened Polish criminal Jan Kopec to survive in Nazi-occupied Poland. First trained as Kopek's accomplice in robberies and black market activities, the orphaned Goldner eventually becomes an accomplished saboteur of the Nazi war effort for local partisan groups.

Mozart's operas where perfectly matched for the libretti of Da Ponte. Da Ponte's own long life (1749-1838), however, was more fantastic than any opera plot. A poor Jew who became a Catholic priest; a priest who became a young rake; and a teacher, poet and librettist who became a greengrocer.

Eamonn Wall arrived in the US in the 1980s as part of a wave of young, educated immigrants who became known as the ""New Irish"". In this book he wrestles with his own identity, and comments on the poetry, fiction, essays, and memories of both the New Irish and Americans of Irish heritage.

Brings together scholars of film and of genocide to discuss film representations, both fictional and documentary, of the Holocaust, the Armenian genocide, and genocides in Chile, Australia, Rwanda, and the United States.

The turbulent years of the 1930s were of profound importance in the life of Spanish film director Luis Bunuel (1900-1983). He joined the Surrealist movement in 1929 but by 1932 had renounced it and embraced Communism. During the Spanish Civil War (1936-39), he played an integral role in disseminating film propaganda in Paris for the Spanish Republican cause.

Originally published as Il nemico dell'uomo nuovo: L'omosessualitaa nell'esperimento totalitario fascista. Milano: Feltrinelli, 2005.

This study, based on a large mass of data, gives a picture of Peruvian society in its formative stages. It describes the nature of Spanish colonisation in the New World, providing a broad, but intimate portrait of an entire society. This edition has updated terminology and new footnotes.

In Russia during the second half of the eighteenth century, a public conversation emerged that altered perceptions of pregnancy, birth, and early childhood. Children began to be viewed as a national resource, and childbirth heralded new members of the body politic. The exclusively female world of mothers, midwives, and nannies came under the scrutiny of male physicians, state institutions, a host of zealous reformers, and even Empress Catherine the Great. Making innovative use of obstetrical manuals, belles lettres, children's primers, and other primary documents from the era, Anna Kuxhausen draws together many discourses--medical, pedagogical, and political--to show the scope and audacity of new notions about childrearing. Reformers aimed to teach women to care for the bodies of pregnant mothers, infants, and children according to medical standards of the Enlightenment. Kuxhausen reveals both their optimism and their sometimes fatal blind spots in matters of implementation. In examining the implication of women in public, even political, roles as agents of state-building and the civilizing process, From the Womb to the Body Politic offers a nuanced, expanded view of the Enlightenment in Russia and the ways in which Russians imagined their nation while constructing notions of childhood.

This collection of essays was delivered at the 22nd Wisconsin Workshop in 1991. Their topics range across German cultural life, analysing developments in the arts, literature, poetry, architecture and cinema. They also consider women's writing, and Germany's political paroxysms of the past century.

Here, translated into modern idiom, are many works of the authors whose ideas have consitituted the mainstream of classical thought. This volume of new translations was born of necessity, to answer the needs of a course in Greek and Roman culture offered by the Department of Integrated Liberal Studies at the University of Wisconsin. Since its original publication in 1952, "Classics in Translation" has been adopted by many different academic insititutions to fill similar needs of their undergraduate students. This new printing is further evidence of this collection's general acceptance by teachers, students, and the reviewing critics.

Many Americans have condemned the "enhanced interrogation" techniques used in the War on Terror as a transgression of human rights. But the United States has done almost nothing to prosecute past abuses or prevent future violations. Tracing this knotty contradiction from the 1950s to the present, historian Alfred W. McCoy probes the political and cultural dynamics that have made impunity for torture a bipartisan policy of the U.S. government. During the Cold War, McCoy argues, the U.S. Central Intelligence Agency covertly funded psychological experiments designed to weaken a subject's resistance to interrogation. After the 9/11 terrorist attacks, the CIA revived these harsh methods, while U.S. media was flooded with seductive images that normalized torture for many Americans. Ten years later, the U.S. had failed to punish the perpetrators or the powerful who commanded them, and continued to exploit intelligence extracted under torture by surrogates from Somalia to Afghanistan. Although Washington has publicly distanced itself from torture, disturbing images from the prisons at Abu Ghraib and Guantanamo are seared into human memory, doing lasting damage to America's moral authority as a world leader.

When a populist movement elected Thaksin Shinawatra as prime minister of Thailand in 2001, many of the country's urban elite dismissed the outcome as just another symptom of rural corruption, a traditional patronage system dominated by local strongmen pressuring their neighbors through political bullying and vote-buying. In Thailand's Political Peasants, however, Andrew Walker argues that the emergence of an entirely new socioeconomic dynamic has dramatically changed the relations of Thai peasants with the state, making them a political force to be reckoned with. Whereas their ancestors focused on subsistence, this generation of middle-income peasants seeks productive relationships with sources of state power, produces cash crops, and derives additional income through non-agricultural work. In the increasingly decentralized, disaggregated country, rural villagers and farmers have themselves become entrepreneurs and agents of the state at the local level, while the state has changed from an extractor of taxes to a supplier of subsidies and a patron of development projects. Thailand's Political Peasants provides an original, provocative analysis that encourages an ethnographic rethinking of rural politics in rapidly developing countries. Drawing on six years of fieldwork in Ban Tiam, a rural village in northern Thailand, Walker shows how analyses of peasant politics that focus primarily on rebellion, resistance, and evasion are becoming less useful for understanding emergent forms of political society.

From ballet to burlesque, from the frontier jig to the jitterbug, Americans have always loved watching dance, whether in grand ballrooms, on Mississippi riverboats, or in the streets. Dance and American Art is an innovative look at the elusive, evocative nature of dance and the American visual artists who captured it through their paintings, sculpture, photography, and prints from the early nineteenth century through the mid-twentieth century. The scores of artists discussed include many icons of American art: Winslow Homer, George Caleb Bingham, Mary Cassatt, James McNeill Whistler, Alexander Calder, Joseph Cornell, Edward Steichen, David Smith, and others. As a subject for visual artists, dance has given new meaning to America's perennial myths, cherished identities, and most powerful dreams. Their portrayals of dance and dancers, from the anonymous to the famous--Anna Pavlova, Isadora Duncan, Loïe Fuller, Josephine Baker, Martha Graham--have testified to the enduring importance of spatial organization, physical pattern, and rhythmic motion in creating aesthetic form. Through extensive research, sparkling prose, and beautiful color reproductions, art historian Sharyn R. Udall draws attention to the ways that artists' portrayals of dance have defined the visual character of the modern world and have embodied culturally specific ideas about order and meaning, about the human body, and about the diverse fusions that comprise American culture.

In My Father's Books, the first volume in Luan Starova's multivolume Balkan Saga, he explores themes of history, displacement, and identity under three turbulent regimes--Ottoman, Fascist, and Stalinist--in the twentieth century. Weaving a story from the threads of his parents' lives from 1926 to 1976, he offers a child's-eye view of personal relationships in shifting political landscapes and an elegiac reminder of the enduring power of books to sustain a literate culture. Through lyrical waves of memory, Starova reveals his family's overlapping religious, linguistic, national, and cultural histories. His father left Constantinople as the Ottoman Empire collapsed, and the young family fled from Albania to Yugoslav Macedonia when Luan was a boy. His parents, cosmopolitan and well-traveled in their youth, and steeped in the cultures of both Orient and Occident, find themselves raising their children in yet another stagnant and repressive state. Against this backdrop, Starova remembers the protected spaces of his childhood--his mother's walled garden, his father's library, the cupboard holding the rarest and most precious of his father's books. Preserving a lost heritage, these books also open up a world that seems wide, deep, and boundless.

In 1963 David P. Sandgren went to Kenya to teach in a small, rural school for boys, where he remained for the next four years. These were heady times for Kenyans, as the nation gained its independence, approved a new constitution, and held its first elections. In the school where Sandgren taught, the sons of Gikuyu farmers rose to the challenges of this post colonial era and, in time, entered Kenyan society as adults, joining Kenya's first generation of post colonial elites. In Mau Mau's Children, Sandgren has reconnects with these former students. Drawing on more than one hundred interviews, he provides readers with a collective biography of the lives of Kenya's first postcolonial elite, stretching from their 1940s childhood to the peak of their careers in the 1990s. Through these interviews, Mau Mau's Children shows the trauma of growing up during the Mau Mau Rebellion, the nature of nationalism in Kenya, the new generational conflicts arising, and the significance of education and Gikuyu ethnicity on his students' path to success.

Newly widowed Natalie Waters expects only nostalgia and solitude at her quiet, rustic cabin. But the wilderness conceals more than one perilous mystery. Where in Wisconsin's Northwoods did the notorious gangster John Dillinger hide $210,000 following a violent FBI shootout? And why do the local timberwolves incite so much rage among Natalie's neighbours?

Last seen in the 1880s, cougars (also known as pumas or mountain lions) are making a return to the plains regions of the Midwest. Their comeback, heralded by wildlife enthusiasts, has brought concern and questions to many. Will the people of the region make room for cougars? Can they survive the highly altered landscape of the Midwest? Is there a future for these intrepid pioneers if they head even farther east? Using GIS technology, and historical data, among many other methods, Phantoms of the Prairie takes readers on a virtual journey, showing how the cougar might move over the landscape with minimal human contact. Drawing on his years of research on cougars, John W. Laundré offers an overview of what has been, what is, and what might be regarding the return of cougars to their ancestral prairie homeland.

A superb piece of work--an engaging, lively, well-written, and wholly original account of the Khrushchev leadership's preoccupation and attempts to deal with a variety of forms of deviance.--Peter H. Solomon, Jr., University of Toronto, author of Soviet Criminal Justice under Stalin

By turns insightful, comic, affecting, and profound, Roger King's Love and Fatigue in America briskly compresses an illness, a nation, and an era through masterly blending of literary forms. In a work that defies categorisation, and never loses its pace or poise, the debilitated narrator is, ironically, the most lively and fully awake figure in the book.

From the late 1930s to the early twenty-first century, European and American filmmakers have displayed an enduring fascination with Nazi leaders, rituals, and symbols, making scores of films from Confessions of a Nazi Spy (1939) and Watch on the Rhine (1943) through Des Teufels General (The Devil's General, 1955) and Pasqualino settebellezze (Seven Beauties, 1975), up to Der Untergang (Downfall, 2004), Inglourious Basterds (2009), and beyond. Probing the emotional sources and effects of this fascination, Sabine Hake looks at the historical relationship between film and fascism and its far-reaching implications for mass culture, media society, and political life. In confronting the specter and spectacle of fascist power, these films not only depict historical figures and events but also demand emotional responses from their audiences, infusing the abstract ideals of democracy, liberalism, and pluralism with new meaning and relevance. Hake underscores her argument with a comprehensive discussion of films, including perspectives on production history, film authorship, reception history, and questions of performance, spectatorship, and intertextuality. Chapters focus on the Hollywood anti-Nazi films of the 1940s, the West German anti-Nazi films of the 1950s, the East German anti-fascist films of the 1960s, the Italian "Naziploitation" films of the 1970s, and issues related to fascist aesthetics, the ethics of resistance, and questions of historicization in films of the 1980s-2000s from the United States and numerous European countries.

Employing photography as its central metaphor, Darkroom tackles the tangled relationship between memory and mourning by exploring an artist's impossible attempt to recreate the object of loss.

Open this book and you are in Door County, Wisconsin, strolling down Coot Lake Road - a one-lane, dead-end gravel track just a few miles from Baileys Harbor and the Lake Michigan shore. Along the way you meet George and Helen O'Malley, who are growing old gracefully. Russell, their brave and empathetic golden retriever, wags hello and offers you a paw to shake.