Books published by publisher UNIVERSITY OF MICHIGAN REGIONAL

During the height of the civil rights movement, Blacks were among the most liberal Americans. Since the 1970s, however, increasing representation in national, state, and local government has brought about a more centrist outlook among Black political leaders.Focusing on the Congressional Black Caucus (CBC), Katherine Tate studies the ways in which the nation’s most prominent group of Black legislators has developed politically. Organized in 1971, the CBC set out to increase the influence of Black legislators. Indeed, over the past four decades, they have made progress toward the goal of becoming recognized players within Congress. And yet, Tate argues, their incorporation is transforming their policy preferences. Since the Clinton Administration, CBC members—the majority of whom are Democrats—have been less willing to oppose openly congressional party leaders and both Republican and Democratic presidents. Tate documents this transformation with a statistical analysis of Black roll-call votes, using the important Poole-Rosenthal scores from 1977 to 2010. While growing partisanship has affected Congress as a whole, not just minority caucuses, Tate warns that incorporation may mute the independent voice of Black political leaders.

"Van Dyke has taken a risk and succeeded masterfully. His book means a major step to our understanding of the art world and the cultural politics during the Weimar Republic and the Third Reich. This case study, with its methodological approach, its close reading and contextualization, is a superb work and contributes to central debates about modernity and art history."---Olaf Peters, Department of Art History, Martin Luther University, Halle-Wittenberg"James van Dyke has made a critically important contribution not only to German art studies, but also to the broader investigation---in history, literary studies, and cultural studies---of early twentieth century 'modernities.'"---Barbara McCloskey, University of Pittsburgh"Far more than a monograph on an individual painter, this carefully researched work of critical art history captures the complexities and paradoxes of culture during the Third Reich. James van Dyke's examination of Franz Radziwill---arguably the preeminent 'reactionary modernist' artist of the time---shows that success during the Weimar Republic did not preclude an attempt to find accommodation with the Nazi regime. Many modernist cultural figures sought to find a place in the Third Reich, and while this proved difficult, their experiences undoubtedly challenge the notion of a monolithic 'Nazi art.'"---Jonathan Petropoulos, author of The Faustian Bargain: The Art World in Nazi GermanyWhat was Nazi art? For the most part, we think of traditionally painted scenes of peasants plowing; blonde German girls with or without clothes; and heroically posed, square-jawed soldiers. When we think of modern art in Nazi Germany, we typically think above all of the infamous exhibition "Degenerate Art," which opened in Munich in July 1937. While these associations are not entirely wrong, the relationship between modern German art and National Socialism is considerably more complex than has generally been understood. In Franz Radziwill and the Contradictions of German Art History, 1919–45, James A. van Dyke tells the story of a well-known modern artist who regarded modernity and civilization with deep ambivalence during the 1920s and then for a time became a strong supporter of National Socialism. Radziwill's art, politics, and career are embedded in the debates about the definition of German art and state art policy in and after Hitler's rise. Challenging the monolithic view of "the Nazis," this book details how a painter could be championed by certain powerful National Socialists and be seen as a "degenerate" artist by others, how he could criticize the state and yet fight for the Fatherland, and how the unevenness of Hitler's state could foster hope and resistance even in a man who ultimately was deeply distressed by events.James A. van Dyke is Assistant Professor of Modern European Art History in the Department of Art History and Archaeology at the University of Missouri in Columbia, Missouri, and has published extensively on German modern art.Jacket art: Franz Radziwill, The Death Dive of Karl Buchstätter, 1928, oil on canvas on masonite, 90 × 95 cm. Museum Folkwang Essen. (Photo: Jens Nober.) © 2010 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.

This remarkable book, written by former slave David F. Dorr, published in the mid-nineteenth century and only recently rediscovered, is an uncommon travel narrative. In the 1850s Dorr accompanied Louisiana plantation owner Cornelius Fellowes on a tour of the world's major cities, with the promise that when they returned to the United States, Dorr would be given his freedom. When that promise was broken, Dorr escaped to Ohio and wrote of his experiences in A Colored Man Round the World. Malini Johar Schueller has edited and annotated the 1858 text and added a critical introduction that provides a useful context for understanding and appreciating this important but heretofore neglected document. Her edition of A Colored Man Round the World provides a fascinating account of Dorr's negotiation of the conflicting roles of slave versus man, taking into account all of the racial complexities that existed at the time. As a traveler abroad, Dorr claimed an American selfhood that allowed him mobility in Europe, and he benefited from the privileges accorded American "Orientalists" venturing in the near East. However, any empowerment that Dorr experienced while a tourist vanished upon his return to America. The book will be welcomed for the rare perspective it provides of the mid-nineteenth century, through the eyes of an African-American slave and for the light it casts on world and U.S. history as well as on questions of racial and national identity. Malini Johar Schueller is Professor of English, University of Florida.

At Play in the Tavern is a lively study of the tavern, inn, and brothel in the literature of medieval France. Cowell's original treatment of the medieval tavern as a counterpoint to orthodox institutions considers such delicious transgressions as drinking, gambling, prostitution, theft, usury, and "foile" (a peculiar combination of madness and sinfulness). This innovative study of both market-place values and literary culture unveils a raucous culture opposed to the dominant models of society coming out of the Augustinian tradition. Cowell contrasts the literary domains of the carnal and the orthodox and innovatively assigns physical space to each. The literature of the tavern is shown to represent the possibility of escape from ecclesiastical models of economic and literary exchange that insisted on equality, utility, and charity by offering a vision of exuberant excess. Cowell concludes that drama, poetry, and other secular texts, when considered as a whole, are ultimately complicit in a revolution favoring an ethic of profit. Drawing on recent work in medieval literature, history, popular culture, gender studies, and sign theory, Andrew Cowell employs a wide range of traditional and, until now, little known sources to show the unity and importance of a countercultural literary mode.Andrew Cowell is Assistant Professor, Department of French and Italian, University of Colorado at Boulder.

High Quality FACSIMILE REPRODUCTION: Erb, Frank Otis :The Development Of The Young People'S Movement :1917 :Facsimile: Originally published by Chicago, University of Chicago Press in 1917. Book will be printed in black and white, with grayscale images. Book will be 6 inches wide by 9 inches tall and soft cover bound. Any foldouts will be scaled to page size. If the book is larger than 1000 pages, it will be printed and bound in two parts. Due to the age of the original titles, we cannot be held responsible for missing pages, faded, or cut off text.