"This volume chronicles the Museum's story from its opening, ten days after the stock market crash of 1929, in a few rented rooms in a midtown office building, up to the present day, in its new building on West Fifty-third and Fifty-fourth streets. The book presents a pictorial and documentary review of each year, and each important period, of the Museum's history. It tells the story of how The Museum of Modern Art, New York, began as a small set of art galleries inaugurated by three ladies of means who had a passion for modern art. Through a selection of photographs, official documents, letters, quotations, newspaper clippings, cartoons, and other ephemera, the complex and multilayered history of the Museum unfolds in a visual march through time, revealing the extraordinary vision of a determined group of individuals who had the ability and courage to translate their vision into reality" -- OhioLink Library Catalog.

Witness in Our Time traces the recent history of social documentary photography in the words of twenty-nine of the genre's best photographers, editors, and curators, showing how the profession remains vital, innovative, and committed to social change. The second edition includes a new section of interviews on documentary photography in the field and an exploration of the role of photojournalism in 21st-century media. Witness in Our Time provides an insider's view of a profession that continues to confront questions of art and truth while extending the definitions of both.

On the Study Methods of Our Time remains a key text for anyone interested in the development's of Vico's thought and serves as a concise introduction to his work. Scholars and students in such disciplines as the history of philosophy, intellectual history, literary theory, rhetoric, and the history and philosophy of education will find this volume helpful and fascinating. Giambattista Vico's first original work of philosophy, On the Study Methods of Our Time (1708–9) takes up the contemporary "quarrel between the ancients and the moderns" and provides a highly interesting statement of the nature of humanistic education. This edition makes available again Elio Gianturco's superb 1965 English translation of a work generally regarded as the earliest statement by Vico of the fundamentals of his position. An important contribution to the development of the scientism-versus-humanism debate over the comparative merits of classical and modern culture, this book lays out Vico's powerful arguments against the compartmentalization of knowledge which results from the Cartesian world view. In opposition to the arid logic of Cartesianism, Vico here celebrates the humanistic tradition and posits the need for a comprehensive science of humanity which recognizes the value of memory and imagination.

Process poetics is about radical poetry — poetry that challenges dominant world views, values, and aesthetic practices with its use of unconventional punctuation, interrupted syntax, variable subject positions, repetition, fragmentation, and disjunction. To trace the aesthetically and politically radical poetries in English Canada since the 1960s, Pauline Butling and Susan Rudy begin with the “upstart” poets published in Vancouver’s TISH: A Poetry Newsletter, and follow the trajectory of process poetics in its national and international manifestations through the 1980s and ’90s. The poetics explored include the works of Nicole Brossard, Daphne Martlatt, bpNichol, George Bowering, Roy Kiyooka, and Frank Davey in the 1960s and ’70s. For the 1980-2000 period, the authors include essays on Jeff Derksen, Clare Harris, Erin Mour, and Lisa Robertson. They also look at books by older authors published after 1979, including Robin Blaser, Robert Kroetsch, and Fred Wah. A historiography of the radical poets, and a roster of the little magazines, small press publishers, literary festivals, and other such sites that have sustained poetic experimentation, provide context.

In his memoirs, John Kenneth Galbraith recalls amusingly, even brilliantly, the important and low moments in his life, the men and women he met who were great, only interesting, entertaining or even absurd. Galbraith studied agriculture in his native Canada and agricultural economics at UC-Berkeley. He taught at the University of California, served briefly in FDR’s administration and went on to Harvard. In Cambridge, England, he discovered the new economics of John Maynard Keynes. During World War II in Washington, he held the key job of organizing and administering the system of wartime price controls. After the war, Galbraith directed the survey that interrogated former Nazi leaders to assess the effects of the air war on the German economy. He then worked for the State Department as administrator for economic affairs in the occupied countries and served as an editor of Fortune when the magazine employed some of the best writers around. Galbraith returned to Harvard in 1948 and wrote three of the most influential books on economics of his time, The Affluent Society, The New Industrial State and Economics and the Public Purpose. In these lively memoirs, the author relates all of this and more — his two major political campaigns, with Adlai E. Stevenson for whom he was adviser and speech-writer, and John F. Kennedy, for whom he campaigned across the country; his years as ambassador in India; and his long opposition to the Vietnam war. And he shares the lessons learned from these experiences. “On every subject Mr. Galbraith is succinct and witty... The book is full of strong opinion and proceeds by the vehicle of anecdote... The serious business of the book... is to trace the steps of its author’s astonishingly varied and useful life... Mr. Galbraith’s vigor of expression, as well as an account of a period of gloom and psychotherapy, prevents the writing from ever sounding impersonal. That serious business is also to set the record straight — on what his books were about and how he evolved his theory of The Affluent Society and The New Industrial State, as two of his most important works were named; on why the bombing of Germany during World War II was less than useless, why it was patently unnecessary to wage atomic warfare on Japan and why he came to be a dissenter on the war in Vietnam. On inflation. On the ‘secular priesthood’ that once presided at the State Department. And, enchantingly, on such movers and shakers he came to know well as the New Dealer Leon Henderson, Paul Baran (‘the most interesting economist I have ever known’), Bernard M. Baruch, Adlai E. Stevenson, John F. Kennedy and Lyndon B. Johnson.” — Christopher Lehmann-Haupt, The New York Times “As a raconteur and a literary stylist, [Galbraith] stands with the best... As entertainment, the book is a total success. Its charm comes from the combination of Mr. Galbraith’s smooth comic timing and his not always charitable wit.” — James Fallows, The New York Times “Galbraith ranks with the most entertaining and provocative political writers in America in this century... Without Galbraith the political literature of our time would be far drearier.” — Gaddis Smith, Foreign Affairs “[Galbraith] has assembled a well-nigh complete record of what he has been up to, professionally at least, since leaving his family’s Ontario farm. The account is fascinating... The narrative... consistently holds the distinctive Galbraith style that makes all his books read like a nippy breeze.” — Geoffrey Colvin, Christian Science Monitor “Absorbing and irresistible.” — The New Yorker “An enjoyable book, full of fun, full of wisdom, and full of rare insights into the history of our times.” — The New Republic “A delightfully teeming book... Galbraith’s comic voice is a distinctive and durable literary achievement.” — Atlantic Monthly “A highly perceptive commentary on all our yesterdays... anecdotal, amusing, animated and above all, illuminating.” — John Barkham Reviews

Henry Fielding In Our Time publishes many of the papers presented at the international conference held at the University of London 19-21 April 2007 to commemorate the tercentenary of his birth. Written by established scholars, including the acknowledged doyen of Fielding scholars, Martin C. Battestin of the University of Virginia, as well as younger scholars who successfully bring their recent research to bear on neglected areas of Fielding’s life and works, the essays offer a cross-section of current approaches to Fielding and his writings, from his ballad operas, poetry and political journalism , via Joseph Andrews, Tom Jones and Amelia—the novels for which he is still best known—to the social pamphlets written during his years at Bow Street as magistrate for Westminster and Middlesex. The collection should appeal both to undergraduate and postgraduate students as well as academics and general readers interested in the eighteenth-century in general, and Fielding’s contribution to the emergence and development of the novel form in particular.

Actions taken by the United States and other countries during the Great Recession focused on restoring the viability of major financial institutions while guaranteeing debt and stimulating growth. Once the markets stabilized, the United States enacted regulatory reforms that ultimately left basic economic structures unchanged. At the same time, the political class pursued austerity measures to curb the growing national debt. Drawing on the economic theories of Keynes and Minsky and applying them to the modern evolution of American banking and finance, William K. Tabb offers a chilling prediction about future crises and the structural factors inhibiting true reform. Tabb follows the rise of banking practices and financial motives in America over the past thirty years and the simultaneous growth of a shadow industry of hedge funds, private equity firms, and financial innovations such as derivatives. He marks the shift from an American economy based primarily on the production of goods and nonfinancial services to one characterized by financialization, then shows how these developments, perspectives, and approaches not only contributed to the recent financial crisis but also prevented the enactment of effective regulatory reform. He incisively analyzes the damage that increasing unsustainable debt and excessive risk-taking has done to our financial system and expands his critique to a discussion of world systems and globalization. Revealing the willful blind spots of mainstream finance theory, Tabb moves beyond an economic model reliant on debt expansion and dangerous levels of leverage, proposing instead a social structure of accumulation that places economic justice over profit and, more practically, institutes an inclusive, sustainable model for growth.

Art keeps good alive in the worst of times. In the face of ugliness, pain, and death, it’s art that has the power to open us all to a healing imagining of new possibility; it’s art that whispers to the collective that even in the ashes of loss, life always grows again. That’s why right now, in this tumultuous time of war and pandemic, we need poets more than we need politicians. In response to the multitude of global crises we’re currently experiencing, editor Stefanie Raffelock put out a much-needed call to her writing community for art to uplift and inform the world, and the authors of She Writes Press answered. Art in the Time of Unbearable Crisis—a sometimes comforting, sometimes devastating, but universally relatable collection of prose, poetry, and art about living through difficult times like these—is the result. Addressing topics including grief and loss, COVID-19 and war in Ukraine, the gravity of need and being needed, the broad range of human response to crisis in all its forms, and more, these pieces explore how we can find beauty, hope, and deeper interpretation of world events through art—even when the world seems like it’s been turned inside out and upside-down. Proceeds: Our Commitment The collection of essays, poetry, and art in this book are meant to feed and nourish our hearts and minds. It’s what women do—we feed people. To that end, the proceeds from this work will be donated to the nonprofit World Central Kitchen, an organization conceived by chef José Andrés as a way to feed people affected by natural disasters and war. World Central Kitchen financially supports food banks and restaurants that provide free food throughout the world.

This work consists of 2 to 4 articles on each topic in the table of contents, written by experts in their fields, often with differing viewpoints. Includes biographical sketches of the contributors.