The Comprehensive Employment and Training Act made a dramatic entrace on the American economic and social stage in December 1973. No comparable commitment of public funds to subsidize jobs had occurred since the Works Progress Administration programs of the 1930s. An important beneficiary of CETA was the Artists-in-Residence program, in operation from 1977 to 1981. As part of the largest direct monetary transfer to artists since the WPA, AIR employed 108 Chicago-area artists each year in nine fields—from dance and music to video and graphic arts. Bureaucratizing the Muse is a study of the Chicago AIR program. By its very nature art is a nonrational process, even at times antirational, and the idea of organizing artists in this kind of work environment was an unusual one. Steven C. Dubin's account is a fascinating story of the tensions between struggling artists who need a paycheck but fear the compromise of their art and bureaucrats who need to produce measurable results.

This classic in communications is also a path-breaking study of American popular culture, combining the thoughtful sympathy of Gilbert Seldes with the critical sensitivity for form of H.L. Mencken. Denney accomplishes this by introducing new approaches to understanding products of popular culture with-out either moralizing over the profit motives of the producers or sermonizing about the base motives of consumers seeking mere entertainment. His forty-page introduction to this new edition is a major statement reexamining the themes in the original 1957 volume. The Astonished Muse analyzes a wide and varied sample of both the active and the passive leisure activities of Americans, ranging from television and science fiction to organized football and skyscraper design. On its initial appearance the book was praised as a work that combines a searching formal analysis of the popular arts with a close historical grasp of their genres and a sociological sense of their audiences. Its themes of critical competence and performance anticipate current concerns with reader-centered and linguistic approaches to popular literature. In an economic-historical sense, this book presages the rise of popular arts and media as rivals in scale to manufacturing industries in the United States. In a political sense, it affirms audience selectivity. Above all it takes a quiet stand against attempts to devalue, decry, and censor the popular arts under banners of morality, childhood inno-cence, puritanical religion, and other limits to free expression.

How a 19th century instrument helped to shape New World culture.

The National Endowment for the Arts is often accused of embodying a liberal agenda within the American government. In Federalizing the Muse, Donna Binkiewicz assesses the leadership and goals of Presidents Kennedy through Carter, as well as Congress and the National Council on the Arts, drawing a picture of the major players who created national arts policy. Using presidential papers, NEA and National Archives materials, and numerous interviews with policy makers, Binkiewicz refutes persisting beliefs in arts funding as part of a liberal agenda by arguing that the NEA's origins in the Cold War era colored arts policy with a distinctly moderate undertone. Binkiewicz's study of visual arts grants reveals that NEA officials promoted a modernist, abstract aesthetic specifically because they believed such a style would best showcase American achievement and freedom. This initially led them to neglect many contemporary art forms they feared could be perceived as politically problematic, such as pop, feminist, and ethnic arts. The agency was not able to balance its funding across a variety of art forms before facing serious budget cutbacks. Binkiewicz's analysis brings important historical perspective to the perennial debates about American art policy and sheds light on provocative political and cultural issues in postwar America.

This is the first book to relate to the literature and art of the First World War to the literature and art produced by the Second World War and by earlier wars. A Muse of Fire is also the first serious attempt to examine the whole range of war poetry and war fiction in English in its relation to the work of German, French, Italian and - to a lesser extent - Russian, Danish, and Hungarian authors. Before 1914 few authors wrote about or experienced war. War, especially its reality, was not the proper subject of literature; while writers seldom served in the armed forces and were almost never in battle. More than half this book deals with the First World War. In successive chapters A.D. Harvey discusses what sort of people, in what sort of physical and psychological conditions, wrote about the war; or painted it; how they handled the challenge of describing their experiences with complete honesty; what literary and artistic techniques they employed; how other forms of creative talent were fostered by the war; and how far memoirs of the war prepared the way for the next one. The account given of the Second World War in the final section, like the chapters on pre-1914 war literature, provides far more than simply an introduction and conclusion to the central part of the book. It is an important contribution to an understanding of how literature and art relate to the psychological and social structures of the communities within which they are produced. This is the first book to relate to the literature and art of the First World War to the literature and art produced by the Second World War and by earlier wars. A Muse of Fire is also the first serious attempt to examine the whole range of war poetry and war fiction in English in its relation to the work of German, French, Italian and - to a lesser extent - Russian, Danish, and Hungarian authors. Before 1914 few authors wrote about or experienced war. War, especially its reality, was not the proper subject of literature; while writers seldom served in the armed forces and were almost never in battle. More than half this book deals with the First World War. In successive chapters A.D. Harvey discusses what sort of people, in what sort of physical and psychological conditions, wrote about the war; or painted it; how they handled the challenge of describing their experiences with complete honesty; what literary and artistic techniques they employed; how other forms of creative talent were fostered by the war; and how far memoirs of the war prepared the way for the next one. The account given of the Second World War in the final section, like the chapters on pre-1914 war literature, provides far more than simply an introduction and conclusion to the central part of the book. It is an important contribution to an understanding of how literature and art relate to the psychological and social structures of the communities within which they are produced.

William Wordsworth's poems are inhabited by beggars, vagrants, peddlers, and paupers. This book analyzes how a few key poems from Wordsworth's early years constitute a direct engagement with and intervention into the politics of poverty and reform that swept the social, political, and cultural landscape in England during the 1790s. In Wordsworth's Vagrant Muse, Gary Harrison argues that although Wordsworth's poetry is implicated in an ideology that idealizes rustic poverty, it nonetheless invests the image of the rural poor with a certain, if ambiguously realized, power. The early poems challenge the complacency of middle-class readers by constructing a mirror in which they confront the possibility of their own impoverishment (both economic and moral), and by investing the marginal poor with a sense of dignity and morality otherwise denied them.

This book examines Max Weber's understanding of bureaucracy by applying his ideas to the development of officialdom from the ninth century to the present in six territories: England, Sweden, France, Germany, Spain, and Hungary. Edward Page takes a broad view of bureaucracy that includes not only officials in important central or national institutions but also those providing goods and services locally. The 'scorecard' is based on expected developments in four key areas of Weber's analysis: the functional differentiation of tasks within government, professionalism, formalism, and monocracy. After discussing the character of officialdom in the ninth, twelfth, fifteenth, eighteenth, and twenty-first centuries, the book reveals that Weber's scorecard has a mixed record, especially weak in its account of the development of monocracy and formalism. A final chapter discusses alternative conceptions of bureaucratic development and sets out an account based on understanding processes of routinization, institutional integration, and the instrumentalization of law.

Our understanding of the past shapes our sense of the present and the future: this is historical consciousness. While academic history, public history, and the study of collective memory are thriving enterprises, there has been only sparse investigation of historical consciousness itself, in a way that relates it to the policy questions it raises in the present. With Theorizing Historical Consciousness, Peter Seixas has brought together a diverse group of international scholars to address the problem of historical consciousness from the disciplinary perspectives of history, historiography, philosophy, collective memory, psychology, and history education. Historical consciousness has serious implications for international relations, reparations claims, fiscal initiatives, immigration, and indeed, almost every contentious arena of public policy, collective identity, and personal experience. Current policy debates are laced with mutually incompatible historical analogies, and identity politics generate conflicting historical accounts. Never has the idea of a straightforward 'one history that fits all' been less workable. Theorizing Historical Consciousness sets various theoretical approaches to the study of historical consciousness side-by-side, enabling us to chart the future study of how people understand the past.

First Published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

The digital revolution fundamentally changed how cultural heritage is created, documented, analyzed, and preserved. The book focuses on this transformation’s impact. How must museums and archives meet the challenges of digitally generated cultures and how does the digital revolution influence traditional object collection, research, and education? How do digital technologies and digital art and culture affect our interaction with images? Leading international experts from various disciplines break new ground. Pioneering interdisciplinary research results collected in this book are relevant to education, curators and archivists in the arts and culture sector and in the digital humanities.