In the "little rebellion" that swept New York's Greenwich Village before World War I, few figures stood out more than Randolph Bourne. Hunchbacked and caped-the "little sparrowlike man" of Dos Passos' U.S.A.-Bourne was an essayist and critic most remembered today for his opposition to U.S. military involvement in Europe and his assertion that "war is the health of the state." A frequent contributor to The New Republic, he died in 1918 at the age of 32, arguing that a "military-industrial" complex would continue to shape the policies of the modern liberal state. Bourne is also recognized as one of the founders of American cultural radicalism, revered in turn by Marxists, anti-fascists, and the New Left. Through his writings, he debated issues that were cultural as well as political from a position he described as "below the battle," rejecting the either/or political options of his day in favor of a viewpoint that argued outside the terms set by the establishment. In her new study of Bourne's political thought, Leslie Vaughan maintains that this position was not, as others have contended, a retreat from politics but rather a different form of political engagement, freed from the suppositions that impede genuine debate and democratic change. Her analysis challenges previous readings of Bourne's politics, showing that he offered non-statist, neighborhood-based politics in America's modern cities as a practical alternative to involvement in the national state and its militarism. By demonstrating Bourne's emphasis on politics as local, multi-ethnic, and intergenerational, Vaughan shows that his thought offered a new political discourse and set of cultural possibilities for American society in an era he was the first to label as "post-modern." Returning to the influence of Nietzsche on his thought, she also explores the role Bourne played in the creation of his own myth. Eighty years later, Bourne can be seen to stand at the cusp of the modern and the post-modern worlds, as he speaks to today's multiculturalist movement. In reexamining Bourne's writings, Vaughan has located the roots of twentieth-century radical thought while repositioning Bourne at the center of debates about the nature and limits of American liberalism.

Reassesses the short life and career of American essayist, critic, and founder of cultural radicalism Bourne (1886-1918), known today mostly for his opposition to US military involvement in Europe and warnings about the military industrial complex. Vaughan (political science, U. of Minnesota-Duluth) argues that his stance from outside establishment perspectives was not a retreat from politics as many have claimed, but a form of political engagement free from the suppositions that impede genuine debate and democratic change. Annotation copyrighted by Book News, Inc., Portland, OR

The book describes the ways in which American thinkers and artists in the first two decades of the twentieth century challenged notions that a single principle explained all relevant phenomena, opting instead for a pluralistic world in which many truths, goods, and beauties coexisted. It argues that the bracketing of the idea that all knowledge was integrated allowed for a new appreciation of the importance of context and contingency.

The Encyclopedia of American Journalism explores the distinctions found in print media, radio, television, and the internet. This work seeks to document the role of these different forms of journalism in the formation of America's understanding and reaction to political campaigns, war, peace, protest, slavery, consumer rights, civil rights, immigration, unionism, feminism, environmentalism, globalization, and more. This work also explores the intersections between journalism and other phenomena in American Society, such as law, crime, business, and consumption. The evolution of journalism's ethical standards is discussed, as well as the important libel and defamation trials that have influenced journalistic practice, its legal protection, and legal responsibilities. Topics covered include: Associations and Organizations; Historical Overview and Practice; Individuals; Journalism in American History; Laws, Acts, and Legislation; Print, Broadcast, Newsgroups, and Corporations; Technologies.

Margaret Mead’s career took off in 1928 with the publication of Coming of Age in Samoa. Within ten years, she was the best-known academic in the United States, a role she enjoyed all of her life. In On Creating a Usable Culture, Maureen Molloy explores how Mead was influenced by, and influenced, the meanings of American culture and secured for herself a unique and enduring place in the American popular imagination. She considers this in relation to Mead’s four popular ethnographies written between the wars (Coming of Age in Samoa, Growing Up in New Guinea, The Changing Culture of an Indian Tribe, and Sex and Temperament in Three Primitive Societies) and the academic, middle-brow, and popular responses to them. Molloy argues that Mead was heavily influenced by the debates concerning the forging of a distinctive American culture that began around 1911 with the publication of George Santayana’s "The Genteel Tradition." The creation of a national culture would solve the problems of alienation and provincialism and establish a place for both native-born and immigrant communities. Mead drew on this vision of an "integrated culture" and used her "primitive societies" as exemplars of how cultures attained or failed to attain this ideal. Her ethnographies are really about "America," the peoples she studied serving as the personifications of what were widely understood to be the dilemmas of American selfhood in a materialistic, individualistic society. Two themes subtend Molloy’s analysis. The first is Mead’s articulation of the individual’s relation to his or her culture via the trope of sex. Each of her early ethnographies focuses on a "character" and his or her problems as expressed through sexuality. This thematic ties her work closely to the popularization of psychoanalysis at the time with its understanding of sex as the key to the self. The second theme involves the change in Mead’s attitude toward and definition of "culture"—from the cultural determinism in Coming of Age to culture as the enemy of the individual in Sex and Temperament. This trend parallels the consolidation and objectification of popular and professional notions about culture in the 1920s and 1930s. On Creating a Usable Culture will be eagerly welcomed by those with an interest in American studies and history, cultural studies, and the social sciences, and most especially by readers of American intellectual history, the history of anthropology, gender studies, and studies of modernism.

The America Randolph Silliman Bourne searched for his entire life-but never found-was an America in which the institutions of democratic government remained responsive to the needs of all. A progressive in the age of progressivism, Bourne fully understood John Jay's dictum that the United States "should be governed by the people who own it." The Atlantic Monthly, the New Republic, and the Dial were the forum for Bourne's social commentary during a brief career that lasted from 1912 to 1918. In Search of a Democratic America offers the best of Bourne's writings on politics, religion, education, philosophy, society, and youth. The readings, and commentary, reveal the literary radical and social critic in his true guise as a spokesman for liberal democracy, a democratic theorist who strove for a modern, industrial, multi-ethnic nation peopled by the intelligent, the caring, and the concerned.

Spreading democracy abroad or protecting business at home: this book offers a new look at the history of the contest between isolationalism and internationalism that is as current as the wars in Iraq and Afghanistan and as old as America itself, with profiles of the people, policies, and events that shaped the debate.

The twelve essays in this book – by scholars from the U.S., France, Germany, the Netherlands and the Czech Republic – offer new transnational perspectives in transatlantic historical, literary, and cultural studies. They explore the special role of American and European intellectuals as agents of transatlantic cultural transfer, and examine the mechanisms and instruments through which artists, writers and intellectuals communicated across oceans and national borders, in the half century between 1914 and 1964. Their focus is on transatlantic networks and the instruments of culture through which such networks become operative as sites of cross-cultural exchange, circulation and interaction: magazines, cafés, publishing houses, book fairs, agents, translators, and mediators – and last but not least, transatlantic personal friendships. Contending that the dynamics of transatlantic cultural transfer need to be understood as reciprocal and multi-directional, they also exemplify the shift within transatlantic intellectual history from a traditional concern with European-U.S. relations to a multidirectional, triangular exploration of cultural, political and intellectual relations between Europe, the United States, and Latin America.

Shortlisted for the 2015 Modernist Studies Association Book Prize This book shows how American literary culture in the first half of the twentieth century saw “irony” emerge as a term to describe intersections between aesthetic and political practices. Against conventional associations of irony with political withdrawal, Stratton shows how the term circulated widely in literary and popular culture to describe politically engaged forms of writing. It is a critical commonplace to acknowledge the difficulty of defining irony before stipulating a particular definition as a stable point of departure for literary, cultural, and political analysis. This book, by contrast, is the first to derive definitions of “irony” inductively, showing how writers employed it as a keyword both before and in opposition to the institutionalization of New Criticism. It focuses on writers who not only composed ironic texts but talked about irony and satire to situate their work politically: Randolph Bourne, Benjamin De Casseres, Ellen Glasgow, John Dos Passos, Ralph Ellison, and many others.

Jean Toomer's Cane was the first major text of the Harlem Renaissance and the first important modernist text by an African-American writer. It powerfully depicts the terror in the history of American race relations, a public world of lynchings, race riots, and Jim Crow, and a private world of internalized conflict over identity and race which mirrored struggles in the culture at large. Toomer's own life reflected that internal conflict, and he has been an ambiguous figure in literary history, an author who wrote a text that had a tremendous impact on African American authors but who eventually tried to distance himself from Cane and from his identification as a black writer. In Jean Toomer and the Terrors of American History, Charles Scruggs and Lee VanDemarr examine original sources—Toomer's rediscovered early writings on politics and race, his extensive correspondence with Waldo Frank, and unpublished portions of his autobiographies—to show how the cultural wars of the 1920s influenced the shaping of Toomer's book and his subsequent efforts to escape the racial definitions of American society. That those definitions remain crucial for American society even today is one reason Toomer's work continues to fascinate and to influence contemporary writers and readers.