Discordant Democracy: Noise, Affect, Populism, and the Presidential Campaign paints a portrait of the political experience at a pivotal time in American political and social history. The modern political campaign is aestheticized and assimilated into mass culture, divorced from fact and policy, and nakedly tethered to emotional appeal. Through a multi-modal comparative examination of the sonic and emotional cultures of the 2008 and 2016 campaigns, Justin Patch raises critical queries about our affective relationship to modern politics and the impact of emotional campaigning on democracy. Discordant Democracy asks: how do campaign sounds affect us; what role do we the electorate play in creating and sustaining these sounds and affects; and what actions do they generate? Theories from anthropology, cognitive science, sound studies and philosophy are engaged to grapple with these questions and connect bombastic mass-mediated political events, campaign media and individual sonic experience. The analyses complicate notions of top-down campaigning, political spin, and enthusiastic millennial populism by examining our role in producing and animating political sounds through conversation, applause, laughter, media, and music.

Atoms Niles and Livvie accidentally create a macroscope, which allows them to see the Outer World for the first time.

This book explores the origins and significance of the French concept of terroir, demonstrating that the way the French eat their food and drink their wine today derives from a cultural mythology that developed between the Renaissance and the Revolution. Through close readings and an examination of little-known texts from diverse disciplines, Thomas Parker traces terroir’s evolution, providing insight into how gastronomic mores were linked to aesthetics in language, horticulture, and painting and how the French used the power of place to define the natural world, explain comportment, and frame France as a nation.

The 1968 Soviet invasion of Czechoslovakia brought an end to the Prague Spring and its promise of "socialism with a human face." Before the invasion, Czech reformers had made unexpected use of television to advance political and social change. In its aftermath, Communist Party leaders employed the medium to achieve "normalization," pitching television stars against political dissidents in a televised spectacle that defined the times. The Greengrocer and His TV offers a new cultural history of communism from the Prague Spring to the Velvet Revolution that reveals how state-endorsed ideologies were played out on television, particularly through soap opera-like serials. In focusing on the small screen, Paulina Bren looks to the "normal" of normalization, to the everyday experience of late communism. The figure central to this book is the greengrocer who, in a seminal essay by Václav Havel, symbolized the ordinary citizen who acquiesced to the communist regime out of fear. Bren challenges simplistic dichotomies of fearful acquiescence and courageous dissent to dramatically reconfigure what we know, or think we know, about everyday life under communism in the 1970s and 1980s. Deftly moving between the small screen, the street, and the Central Committee (and imaginatively drawing on a wide range of sources that include television shows, TV viewers' letters, newspapers, radio programs, the underground press, and the Communist Party archives), Bren shows how Havel's greengrocer actually experienced "normalization" and the ways in which popular television serials framed this experience. Now back by popular demand, socialist-era serials, such as The Woman Behind the Counter and The Thirty Adventures of Major Zeman, provide, Bren contends, a way of seeing—literally and figuratively—Czechoslovakia's normalization and Eastern Europe's real socialism.

Communism Unwrapped is a collection of essays that unwraps the complex world of consumption under communism in postwar Eastern Europe, featuring new work by both American and European scholars writing from variety of disciplinary perspectives. The result is a fresh look at everyday life under communism that explores the ways people shopped, ate, drank, smoked, cooked, acquired, exchanged and assessed goods. These phenomena, the editors argue, were central to the way that communism was lived and experienced in its widely varied contexts in the region. Consumption pervaded everyday life far more than most other political and social phenomena. From design, to production, to retail sales and black market exchange, Communism Unwrapped follows communist goods from producer to consumer, tracing their circuitous routes. In the communist world this journey was rife with its own meanings, shaped by the special political and social circumstances of these societies. In examining consumption behind the Iron Curtain, this volume builds on a new field of study. It brings dimension and nuance to our understanding of the communist period and a new perspective to our current analyses of consumerism.

Reassessing the meanings of "black humor" and "dark satire," Laughing Fit to Kill illustrates how black comedians, writers, and artists have deftly deployed various modes of comedic "conjuring"--the absurd, the grotesque, and the strategic expression of racial stereotypes--to redress not only the past injustices of slavery and racism in America but also their legacy in the present. Focusing on representations of slavery in the post-civil rights era, Carpio explores stereotypes in Richard Pryor's groundbreaking stand-up act and the outrageous comedy of Chappelle's Show to demonstrate how deeply indebted they are to the sly social criticism embedded in the profoundly ironic nineteenth-century fiction of William Wells Brown and Charles W. Chesnutt. Similarly, she reveals how the iconoclastic literary works of Ishmael Reed and Suzan-Lori Parks use satire, hyperbole, and burlesque humor to represent a violent history and to take on issues of racial injustice. With an abundance of illustrations, Carpio also extends her discussion of radical black comedy to the visual arts as she reveals how the use of subversive appropriation by Kara Walker and Robert Colescott cleverly lampoons the iconography of slavery. Ultimately, Laughing Fit to Kill offers a unique look at the bold, complex, and just plain funny ways that African American artists have used laughter to critique slavery's dark legacy.

Probability and Bayesian Modeling is an introduction to probability and Bayesian thinking for undergraduate students with a calculus background. The first part of the book provides a broad view of probability including foundations, conditional probability, discrete and continuous distributions, and joint distributions. Statistical inference is presented completely from a Bayesian perspective. The text introduces inference and prediction for a single proportion and a single mean from Normal sampling. After fundamentals of Markov Chain Monte Carlo algorithms are introduced, Bayesian inference is described for hierarchical and regression models including logistic regression. The book presents several case studies motivated by some historical Bayesian studies and the authors’ research. This text reflects modern Bayesian statistical practice. Simulation is introduced in all the probability chapters and extensively used in the Bayesian material to simulate from the posterior and predictive distributions. One chapter describes the basic tenets of Metropolis and Gibbs sampling algorithms; however several chapters introduce the fundamentals of Bayesian inference for conjugate priors to deepen understanding. Strategies for constructing prior distributions are described in situations when one has substantial prior information and for cases where one has weak prior knowledge. One chapter introduces hierarchical Bayesian modeling as a practical way of combining data from different groups. There is an extensive discussion of Bayesian regression models including the construction of informative priors, inference about functions of the parameters of interest, prediction, and model selection. The text uses JAGS (Just Another Gibbs Sampler) as a general-purpose computational method for simulating from posterior distributions for a variety of Bayesian models. An R package ProbBayes is available containing all of the book datasets and special functions for illustrating concepts from the book. A complete solutions manual is available for instructors who adopt the book in the Additional Resources section.

Taking seriously the critical conception of diplomacy as the mediation of estrangement, Diplomatic Para-citations turns to the politics and laws that tie modern diplomacy to colonial cultures and the ‘genres of Man’ that they privilege. In an attempt to read ‘the diplomatic’ from the African postcolony, the book probes the injunction at the center of the law of genre that states that “genres are not to be mixed.” This enables it to investigate the citational/recitational forms of knowledge and practices of recognition that reproduce the diplomatic and colonial order of things in the African context. Through a reading of literature, philosophy, and a multiplicity of everyday practices in Africa and its diasporas, Sam Okoth Opondo explores amateur diplomatic practices that provide a counterforce to laws that prescribe faithfulness to a norm/form while proscribing the mixing of genres.

A captivating historical novel based on the true story of Anita Hemmings, the first Black student to attend the prestigious Vassar College by – passing as white. For fans of The Vanishing Half and The Gilded Age. SOON TO BE A MAJOR MOTION PICTURE Since childhood, Anita Hemmings has longed to attend the country’s most exclusive school for women, Vassar College. Now, a bright, beautiful senior in the class of 1897, she is hiding a secret that would have banned her from admission: Anita is the only African-American student ever to attend Vassar. With her olive complexion and dark hair, she has successfully passed as white, but now finds herself rooming with Lottie Taylor, an heiress of one of New York’s most prominent families. Though Anita has kept herself at a distance from her classmates, Lottie’s sphere of influence is inescapable, her energy irresistible, and the two become fast friends. Pulled into her elite world, Anita learns what it’s like to be treated as a wealthy, educated white woman – the person everyone believes her to be – and even finds herself in a heady romance with a well-off Harvard student. But when Lottie becomes curious about Anita’s family the situation becomes particularly perilous, and as Anita’s graduation looms, those closest to her will be the ones to dangerously threaten her secret. Set against the vibrant backdrop of the Gilded Age, an era when old money traditions collided with modern ideas, The Gilded Years is a story of hope, sacrifice and betrayal – and a gripping account of how one woman dared to risk everything for the chance at a better life. ‘Smart and thoughtful … A must-read’ PopSugar ‘Insightfully grapples with complex and compelling issues’ Booklist ‘The beautiful and the damned takes on a whole new meaning … A poignant imagining inside the most complex survival phenomenon: passing. With the grandeur of the Gilded Age intertwined with romance and suspense, you won’t be able to put this period piece down until you know how her story ends.’ Vanity Fair

In a life full of chaos and travel, Elizabeth Bishop managed to preserve and even partially catalog, a large collection—more than 3,500 pages of drafts of poems and prose, notebooks, memorabilia, artwork, hundreds of letters to major poets and writers, and thousands of books—now housed at Vassar College. Informed by archival theory and practice, as well as a deep appreciation of Bishop’s poetics, the collection charts new territory for teaching and reading American poetry at the intersection of the institutional archive, literary study, the liberal arts college, and the digital humanities. The fifteen essays in this collection use this archive as a subject, and, for the first time, argue for the critical importance of working with and describing original documents in order to understand the relationship between this most archival of poets and her own archive. This collection features a unique set of interdisciplinary scholars, archivists, translators, and poets, who approach the archive collaboratively and from multiple perspectives. The contributions explore remarkable new acquisitions, such as Bishop’s letters to her psychoanalyst, one of the most detailed psychosexual memoirs of any twentieth century poet and the exuberant correspondence with her final partner, Alice Methfessel, an important series of queer love letters of the 20th century. Lever Press’s digital environment allows the contributors to present some of the visual experience of the archive, such as Bishop’s extraordinary “multi-medial” and “multimodal” notebooks, in order to reveal aspects of the poet’s complex composition process.