First published in 1956, The Power Elite stands as a contemporary classic of social science and social criticism. C. Wright Mills examines and critiques the organization of power in the United States, calling attention to three firmly interlocked prongs of power: the military, corporate, and political elite. The Power Elite can be read as a good account of what was taking place in America at the time it was written, but its underlying question of whether America is as democratic in practice as it is in theory continues to matter very much today. What The Power Elite informed readers of in 1956 was how much the organization of power in America had changed during their lifetimes, and Alan Wolfe's astute afterword to this new edition brings us up to date, illustrating how much more has changed since then. Wolfe sorts out what is helpful in Mills book and which of his predictions have not come to bear, laying out the radical changes in American capitalism, from intense global competition and the collapse of communism to rapid technological transformations and ever changing consumer tastes. The Power Elite has stimulated generations of readers to think about the kind of society they have and the kind of society they might want, and deserves to be read by every new generation.

In this now-classic work, one of the most celebrated political scientists of the twentieth century offers a powerful interpretation of the location of political power in American urban communities. For this new edition, Robert A. Dahl has written a new Preface in which he reflects on Who Governs? more than four decades after its publication. And in a new Foreword, Douglas W. Rae offers an assessment of Dahl’s achievement in this, Dahl’s greatest and most influential book. “Dahl is never dogmatic, and never imagines that the world stands still to accommodate either the democratic ideal or his own pluralistic theory of city politics. . . .Who Governs? is Dahl’s liveliest and most remarkable book.”—Douglas W. Rae, from the Foreword From reviews of the first edition: “A book that no one interested in politics can afford to ignore.”—Lewis A. Coser, Commentary “Anyone seriously concerned with current systematic political theory or with urban politics should read Who Governs?”—Hugh Douglas Price, Political Science Quarterly “A sophisticated and undogmatic treatise on democratic politics.”—Heinz Eulau, American Political Science Review “Dahl has illuminated a central question in political science, the problem of how men can govern themselves in complex societies. . . . Who Governs? will become a classic.”—from the citation of the Woodrow Wilson Foundation Award

T. J. Jackson Lears draws on a wealth of primary sources -- sermons, diaries, letters -- as well as novels, poems, and essays to explore the origins of turn-of-the-century American antimodernism. He examines the retreat to the exotic, the pursuit of intense physical or spiritual experiences, and the search for cultural self-sufficiency through the Arts and Crafts movement. Lears argues that their antimodern impulse, more pervasive than historians have supposed, was not "simple escapism," but reveals some enduring and recurring tensions in American culture.

In the half-century between the Civil War and World War I, dreams of spiritual, moral, and physical rebirth formed the foundation for the modern United States. Inspired by imperial ambition, presidents and entrepreneurs—from Theodore Roosevelt and Woodrow Wilson to Andrew Carnegie—helped usher the nation into the modern era, but sometimes the consequences of their actions failed to match the grandeur of their hopes. Award-winning historian Jackson Lears richly chronicles this momentous period in America—years marked by wrenching social conflict and vigorous political debate—vividly capturing the roles played by a variety of seekers, from Gilded Age mavericks to vaudeville entertainers, and from populist farmers and progressive reformers to avant-garde artists and writers. Illuminating and authoritative, Rebirth of a Nation brilliantly weaves the remarkable story of this crucial epoch into a masterful work of history.

In a midcentury American cultural episode forgotten today, intellectuals of all schools shared a belief that human nature was under threat. The immediate result was a glut of dense, abstract books on the “nature of man.” But the dawning “age of the crisis of man,” as Mark Greif calls it, was far more than a historical curiosity. In this ambitious intellectual and literary history, Greif recovers this lost line of thought to show how it influenced society, politics, and culture before, during, and long after World War II.
During the 1930s and 1940s, fears of the barbarization of humanity energized New York intellectuals, Chicago protoconservatives, European Jewish émigrés, and native-born bohemians to seek “re-enlightenment,” a new philosophical account of human nature and history. After the war this effort diffused, leading to a rebirth of modern human rights and a new power for the literary arts.
Critics’ predictions of a “death of the novel” challenged writers to invest bloodless questions of human nature with flesh and detail. Hemingway, Faulkner, and Richard Wright wrote flawed novels of abstract man. Succeeding them, Ralph Ellison, Saul Bellow, Flannery O’Connor, and Thomas Pynchon constituted a new guard who tested philosophical questions against social realities—race, religious faith, and the rise of technology—that kept difference and diversity alive.
By the 1960s, the idea of “universal man” gave way to moral antihumanism, as new sensibilities and social movements transformed what had come before. Greif’s reframing of a foundational debate takes us beyond old antagonisms into a new future, and gives a prehistory to the fractures of our own era.

Nineteenth-century studies of the Orient changed European ideas and cultural institutions in more ways than we usually recognize. 'Orientalism' certainly contributed to European empire-building, but it also helped to destroy a narrow Christian-classical canon. This carefully researched book provides the first synthetic and contextualized study of German Orientalistik, a subject of special interest because German scholars were the pacesetters in oriental studies between about 1830 and 1930, despite entering the colonial race late and exiting it early. The book suggests that we must take seriously German orientalism's origins in Renaissance philology and early modern biblical exegesis and appreciate its modern development in the context of nineteenth- and early twentieth-century debates about religion and the Bible, classical schooling, and Germanic origins. In ranging across the subdisciplines of Orientalistik, German Orientalism in the Age of Empire introduces readers to a host of iconoclastic characters and forgotten debates, seeking to demonstrate both the richness of this intriguing field and its indebtedness to the cultural world in which it evolved.

"This is cultural history of the first order, and it is liberal and humane history at its very best."—David Cannadine An essential work for anyone who wishes to understand the social history of the nineteenth century, Schnitzler's Century is the culmination of Peter Gay's thirty-five years of scholarship on bourgeois culture and society. Using Arthur Schnitzler, the sexually emboldened Viennese playwright, as his master of ceremonies, Gay offers a brilliant reexamination of the hundred-year period that began with the defeat of Napoleon and concluded with the conflagration of 1914. This is a defining work by one of America's greatest historians. 12 b/w illustrations.

A classic examination of the roots of corporate culture, newly revised and updated for the twenty first century
Alan Trachtenberg presents a balanced analysis of the expansion of capitalist power in the last third of the nineteenth century and the cultural changes it brought in its wake. In America's westward expansion, labor unrest, newly powerful cities, and newly mechanized industries, the ideals and ideas by which Americans lived were reshaped, and American society became more structured, with an entrenched middle class and a powerful business elite. Here, in an updated edition which includes a new introduction and a revised bibliographical essay, is a brilliant, essential work on the origins of America's corporate culture and the formation of the American social fabric after the Civil War.

In this unusually wide-ranging study, spanning more than a century and covering such diverse forms of expressive culture as Shakespeare, Central Park, symphonies, jazz, art museums, the Marx Brothers, opera, and vaudeville, a leading cultural historian demonstrates how variable and dynamic cultural boundaries have been and how fragile and recent the cultural categories we have learned to accept as natural and eternal are. For most of the nineteenth century, a wide variety of expressive forms--Shakespearean drama, opera, orchestral music, painting and sculpture, as well as the writings of such authors as Dickens and Longfellow--enjoyed both high cultural status and mass popularity. In the nineteenth century Americans (in addition to whatever specific ethnic, class, and regional cultures they were part of) shared a public culture less hierarchically organized, less fragmented into relatively rigid adjectival groupings than their descendants were to experience. By the twentieth century this cultural eclecticism and openness became increasingly rare. Cultural space was more sharply defined and less flexible than it had been. The theater, once a microcosm of America--housing both the entire spectrum of the population and the complete range of entertainment from tragedy to farce, juggling to ballet, opera to minstrelsy--now fragmented into discrete spaces catering to distinct audiences and separate genres of expressive culture. The same transition occurred in concert halls, opera houses, and museums. A growing chasm between "serious" and "popular," between "high" and "low" culture came to dominate America's expressive arts. "If there is a tragedy in this development," Levine comments, "it is not only that millions of Americans were now separated from exposure to such creators as Shakespeare, Beethoven, and Verdi, whom they had enjoyed in various formats for much of the nineteenth century, but also that the rigid cultural categories, once they were in place, made it so difficult for so long for so many to understand the value and importance of the popular art forms that were all around them. Too many of those who considered themselves educated and cultured lost for a significant period--and many have still not regained--their ability to discriminate independently, to sort things out for themselves and understand that simply because a form of expressive culture was widely accessible and highly popular it was not therefore necessarily devoid of any redeeming value or artistic merit." In this innovative historical exploration, Levine not only traces the emergence of such familiar categories as highbrow and lowbrow at the turn of the century, but helps us to understand more clearly both the process of cultural change and the nature of culture in American society.

When it comes to the production and distribution of mass culture, no country in modern times has come close to rivaling the success of America. From blue jeans in central Europe to Elvis Presley's face on a Republic of Chad postage stamp, the reach of American mass culture extends into every corner of the globe. Most believe this is a twentieth-century phenomenon, but here Robert W. Rydell and Rob Kroes prove that its roots are far deeper. Buffalo Bill in Bologna reveals that the process of globalizing American mass culture began as early as the mid-nineteenth century. In fact, by the end of World War I, the United States already boasted an advanced network of culture industries that served to promote American values overseas. Rydell and Kroes narrate how the circuses, amusement parks, vaudeville, mail-order catalogs, dime novels, and movies developed after the Civil War - tools central to hastening the reconstruction of the country - actually doubled as agents of American cultural diplomacy abroad. As symbols of America's version of the "good life," cultural products became a primary means for people around the world, especially in Europe, to reimagine both America and themselves in the context of America's growing global sphere of influence. Paying special attention to the role of the world's fairs, the exporting of Buffalo Bill's Wild West show to Europe, the release of The Birth of a Nation, and Woodrow Wilson's creation of the Committee on Public Information, Rydell and Kroes offer an absorbing tour through America's cultural expansion at the turn of the century.

Richard Nixon and Nikita Khrushchev's famous "kitchen debate" in 1958 involved more than the virtues of American appliances. Both Nixon and Khrushchev recognized the political symbolism of the modern kitchen; the kind of technological innovation represented in this everyday context spoke to the political system that produced it. The kitchen connects the "big" politics of politicians and statesmen to the "small" politics of users and interest groups. Cold War Kitchen looks at the kitchen as material object and symbol, considering the politics and the practices of one of the most famous technological icons of the twentieth century. Defining the kitchen as a complex technological artifact as important as computers, cars, and nuclear missiles, the book examines the ways in which a range of social actors in Europe shaped the kitchen as both ideological construct and material practice. These actors--from manufacturers and modernist architects to housing reformers and feminists--constructed and domesticated the technological innovations of the postwar kitchen. The home became a "mediation junction" in which women users and others felt free to advise producers from the consumer's point of view. In essays illustrated by striking period photographs, the contributors to Cold War Kitchen consider such topics as Soviet consumers' ambivalent responses to the American dream kitchen argued over by Nixon and Khrushchev; the Frankfurter Kuche, a European modernist kitchen of the interwar period (and its export to Turkey when its designer fled the Nazis); and the British state-subsidized kitchen design so innovative that it was mistaken for a luxury American product. The concluding essays challenge the received wisdom of past interpretations of the kitchen debate.