A radical manifesto about doing what you love Andy Merrifield offers a passionate tribute to the revolutionary spirit of the amateur—a figure who thinks outside the box, takes risks, dreams the impossible dream, seeks independence, and carves out a new world. Merrifield celebrates such square pegs as Charles Baudelaire, Fyodor Dostoevsky, Edward Said, Guy Debord, Hannah Arendt, and Jane Jacobs, each of whom shows us a path of unconventional wisdom and freedom. The Amateur advocates urgently for the liberated life, one that creates the space to question authority.
Arthur J. Raffles is a character created in the 1890s by E. W. Hornung, brother-in-law to Sir Arthur Conan Doyle, the creator of Sherlock Holmes. Raffles is, in many ways, a deliberate inversion of Holmes - he is a ""gentleman thief,"" living at the Albany, a prestigious address in London, playing cricket for the Gentlemen of England and supporting himself by carrying out ingenious burglaries. He is called the ""Amateur Cracksman,"" and often, at first, differentiates between himself and the ""professors"" - professional criminals from the lower classes. As Holmes has Dr. Watson to chronicle his adventures, Raffles has Harry ""Bunny"" Manders - a former schoolmate saved from disgrace and suicide by Raffles, whom Raffles persuaded to accompany him on a burglary. While Raffles often takes advantage of Manders' relative innocence, and sometimes treats him with a certain amount of contempt, he knows that Manders' bravery and loyalty are to be relied on utterly.
In this in-depth look at the heated debates over paying college athletes, Ronald A. Smith starts at the beginning: the first intercollegiate athletics competition—a crew regatta between Harvard and Yale—in 1852, when both teams received an all-expenses-paid vacation from a railroad magnate. This striking opening sets Smith on the path of a story filled with paradoxes and hypocrisies that plays out on the field, in meeting rooms, and in courtrooms—and that ultimately reveals that any insistence on amateurism is invalid, because these athletes have always been paid, one way or another. From that first contest to athletes’ attempts to unionize and California’s 2019 Fair Pay to Play Act, Smith shows that, throughout the decades, undercover payments, hiring professional coaches, and breaking the NCAA’s rules on athletic scholarships have always been part of the game. He explores how the regulation of male and female student-athletes has shifted; how class, race, and gender played a role in these transitions; and how the case for amateurism evolved from a moral argument to one concerned with financially and legally protecting college sports and the NCAA. Timely and thought-provoking, The Myth of the Amateur is essential reading for college sports fans and scholars.
From the very beginning of cinema, there have been amateur filmmakers at work. It wasn’t until Kodak introduced 16mm film in 1923, however, that amateur moviemaking became a widespread reality, and by the 1950s, over a million Americans had amateur movie cameras. In Amateur Cinema, Charles Tepperman explores the meaning of the “amateur” in film history and modern visual culture. In the middle decades of the twentieth century—the period that saw Hollywood’s rise to dominance in the global film industry—a movement of amateur filmmakers created an alternative world of small-scale movie production and circulation. Organized amateur moviemaking was a significant phenomenon that gave rise to dozens of clubs and thousands of participants producing experimental, nonfiction, or short-subject narratives. Rooted in an examination of surviving films, this book traces the contexts of “advanced” amateur cinema and articulates the broad aesthetic and stylistic tendencies of amateur films.
