The political identities of the Turkish working class began a transformative journey that started during a period of industrialization following World War II and continued until the military interventions of 1960. Working Class Formation in Turkey addresses common, structural generalizations to recover the complex history of developing political, recreational, familial, residential, and work-related lives of Turkish workers. Drawing on a wide range of historical sources, this volume brings the concept of “everydayness” to the fore and uncovers the local contexts that fostered class solidarity, examines labor practices that fueled radicalism, and analyzes the shifting dynamics of industrial discipline that impacted working class identity and culture.
Art Forum's Best of the Year List A panoramic look at art in America in the second half of the twentieth century, through the eyes of the visionary curator who helped shape it. An innovative, iconoclastic curator of contemporary art, Walter Hopps founded his first gallery in L.A. at the age of twenty-one. At twenty-four, he opened the Ferus Gallery with then-unknown artist Edward Kienholz, where he turned the spotlight on a new generation of West Coast artists. Ferus was also the first gallery ever to show Andy Warhol's Campbell's Soup Cans and was shut down by the L.A. vice squad for a show of Wallace Berman's edgy art. At the Pasadena Art Museum in the sixties, Hopps mounted the first museum retrospectives of Marcel Duchamp and Joseph Cornell and the first museum exhibition of Pop Art--before it was even known as Pop Art. In 1967, when Hopps became the director of Washington's Corcoran Gallery of Art at age thirty-four, the New York Times hailed him as "the most gifted museum man on the West Coast (and, in the field of contemporary art, possibly in the nation)." He was also arguably the most unpredictable, an eccentric genius who was chronically late. (His staff at the Corcoran had a button made that said WALTER HOPPS WILL BE HERE IN TWENTY MINUTES.) Erratic in his work habits, he was never erratic in his commitment to art. Hopps died in 2005, after decades at the Menil Collection of art in Houston for which he was the founding director. A few years before that, he began work on this book. With an introduction by legendary Pop artist Ed Ruscha, The Dream Colony is a vivid, personal, surprising, irreverent, and enlightening account of his life and of some of the greatest artistic minds of the twentieth century.
According to its members, exiled political leaders from nine east European countries, the ACEN was an umbrella organization—a quasi-East European parliament in exile—composed of formerly prominent statesmen who strove to maintain the case of liberation of Eastern Europe from the Soviet yoke on the agenda of international relations. Founded by the Free Europe Committee, from 1954 to 1971 the ACEN tried to lobby for Eastern European interests on the U.S. political scene, in the United Nations and the Council of Europe. Furthermore, its activities can be traced to Latin America, Asia and the Middle East. However, since it was founded and sponsored by the Free Europe Committee (most commonly recognized as the sponsor of the Radio Free Europe), the ACEN operations were obviously influenced and monitored by the Americans (CIA, Department of State). This book argues that despite the émigré leadership's self-restraint in expressing criticism of the U.S. foreign policy, the ACEN was vulnerable to, and eventually fell victim of, the changes in the American Cold War policies. Notwithstanding the termination of Free Europe’s support, ACEN members reconstituted their operations in 1972 and continued their actions until 1989. Based on a through archival research (twenty different archives in the U.S. and Europe, interviews, published documents, memoirs, press) this book is a first complete story of an organization that is quite often mentioned in publications related to the operations of the Free Europe Committee but hardly ever thoroughly studied.
Founded during World War II, Oak Ridge, Tennessee, was a vital link in the U.S. military's atomic bomb assembly line-the site where scientists worked at a breakneck pace to turn tons of uranium into a few grams of the artificial element plutonium. At Work in the Atomic City explores the world of those workers and their efforts to form unions, create a community, and gain political rights over their city.
This book explores understandings and experiences of 'dirty work' – tasks or occupations that are seen as disgusting and degrading. It complicates the 'clean/dirty' divide in the context of organizations and work and illustrates some of the complex ways in which dirty work identities are managed.
Coffee from East Africa, wine from California, chocolate from the Ivory Coast - all those every day products are based on labour, often produced under appalling conditions, but always involving the combination of various work processes we are often not aware of. What is the day-to-day reality for workers in various parts of the world, and how was it in the past? How do they work today, and how did they work in the past? These and many other questions comprise the field of the global history of work – a young discipline that is introduced with this handbook. In 8 thematic chapters, this book discusses these aspects of work in a global and long term perspective, paying attention to several kinds of work. Convict labour, slave and wage labour, labour migration, and workers of the textile industry, but also workers' organisation, strikes, and motivations for work are part of this first handbook of global labour history, written by the most renowned scholars of the profession.
Conventional wisdom holds that comic books of the post-World War II era are poorly drawn and poorly written publications, notable only for the furor they raised. Contributors to this thoughtful collection, however, demonstrate that these comics constitute complex cultural documents that create a dialogue between mainstream values and alternative beliefs that question or complicate the grand narratives of the era. Close analysis of individual titles, including EC comics, Superman, romance comics, and other, more obscure works, reveals the ways Cold War culture--from atomic anxieties and the nuclear family to communist hysteria and social inequalities--manifests itself in the comic books of the era. By illuminating the complexities of mid-century graphic novels, this study demonstrates that postwar popular culture was far from monolithic in its representation of American values and beliefs.
