Street Press Research Articles

Marxism and Witchcraft By DavidKubrin, Brooklyn, NY: Autonmedia. 2020. pp. 704. USD 24.95

Anthropology of ConsciousnessEarly View BOOK REVIEW Marxism and Witchcraft By David Kubrin, Brooklyn, NY: Autonmedia. 2020. pp. 704. USD 24.95 Mark A. Schroll, Corresponding Author Mark A. Schroll [email protected] Sofia University, Palo Alto, CaliforniaE-mail: [email protected]Search for more papers by this author Mark A. Schroll, Corresponding Author Mark A. Schroll [email protected] Sofia University, Palo Alto, CaliforniaE-mail: [email protected]il.comSearch for more papers by this author First published: 13 June 2023 https://doi.org/10.1111/anoc.12180Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL No abstract is available for this article. REFERENCES Berman, M. 1981. The Reenchantment of the World. Ithaca, NY: Cornell University Press. Berman, M. 1989. Coming to our Senses: Body and Spirit in the Hidden History of the West. New York: Simon and Schuster. Capra, B. A., dir. 1991. Mindwalk. Hollywood, CA.: Triton Pictures/Paramount. Capra, F. 1982. The Turning Point: Science, Society, and the Rising Culture. New York, N.Y.: Bantam Books. Capra, F., and Toms, M. (1992). Mindwalk: The New Paradigm. New Dimensions Radio Interview with Capra, F. San Francisco: New Dimensions Foundation. Merchant, C. 1980. The Death of Nature: Women, Ecology, and the Scientific Revolution. San Francisco: Harper & Row. Metzner, R. 1999. Green Psychology: Transforming our Relationship to the Earth. Rochester, VT: Park Street Press. Pink Floyd. 1979. The Wall. London/Britannia Row: Harvest EMI (UK), Columbia/CBS (USA). Prattis, I. 1997. Anthropology at the Edge: Essays on Culture, Symbol, and Consciousness. Lanham, MD: University Press of America. Schroll, M. A. 1997. “ The Philosophical Legacy of David Bohm, Its Relationship to Transpersonal Psychology, and the Emergence of Ecopsychology: Searching for a Coherent, Co-evolutionary, Sustainable Culture.” PhD diss., The Union Institute and University. Schroll, M. A. 2001. “Hypotheses in Search of a Paradigm: A Conversation Forum.” Society for the Anthropology of Consciousness conference, Bastyr University, Seattle, Washington, April 6, 2001. Schroll, M. A. 2010a. “Toward a New Kind of Science and Its Methods of Inquiry.” Anthropology of Consciousness 21 (1): 1– 29. Schroll, M. A. 2010b. “The Physics of Psi: An Interview with Stanley Krippner.” Transpersonal Psychology Review 14 (1): 3– 15. M. A. Schroll, ed. 2014. Paranthropology: Journal of Anthropological Approaches to the Paranormal 5 (4). Special issue: Hypotheses in Search of a Paradigm. Schroll, M. A. 2016. Transpersonal Ecosophy, vol. 1: Theory, Methods, and Clinical Assessments. Llanrhaeadr-ym-Mochnant, UK: Psychoid Books. Schroll, M. A., and S. Greenwood. 2011. “Worldviews in Collision/Worldviews in Metamorphosis: Toward a Multistate Paradigm.” Anthropology of Consciousness 22 (1): 49– 60. Schroll, M. A., and H. Walker. 2011. “Diagnosing the Human Superiority Complex: Providing Evidence the Eco-crisis is Born of Conscious Agency.” Anthropology of Consciousness 22 (1): 30– 48. Early ViewOnline Version of Record before inclusion in an issue ReferencesRelatedInformation

Online Biographical Dictionary of the Woman Suffrage Movement in the United States

The 2020 centennial of the ratification of the Nineteenth Amendment inspired an impressive array of books, articles, museum exhibits, and public humanities projects encouraging us to revisit, revise, and, in some cases, revolutionize our understanding of women's long (and ongoing) fight for the vote. At the forefront of the new digital projects stands the Online Biographical Dictionary of the Woman Suffrage Movement in the United States (Obd), edited by Thomas Dublin and Kathryn Kish Sklar. The Obd is connected with the Women and Social Movements Database (Wasmd), launched by Sklar in 1997 and published by Alexander Street Press. What makes the Obd so useful, however, is that Dublin and Sklar negotiated with the publisher to offer the resource both as part of the subscription-only Wasmd and as a stand-alone Web site available for free to anyone with an Internet connection. The result is a monumental biographical database comprising what will soon be more than 3,700 women suffragists. Most of these women were engaged in suffrage and other reform efforts at the local and state levels, so their names will be new to historians and laypeople. For user convenience, more well-known national leaders are also included in the database via links to their biographical entries in Notable American Women (1971), in partnership with the Arthur and Elizabeth Schlesinger Library on the History of Women in America at Harvard University. The entries are organized into three parts, mirroring the suffrage movement's divisions: Militant Women Suffragists—The National Woman's Party (Nwp); Black Women Suffragists; and Mainstream Suffragists—The National American Woman Suffrage Association (Nawsa).

The Best of Medic in the Green Time: Writings from the Vietnam War and Its Aftermath by Marc Levy

Reviewed by: The Best of Medic in the Green Time: Writings from the Vietnam War and Its Aftermath by Marc Levy Richard Levine (bio) the best of medic in the green time: writings from the vietnam war and its aftermath Marc Levy Winter Street Press 641 pages; Print $22.00 It is 1970. The Vietnam War is still going full throttle. Marc Levy is "nineteen, a virgin, innocent in the ways of the world," and a newly arrived medic in Delta Company, 1st Battalion, 7th Division, U.S. Air Cavalry (Delta 1/7 Cav). He's an FNG ("Fucking New Guy"). Levy's service would earn him a Combat Medic Badge, the Silver Star, two Bronze Stars with V (for valor), Air Medal, Army Commendation Medal, a lifelong battle with post-traumatic stress disorder (PTSD), and a dishonorable discharge. (After a second court-martial this was upgraded to a general discharge, which does not carry the stigma and does not withhold earned benefits. Twenty years later he was finally granted an honorable discharge.) How, you might wonder, does such heroism lead to expulsion from a service after duties so valorously performed and rewarded? The answer, which is perhaps a window on the military's failure to meet the needs of its veterans, is part of what is chronicled in The Best of Medic in the Green Time. [End Page 117] It brings the war to life in many forms and voices—memoir, reportage, letters, and poetry, some written by Levy. But it reaches beyond personal witness to argue its worth as a valuable historical document. What gives a war captured on the page historical value rather than just being a good yarn? Allegiance to truth, resisting exaggeration to tell a better story, examining events from many vantages, with exacting detail that locates events geographically and in time, knows weapons systems and tactics and identifies key players by name. It's all there in The Best of Medic. Perhaps the best example is an account of a failed invasion into Cambodia. The ill-fated campaign was undertaken clandestinely and without oversight by Congress. Even the families of fallen soldiers were not told. Carl Lee (4th platoon squad leader, Delta 1/7 Cav) told Levy of writing to the parents of Mike Dawson, a close Delta-friend who was killed in the invasion. "I did contact Mike's parents … and sent some pictures. I told them he had died in Cambodia which surprised them, because the Army had told them that he had died in Vietnam." If the first truism of combat is "War is hell!," then the second is surely "You never forget war, but you never remember it quite right." Knowing this, and perhaps not trusting his own memory—he is now in his seventies—Levy contacted members of Delta company, as well Bravo 1/7 and First Cavalry field artillery crews, and invited their recollections of that grizzly time. There are perhaps a dozen different descriptions that begin, "Medic received this account of the attack from …" Each account begins with a brief introduction by Levy. "In the second week of May, lifting off from Quan Loi, we chopper into Cambodia. I remember my fear and dread. … This is it. We're gonna die. But after the door gunners open up, after the birds (helicopters) swoop low and we jump out, after we rush forward and throw ourselves down, nothing happens. Instead, every blade of grass. Every layer of canopy, every shimmering mote of sunlight is vivid and beautiful—until the cool, summery night when sappers1 attack LZ (Landing Zone) Ranch, overrun it." "Colonel Everette 'Moose' Yon," the battalion commander of LZ Ranch, "was likely responsible for (the base's) poor placement, the eastern berm too [End Page 118] close to the wood line." "I want to give the gooks a chance," he is alleged to have said. After the sapper attack he was relieved of his command. Medic writes: "On May 16, at 2:45 AM, sappers crawled past the trips and Claymores (anti-personnel mines) on the eastern berm, defended by Delta's fourth platoon. They killed machine gunner Mike Dawson immediately, then headed for the TOC...

Guides to Heavenly Mother

Guides to Heavenly Mother

John Kay and Mervyn King, Radical Uncertainty: Decision‐making for an Unknowable Future, London: The Bridge Street Press, 2020, 528 pp, hb, £25. 00

The Modern Law ReviewVolume 84, Issue 3 p. 644-647 REVIEWS John Kay and Mervyn King, Radical Uncertainty: Decision-making for an Unknowable Future, London: The Bridge Street Press, 2020, 528 pp, hb, £25. 00 Sarah Arduin, Corresponding Author Sarah Arduin arduinsa@tcd.ie Trinity College Dublin. Email: arduinsa@tcd.ieSearch for more papers by this author Sarah Arduin, Corresponding Author Sarah Arduin arduinsa@tcd.ie Trinity College Dublin. Email: arduinsa@tcd.ieSearch for more papers by this author First published: 24 September 2020 https://doi.org/10.1111/1468-2230.12583 Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat Volume84, Issue3May 2021Pages 644-647 RelatedInformation

Inhabited by the Unspoken

Inhabited by the Unspoken Vanessa Loh (bio) Green Target Tina Barr Barrow Street Press www.barrowstreet.org 82 Pages; Print, $16.95 After reading Tina Barr's third collection Green Target, there is a sedate sense of ever-present danger you can't quite put your finger on. It's in the garden. There's beauty and also something lurking. The idea of a paradise lost comes to mind, but doesn't quite satisfy. John Milton wrote that he wanted to "justify the ways of God to men." But it isn't providence that wants justification. Barr doesn't marvel at the beauty, she names it plain and simple. Yet, as Barr remarks in a November 2018 interview on NPR's All Things Considered, "There's always some sense of darkness working against the texture of the poem." Contributing to this "sense of darkness," most of the poems lack tonal cues and withhold that last explanatory phrase that sharpens the poem to a point. With no final statement from the poet you're not totally confident you understood the message—which makes the poetry even more ominous. We are faced with nature and with humanity, but Barr denies us the third term of providence, which might justify and resolve. Though she never introduces a god of any kind, Barr almost always offers a third element where we might expect a classic dichotomy. This is most obvious in the poem "In Fruiting, Which Is Dying, Is Made Seed." Consider the essential insight simply in the title: the age-old association between birth and death is made that much more ambivalent with the additional elements of fruit and seed. On the one hand, fruit is aligned with a raison d'être; it harbors seed, which supplies sustenance; but those simply as a byproduct of being alive. And in the context of this poem, the seed is the residuum and that which escapes control or justification. The poem is about the unspeakable and ends with an allusion to a less-than-consensual sexual encounter: The girl pinned on her bed nightafter night, sits in her garden, with a cup of tea.A ruby-throat buzzes her dressing gown,tries to drink from its red roses. The final couplet of this difficult poem calls to mind the ancient Greek story of a painting competition in which Zeuxis paints grapes so realistically that birds peck at the image attempting to eat them. But in the story, Zeuxis is not the better painter. Parrhasius wins the competition because his painting of a curtain fools not merely the birds but the judges, who urge him to open the curtain and reveal his work. Barr's poem combines the painted curtain and the painted grapes into the imagery of the dressing gown to strike a final note about perception and deception. But while nothing lies beneath Parrhasius's curtain, the dressing gown conceals a female body, and the imagery conjuring the phallic beak of the hummingbird, although not outright stated, is not to be overlooked. But rather than a symbol of danger, I think the poem urges us to read this imagery as relief from an even greater threat. As the bird flutters around the imaginary flower looking for nectar, we, like the ancient judges, realize the entire scene, not merely the flowers, is not real—or, perhaps more than the trompe l'oeil of ancient Greece might suggest, reality is layered. Four of Barr's poems take their titles directly from the title of paintings by Jasper Johns, including the poem "Green Target, Jasper Johns, 1955." Paintings, by Johns and others, feature prominently—whether Barr engages in a poetic examination of one or simply makes reference. Barr writes ekphrastically in parts—always in the service of something not only visual but also conceptual. In the poem "After the Judgment of Cambyses"—a reference to a diptych by Dutch painter Gerard David in 1448 depicting the flaying of a corrupt judge—Barr begins with an unusually abstract stanza, a poetic rendition of a conventional description of the process of learning: "some tiny [End Page 21] ray skids us / towards a lightening, a new possible." Rather...

Mineral Philosophy

Mineral Philosophy Gemma Gorga (bio) Translated by Sharon Dolin (bio) Pre-socratic beautyof pure minerals—having nothing to sayor unsay,hiding neither caressesnor claws, hungernor hesitation, theyneither harm othersnor themselves.You might infera lesson about tenacityor endurance. Butwho wants more lessons.Discreet hermits, they’re here,raising the levelof planetary silence. [End Page 28] Gemma Gorga Gemma Gorga has published six collections of poetry in Catalan. Her most recent collection, Mur (Barcelona: Meteora, 2015), won the Premio de la Crítica de poesía Catalana. Her new book of poems, Viatge al centre, is forthcoming in 2020. She is Professor of Medieval and Renaissance Spanish Literature at the University of Barcelona. Sharon Dolin Sharon Dolin is the author of six books of poetry, most recently Manual for Living (University of Pittsburgh Press, 2016). Her translation of Gemma Gorga’s Book of Minutes (Field Translation Series/Oberlin College Press, 2019) received grants from PEN and Institut Ramon Llull. Her prose memoir Hitchcock Blonde has just been published by Terra Nova Press. She is associate editor of Barrow Street Press and directs Writing About Art in Barcelona. Copyright © 2020 Middlebury College Publications

Review of Coca Wine. Angelo Mariani’s Miracolous Elixir and the Birth of Modern Advertising

Coca Wine. Angelo Mariani’s Miracolous Elixir and the Birth of Modern Advertising, by Aymon de Lestrange. Park Street Press, 2018

The Construction of the Homeless as a Discursive-Political Struggle: A Discursive-Theoretical Re-reading of the Homeless Subject Position

Within the literature on homelessness, the attention for what is often called ‘homeless identity’ is slowly increasing, and within this body of knowledge, the complex, contingent and contested nature of this identity also becomes more visible. This article aims to contribute to this discussion, by deploying Laclau and Mouffe’s (1985) discourse theory to produce a (discursive-) theoretical re-reading of the homeless identity, or, in discourse-theoretical terms, the homeless subject position. Acknowledging that the homeless subject position is part of a larger assemblage, this article, in particular, aims to show the contested nature of this subject position and how it is an object of political struggle. In the second part, this article zooms in on the literature on media constructions, and the struggle over the homeless subject position in (and between) mainstream media and the so-called street press.

Aymon de Lestrange, Coca Wine: Angelo Mariani’s Miraculous Elixir and the Birth of Modern Advertising, Reviewer: Michael A. Flannery

Aymon de Lestrange, Coca Wine: Angelo Mariani’s Miraculous Elixir and the Birth of Modern Advertising. Rochester, VT: Park Street Press, 2018; 256 pp; full color; ISBN: 9781620557846; paper; $40.00. Longtime readers of Pharmacy in History may recall that Bill Helfand wrote on this topic nearly

Disendowing Danger

Disendowing Danger Joan Naviyuk Kane (bio) Swing at Your Own Risk Metta Sáma Kelsey Street Press http://www.kelseyst.com 128 Pages; Print, $16.95 The poems of Metta Sáma's Swing at Your Own Risk insist that the power of language is not a mere abstraction, that a poem's subjects concentrate through political and lyrical relation. Its first poem "When the body's a graveyard" begins with a question that dilates and contracts over two pages "what if the body is not / sacred ground," through various subjects (fetus, child, man, child, father, history, mother), "does this stilled child still belong / to me? to / the ground? itself?", and undergirds the collection. The born or unborn child, literal or figurative, is biologically like the mother, and the mother like child; it's now known, irrefutably, that pregnancy changes maternal DNA. The poems return to the child throughout, not as mere material or collateral, but as metaphor as well as fact. So too, is the invocation of a muzzled, martyred woman—St. Anastasia the Enslaved—in the book's third poem, which re-contextualizes once again that long before white and white passing celebrity women drew national attention to the heteropatriarchal power system through #MeToo, nonwhite women in particular have experienced and (will) continue to experience sexual exploitation at rates that far exceed those of women whose lives and careers afford them the platform to speak up and out, (according to recent congressional testimony in the stalled Savanna's Act, some 84% of Native women have experienced violence in our lives, more than half of us have been assaulted, more than a third of us have been raped—but so many crimes against women have gone, go, and presumably will continue to go undocumented that it feels at once futile and necessary to cite these figures) not just within exquisite poems as does Sáma. In "Escrava Anastacia speaks," the poems' syntax and movement between long, enjambed lines and contrapuntal one-word sentences—as in: "Ships crest and dock. Beneath this dress. Semen sea foams froths furors. / (Lace at the ankles. The means of me. To weather: shiver. Hinge. Wear. / Sluice. Flicker. Fuck. Flood.)"—remind the reader that utterance is not always in search of rhetorical applause, that dispossession of one's own body and experience catalogues itself in fragment and screen inasmuch as one is given to disclose it through social (or other readily-accessible and parse-able) media. The parenthetical, a recursion to "what" rather than "who" or "why"—these propel Sáma's poems, making visible the seams of edifice, pressing into language silence, silence against language, and then altogether as deliberately paced and cadenced. There is no accident of ink, of breath, of space. The ostensive situations behind Sáma's book are powerfully foregrounded through the poems themselves at the level of the line and of sequence throughout. Any survivor eyeing Swing at Your Own Risk's table of contents might register each of the six section titles—Swing—as a denotation, a call to arms, an imperative, a description, a recollection, a noun. In poems like "NYPD v The people of NYC," which, like others in the collection, begins with "When," as in this poem: "When you see the pitch-perfect black 4-door / shaded windows." A reader's impulse to categorize lexically is checked by the lines that follow, "shaded windows roll up on you, don't grip / your wheel." Associatively, setting aside for now the second-person pronoun, consider not the rhetorical gesture of address, but the epigraph that recurs throughout the collection: Bhanu Kapil's "Sometimes you have to choose who you are." Keep in mind, too, that the windows are shaded, concealing identities, concealing that which happens within and filtering, as it were, that which happens without. "Casually look over your shoulder /as one of their windows slips down. Don't think / drive-by. Don't /remember history. It's only the police." Mindful, as ever, to parts of speech as well as to parts of self, the lines weigh themselves against the easy and/but heavy adverb prefacing the imperatives that follow, as well...

Review

Aymon de Lestrange, Coca Wine: Angelo Mariani’s Miraculous Elixir and the Birth of Modern Advertising. Rochester, VT: Park Street Press, 2018; 256 pp; full color; ISBN: 9781620557846; paper; $40.00. Longtime readers of Pharmacy in History may recall that Bill Helfand wrote on this topic nearly

Vicuña, Cecilia. New and Selected Poems of Cecilia Vicuña. Edited and translated by Rosa Alcalá. Berkeley: Kelsey Street Press, 2018. 370 pp.

Author(s): Signorini, Federica | Abstract: Vicuna, Cecilia. New and Selected Poems of Cecilia Vicuna. Edited and translated by Ros a Alcala. Berkeley: Kelsey Street Press, 2018. 370 pp.

Old Dogs, and: Chiaroscuro, and: Every Leaving

Old Dogs, and: Chiaroscuro, and: Every Leaving Jane Sasser (bio) OLD DOGS Over millennia, water and silicaseep into cells, until woodbecomes stone. So it seems as wellin all too brief a time, cellby cell, old dogs turninto sweetness, faces bleachedlike ghosts, bones brittle and sharpas fallen sticks, until all that remainsis the slow thump of loveand tail. Surely that weightin our hearts is stone, the worknot of eras but daysand weeks, old dogs like quartzin our petrified memory. [End Page 116] CHIAROSCURO The shadow you cast is a darknessin which we all flounder, wishwe knew more than the outlineof your life, black and white photoswe shuffle through, glimpsesthat leave us to guess: you,in a white shirt and cotton ducksrolled up, crossing Rocky Riverto church in the johnboat you calledthe bateau. From the overhanging branchesat the shore, your paddle raisedin morning light, a snake siftsfrom a tree, circles your arm,sloughs to the water below.Or you, home from the war,crutches in hand, missing a stepon concrete stairs, how you spilledthrough bright air, made the choiceto swing your mending legs to spareyour heavy head, how when you hitand rolled, you felt them snap again.Or you, driving a bus through the dark,that time—so tired—you followed white lineup an exit and sat and wonderedhow you'd come to this place, and howyou drove that bus down and back into night. [End Page 117] EVERY LEAVING is a death,even the ones I thinkI desired, the packingof wool sweaters for morning walksthrough falling leavesto college classes,or boxes numbered and taped for the move froma long-loved home,or holiday guestswho crowded our rooms, towels and plates piledin the wake of flurried goodbyes,whose absence nowis a haunting lack. In January darkso cold it could breaklike actual iceI will drop you for your flight,driving to workand trying to thinkof my students, who [End Page 118] will shuffle to classin their wool sweaters,dimly aware of their ownlooming leavings, and you will be somewhere overhead,soaring through dawn,back to the lifeyou have chosen as yours. [End Page 119] Jane Sasser Jane Sasser has published poems in the The Sun, North American Review, Journal of the American Medical Association, and others. She has two poetry chapbooks, Recollecting the Snow (March Street Press, 2008) and Itinerant (Finishing Line Press, 2009). She recently retired from teaching English at Oak Ridge High School. Copyright © 2019 Berea College

Social enterprise, education and work: entrepreneurialism on the margins

ABSTRACTThis paper examines the rise of social enterprise in relation (and in response) to the contemporary nexus between education and work. Contextualising social enterprise within the broader trend toward private influences in education, the paper explores how diffuse networks driven by both market ideals and a social conscience are shaping new sites of education and work on the margins. Drawing on in-depth research undertaken on the experiences of homeless street press sellers of the social enterprise The Big Issue, I bring focused attention to the lived experience of these transformations in policy and practice. The analysis reveals how entrepreneurialism intersects with precarious poverty to frame sellers’ cultivation of their skills and techniques as enterprising workers on the margins.

The economy of smiles: affect, labour and the contemporary deserving poor.

This paper examines the affective dimensions of new forms of informal entrepreneurial work carried out in spaces of unemployment. Situating the analysis within contemporary scholarship on deservingness and on affect and labour, I shed light on the forms of entrepreneurial labour that rely upon affect-driven economies of exchange underpinned by moral judgements of deservingness, value and worth. In particular, this paper draws on a multi-city (Melbourne, London, San Francisco) study of homeless street press sellers (The Big Issue and Street Sheet) to explore the ways in which contemporary practices of charity and care are carried out through individualized market-place exchanges. Sellers' accounts of their work reveal how smiling and being (or looking) happy is a performative expectation that must be managed in the face of poverty and precarity.

Open Music Library

Reviewed by: Open Music Library Bonna J. Boettcher Open Music Library. [Alexandria, VA]: Alexander Street Press: A ProQuest Company, 2016–. https://openmusiclibrary.org/ (Accessed 27 June 2018). [Requires a Web browser and an Internet connection. Searching and open access content are free. Users at institutions subscribing to fee-based Alexander Street Press products receive access to additional content provided by the publisher.] Open Music Library (OML) is an arm of Alexander Street: A ProQuest Company, aiming to provide a platform to gather both free and fee-based online resources in the discipline of music. According to the site, "The Open Music Library is an initiative from Alexander Street to build the world's largest free index of digital resources for the study of music." (https://openmusiclibrary.org/about/, accessed 12 July 2018) As of 27 June 2018, the home page indicates that more than 215,000 people, 202,000 scores, 4,500 videos, and 1,105,900 articles are linked from the site. In addition to Alexander Street content, the site includes material from several national libraries (see https://openmusiclibrary.org/partners/), the Library of Congress, and content that has been uploaded by contributors. The home page of the site consists of a large search box with no options for advanced or faceted searching. Scrolling down the page, we find the scope, a variety of Popular Topics tags, What's New and Featured sections, and finally the footer with more information about the OML project. The top of the page includes tabs that link directly to People, Journals, Works, Scores, Videos, Audio, Forum, and a login option for those who have established personal accounts on OML. There are many paths to the site's contents, including the search box, the featured sections on the opening page, or the section links. Beginning with the search box, entering "Jennifer Higdon" leads to a results screen with a variety of filters in the left-hand column, including options to filter by only open access content and to exclude reviews. The results include a one entry of the content type "People" that displays the first lines of Wikipedia's entry for Higdon, as well as links to related materials in all categories of content. Clicking the People link leads to a page that serves as a sort of portal to Higdon content and that includes a link to the full Wikipedia entry on Higdon, plus links to albums featuring her compositions and a list of compositions. Interestingly, filtering by open access removes the People result (and consequently, removes the link to the Wikipedia entry), leaving only a journal entry (which is behind the Music Periodicals Database paywall) and a video from Works & Process at the Guggenheim. The People tab allows browsing through those included in OML, but not in any discernible order, which appears to be random, rather than alphabetical or chronological. The Works tab highlights a random assortment of works, includes a pie chart of the chronological distribution of the [End Page 326] works, and includes a set of featured genres, which link to additional tables of works, organized by title. (The alphabetization includes the usual stop words, such as A, An, The, etc.) The Scores tab begins with a set of "popular tags," followed by a handful of featured composers. The Videos tab allows browsing through the 4,654 videos included, although they are presented in no discernible order. The Audio tab features five "radio stations" (Martha Argerich, Marian Anderson, Ursula Mamlok, Leonard Bernstein, and Modest Mussorgsky), a handful of links to ensembles and playlists, and a search box. Finally, there is the "…" tab, which when clicked expands to display links to Lists, including playlists, announcements, free downloads, etc.; the Forum for discussion of OML topics; Books, currently including Google Scholar links to 26 books; and several categories that appear to be under development, including Ephemera, Libretto, Performance, and Instruments. For each of those categories, OML staff have added questions prompts for idea of how the categories might be expanded and made more usable. The site appears to be IP-range sensitive, and for those links that reside behind subscription paywalls, access is allowed if the user's institution subscribes. When I...

Women's History and Digital Media: Uniting Scholarship and Pedagogy

Women's History and Digital Media: Uniting Scholarship and Pedagogy Shelley E. Rose (bio) Thomas Dublin and Kathryn Kish Sklar. "Black Women Suffragists."Women and Social Movements in the United States, 1600–2000. Alexander Street Press. ISSN 2164-537X (Basic Edition); ISSN 2164-5361 (Scholar's Edition). http://wass.alexanderstreet.com. P. Gabrielle Foreman. Colored Conventions Project. http://coloredconven-tions.org/. "History of Women's Struggle in South Africa."South African History Online. http://www.sahistory.org.za/article/history-womens-struggle-south-africa. In the twenty-fifth anniversary issue of the Journal of Women's History( JWH), historian Claire Bond Potter asks, "Has the Internet made a difference to the practice of women'shistory? If so, what difference has it made?" 1Potter emphasizes the potential and challenges of a range of digital resources for women's and gender history, focusing on matters of access, creation of community, and the role of such "traditional" academic arenas as print journals and the standard of sole authored works in the process. This digital media review essay marks the beginning of a new JWHinitiative, connecting the traditional and digital realms of publishing while enhancing a sense of community among scholars of women's and gender history from diverse backgrounds and career paths. The Journal of Women's Historyjoins such peer-reviewed journals as the American Historical Review, the Journal of American History, Western Historical Quarterly, and Bulletin of the History of Medicinein vetting digital media. In a timely intervention, the historian Cameron Blevins calls for historians to seize and shape the current wave of reviews. He observes that peer-review of digital projects ranges from informal Twitter dialogues and blog posts to print journals and, in his analysis, falls into three general categories: pedagogy and public engagement, academic scholarship, and data and design criticism. 2Limiting a digital media review to only one or two of these categories, however, potentially obscures a major contribution of digital projects. 3This review therefore focuses on the primary strength [End Page 157]of digital media projects: the ability to bridge the gap between scholarship and pedagogy. Currently, many digital media reviews reinforce a false dichotomy between scholarship and pedagogy. The Journal of American History( JAH), for example, sponsored by the Organization of American Historians, began publishing "web site reviews" as early as June 2009 in collaboration with the educator resources site History Mattersjointly sponsored by American Social History Project and the Roy Rosenzweig Center for History and New Media. The JAHeditors explicitly name educators as their primary review audience. 4The American Historical Association (AHA) creates a similar separation between digital media scholarship and pedagogy. In 2016, the AHA Todayblog launched the excellent "Teaching with #DigHist" series, edited by historian and high school teacher John Rosinbum, which discusses the use of a range of digital projects in the secondary and university-level classroom. In terms of scholarship, Alex Lichtenstein's 2016 introduction to American Historical Review's "AHR Exchange: Reviewing Digital History," characterizes the AHR'sstrategy of pairing digital media reviews with responses from digital editors as an "opportunity to defend their approach and to clarify how the digital medium made it possible for them to push scholarship in new interpretive directions." 5This distinct focus on scholarly contributions in the traditional journal aligns with the AHA "Guidelines for the Professional Evaluation of Digital Scholarship by Historians," released in June 2015, where the terms "teaching" and "pedagogy" do not appear in the main section "Forms and Functions of Digital Scholarship." 6On the AHA website, however, these scholarship guidelines are found under the site heading "Teaching and Learning," which indicates the need for more focused discussions in the historical profession on the role of digital media projects in scholarship and teaching. Digital media consumers represent a broad audience, including academics who identify strongly with both scholar and educator communities. Early adopters of digital media, furthermore, are cognizant of statistics that reveal significant numbers of K-12 educators utilizing primary and secondary sources made available through large scale projects like German History in Documents and Images( GHDI) and the Library of Congress's American Memory. 7Data from...

‘Mr Bond, I’ve been expecting you’: The Cinematic Inaugurations of a New James Bond

Due to their cultural longevity, James Bond films provide fertile ground for examinations of continuity and change. One of the crucial mechanisms through which Bond films have maintained a certain continuity whilst incorporating change is by replacing the actor in the role of Bond. Yet, despite the fact that many studies take each new central actor as a fresh starting point, or a break with days of old, continuities with the past provide an important organising role within the Bond film series. In order to fully understand the inauguration of each new actor in the role of Bond, we must understand both the novelty of the new alongside continuities with the past. Drawing on close formal analysis and a reception study of film reviews within the Fleet Street press, this paper diachronically examines each opening scene of a Bond film that introduces a new actor in the role to the audience. It argues that the interplay between film language and the star persona of a new Bond actor works to manage the expectations that circulate around Bond, modifying those expectations to point in a new direction fit for a new era at the same time as acknowledging the conventions of the past. Keywords: James Bond films; James Bond actors; reception studies; introduction scenes.

The Witches' Ointment: The Secret History of Psychedelic Magic by Thomas Hatsis

Reviewed by: The Witches' Ointment: The Secret History of Psychedelic Magic by Thomas Hatsis Michael Ostling KEYWORDS Michael Ostling, Thomas Hatsis, witchcraft, psychedelics, psychedlia, entheogens, drugs, medieval magic, medieval witchcraft, early modern witchcraft, potions, witch flight thomas hatsis. The Witches' Ointment: The Secret History of Psychedelic Magic. Rochester, Vt.: Park Street Press, 2015. Pp. xvii + 286. Every few years, someone sets out to show that the alleged flight of accused witches can best be explained via an examination of the hallucinogenic properties of the supposed witches' ointment: witches, it is claimed, induced the experience of flight by vigorously rubbing into their skin the powerfully psychotropic extracts of henbane, mandrake, belladonna, and other herbs of the Solanaceae (nightshade) family.1 Thomas Hatsis's Witches' Ointment stands out from this perennial genre for its erudition and concern for historical context. Unlike such efforts as George N. Conklin's "Alkaloids and the Witches' Sabbat" (1958), V. B. Haarstad's "Witchcraft: A Pharmacological Analysis" (1964), Michael Harner's "Role of Hallucinogenic Plants in European Witchcraft" (1973), Hans Peter Duerr's Dreamtime (1985), Alexander Kuklin's How Do Witches Fly? (1999), or John M. Riddle's Goddesses, Elixirs, and Witches (2010), Hatsis is not content to recite the ointment recipes proposed by sixteenth-century physicians and natural magicians, elucidate the toxicology of hyoscyamine and other solanaceous alkaloids, and consider the [End Page 271] case proven. On the contrary, he draws on a wide range of primary sources in their original languages, contextualizing these through a strong grounding in the secondary literature. Nevertheless, The Witches' Ointment fails in its goal of providing "previously overlooked evidence indicating that the witches' ointment … had a foundation in real folk sorcery, i.e. intentional drug use" (4). Refreshingly, Hatsis rejects "reducing medieval and early modern period magic to drug use" (xvii). Instead he stakes out a middle position between lurid suggestions that witches smeared hallucinogenic ointments on brooms "inserted genitally or anally to effect the experience of flight" (4, cf. 159–60) and the dismissive "predispositions" of "modern-day skeptics" (6). Against these extreme positions, Hatsis asks for a dispassionate review of "the best evidence" (6). He hopes to demonstrate that witch flight represents a confluence of several streams, including folklore, elite magic, and antiheretical polemic, but also includes a tradition of "medical drugs" that were "used by some people as an element in psyche-magical rites" (167). To make this argument, Hatsis needs to do more than show that nightshades are hallucinogenic and were available in the early modern period. He needs to make a plausible case that nightshades were used intentionally for entheogenic experience, trance flight, or recreational drug trips by cunning-women, herbalists, heterodox subcultures, shamans, or indeed any candidate for witchcraft accusation. To his credit, Hatsis recognizes this problem: two chapters seek to connect the solanaceous soporifics known to surgeons and literate botanists with the love potions used by cunning-folk, and thus potentially, by accused witches. Chapter 4, "Roots of Bewitchment," discusses the surgeons' "soporific sponge," but Hatsis provides no evidence for his assertion that the sponge would be widely known among commonfolk healers (107). Chapter 5, "Veneficia," seems a promising place to show that cunning-folk used the nightshades to induce hallucination, trance, or the experience of madness. Instead it brings forward just a handful of trials in which botanicals figure in any way: the juice of a black berry ("likely nightshade berries") in 1611; bitter almonds ("probably nightshade berries") in 1651 (121). The remaining trial documents record unspecified herbs or powders, their solanaceous content simply assumed. Indeed, Hatsis's declared dispassion is quickly replaced with a tendency to bend any evidence, however slim or vague or problematic, toward supporting the thesis that witches (and their ancient medieval forebears) used psychoactive drugs on themselves and others. Chapter 3, "The Heretics' Potion," sets the pattern. By combining reports that second-century Marcosian Gnostics practiced ecstatic prophecy with heresiological slanders about the same [End Page 272] group's use of love potions, Hatsis can suggest that "Marcus and his group used psychoactive love-potions consensually for erotic entheogenic experience" (58). Or again, the "heavenly food" of the eleventh-century Orléans heretics was described in confessions...