Youthful Rebellion Research Articles

Образы городов в творчестве индийского поэта Кунвара Нараяна (1927-2017)

The aim of the study is to outline the place of the poet Kunwar Narain in the Hindi poetry of the 20th century, as well as to identify the main features of the images of cities in his creative work and the author’s worldview behind his approach to depicting urban images. The scientific novelty of the study lies in the fact that “new poetry” in Hindi and the Kunwar Narain’s creative work remain little studied. The paper is the first in Russian Indology to consider in a comprehensive manner the urban images in Kunwar Narain’s creative work and to raise the question about the further development of his creative method following the poet’s exposure to Western modernist trends, which was common among most major Hindi poets in the 1950s and 1970s. As a result, it has been found that the problem of alienation, the spiritual loneliness of a person among a hostile environment, especially urban, which is central in modernism, is not the main one for the poet. The main focus for the author is the image of the city in connection with the themes of travel, homeland and culture. The result of the study amounts to a clarification of ideas regarding how Hindi poetry developed during and following the “new poetry” era: the protest sentiments of modernists have been replaced by a perspective associated with the transition from youthful rebellion against reality to acceptance and attempts to comprehend it.

Young, loud and snotty: Punk, rebellion and the movies

This article seeks to investigate the ways punk and representations of juvenile delinquency interact in cinema and to explore the aesthetic, narrative and ideological quality of those depictions of youthful rebellion positioned as in dialogue with punk culture. By initially considering portrayals of delinquency in cinema existent outside of and/or predating the punk movement, this article will think through the specific ways punk is used to signify and fortify acts of rebellion. Beginning in the 1950s and with the reinvigoration of the term ‘juvenile delinquent’ in the post-war period, this article examines cinematic responses to the moral issue of ‘youth-crime’ in the context of a supposedly evaporating family unit. From here it considers the ‘skate-film’ of the 1980s and 1990s and its relationship to punk to explore the way other subcultural expressions of juvenile delinquency manifest on film. Subsequently, it moves to consider films that use, in different ways, the ethos and aesthetic of punk rock as a constitutive element in the depiction of adolescent rebellion. It argues that these films work to articulate the role punk plays in expressions of rebellion on-screen – utilizing both its violent and anarchic potential but also its inherent irony to express an oppositional philosophical framework with its own idiosyncratic ideology that is ultimately geared towards social change.

Bagdad, Berlin, Warschau

The paper examines the motif of the Bildungsreise in Sherko Fatah’s post-colonial novel Ein weißes Land (2011). Anwar, the novel’s protagonist, grows up in 1920s Baghdad under British administration, a diverse but profoundly unequal society rife with religious conflict. Driven by a desire for self-development and adventure characteristic of the European Bildungsroman tradition, Anwar sets out on a catastrophic coming-of-age journey. He falls in with thieves, nationalists and religious extremists and eventually ends up in Europe at the cusp of World War II. In a blurring of victim/perpetrator roles, Anwar is recruited by the Waffen-SS and takes part in the conquest of Lebensraum in Eastern Europe, the colonization project of the Third Reich. Beyond these thematic subversions of genre conventions, the paper also explores the novel’s structural innovations. While the classic Bildungsroman has been associated with circular plot patterns (‘return’ signals accommodation to social expectations after a temporary phase of youthful rebellion), Fatah’s novel eschews this conciliatory circularity. It is replaced by aberrant temporal structures such as repetition and regression. As a result, Anwar's youth is framed as a process of disrupted development in the context of European colonialism and the Nazi regime. Keywords: Sherko Fatah, Bildungsroman, travel, colonialism, national socialism, development

Bagdad, Berlin, Warschau

The paper examines the motif of the Bildungsreise in Sherko Fatah’s post-colonial novel Ein weißes Land (2011). Anwar, the novel’s protagonist, grows up in 1920s Baghdad under British administration, a diverse but profoundly unequal society rife with religious conflict. Driven by a desire for self-development and adventure characteristic of the European Bildungsroman tradition, Anwar sets out on a catastrophic coming-of-age journey. He falls in with thieves, nationalists and religious extremists and eventually ends up in Europe at the cusp of World War II. In a blurring of victim/perpetrator roles, Anwar is recruited by the Waffen-SS and takes part in the conquest of Lebensraum in Eastern Europe, the colonization project of the Third Reich. Beyond these thematic subversions of genre conventions, the paper also explores the novel’s structural innovations. While the classic Bildungsroman has been associated with circular plot patterns (‘return’ signals accommodation to social expectations after a temporary phase of youthful rebellion), Fatah’s novel eschews this conciliatory circularity. It is replaced by aberrant temporal structures such as repetition and regression. As a result, Anwar's youth is framed as a process of disrupted development in the context of European colonialism and the Nazi regime. Keywords: Sherko Fatah, Bildungsroman, travel, colonialism, national socialism, development

Critiquing the “What Is Jazz” Puzzle in a Diasporic Setting: “Jazz-Related” Performance and Patronage in Australia before “Jazz”

ABSTRACT This article proposes that the framing of jazz diaspora in relation to Australia must embrace significant antecedents of jazz-related performance and culture in Australia, including blackface and African-American minstrel show music, improvisatory popular and art music practices and various subgenres of ragtime. It argues that the spirit of “jazz” as a vehicle for extroverted self-expression and identification with American popular modernity and youthful rebellion through music, dance, and fashion was already present in the Antipodes from around 1912 to the final year of World War I, when a “ragging” and “jazzing” novelty act called Australia’s First Jazz Band appeared in vaudeville.

Polski Rimbaud albo poeta zaginiony

Bronisław Kamiński is rather unknown as a poet in Poland. In France, however, he was called the “Polish Rimbaud.” This paper attempts to describe Kamiński’s surprising, poetic path and analyze his poetic debut, published in Cracow in 1937. It aims at comparing its two versions, focusing on the means Durocher uses to express his youthful rebellion à la Arthur Rimbaud.

Renato Guttuso's Boogie Woogie in Rome (1953): A Geopolitical Tableau

A quasi‐panic underlies Renato Guttuso's Boogie Woogie in Rome, his single envoi to the 1954 Venice Biennale. It depicts teenagers dancing frenetically in front of Mondrian's eponymous painting, its kinetic, neoplasticist language absorbed into their plaid clothes. This essay shows how this painting pulled into its orbit much of the geopolitics of the 1950s. Guttuso's depiction of gyrating youths drew its – mostly negative – energy from events taking place just beyond its frame. It identifies afterimages (Guttuso's painting elicited other paintings); medial crossovers as well as medial denials (namely film, a medium that Guttuso professed to abhor); anticipations thwarted by reversed scenarios (the fiasco of the Soviets and the success of Mondrian at the subsequent Biennale in 1956); and blind spots (nations with no pavilion). Its leitmotif is plaid as a multifarious sign for youthful rebellion, nonchalant bohemianism, lumberjacks and hillbilly folk, solidarity with the working class, and modish sophistication.

The Crucible

The Crucible

Something’s Happening Here: A Sixties Odyssey from Brooklyn to Woodstock by Mark Berger

Reviewed by: Something’s Happening Here: A Sixties Odyssey from Brooklyn to Woodstock by Mark Berger Devin R. Lander (bio) Something’s Happening Here: A Sixties Odyssey from Brooklyn to Woodstock By Mark Berger. Albany: SUNY Press (Excelsior Editions), 2019. 242 pages, 6” x 9.” $19.95 paper, $19.95 e-book. Historians have often bemoaned the subjectivity inherent in the writing of memoir, a tension that, as historian Louise W. Knight suggests, erupts “most intensely in the form of history’s grumpiness about memoir’s relationship to objective truth” as “history wants memoir to serve its purposes and finds memoir’s frank subjectivity and notorious unreliability irresponsible.”1 Yet, there is much historians can and have extracted from memoirs if they are but willing to ask the right questions. “Because memoir is first and foremost a text written by a living human being about her past and read by another human being,” Knight explains, “the truths it is best equipped to reveal are either cultural or interpersonal.”2 Which brings us to first-time author Mark Berger’s memoir of his life in the 1960s. Berger was born and spent much of his life in Brooklyn and during the 1960s was very much a part of the countercultural upheaval taking place. In many ways representative of the larger ’60s counterculture, Berger is the white son of working-class parents who rebelled against his conservative upbringing in the early ’60s by first hanging out at black R&B clubs, drinking and smoking pot, and taking joy rides in stolen cars. This youthful rebellion morphed into something different as the ’60s progressed, and by the summer of 1969, Berger found himself living in a commune that was serendipitously invited by the Hog Farm to help set up the comfort facilities, such as they were, at the Woodstock festival. Berger’s memoir is organized into five sections made up of short “chapters” that relate to the theme of the sections. Some of the sections are nonchronological, and the reader very much gets the sense that they are experiencing the remembrances of the author as he remembers them, not as they happened. Berger observed or took part in many events of interest to historians of 1960s New York, and his memoir has much to reveal about the culture of the times as he experienced it. Berger took part in the civil rights movement through [End Page 293] Brooklyn Congress of Racial Equality (CORE) and attended fundraising concerts for the organization where the likes of Odetta and Pete Seeger performed, dropped LSD, hung out with the psychedelic researcher Peter Stafford and poet Allen Ginsberg at Ginsberg’s apartment, was thrown out of East Tennessee State University for possession of marijuana, lost his draft deferment and barely avoided being sent to Vietnam, then ended up living with the Catskill Mountain–based Ohayo Mountain Family commune on the eve of the Woodstock festival. The section on Woodstock is the largest in the book and timely considering 2019 is the fiftieth anniversary of the concert. The story of how the Ohayo Mountain Family (and Berger) came to attend Woodstock is of interest and directly related to the concert’s promoters asking the Hog Farm commune to take part in the festival by building trails and fire pits at the site. The Hog Farm’s de facto leader Hugh Romney (later known as Wavy Gravy) convinced the promoters that the concert would need a free kitchen as well as other comfort facilities due to the enormous number of attendees he knew would come. Once on site, Romney quickly realized the Hog Farm was undermanned and reached out to other communes in the area for assistance, including the Ohayo Mountain Family. Berger and the rest of his communal colleagues arrived at Max Yasgur’s farm, the Woodstock concert site in Bethel Woods, on August 11, 1969, four days before the first act (Richie Havens) went on at 5:07 p.m. on the evening of Friday, August 15. Berger spent the days leading up to the concert clearing rocks and brush to make paths, unloading supplies, helping to build the free kitchens, and generally making himself useful. While the...

When Did Wendell Berry Start Talking Like a Christian?

Around 1979, Wendell Berry began using more explicitly Christian language to articulate his view of creation. This essay traces Berry’s youthful rebellion from and eventual return to Christian language through his letters with Snyder and his essay “The Gift of Good Land.” It then contrasts the sacramental vision his early sabbath poems articulate with the pagan vision of several early poems—poems he chooses not to include in his 1985 Collected Poems. Finally, it considers how Remembering, his first novel focusing on the autobiographical character Andy Catlett, can be read as a conversion narrative.

Bringing Up Nones: Intergenerational Influences and Cohort Trends

AbstractRecent polls show that an increasing number of young adults profess no religious affiliation. Prior research has suggested several explanations for this, among them older ages at marriage, higher education rates, reaction against the priest/pedophile scandal, and political backlash against the religious right, as well as the traditional explanation of youthful rebellion against religious parents. In this article, we propose another theory: intergenerational transmission, an increase in the number of parents and grandparents who have been explicitly socializing their children to a nonreligious worldview. We use a mixed methods approach with data from the 34‐year Longitudinal Study of Generations to examine parents’ and grandparents’ influence on youth over several decades. The rate of nonreligious young persons in our sample tripled between 1971 and 2005. Though this undoubtedly reflects broader cohort trends, we can trace a significant portion of this growth to family intergenerational continuity brought about by explicitly nonreligious socialization by parents as well as grandparents. Qualitative data provide insight into processes of nonreligious influence over generations, seen in three types: multigenerational socialization of humanism, of atheism, and of the unintended socialization of “religious rebels” from highly religious parents.

Non-suicidal self-injury (NSSI) and suicidal: Criteria differentiation

There are 2 types of basic self-destructive behavior: suicide and non-suicidal self-injury (NSSI). Currently, more and more researchers point out significant disorders which are NSSI behavior. This phenomenon is not new; NSSI seemingly has always been present in society, and certainly in approx. 10% of the population worldwide in recent times. Despite the enormous scale of the phenomenon, so far it has been overlooked and marginalized. They were considered transient behavior, typical of adolescence, a part of youthful rebellion. Current research indicates that the disorder affects the adult population in almost equal measure. It is only in the latest diagnostic classification - Diagnostic and Statistical Manual of Mental Disorders, Fifth edition (DSM-5) by American Psychiatric Association - that has considered NSSI a separate class of behavior. Up to now, it was classified as a prelude to suicide or an element of personality disorders. NSSI is more commonly associated with disturbing behavior and suicide attempts.

Go

Kazuki Kaneshiro Go Trans. Takami Nieda. Seattle. AmazonCrossing. 2018. 161 pages. Kazuki Kaneshiro’s (b. 1968) Naoki Prize– winning Go begins with a famous epigraph from Romeo and Juliet and sets, thereby, both the scene and our expectations. The “rose” we are asked to ponder is Sugihara, a Zainichi (resident of Japan) Korean whose quest for recognition as a human being deserving dignity and basic rights forcefully asks the reader to consider “What’s in a name?” Although Sugihara has concealed his name and transferred to a Japanese school, a move that brands him an “ethnic traitor,” he cannot escape the fetters of his birth nationality. The story, adeptly translated by Takami Nieda, interleaves two related narratives: that of Sugihara’s understandably violent progress through the gauntlet of life in Japan as a minority and his unexpectedly tender efforts to understand and, ultimately , keep vital his relationship with Sakurai, a mysterious Japanese woman he meets at a party. The tension between these two threads, and the ease with which the story weaves them together in contrapuntal commentary on both love and resentment, situate Go comfortably in the pantheon of other works of youthful rebellion. Hence, the epigraph. The protagonist is redolent of other literary rebels such as Holden Caulfield. Kaneshiro is not in the same league as Salinger; however, his protagonist’s anger is palpably, viscerally real, although directed toward a discriminatory society rather than adults in general. Sugihara’s seemingly blasé attitude toward the violence that surrounds him masks both his and the author’s, we might infer, long-simmering frustration toward an unforgiving system that seeks to trap him even as he strives to live a life free of prejudice by whatever means he might. His frustrated narrative drew me in as few books have done . . . and against my will. The epigraph already told me all I needed to know, I had thought, and being pulled in by a story so well worn was not the message. Because I found Go to be more satisfyingly compelling than I had imagined, I World Literature in Review 76 WLT JULY–AUGUST 2018 was doubly frustrated with the dénouement . The end twist seems calculated to corral the novel into the narrowly defined pigeonhole against which it so resolutely struggled. It was not so much the pat ending as its swiftness that rankled. Even so, Go is a novel well worth reading, one that offers a sobering insight into racial conflict and social justice. Erik R. Lofgren Bucknell University Tim Winton The Shepherd’s Hut New York. Farrar, Straus and Giroux. 2018. 288 pages. Set in western Australia, Tim Winton’s newest novel features a teenager who wants to escape an abusive home but can’t do so until his parents pass. Anger, a determination to get to a beloved cousin in another town, and a thoughtlessness in leaving that could make him a fugitive suspected of murder all mix to create an unstable character in Jaxie Clackton. This is familiar territory for Winton, who seems to specialize in damaged adults or children on their way to becoming damaged . In many of his short stories, one encounters a naturalistic situation: a victim of abuse in an environment that offers few options, the mind shackled to place. At the ends of such stories, the characters are usually free, still alive, carrying the readers’ hopes for a better future. That’s certainly true of The Shepherd’s Hut. The narrator holds the reader inside his telling, day by day as he walks away, cultivating a sense of being trapped. Only after he meets Fintan McGillis, an old man living as a hermit in a former shepherd’s hut, are there scenes with dialogue. In a sense, Jaxie seeks stability or peace by learning to understand Fintan. Though he wants to move on, he is held by his curiosity and a grudging affection. Winton shines when describing the landscape, the dry salt lake, jutting rocks, scrub bush, the itching feel of dirt, wild goats, mirages at the end of the day; he likewise captures the flavor of a teen’s language and confusions. Fintan, necessarily , is described from the outside, but his thoughts about...

Jan Patočka's Reversal of Dostoevsky and Charter 77

Jan Patočka became politically active for the first time as a spokesperson of the dissident movement Charter 77. In this capacity he wrote several essays, the first of which, entitled "On the Matters of The Plastic People of the Universe and DG 307", I interpret as the explanation and justification of his turn toward political engagement. The following article is a reading of Patočka's essay that pays particular attention to a peculiar formal feature of the essay – namely that it's presented as a reversal of Dostoevsky's short story "The Dream of a Ridiculous Man". In reversing this story, Patočka shows us the two basic ways of human life and explains his political engagement as an action taken on behalf of the properly human way of life, which he calls "life in truth" or "the responsible life". The purpose of his political engagement thus wasn't defending human rights, but defending life in truth, to which human rights provide suitable conditions. "On the Matters…" also presents Patočka's assessment of the Communist regime with clarity and severity not seen elsewhere in his writings, and shows a shift in his views of youth and youthful rebellion.

Qui est Charlie…? A Sociological Perspective on Charlie Hebdo and the Culture of Comics

In this paper, I will argue for key role played by the global culture of comics, of which the French publication Charlie Hebdo is but one small part, in the development and aftermath of the Paris terrorist attacks of 2015. I begin by exploring and elucidating this culture of comics that exists across France and other comic book producing nations and its associations with youthful rebellion, anarchy, and, more recently, misrecognized privilege and bigotry. A sociological perspective on the cultural history and practice of comics publishing through the twentieth and twenty-first centuries adds important context to the Je Suis Charlie movement and its place in the public discourse—while also further problematizing it.

Screening Minors in Latin America Cinema ed. by Carolina Rocha, Georgia Seminet (review)

Reviewed by: Screening Minors in Latin America Cinema ed. by Carolina Rocha, Georgia Seminet Lora Looney Carolina Rocha and Georgia Seminet, editors. Screening Minors in Latin America Cinema. Plymouth: Lexington Books, 2014. 204p. Distinct from their first volume on youth in cinema, Representing History, Class, and Gender in Spain and Latin America: Children and Adolescents in Film, in this new book Carolina Rocha and Georgia Seminet narrow the scope to Latin America, including Brazil, and compile an anthology of varied critical approaches and research findings. Presented across four thematic sections are twelve chapters written in English that treat films spanning from 1976 to 2013. The theory which binds the compendium of articles is the youth protagonist’s construction of subjectivity and agency on screen. While children and adolescents are frequently examined as “others” in film, drawing on Ann E. Kaplan, Robyn McCallum and Lisa Cartwright’s scholarship, Rocha and Seminet propose that the adult gaze can be reversed so that “the look” is a relational or intersubjective process. Accordingly, as the contributors show, the filmmakers’ recasting of the juvenile protagonist’s alterity moves away from the representation of children and adolescents as the object of adult gaze and moves towards empowering them by giving them voice and selfhood. Cinematic techniques as well as plot devices and sequences support the theses. However, the last section does not conform to this method because it focuses on documentaries whose making and viewing experience are dissimilar. Although Caribbean film is notably absent, each article provides a clear sociohistorical context for the film(s) examined. The social and political milieu is frequently the object of critique through the lens of the young character’s agency. Agency without resort to language is explored by several authors. Rocha argues that the camera focalizes the child’s view in Mutum (2007) because the young character does not have full access to language. Sophie Dufays proposes that La rabia (2008) privileges visual and sound effects to connect with narrative relationships between parents and children in the absence of language. Alejandra Josiowicz discusses girlhood and non-normative sexualities as a form of political activism. In a long discussion on La rabia, and referring to Cartwright’s theory of empathetic identification, Josiowicz shows how the autistic protagonist develops agency through tactile and aural expressions as well as making drawings. [End Page 242] Several articles delve into the frontier between the child’s world and the adult sphere. Examining Marisa Sistach’s films, and introducing her study with Amy Hinterberger’s philosophy, Traci Roberts-Camps defines agency as a means to resist, negotiate and transform power. That she proposes the characters’ lack of agency may complicate the anthology’s overall thesis on youth empowerment. However, Roberts-Camps, who is widely published, deftly explores adult complicity, and institutional neglect, in the gender-based violence experienced by the female adolescent characters in Perfume de violetas (Nadie te oye) (2000) and La niña de la piedra (Nadie te ve) (2006). In Postcoup Chile, the film, Julio comienza en julio (1976) demonstrates that children are not exiled from history according to Walescka Pino-Ojeda, who states that through youthful rebellion, the characters embody continuity of order and the promise of change. Set in 1980s Peru, Las malas intenciones (2011) brings the adult spectator into the child’s interior world through the juvenile character’s imaginative practice. In this film Sarah Thomas effectively shows that the protagonist, although frail and powerless in the adult world, is an agent in the imaginative realm. Child’s play is the focus of Amanda Holmes study on Lola (1989). She examines child’s play, via the analysis of camerawork, as a means for the daughter to construct a deepening relationship with her mother in the context of Post-earthquake Mexico City. Creatively, Laura Senio-Blair analyzes two well-known road films, La misma luna (2007) and Sin nombre (2009), against the Hollywood genre to discover that the youth protagonists crossing the U.S./Mexico border are not narcissistic escapists but rather agents of innocence, optimism and vulnerability. Screening Minors in Latin American Cinema is Rocha’s fourth co-edited volume on Latin American film, and Seminet’s second. It is...

“Declension Comes Home”: Cotton Mather, Male Youth Rebellion, and the Hope of Providential Affliction in Puritan New England

AbstractThe theme of generational religious decline has been a staple of New England Puritan historiography. Yet while scholars have examined these issues at the larger cultural and ecclesial levels, few have looked at the small-scale manifestations of such “declension” within Puritan parent-child relationships. This article looks at Cotton Mather's perceptions of the causes of and potential solutions for male youth waywardness in colonial New England. Attempting to provide pastoral wisdom for distressed parents in his congregation, Mather also had to deal with this issue in his own home. His rebellious son, Increase, served as a very personal example of a vexing public issue, and Mather worked hard to put his pastoral ideals into “fatherly” practice. As he confronted these challenges, Mather located the causes of male youth rebellion in the perilous nature of “youth,” the failures of Puritan parents, and the inscrutable sovereignty of God. In the end, I argue that Mather was ultimately hopeful about God's work and purposes in the midst of youth declension. His belief in God's providence meant that the afflictions attending youthful rebellion could be perceived as God's means of spurring repentance and renewal, addressing parental sin, bolstering godly childrearing, and arousing youth themselves in the pursuit of righteousness.

The electric guitar – marketplace icon

The electric guitar is an ubiquitous part of contemporary consumer culture. In this Marketplace Icons contribution, we illuminate the iconicity of the electric guitar and what lies behind its thick layers of distorted riffs, mad soloing escapades and eccentric onstage performances, specifically within the rock genre. The genesis of electric guitar playing involves a series of technological alterations of the guitar that freed it from a mere background instrument allowing for new musical roles. It quickly became apparent that all the technical solutions designed to get rid of what was defined as unwanted noise could be turned “against” the clean tone and instead be used to create a unique sound. The control of these noise elements, such as feedback and distortion, became a core element of mastering the modern electric guitar. Rather than just being a marketplace icon, we argue that the electric guitar is fetishized because both its audio quality – the loudness and the potential roughness of the sound – and its visual looks and onstage performances symbolizes youthful rebellion, the essence of rock and roll.

The Age of Youth in Argentina: Culture, Politics, and Sexuality from Perón to Videla

In her book The Age of Youth in Argentina, Valeria Manzano studies youth as a social and cultural category from its first appearance in national debates with Juan Perón's establishment of the Unión de Estudiantes Secundarios through the subsequent explosion of secondary school and university enrollments under Arturo Frondizi and other democratically elected governments to the development of a nonconformist counterculture with the onset of the Juan Carlos Onganía dictatorship in 1966 and, finally, its history under the last military dictatorship. The book's early chapters analyze new trends in sexuality and such subjects as changing attitudes toward premarital sex and birth control. Argentina followed global trends on these matters but with some characteristics of its own, including the notable influence of the burgeoning psychology profession in those debates. Manzano weaves in the book's first chapters a rich story of youthful rebellion but also of adolescent angst and consumption desires, along with the class tensions revealed within these, including the petty snobbism of adolescents who could afford imported Levi and Lee blue jeans over those produced domestically. Blue jeans as a social marker, the ability to flaunt a label, apparently made the difference between being one of the in crowd or being condemned to the ranks of the uncool, the mersa.Manzano's study largely concentrates on Buenos Aires and especially the experiences of youth at the Universidad de Buenos Aires. She narrates the evolution of a rebellious and nonconformist youth in which rockers had a tense relationship with political organizations such as the Juventud Peronista and the Montoneros. Many interesting stories are recounted here, including the history of Argentina's hippies and rock subculture. Her brief forays into youth cultures in other parts of the country are made only in passing and lack the same wealth of detail. Arguably the most influential, and certainly the most politicized, university in the country in these years (as it had been during the 1918 University Reform Movement) was the Universidad Nacional de Córdoba (UNC), whose history has been examined exhaustively in the recent two-volume study edited by Daniel Saur and Alicia Servetto, Universidad Nacional de Córdoba: Cuatrocientos años de historia (2013). Manzano's book adds little new to that history on such subjects as the role of the students in the Cordobazo and student radicalism there in the 1970s. Indeed, years before the events of May 1969, the transnational culture she so persuasively depicts takes on a different character if examined from sites other than Buenos Aires. Youth from Buenos Aires may have discovered the interior and its social realities in the late 1960s, but young people there had their own agency and representations well before the Cordobazo.Students elsewhere in the country looked less to the United States for cultural influences than they did to the rest of Latin America. Musically, the most important cultural event of the 1960s in the interior was not rock or Beatlemania but the annual Cosquín musical festivals in the Cordoban sierras first held in 1961, which launched the careers of Mercedes Sosa, Víctor Heredia, and other musicians and where a pan–Latin American musical culture merged with a pan–Latin American radical youth politics. While students in Buenos Aires, as she tells it, were apparently enthralled with the twist, Palito Ortega and El Club del Clan, and the British invasion, caravans of integralista Catholic students were traveling from Córdoba to Tucumán on literacy campaigns and student peñas were bringing together Che's writings and the songs of Víctor Jara and Atahualpa Yupanqui; for these groups, Cuba, not swinging London, was the cultural touchstone. Manzano herself essentially notes this difference, as her rockers exit the story in the chapter devoted to radical youth politics and social protest under Onganía only to reappear again with the boom of rock nacional and big stadium rock concerts during the final years of El Proceso. In the book's final chapter, she astutely problematizes this idea of rock as a form of resistance to the dictatorship. It also remains to be seen whether the changes in sexuality that she so cogently explores in various chapters, including the book's most original (and polemical) chapter on the intersection of sexuality and revolutionary politics, were as pronounced in the provinces. In the interior, paradoxically, a deeper political radicalization seems to have been accompanied by the resilience of traditional patriarchal values and practices. Many student activists and radicals in Córdoba and other provinces were also practicing Catholics.Well researched and written in clear, straightforward prose, Manzano's book is one of the more interesting to appear recently on Argentine history. The Age of Youth in Argentina makes its own important contribution to its subject and also opens new areas of research on the history of youth elsewhere in the country, part of the ongoing effort to recast the narrative on the national story.

Book Review: The Geography of Memory: A Pilgrimage through Alzheimer's

The Geography of Memory: Pilgrimage Through Alzheimer's. By Jeanne Murray Walker. New York: Center Street, 2013. ISBN 978-1-4555-4498-1. $22.00. In The Geography of Memory: Pilgrimage Through Alzheimer's, Jeanne Murray Walker guides readers over a terrain expected to be bleak and harsh--territory they might dread to traverse and might prefer to bypass: the landscape of a mother's gradual decline into Alzheimer's. The subject is of widespread concern as the prevalence of this merciless illness in today's aging population has resulted in many families being touched by the helpless despair of watching a beloved parent or grandparent gradually slip away from them, from reality and, eventually, from essential selfhood. The cruelty of dementia horrifies, and we might be tempted to avoid reading a personal account of a family's experience with it. Despite such reservations when I first picked up Walker's autobiographical book, I soon discovered that hers is not a morbid, despairing account of loss. Rather, it is a powerful, insightfully written, and well-crafted account of positive discovery--discovery or recovery of the past, discovery of family, discovery of relationships, and ultimately discovery of self. Walker acknowledges the lessons learned from her mother, Erna Kelly, as she declined, even after she had lost the ability to speak, namely, lessons about and death (xix). Beginning at the end of a decade-long ordeal, with the phone call that brings the news of her mothers death, Walker structures a journey into memory, a narrative that weaves together a chronological account of her mothers decline with flashbacks that often lead her to surprising revelations about family relationships and about formative events in her own life. Importantly, the author simultaneously traces her own spiritual pilgrimage that led her away from her upbringing in Baptist fundamentalism into a faith that embraces image and ritual. With a literature professors affection for the written word and with a poet's precision of language and sensitivity to symbol and concrete detail, Walker tells her story realistically but without harshness, affectionately but without sentimentality, soberly but with a delicate sense of humor. Walker first notices subtle changes in Erna's behavior in 1998. She is troubled by her mother's painting of heavy, navy blue, vindictive-looking storm clouds looming over her childhood farmhouse (13). She feels panic on discovering her mother's freezer surprisingly overstocked with roasts, her desk drawer in a state of uncharacteristic chaos. Erna behaves strangely at a Christmas party held in her honor. She is vague about her finances. It becomes apparent to Walker that her mother needs to be cared for, but Erna has always maintained her dignity and independence, insisting on strict privacy, indeed secrecy, about all financial matters. During the course of Erna's increasing confusion, Walker says she began drifting into another country (59). At the same time, landscapes of her own childhood memories in Lincoln, Nebraska, return vividly to Walker: A riff opens in my quotidian life and memories thrust up like prehistoric mountains ... (45). She observes, As [my mother] lost her memory, I gained mine (xviii). In exploring these landscapes of the past, Walker comes to understand her parents and her family relationships in a new way. She recalls her parents' important role in establishing Lincoln Christian School where she received a solid educational foundation. She recalls her mother's remarkable strength in bringing up her children alone after her husband's death. Walker realizes for the first time how her subversive mother had unwittingly influenced her own nonconformity and youthful rebellion. The inevitable conflicts that arise over her mother's care direct Walker's memory back to the first important conflict she had had with her mother--a conflict over a kitschy fluorescent (192) green plastic cross that Jeanne purchased at Bible camp when she was ten. …