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An often-referenced collection of essays from noted Celtists.

Eric Stanton has been called "the Rembrandt of Pulp-Culture." His imaginative, detailed full-colour comic strip narratives picture buxom, leggy femmes fatales having their way with tied-up, handcuffed, or simply awestruck men. The stories included here are highlights from the Taschen tome "Eric Stanton, The Man Who Knows His Place." Look at it how you want- Stanton's imagery is either an empowerment of female sexuality or a gross caricature of female-domination fantasy.

Eric Stanton has been called "the Rembrandt of Pulp-Culture." His imaginative, detailed full-colour comic strip narratives picture buxom, leggy femmes fatales having their way with tied-up, handcuffed, or simply awestruck men. The stories included here are highlights from the Taschen tome "Eric Stanton, The Man Who Knows His Place." Look at it how you want- Stanton's imagery is either an empowerment of female sexuality or a gross caricature of female-domination fantasy.

Pulp art at its finest: A Stanton retrospective   “A woman has to be strong. The bigger the better.” —Eric Stanton Eric Stanton (1926-1999) has been called “the Rembrandt of Pulp-Culture” and it’s not hard to see why—he is perhaps the brightest star of his genre. His imaginative, detailed full-color comic strip narratives picture buxom, leggy femmes fatales having their way with tied-up, handcuffed, or simply awestruck men. Stanton’s imagery is either an empowerment of female sexuality or a caricature of female-domination fantasy—depending on whom you ask—but there is no doubt that in Stanton’s world, women rule the land.  This retrospective volume covers Stanton’s work from the late 1940s until the 1990s, including over 500 comic strips, single illustrations, and magazine covers. Also featured is an in-depth introductory text exploring Stanton’s life and work by photographer Eric Kroll.   Text in English, French, and German

Originally pub 1966 Paintings and sketches by the author grace a descriptive survey of barn architecture and construction that provides insight into early American life and culture

Pulp art at its finest: A Stanton retrospective   “A woman has to be strong. The bigger the better.” —Eric Stanton Eric Stanton (1926-1999) has been called “the Rembrandt of Pulp-Culture” and it’s not hard to see why—he is perhaps the brightest star of his genre. His imaginative, detailed full-color comic strip narratives picture buxom, leggy femmes fatales having their way with tied-up, handcuffed, or simply awestruck men. Stanton’s imagery is either an empowerment of female sexuality or a caricature of female-domination fantasy—depending on whom you ask—but there is no doubt that in Stanton’s world, women rule the land.  This retrospective volume covers Stanton’s work from the late 1940s until the 1990s, including over 500 comic strips, single illustrations, and magazine covers. Also featured is an in-depth introductory text exploring Stanton’s life and work by photographer Eric Kroll.   Text in English, French, and German

Beginning with a short intellectual history of the academic culture wars, Eric Adler’s book examines popular polemics including those by Allan Bloom and Dinesh D’Souza, and considers the oddly marginal role of classical studies in these conflicts. In presenting a brief history of classics in American education, the volume sheds light on the position of the humanities in general. Adler dissects three significant controversies from the era: the so-called AJP affair, which supposedly pitted a conservative journal editor against his feminist detractors; the brouhaha surrounding Martin Bernal’s contentious Black Athena project; and the dustup associated with Victor Davis Hanson and John Heath’s fire-breathing jeremiad, Who Killed Homer? He concludes by considering these controversies as a means to end the crisis for classical studies in American education. How can the study of antiquity—and the humanities—thrive in the contemporary academy? This book provides workable solutions to end the crisis for classics and for the humanities as well. This major work also includes findings from a Web survey of American classical scholars, offering the first broadly representative impression of what they think about their discipline and its prospects for the future. Adler also conducted numerous in-depth interviews with participants in the controversies discussed, allowing readers to gain the most reliable information possible about these controversies. Those concerned about the liberal arts and the best way to educate young Americans should read this book. Accessible and jargon-free, this narrative of scholarly scandals and their context makes for both enjoyable and thought-provoking reading.  

A large anthology of essays on Gay history, sex, and politics, plus fiction and poetry: Eric Garber 0n 1920s Harlem, Huey Newton on Gay Liberation, John Mitzel on John Horne Burns; others. Edited by Winston Leyland.

Vanishing Moments analyzes how various American authors have reified class through their writing, from the first influx of industrialism in the 1850s to the end of the Great Depression in the early 1940s. Eric Schocket uses this history to document America’s long engagement with the problem of class stratification and demonstrates how deeply America’s desire to deny the presence of class has marked even its most labor-conscious cultural texts. Schocket offers careful readings of works by Herman Melville, Rebecca Harding Davis, William Dean Howells, Jack London, T. S. Eliot, Gertrude Stein, Muriel Rukeyser, and Langston Hughes, among others, and explores how these authors worked to try to heal the rift between the classes. He considers the challenges writers faced before the Civil War in developing a language of class amidst the predominant concerns about race and slavery; how early literary realists dealt with the threat of class insurrection; how writers at the turn of the century attempted to span the divide between the classes by going undercover as workers; how early modernists used working-class characters and idioms to shape their aesthetic experiments; and how leftists in the 1930s struggled to develop an adequate model to connect class and literature. Vanishing Moments’ unique combination of a broad historical scope and in-depth readings makes it an essential book for scholars and students of American literature and culture, as well as for political scientists, economists, and humanists.Eric Schocket is Associate Professor of American Literature at Hampshire College.“An important book containing many brilliant arguments―hard-hitting and original. Schocket demonstrates a sophisticated acquaintance with issues within the working-class studies movement.”            --Barbara Foley, Rutgers University 

A large anthology of essays on Gay history, sex, and politics, plus fiction and poetry: Eric Garber 0n 1920s Harlem, Huey Newton on Gay Liberation, John Mitzel on John Horne Burns; others. Edited by Winston Leyland.

The Urban Spectator is a lively and utterly fascinating exploration of the ways in which technologies have influenced our collective conception of the American city, as well as our relationship with urban space and architecture. Eric Gordon argues that the city, developing late and in conjunction with a range of modern media, produced a particular way of seeing―what he labels “possessive spectatorship.” Lacking the historical rootedness of European cities, the American city was open to individual interpretation, definition, and ownership. Beginning with the White City of the Chicago World’s Fair of 1893 and the efforts to commodify the concept city through photography, Gordon shows how the American city has always been a product of the collision between the dominant conceptualization, shaped by contemporary media, and the spectator. From the viewfinder of the Kodak camera, to the public display of early cinema, to the speculative desire of network radio, all the way to machine-age utopianism, nostalgia, and America’s “rerun” culture, the city is an amalgam of practice and concept. All of this comes to a head in the “database city” where urban spectatorship takes on the characteristics of a Google search. In new urban developments, the spectator searches, retrieves, and combines urban references to construct each experience of the city.

With this remarkable book Eric Zencey changes the way we think about nature by changing how we think about history. “The ecological crisis is also a historical crisis,” he writes. “If we are out of place in nature, we are also out of place in time, and the two kinds of exile are related.”Zencey’s way home takes us many places: to a starlit mountaintop, where a nineteenth-century sect awaits the second coming; to the northern woods during hunting season; to the salt marshes of a Delaware childhood; to the softball games and abandoned mill ponds of his adopted Vermont. Always we are shown a world outside our preconceptions. In the essay “In Search of Virgin Forest” we see that virgin forest is not the pure escape from civilization that romantics make of it. Like the second-growth forest around it, virgin forest too is a human construct, one whose “different disturbance history” is not natural but is equally the product of human perception and appropriation.A nationally acclaimed novelist, Zencey has brought together autobiography and philosophy to produce a work at once accessible and intellectually rigorous. Perceptive, urgent, and lyrical, these essays are alive with warmth and wit and the occasional glint of melancholy. Virgin Forest is a passionate call for ecological health. It amply demonstrates (as the final essay has it) “Why History Is Sublime”: if we suffer a postmodern lack of grounding, only a rooted-in-place ecological sensibility can supply our need, and historical understanding is its inescapable prerequisite.

Examines the relationship between gay male athletes, sport, and American masculinity.Using interviews with openly gay and closeted team-sport athletes, Eric Anderson examines how homophobia is reproduced in sport, how gay male athletes navigate this, and how American masculinity is changing. By detailing individual experiences, Anderson shows how these athletes are emerging from their athletic closets and contesting the dominant norms of masculinity. From the locker rooms of high school sports, where the atmosphere of “don’t ask, don’t tell” often exists, to the unique circumstances that gay athletes encounter in professional team sports, this book analyzes the agency that openly gay athletes possess to change their environments.

"Part cookbook, part reference guide, Barton Seaver's American Seafood is a comprehensive and inspirational exploration of lesser known species and rekindles an awareness of the people, places, and histories of our oceans." —Eric Ripert, Chef & Co-Owner of Le BernardinWinner of the Gourmand World Cookbook Award in the US in the Fish and Seafood category!A 2017 Nautilus Award Winner! With the growing trend to reintroduce US-caught seafood into our culinary lexicon, this trustworthy reference from prestigious writer, chef, and sustainability advocate Barton Seaver will be the go-to source for home cooks, culinary students, professional chefs, and anyone fascinated by American food culture. American Seafood looks at maritime history, including Native American fisheries; fishing technology (including aquaculture); the effect of imports on our diet, economy, and the health of our seas; the biology of taste; and the evolution of seafood cuisine, from Pine Bark Stew, red and white chowder, Po’ Boys, and Clam Bakes, to Baltimore Crab Cakes, Planked Salmon, Oysters Rockefeller, and Sushi. And although this is not a cookbook, Barton Seaver presents invaluable information on traditional culinary arts and his favorite ideas for taste pairings and preferred methods for cooking seafood. An index of species—with common, regional, and accepted names, all alphabetized—rounds out this must-have volume.

In the 1960s and 1970s, Western Europe's "Golden Age" (Eric Hobsbawm), a new youth consciousness emerged, which gave this period its distinctive character. Offering rich and new material, this volume moves beyond the easy conflation of youth culture and "Americanization" and instead sets out to show, for the first time, how international developments fused with national traditions to produce specific youth cultures that became the leading trendsetters of emergent post-industrial Western societies. It presents a multi-faceted portrait of European youth cultures, colored by differences in gender, class, and education, and points out the tension between emerging consumerism and growing politicisation, succinctly expressed by Jean-Luc Godard in his 1967 pairing of "Marx and Coca-Cola."

Every society expresses its fundamental values and hopes in the ways it inhabits its landscapes. In this literate and wide-ranging exploration, Eric T. Freyfogle raises difficult questions about America's core values while illuminating the social origins of urban sprawl, dwindling wildlife habitats, and over-engineered rivers. These and other land-use crises, he contends, arise mostly because of cultural attitudes that made sense on the American frontier but now threaten the land's ecological fabric. To support and sustain healthy communities, profound adjustments will be required. Freyfogle's search leads him down unusual paths. He probes Charles Frazier's novel Cold Mountain for insights on the healing power of nature and tests the wisdom in Wendell Berry's fiction. He challenges journalists writing about environmental issues to get beyond well-worn rhetoric and explain the true choices that Americans face. In an imaginary job advertisement, he issues a call for a national environmental leader, identifying the skills and knowledge required, taking note of cultural obstacles, and looking critically at supposed allies. Examining recent federal elections, he largely blames the conservation cause and its inattention to cultural issues for the diminished status of the environment as a decisive issue. Agrarianism and the Good Society identifies the social, historical, political, and cultural obstacles to humans' harmony with nature and advocates a new orientation, one that begins with healthy land and that better reflects our utter dependence on it. In all, Agrarianism and the Good Society offers a critical yet hopeful guide for cultural change, essential for anyone interested in the benefits and creative possibilities of responsible land use.

Beginning with a short intellectual history of the academic culture wars, Eric Adler’s book examines popular polemics including those by Allan Bloom and Dinesh D’Souza, and considers the oddly marginal role of classical studies in these conflicts. In presenting a brief history of classics in American education, the volume sheds light on the position of the humanities in general. Adler dissects three significant controversies from the era: the so-called AJP affair, which supposedly pitted a conservative journal editor against his feminist detractors; the brouhaha surrounding Martin Bernal’s contentious Black Athena project; and the dustup associated with Victor Davis Hanson and John Heath’s fire-breathing jeremiad, Who Killed Homer? He concludes by considering these controversies as a means to end the crisis for classical studies in American education. How can the study of antiquity—and the humanities—thrive in the contemporary academy? This book provides workable solutions to end the crisis for classics and for the humanities as well. This major work also includes findings from a Web survey of American classical scholars, offering the first broadly representative impression of what they think about their discipline and its prospects for the future. Adler also conducted numerous in-depth interviews with participants in the controversies discussed, allowing readers to gain the most reliable information possible about these controversies. Those concerned about the liberal arts and the best way to educate young Americans should read this book. Accessible and jargon-free, this narrative of scholarly scandals and their context makes for both enjoyable and thought-provoking reading.  

The Flash of Capital analyzes the links between Japan’s capitalist history and its film history, illuminating what these connections reveal about film culture and everyday life in Japan. Looking at a hundred-year history of film and capitalism, Eric Cazdyn theorizes a cultural history that highlights the spaces where film and the nation transcend their customary borders—where culture and capital crisscross—and, in doing so, develops a new way of understanding historical change and transformation in modern Japan and beyond.Cazdyn focuses on three key moments of historical contradiction: colonialism, post-war reconstruction, and globalization. Considering great classics of Japanese film, documentaries, works of science fiction, animation, and pornography, he brings to light cinematic attempts to come to terms with the tensions inherent in each historical moment—tensions between the colonizer and the colonized, between the individual and the collective, and between the national and the transnational. Paying close attention to political context, Cazdyn shows how formal inventions in the realms of acting, film history and theory, thematics, documentary filmmaking, and adaptation articulate a struggle to solve implacable historical problems. This innovative work of cultural history and criticism offers explanations of historical change that challenge conventional distinctions between the aesthetic and the geopolitical.

In Pixar and the Aesthetic Imagination, Eric Herhuth draws upon film theory, animation theory, and philosophy to examine how animated films address aesthetic experience within contexts of technological, environmental, and sociocultural change. Since producing the first fully computer-animated feature film, Pixar Animation Studios has been a creative force in digital culture and popular entertainment. But, more specifically, its depictions of uncanny toys, technologically sublime worlds, fantastic characters, and meaningful sensations explore aesthetic experience and its relation to developments in global media, creative capitalism, and consumer culture. This investigation finds in Pixar’s artificial worlds and transformational stories opportunities for thinking through aesthetics as a contested domain committed to newness and innovation as well as to criticism and pluralistic thought.

From its very beginnings, Union LA has been intertwined with the fashion, music and art of counter-culture. Crafted from cotton for cool and casual wear, the Best Sound Crew Sweatshirt features a “know the ledge” chest graphic, adopted from Eric B. & Rakim’s track “Juice” – written especially for its namesake 1992 movie starring Tupac Shakur. 100% Cotton, Crewneck, Ribbed Trims, Printed Branding. Union LA Men's Best Sound Crew Sweatshirt in Vintage Black Pigment, Size Medium