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The artist's portrait, the photograph, movies, and TV show who we are, what we're like, and where we are in today's postmodern world. Hoffman shows how visual images describe and portray individuals and families and the society and culture they come from.

Concepts of identity and self as individuals ...

The artist's portrait, the photograph, movies, and TV show who we are, what we're like, and where we are in today's postmodern world. Hoffman shows how visual images describe and portray individuals and families and the society and culture they come from.

Concepts of identity and self as individuals and families are complex and changing but images from the artist, the photographer, the filmmaker, and TV producer can help us discover where we came from, who we are and why, and where we are in the maze of postmodern life. Katherine Hoffman explores portraits and images from ancient Egypt to the present -- more than two-thirds of the book covers the twentieth century, including images from art, photography, film, TV, and other media. The 75 illustrations are integrated with the text.

"It is of crucial importance to put a face to the concept of family in the twentieth century. Katherine Hoffman's wide-ranging study of familial imagery in paintings, photographs, films, and television is a fine introduction". John Davis Smith College

"An important book in a time in which the American family is heavily discussed and debated". Margaret R. Miles Harvard University

How does creativity thrive in the face of fascism? How can a highly artistic individual function professionally in so threatening a climate? The final book in a critically acclaimed trilogy that includes Different Drummers (OUP 1992) and The Twisted Muse (OUP 1997), this is a detailed study of the ...

How does creativity thrive in the face of fascism? How can a highly artistic individual function professionally in so threatening a climate? The final book in a critically acclaimed trilogy that includes Different Drummers (OUP 1992) and The Twisted Muse (OUP 1997), this is a detailed study of the often interrelated careers of eight outstanding German composers who lived and worked amid the dictatorship of the Third Reich: Werner Egk, Paul Hindemith, Kurt Weill, Karl Amadeus Hartmann, Carl Orff, Hans Pfitzner, Arnold Schoenberg, and Richard Strauss. Noted historian Michael H. Kater weighs issues of accommodation and resistance to ask whether these artists corrupted themselves in the service of a criminal regime--and if so, whether this is evident in their music. He also considers the degrees to which the Nazis politically, socially, economically, and aesthetically succeeded in their treatment of these individuals, whose lives and compositions represent diverse responses to totalitarianism.

Most Americans are insulated from the poor; it's hard to imagine the challenges of poverty, the daily fears of crime and victimization, the frustration of not being able to provide for a child. Instead, we are often exposed to the rhetoric and hyperbole about the excesses of the American welfare ...

Most Americans are insulated from the poor; it's hard to imagine the challenges of poverty, the daily fears of crime and victimization, the frustration of not being able to provide for a child. Instead, we are often exposed to the rhetoric and hyperbole about the excesses of the American welfare system. These messages color our perception of the welfare problem in the United States and they close the American mind to a full understanding of the complexity of family poverty. But who are these poor families? What do we know about how they arrived in such desperate straits? Is poverty their fate for a lifetime or for only a brief period? In Faces of Poverty, Jill Duerr Berrick answers these questions as she dispels the misconceptions and myths about welfare and the welfare population that have clouded the true picture of poverty in America. Over the course of a year, Berrick spent numerous hours as a participant-observer with five women and their families, documenting their daily activities, thoughts, and fears as they managed the strains of poverty. We meet Ana, Sandy, Rebecca, Darlene, and Cora, all of whom, at some point, have turned to welfare for support. Each represents a wider segment of the welfare population--ranging from Ana (who lost a business, injured her back, and temporarily lost her job, all in a short period of time) to Cora (who was raised in poverty, spent ten years in an abusive relationship, and now struggles to raise six children in a drug-infested neighborhood). And as Berrick documents these women's experiences, she also debunks many of the myths about welfare: she reveals that welfare is not generous (welfare families remain below the poverty line even with government assistance); that the majority of women on welfare are not long-term welfare dependents; that welfare does not run in families; that "welfare mothers" do not keep having children to increase their payments (women on welfare have, on average, two children); and that almost half of all women on welfare turned to it after a divorce. At a time when welfare has become a hotly debated political issue, Faces of Poverty gives us the facts. The debate surrounding welfare will continue as each of the 50 states struggles to reform their welfare programs, and this debate will turn on the public's perception of the welfare population. Berrick offers insight into each of the reforms under consideration and starkly demonstrates their implications for poor women and children. She provides a window into these women's lives, brilliantly portraying their hopes and fears and their struggle to live with dignity.