https://halshs.archives-ouvertes.fr/halshs-00340186/document

Actor-networks and the diffusion of management accounting innovations : a comparative study

This address is dedicated to the memory of Gloria Anzaldúa, who passed away last May. With her death, I lost a friend. The world lost a brilliant theorist of the arbitrariness of borders and the pain that they inflict, of the harsh realities of internal colonization, and of the challenges and delights of embracing multiple psychic locations. Anzaldúa saw the border between the United States and Mexico as “una herida abierta, where the Third World grates against the first and bleeds. And before a scab forms hemorrhages again, the lifeblood of two worlds merging to form a third country—a border culture.” She was unwilling to reject any part of herself to stop the contradictory voices that buzzed through her head. (“Me zumba la cabeza con lo contradictorio,” she wrote.) But the miracle of Borderlands/La Frontera is that she transmutes the buzzing into a site of creative energy: she wrote, “En unas pocas centurias, the future will belong to the mestiza. Because the future depends on the breaking down of paradigms; it depends on the straddling of two or more cultures.” The last time I spoke with Gloria on the phone, she was helping me pinpoint the location of the fields in which she had picked cabbages and broccoli as a child. I’d been asked to write a book in a new series that Oxford’s trade book division and the National Park Service were launching. Each book would examine landmarks, historic sites, and historic districts on the national register through the lens of the history and culture that informed them. Mine was to be the one book on literature. I welcomed the idea of linking public history and literary history for a popular audience, and liked the fact that they planned to market the book to high schools around the country. I chose some sites Oxford expected me to choose—like the Whitman house in Huntington, Long Island, the New Bedford Historic Whaling District of Melville and Douglass, and Sinclair Lewis’s Main Street in Sauk Centre, Minnesota. But they had not

Crossroads of Cultures: The Transnational Turn in American Studies--Presidential Address to the American Studies Association, November 12, 2004

Introduction: the project of an Empire Part I Towards 'The Sceptre of the World': The Elements of Empire in the Long Nineteenth Century: 1 Victorian origins 2 The octopus power 3 The commercial republic 4 The Britannic experiment 5 'Un-British rule' in 'Anglo-India' 6 The weakest link: Britain and South Africa 7 The Edwardian transition Part II 'The Great Liner is Sinking': The British World-System in the Age of War: 8 The War for Empire, 1914-19 9 Making imperial peace, 1919-26 10 Holding the centre, 1927-37 11 The strategic abyss, 1937-42 12 The price of survival, 1943-51 13 The third world power, 1951-9 14 Reluctant retreat, 1959-68 Conclusion

The Empire Project: The Rise and Fall of the British World-System, 1830-1970

In this chapter, I wish to reassess the juncture of cinema and modernism, and I will do so by moving from the example of early Soviet cinema to a seemingly less likely case, that of the classical Hollywood film. My inquiry is inspired by two complementary sets of questions: one pertaining to what cinema studies can contribute to our understanding of modernism and modernity; the other aimed at whether and how the perspective of modernist aesthetics may help us to elucidate and reframe the history and theory of cinema. The juncture of cinema and modernism has been explored in a number of ways, ranging from research on early cinema’s interrelations with the industrial-technological modernity of the late nineteenth century, through an emphasis on the international art cinemas of both interwar and new wave periods, to speculations on the cinema’s implication in the distinction between the modern and the postmodern. My focus here is more squarely on mid-twentieth-century modernity, roughly from the 1920s through the 1950s—the modernity of mass production, mass consumption, and mass annihilation—and the contemporaneity of a particular kind of cinema, mainstream Hollywood, with what has variously been labeled ‘high’ or ‘hegemonic modernism.’

The Mass Production of the Senses: Classical Cinema as Vernacular Modernism *

The emergence of S&T indicators: why did governments supplement statistics with indicators?

With the end of the Cold War and the prospect of a federal Europe ever closer, this book is a timely reassessment of the processes by which western Europe was reborn out of the devastation and despair of 1945. Concentrating on the first postwar decade and making rich use of the latest research findings, David Ellwood gives a detailed account of the practicalities of reconstruction - how it was done, what it cost, who paid for it, and what those involved hoped for, expected and actually received.

David Ellwood

Papers

Rebuilding Europe: Western Europe, America and Postwar Reconstruction

Hollywood in Europe: Experiences of a Cultural Hegemony

Italy, 1943-1945

The Shock of America: Europe and the Challenge of the Century

L'alleato nemico : la politica dell'occupazione anglo-americana in Italia, 1943/1946