Signs In America S Auto Age

Signs orient, inform, persuade, and regulate. They help give meaning to our natural and human-built environment, to landscape and place. In Signs in America’s Auto Age, cultural geographer John Jakle and historian Keith Sculle explore the ways in which we take meaning from outdoor signs and assign meaning to our surroundings—the ways we “read” landscape. With an emphasis on how the use of signs changed as the nation’s geography reorganized around the coming of the automobile, Jakle and Sculle consider the vast array of signs that have evolved since the beginning of the twentieth century.

With its small native population, proximity to major metropolitan areas, and bucolic rural beauty, Vermont was fated to be a tourist mecca, forever associated in the popular imagination with maple syrup, fall colors, and ski bunnies. Tourism, for good and ill, has always been the decisive factor in the conception of rural Vermont. What is surprising, however, is the degree to which we have accepted this notion of rural Vermont as a somehow timeless entity. Blake Harrison's rich and rewarding study instead presents the construction of Vermont's landscape as a complex and ever-changing dynamic informed by progressive, modernist, and reformist thought, competing views of economic expansion, rural and urban prejudice and social exclusion, and (more recently) by land use planning and environmentalism. This broad-based study includes the early history of Vermont tourism, the concomitant abandonment of farms with the rise of the summer home, the creation of an "unspoiled" Vermont (from billboards, at least), the impact of Vermont's ski industry on tradition-bound tourism, and later efforts to legislate growth and protect an increasingly static ideal of a rural Vermont.While grounded within a specific Vermont view, Harrison has much to contribute to broader studies of rural places, tourism, and landscapes in American culture. His analysis of how physical landscapes affect and are affected by our imagined landscape, and the insight afforded by his juxtaposition of leisure and labor, will deeply inform our understanding of rural tourist landscapes for years to come. This is a truly interdisciplinary work that will satisfy and challenge historians and geographers alike.

A fascinating look at the rise and growing popularity of the automobile during the first half of twentieth-century America, which brought with it a dark undercurrent. On the one hand, Americans embraced the newfound sense of freedom and mobility embodied by the automobile; on the other, they grew increasingly anxious about and fearful of the enormous threat that cars--and car accidents--posed to public safety.

This volume is the first to bring together researchers studying a range of different types of emerging sign languages in the Americas, and their relationship to the gestures produced in the surrounding communities of hearing individuals. Contents Acknowledgements Olivier Le Guen, Marie Coppola and Josefina Safar Introduction: How Emerging Sign Languages in the Americas contributes to the study of linguistics and (emerging) sign languages Part I: Emerging sign languages of the Americas. Descriptions and analysis John Haviland Signs, interaction, coordination, and gaze: interactive foundations of “Z”—an emerging (sign) language from Chiapas, Mexico Laura Horton Representational strategies in shared homesign systems from Nebaj, Guatemala Josefina Safar and Rodrigo Petatillo Chan Strategies of noun-verb distinction in Yucatec Maya Sign Languages Emmanuella Martinod, Brigitte Garcia and Ivani Fusellier A typological perspective on the meaningful handshapes in the emerging sign languages on Marajó Island (Brazil) Ben Braithwaite Emerging sign languages in the Caribbean Olivier Le Guen, Rebeca Petatillo and Rita (Rossy) Kinil Canché Yucatec Maya multimodal interaction as the basis for Yucatec Maya Sign Language Marie Coppola Gestures, homesign, sign language: Cultural and social factors driving lexical conventionalization Part II: Sociolinguistic sketches John B. Haviland Zinacantec family homesign (or “Z”) Laura Horton A sociolinguistic sketch of deaf individuals and families from Nebaj, Guatemala Josefina Safar and Olivier Le Guen Yucatec Maya Sign Language(s): A sociolinguistic overview Emmanuella Martinod, Brigitte Garcia and Ivani Fusellier Sign Languages on Marajó Island (Brazil) Ben Braithwaite Sociolinguistic sketch of Providence Island Sign Language Kristian Ali and Ben Braithwaite Bay Islands Sign Language: A Sociolinguistic Sketch Marie Coppola Sociolinguistic sketch: Nicaraguan Sign Language and Homesign Systems in Nicaragua

The spread of urbanization has transformed the concept of the city, but the way urban planners, urban scientists and, above all, urban dwellers address it has also changed, probably even more so. The city is thus a new topic for geography, a discipline that has experienced an ambiguous relationship to cities in the past. What kind of geography is required in order to bring fresh insight to this renewed field? Drawing together a wide range of texts from philosophers, sociologists and economist as well as geographers and urban planners, this volume provides a theoretical framework within which this question can begin to be explored.

This comprehensive reference guide reviews the literature concerning the impact of the automobile on American social, economic, and political history. Covering the complete history of the automobile to date, twelve chapters of bibliographic essays describe the important works in a series of related topics and provide broad thematic contexts. This work includes general histories of the automobile, the industry it spawned and labor-management relations, as well as biographies of famous automotive personalities. Focusing on books concerned with various social aspects, chapters discuss such issues as the car's influence on family life, youth, women, the elderly, minorities, literature, and leisure and recreation. Berger has also included works that investigate the government's role in aiding and regulating the automobile, with sections on roads and highways, safety, and pollution. The guide concludes with an overview of reference works and periodicals in the field and a description of selected research collections. The Automobile in American History and Culture provides a resource with which to examine the entire field and its structure. Popular culture scholars and enthusiasts involved in automotive research will appreciate the extensive scope of this reference. Cross-referenced throughout, it will serve as a valuable research tool.

In ""American Silences"", Joseph Anthony Ward offers a unique analysis of the use and effects of silence in modern American realistic art. Beginning with the nineteenth-century literature that laid the foundation for silence in art, he moves to a brief analysis of Sherwood Anderson's ""Winesburg"", Ohio and Ernest Hemingway's ""In Our Time"", showing how they, along with several other crucial works of twentieth-century American realism, incorporate the power of the silent into their expression without sacrificing the subjects and techniques of traditional realism. Examining ""Let Us Now Praise Famous Men"", James Agee's commentary on the life of tenant farmers, documented with photographs by Walker Evans, Ward traces the book's pattern of 'silence, then silence disturbed by sound, and ultimately silence restored'. Ward further supports his theory with a study of Agee's ""A Death in the Family"" and Evans' ""American Photographs"". Ward sees Agee's admiration of photography as a connection between the silence of the scenes he writes about and the silence of Evans' photographs. The use of silence is perhaps even more obvious in the paintings of Edward Hopper. Although throughout the book Ward suggests both the positive and negative qualities of silence in art, Hopper's paintings provide little in the way of postiveness. For Ward, the art of silence is an art of extreme concentration that seeks essences rather than superficiality that nearly transcends realism itself. The theme of silence in American realism is a significant new one, but Ward's interpretation of the prose and his analysis of the photographs and paintings, many of which are reproduced in this book, establish validity for art as the voice of silence.