A Cultural History of the American Revolution: Painting, Music, Literature, and the Theatre in the Colonies and the United States From the Treaty of Paris to the Inauguration of George Washington, 1763-1789.

In order to render my subject manageable, I have excluded from it the literature dealing with legal history, with the general history of political ideas, and with the constitutional and political debates that preceded and accompanied the American Revolution. Each of these is a large subject in itself and would, require for its most summary treatment a separate paper. I limit myself to what has been written during the last fifty years or so about the constitutional history of the Union and of the states in their relation to the Union since the year 1783.

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All Coherence Gone? A Cultural History of Leading History Departments in the United States, 1970-2010

Journal of the Historical Society ◽

10.1111/j.1540-5923.2012.00360.x ◽

2012 ◽

Vol 12 (2) ◽

pp. 111-153 ◽

Cited By ~ 1

Author(s):

William Palmer

Keyword(s):

United States ◽

Cultural History ◽

The United States ◽

History Of

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Latina/os in Media: Representation, Production, and Consumption

Oxford Research Encyclopedia of Literature ◽

10.1093/acrefore/9780190201098.013.389 ◽

2019 ◽

Author(s):

Manuel G. Avilés-Santiago

Keyword(s):

United States ◽

New Media ◽

Cultural History ◽

The United States ◽

Spanish Language ◽

Production And Consumption ◽

History Of ◽

Streaming Services ◽

Technological Means ◽

Radio Industry

Developments in contemporary Latina/os media are the result not only of an exponentially growing Latina/o population in the United States but also of the synergy between transformations in the global political economy and the emergence of new media platforms for production, distribution, and consumption. To reflect upon the emergence of the industry is to consider the politics of the labeling of the Latina/o community and the eventual configuration of a market audience. It also requires a confrontation with the cultural history of representations and stereotypes of Latina/os, particularly in radio, TV, film, and the internet, and the transnational aesthetics and dynamics of media produced by and/or for Latina/os in the United States. If the notion of media revolves around a technological means of communication, it also encompasses the practices and institutions from within which the Latina/o communities are imagined, produced, and consumed. At the start of the 21st century, the idea of Latina/os in media revolved around a handful of Latina/o stars in Hollywood who often performed stereotypical representations, a racialized and marginal Spanish-language radio industry, and two Spanish television networks, Univision and Telemundo. A more complex constellation of representations has evolved in both mainstream and Spanish-language media, among them new platforms for production and resistance, including social media (e.g., Facebook, Instagram, Snapchat), radio podcasts and streaming services (e.g., Hulu and Netflix), and a more active and engaged audience that consumes media in Spanish, English, and even Spanglish.

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