The University Of California Press

In 1893, when the University of California was just twenty-five years old, its governing board took a bold step in voting the money to set up a publishing program for the works of its faculty. Like many of the American universities established in the late nineteenth century, California followed the German model of emphasizing original research among its faculty. But, then as now, commercial publishers were not prepared to publish the results, and so these early research universities began to publish for themselves. In the final quarter of the nineteenth century, Johns Hopkins, California, Chicago, and Columbia all began to publish. All four, in time, became scholarly publishers of consequence. In this book, published to commemorate the centennial of the University of California Press, Albert Muto chronicles the early history of the Press, from its beginnings as a printer of monographs by the University's own faculty to its emergence in the early 1950s as a full-fledged university press in the Oxbridge tradition. Profusely illustrated with archival photos and examples of early book design, this book gives us a new perspective on the history of publishing in the United States, and on the early years of the nation's largest public university.

A reissue of a charming little illustrated volume originally published in 1974 which walks the reader through the highlights of the history of the University of California.

Translation of the author's Mannen i Montgomery street: portrett av en norsk emigrant.

A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program for monographs. Visit www.luminosoa.org to learn more. The Dream Is Over tells the extraordinary story of the 1960 Master Plan for Higher Education in California, created by visionary University of California President Clark Kerr and his contemporaries. The Master Plan’s equality of opportunity policy brought college within reach of millions of American families for the first time and fashioned the world’s leading system of public research universities. The California idea became the leading model for higher education across the world and has had great influence in the rapid growth of universities in China and East Asia. Yet, remarkably, the political conditions supporting the California idea in California itself have evaporated. Universal access is faltering, public tuition is rising, the great research universities face new challenges, and educational participation in California, once the national leader, lags far behind. Can the social values embodied in Kerr’s vision be renewed?

“Puts campus activism in a radical historic context.”—New York Review of Books In the post–World War II period, students rebelled against the university establishment. In student-led movements, women, minorities, immigrants, and indigenous people demanded that universities adapt to better serve the increasingly heterogeneous public and student bodies. The success of these movements had a profound impact on the intellectual landscape of the twentieth century: out of these efforts were born ethnic studies, women’s studies, and American studies. In We Demand, Roderick A. Ferguson demonstrates that less than fifty years since this pivotal shift in the academy, the university is moving away from “the people” in all their diversity. Today the university is refortifying its commitment to the defense of the status quo off campus and the regulation of students, faculty, and staff on campus. The progressive forms of knowledge that the student-led movements demanded and helped to produce are being attacked on every front. Not only is this a reactionary move against the social advances since the ’60s and ’70s—it is part of the larger threat of anti-intellectualism in the United States.

Going beyond the how and why of burnout, a former tenured professor combines academic methods and first-person experience to propose new ways for resisting our cultural obsession with work and transforming our vision of human flourishing. Burnout has become our go-to term for talking about the pressure and dissatisfaction we experience at work. But in the absence of understanding what burnout means, the discourse often does little to help workers who suffer from exhaustion and despair. Jonathan Malesic was a burned out worker who escaped by quitting his job as a tenured professor. In The End of Burnout, he dives into the history and psychology of burnout, traces the origin of the high ideals we bring to our jobs, and profiles the individuals and communities who are already resisting our cultural commitment to constant work. In The End of Burnout, Malesic traces his own history as someone who burned out of a tenured job to frame this rigorous investigation of how and why so many of us feel worn out, alienated, and useless in our work. Through research on the science, culture, and philosophy of burnout, Malesic explores the gap between our vocation and our jobs, and between the ideals we have for work and the reality of what we have to do. He eschews the usual prevailing wisdom in confronting burnout (“Learn to say no!” “Practice mindfulness!”) to examine how our jobs have been constructed as a symbol of our value and our total identity. Beyond looking at what drives burnout—unfairness, a lack of autonomy, a breakdown of community, mismatches of values—this book spotlights groups that are addressing these failures of ethics. We can look to communities of monks, employees of a Dallas nonprofit, intense hobbyists, and artists with disabilities to see the possibilities for resisting a “total work” environment and the paths to recognizing the dignity of workers and nonworkers alike. In this critical yet deeply humane book, Malesic offers the vocabulary we need to recognize burnout, overcome burnout culture, and acknowledge the dignity of workers and nonworkers alike.

Mainframe Experimentalism challenges the conventional wisdom that the digital arts arose out of Silicon Valley’s technological revolutions in the 1970s. In fact, in the 1960s, a diverse array of artists, musicians, poets, writers, and filmmakers around the world were engaging with mainframe and mini-computers to create innovative new artworks that contradict the stereotypes of "computer art." Juxtaposing the original works alongside scholarly contributions by well-established and emerging scholars from several disciplines, Mainframe Experimentalism demonstrates that the radical and experimental aesthetics and political and cultural engagements of early digital art stand as precursors for the mobility among technological platforms, artistic forms, and social sites that has become commonplace today.

A free open access ebook is available upon publication. Learn more at www.luminosoa.org. Of Love and Papers explores how immigration policies are fundamentally reshaping Latino families. Drawing on two waves of interviews with undocumented young adults, Enriquez investigates how immigration status creeps into the most personal aspects of everyday life, intersecting with gender to constrain family formation. The imprint of illegality remains, even upon obtaining DACA or permanent residency. Interweaving the perspectives of US citizen romantic partners and children, Enriquez illustrates the multigenerational punishment that limits the upward mobility of Latino families. Of Love and Papers sparks an intimate understanding of contemporary US immigration policies and their enduring consequences for immigrant families.

A biography of the British monarch examines his upbringing, personality, and the events that led to his downfall

During the 1960s and 1970s, a loosely affiliated group of Los Angeles artists--including Larry Bell, Mary Corse, Robert Irwin, James Turrell, and Doug Wheeler--more intrigued by questions of perception than by the crafting of discrete objects, embraced light as their primary medium. Whether by directing the flow of natural light, embedding artificial light within objects or architecture, or playing with light through the use of reflective, translucent, or transparent materials, each of these artists created situations capable of stimulating heightened sensory awareness in the receptive viewer. Phenomenal: California Light, Space, Surface, companion book to the exhibition of the same name, explores and documents the unique traits of the phenomenologically engaged work produced in Southern California during those decades and traces its ongoing influence on current generations of international artists. Foreword by Hugh M. Davies Additional contributors: Michael Auping Stephanie Hanor Adrian Kohn Dawna Schuld Artists: Peter Alexander Larry Bell Ron Cooper Mary Corse Robert Irwin Craig Kauffman John McCracken Bruce Nauman Eric Orr Helen Pashgian James Turrell De Wain Valentine Doug Wheeler