While music lovers and music historians alike understand that folk music played an increasingly pivotal role in American labor and politics during the economic and social tumult of the Great Depression, how did this relationship come to be? Ronald D. Cohen sheds new light on the complex cultural history of folk music in America, detailing the musicians, government agencies, and record companies that had a lasting impact during the 1930s and beyond. Covering myriad musical styles and performers, Cohen narrates a singular history that begins in nineteenth-century labor politics and popular music culture, following the rise of unions and Communism to the subsequent Red Scare and increasing power of the Conservative movement in American politics--with American folk and vernacular music centered throughout. Detailing the influence and achievements of such notable musicians as Pete Seeger, Big Bill Broonzy, and Woody Guthrie, Cohen explores the intersections of politics, economics, and race, using the roots of American folk music to explore one of the United States' most troubled times. Becoming entangled with the ascending American left wing, folk music became synonymous with protest and sharing the troubles of real people through song.

The purpose of this book is to acknowledge the universality of depression, to throw some light on those aspects of depression which are neglected in the more conventional treatments of the subject and also to attempt to provide a synthesis between the biological and socio-environmental factors which lead to the onset of depression and modify its course. A book devoted to depression has the advantage that it has the space at its disposal to explain and clarify concepts and promising ideas that a chapter in even a comprehensive textbook does not have. A single author writing about all the relevant aspects of a subject brings with him the merit of uniformity, continuity and lack of repetition. He is also more fallible in some areas than others, which finds an exact parallel in the experience of clinicians in their practice. A multi-author, multi-specialist work portrays an air of omniscience and omnicompetence which many clinicians find dispiriting. It is likely a considerable number of practising clinicians will have a greater knowledge and experience in some areas of the subject of this book. than I have and will feel emboldened to approach others. The entire work is informed by historical considerations. The lesson of history is to be open-minded and not to judge too harshly those that have gone before.

Depression: Theories and Treatments presents a thorough overview of the major issues in the study and treatment of depression. In one volume it examines all the major theoretical, assessment, and treatment strategies, and based on the most recent research offers clear explanations of the psychological, biological, and cultural aspects of depression. Rather than favoring a particular treatment approach, the authors provide a balanced presentation with research-based indicators of the particular techniques or approaches to be used, including medications that have proven useful. A comprehensive, step-by-step assessment guide is included. Rich in cases and new findings, the volume concludes with a discussion of how gender, age, race, and socioeconomic status can be important factors in depression. Technical terms are explained and minitutorials are provided throughout so that the text is understandable to all readers.

Photos filled with the forlorn faces of hungry and impoverished Americans that came to characterize the desolation of the Great Depression are among the best known artworks of the twentieth century. Captured by the camera's eye, these stark depictions of suffering became iconic markers of a formative period in U.S. history. Although there has been an ample amount of critical inquiry on Depression-era photographs, the bulk of scholarship treats them as isolated art objects. And yet they were often joined together with evocative writing in a genre that flourished amid the period, the documentary book. American Modernism and Depression Documentary looks at the tradition of the hybrid, verbal-visual texts that flourished during a time when U.S. citizens were becoming increasingly conscious of the life of a larger nation. Jeff Allred draws on a range of seminal works to illustrate the convergence of modernism and documentary, two forms often regarded as unrelated. Whereas critics routinely look to James Agee and Walker Evans' Let Us Now Praise Famous Men as the sole instance of the modernist documentary book, Allred turns to such works as Richard Wright's scathing 12 Million Black Voices, and the oft-neglected You Have Seen Their Faces by Erskine Caldwell and Margaret Bourke-White to open up the critical playing field. And rather than focusing on the ethos of Progressivism and/or the politics and aesthetics of the New Deal, Allred emphasizes the centrality of Life magazine to the consolidation of a novel cultural form.

The Depression brought unprecedented changes for American workers and organized labor. As the economy plummeted, employers cut wages and laid off workers, while simultaneously attempting to wrest more work from those who remained employed. In mills, mines, and factories workers organized and resisted, striking for higher wages, improved working conditions, and the right to bargain collectively. As workers walked the picket line or sat down on the shop floor, they could be heard singing. This book examines the songs they sang at three different strikes- the Gastonia, North Carolina, textile mill strike (1929), Harlan County, Kentucky, coal mining strike (1931-32), and Flint, Michigan, automobile sit-down strike (1936-37). Whether in the Carolina Piedmont, the Kentucky hills, or the streets of Michigan, the workers' songs were decidedly class-conscious. All show the workers' understanding of the necessity of solidarity and collective action. In Flint the strikers sang: The trouble in our homestead Was brought about this way When a dashing corporation Had the audacity to say You must all renounce your union And forswear your liberties, And we'll offer you a chance To live and die in slavery. As a shared experience, the singing of songs not only sent the message of collective action but also provided the very means by which the message was communicated and promoted. Singing was a communal experience, whether on picket lines, at union rallies, or on shop floors. By providing the psychological space for striking workers to speak their minds, singing nurtured a sense of community and class consciousness. When strikers retold the events of their strike, as they did in songs, they spread and preserved their common history and further strengthened the bonds among themselves. In the strike songs the roles of gender were pronounced and vivid. Wives and mothers sang out of their concerns for home, family, and children. Men sang in the name of worker loyalty and brotherhood, championing male solidarity and comaraderie. Informed by the new social history, this critical examination of strike songs from three different industries in three different regions gives voice to a group too often deemed as inarticulate. This study, the only book-length examination of this subject, tells history "from the bottom up" and furthers an understanding of worker culture during the tumultuous Depression years.

This work represents the first comparative study of the folk revival movement in Anglophone Canada and the United States and combines this with discussion of the way folk music intersected with, and was structured by, conceptions of national affinity and national identity. Students will find the book useful as an introduction, not only to key themes in the folk revival, but also to concepts in the study of national identity and to topics in American and Canadian cultural history. Academic specialists will encounter an alternative perspective from the more general, broad approach offered by earlier histories of the folk revival movement.

Jerry Fodor is one of the most important philosophers of mind in recent decades. He has done much to set the agenda in this field and has had a significant influence on the development of cognitive science. Fodor's project is that of constructing a physicalist vindication of folk psychology and so paving the way for the development of a scientifically respectable intentional psychology. The centrepiece of his engagement in this project is a theory of the cognitive mind, namely, the computational theory of mind, which postulates the existence of a language of thought. Fodor: Language, Mind and Philosophy is a comprehensive study of Fodor's writings. Individual chapters are devoted to each of the major issues raised by his work and contain extensive discussion of his relationships to key developments in cognitive science and to the views of such philosophical luminaries as Dennett, Davidson and Searle. This accessible book will appeal to advanced level undergraduate students of philosophy and related disciplines. It will also be of great interest to professional philosophers and cognitive scientists.