The rise in individualism and the growing liberalism of family law may be seen as potential threats to the family as a unit. Currently, defenders of traditional family models are being forced to accept a more fluid definition of family as an intrinsic heterogeneous unit. Central to this book is the idea that the family, as a social unit around which society is structured, still plays a pivotal role in North America. States, courts, and political parties have had to address the major mutations of the family landscape in the last decades. The family is instrumental in reorganizing communities in migration contexts, and is a key component of political strategies. The way family is staged in the press, on social media, and in TV shows, reflects the fast-changing patterns and new realities of North American families, and offers alternatives to hegemonic representations of normative families. It also ranks high among current literary obsessions since it is the privileged receptacle for contemporary anxieties and operates both as an ideal retreat or an alienating space. The proliferation of family narratives, in their ever-shifting forms, reveals that family has boundless potential for fiction, and continues to run deep in the North American imaginary. This book gathers together approaches that range from field study, sociology, politics, media studies and literature. The contributions here show the centrality of the family both as an individual unit and as social, political, legal, and fictional constructs.

The dawn of the twenty-first century marked a turning period for American Yiddish culture. The 'Old World' of Yiddish-speaking Eastern Europe was fading from living memory - yet at the same time, Yiddish song enjoyed a renaissance of creative interest, both among a younger generation seeking reengagement with the Yiddish language, and, most prominently via the transnational revival of klezmer music. The last quarter of the twentieth century and the early years of the twenty-first saw a steady stream of new songbook publications and recordings in Yiddish - newly composed songs, well-known singers performing nostalgic favourites, American popular songs translated into Yiddish, theatre songs, and even a couple of forays into Yiddish hip hop; musicians meanwhile engaged with discourses of musical revival, post-Holocaust cultural politics, the transformation of language use, radical alterity and a new generation of American Jewish identities. This book explores how Yiddish song became such a potent medium for musical and ideological creativity at the twilight of the twentieth century, presenting an episode in the flowing timeline of a musical repertory - New York at the dawn of the twenty-first century - and outlining some of the trajectories that Yiddish song and its singers have taken to, and beyond, this point.

"Encompassing the careers of up to 600 directors - over 60 new to this edition - working in the US and Canada today, this volume is an invaluable reference for students, researchers and enthusiasts of film and popular culture. Each entry provides biographical information as well as insightful textual and thematic analysis of the director's work. In comprehensively covering a wide range of film-makers - from more established mainstream luminaries such as Steven Spielberg, Martin Scorsese, Ridley Scott and Kathryn Bigelow, through independent mavericks like Hal Hartley, Atom Egoyan, Jim Jarmusch and the Coen brothers, to innovative emerging talents including Marc Forster (Monster's Ball), Todd Field (In the Bedroom) and David Gordon Green (George Washington) - the shifting landscape of contemporary film-making is brought into sharp focus." Sur la 4e de couv.

This volume investigates the ways in which Toni Morrison’s A Mercy, Dionne Brand’s In Another Place, Not Here, Jhumpa Lahiri’s The Namesake, and Carolyn See’s There Will Never Be Another You engage with the physical, ideological, and socially constructed “real-and-imagined” spaces of colonialism, justice, diaspora, and risk. Building on a range of theoretical approaches to the production of space, this study argues for the significance of literature as a cartographic practice charting the intricacies of the socio-spatiality of human life. Through rigorous readings, this book examines each novel as a critical map that both represents and explores contested spaces and alternative spatial negotiations. These spatially oriented literary analyses contribute to recent conceptualizations of space as socially and relationally produced, open, dynamic, and contested, and enrich the existing scholarship on the novels discussed here.

Why was the discourse of family values so pivotal to the conservative and free-market revolution of the 1980s and why has it continued to exert such a profound influence on American political life? Why have free-market neoliberals so often made common cause with social conservatives on the question of family, despite their differences on all other issues? In this book, Melinda Cooper challenges the idea that neoliberalism privileges atomized individualism over familial solidarities, and contractual freedom over inherited status. Delving into the history of the American poor laws, she shows how the liberal ethos of personal responsibility was always undergirded by a wider imperative of family responsibility and how this investment in kinship obligations recurrently facilitated the working relationship between free-market liberals and social conservatives. Neoliberalism, she argues, must be understood as an effort to revive and extend the poor law tradition in the contemporary idiom of household debt. As neoliberal policymakers imposed cuts to health, education, and welfare budgets, they simultaneously identified the family as a wholesale alternative to the twentieth-century welfare state. And as the responsibility for deficit spending shifted from the state to the household, the private debt obligations of family were defined as foundational to socio-economic order. Despite their differences, neoliberals and social conservatives were in agreement that the bonds of family needed to be encouraged — and at the limit enforced — as a necessary counterpart to market freedom. In a series of case studies ranging from Clinton’s welfare reform to the AIDS epidemic, and from same-sex marriage to the student loan crisis, Cooper explores the key policy contributions made by neoliberal economists and legal theorists. Only by restoring the question of family to its central place in the neoliberal project, she argues, can we make sense of the defining political alliance of our times, that between free-market economics and social conservatism.

The Handbook of Contemporary Families explores how families have changed in the last 30 years and speculates about future trends. Editors Marilyn Coleman and Lawrence H. Ganong, along with a multidisciplinary group of contributors, critique the approaches used to study relationships and families while suggesting modern approaches for the new millennium. The Handbook looks at how changes within the contemporary family have been reflected in family law, family education, and family therapy. The Handbook of Contemporary Families is an excellent resource for advanced undergraduate and graduate students, researchers, educators, and practitioners who study and work with families in several disciplines, including Family Science, Human Development and Family Studies, Sociology, Marriage & Family Therapy, and Social Work.

There has been an increasing recognition of the fluidity and ambiguity of ethnic identities within the context of global mobility. With that in mind, how have films constructed the identity of ethnic Chinese in the United States? This book addresses this issue through three sub-questions. First, why is the family narrative so characteristic of films about Chinese Americans in transnational Chinese cinema? In other words, how and why are images of Chinese or Chinese Americans in transnational Chinese cinema different from those in Hollywood movies? Second, how does transnational Chinese cinema define and negotiate the aesthetic conventions of melodrama commonly used to depict Chinese American families? In terms of establishing melodrama as an evolving mode of, how does Chinese American cinema historically connect with both Hollywood and Chinese cinema? Third, what have the narrative treatments of Chinese American families in transnational Chinese cinema contributed to the ongoing representation of Chinese culture and construction of ethnic Chinese identities in Western societies? This book traverses fields such as cultural studies, Chinese studies, media studies, American studies, and film studies, and engages with a select corpus of films from the 1990s to the 2000s, directed by Chinese American, Taiwanese and Hong Kong filmmakers and produced in the USA, Taiwan, Hong Kong and mainland China, to analyze the role the American Chinese family plays in their work. With sensitivity towards transnational bonds and historical processes, a negotiation process of three sets of conflicting forces has subsequently emerged: the traditional and the modern, the national and the transnational, and Chinese American identity crisis in favor of a Chinese identity or a true American identity. Contrasting cultural beliefs undoubtedly create cross-cultural and generational conflicts within the family, yet also open the way to negotiation and compromise. This research on the cinematic depiction of Chinese Americans reveals the historically significant transnational connection among Chinese American, Chinese, and American cultures. On the one hand, ethnic Chinese are represented by boundaries that establish and define the Chinese American community against other communities, and yet, on the other hand, the representation of family life and structure of Chinese immigrants is multiple and fluid, as culture itself is unstable and uncertain. Therefore, a process of fixation and a process of fluidity seem to take place at the same time.