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AfricAmericas by Ineke Phaf-Rheinberger,Tiago de Oliveira Pinto Pdf
In their contributions, the autors elaborate on research and cultural practices. For that, they take a closer look at specific regularities by focusing on historical texts, art, literature, music in past and present.
How did an ancient mythological figure who stole fire from the gods become a face of the modern, lending his name to trailblazing spaceships and radical publishing outfits alike? How did Prometheus come to represent a notion of civilizational progress through revolution--scientific, political, and spiritual--and thereby to center nothing less than a myth of modernity itself ? The answer Black Prometheus gives is that certain features of the myth--its geographical associations, iconography of bodily suffering, and function as a limit case in a long tradition of absolutist political theology--made it ripe for revival and reinvention in a historical moment in which freedom itself was racialized, in what was the Age both of Atlantic revolution and Atlantic slavery. Contained in the various incarnations of the modern Prometheus--whether in Mary Shelley's esoteric novel, Frankenstein, Denmark Vesey's real-world recruitment of slave rebels, or popular travelogues representing Muslim jihadists against the Russian empire in the Caucasus-- is a profound debate about the means and ends of liberation in our globalized world. Tracing the titan's rehabilitation and unprecedented exaltation in the eighteenth and nineteenth centuries across a range of genres and geographies turns out to provide a way to rethink the relationship between race, religion, and modernity and to interrogate the Eurocentric and secularist assumptions of our deepest intellectual traditions of critique.
The global field of contemporary art is shaped by inter-racial conflicts. Alleviative Objects approaches Caribbean art through intersectional entanglements and combines decolonial epistemologies with critical whiteness studies and affect theory in order to rethink `Euro- and U.S.-centric' perspectives on art, race, and class. David Frohnapfel shows how progressive racism in the discourse on Haitian art recenters Whiteness by performing benign, innocent, and heroic identifications with the artist group Atis Rezistans. While the study turns critically towards Whiteness, it also turns away from it and towards the compelling contributions of Haitian curators and artists to the decentralization of contemporary art.
Challenging the Black Atlantic by John T. Maddox IV Pdf
The historical novels of Manuel Zapata Olivella and Ana Maria Gonçalves map black journeys from Africa to the Americas in a way that challenges the Black Atlantic paradigm that has become synonymous with cosmopolitan African diaspora studies. Unlike Paul Gilroy, who coined the term and based it on W.E.B. DuBois’s double consciousness, Zapata, in Changó el gran putas (1983), creates an empowering mythology that reframes black resistance in Colombia, Haiti, Mexico, Brazil, and the United States. In Um defeito de cor (2006), Gonçalves imagines the survival strategies of a legendary woman said to be the mother of black abolitionist poet Luís Gama and a conspirator in an African Muslim–led revolt in Brazil’s “Black Rome.” These novels show differing visions of revolution, black community, femininity, sexuality, and captivity. They skillfully reveal how events preceding the UNESCO Decade of Afro-Descent (2015–2024) alter our understanding of Afro-Latin America as it gains increased visibility. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
The Inside Story of Movement Theatre International's Mime and Clown Festivals by Michael Pedretti Pdf
This book tells the story of ground-breaking movement theater performers of the late twentieth century. It explores how the virtuoso stage clowns and mimes drew on all the performing arts to create and star in shows in order to reveal our deepest thoughts and feelings. They ignored taboos and busted boundaries to redefine the relationship between performer and audience, making a theater of kindness—a theater of joy. Complete with over two hundred photos, the book tells how these performers came together at the International Movement Theatre Festivals and reached American audiences with their work. It also details the author’s story, his devotion to, and love of, the art and the artists, and his sometimes-harrowing journey into non-profit management. It offers a peek behind the curtain to describe the process of engaging artists, audiences, funders, and the international press in this mission.
Ottmar Ette’s TransArea proceeds from the thesis that globalization is not a recent phenomenon, but rather, a process of long duration that may be divided into four main phases of accelerated globalization. These phases connect our present, across the world’s widely divergent modern eras, to the period of early modern history. Ette demonstrates how the literatures of the world make possible a tangible perception of that which constitutes Life, both of our planet and on our planet, which may only be understood through the application of multiple logics. There is no substitute for the knowledge of literature: it is the knowledge of life, from life. This English translation will be of great interest to English-speaking scholars in the fields of Global and Area Studies, Literary Studies, Cultural Studies, History, Political Science, and many more. About the author Ottmar Ette has been Chair of Romance Literature at the University of Potsdam, Germany, since 1995. He is Honorary Member of the Modern Language Association of America (MLA) (elected in 2014), member of the Berlin-Brandenburg Academy of Sciences and Humanities (elected in 2013), and regular member of the Academia Europaea (since 2010).
The Best American Essays 2013 by Cheryl Strayed,Robert Atwan Pdf
Curated by the #1 New York Times bestselling author of Wild, this volume shares intimate perspectives from some of today’s most acclaimed writers. As Cheryl Strayed explains in her introduction, “the invisible, unwritten last line of every essay should be and nothing was ever the same again.” The reader, in other words, should feel the ground shift, if even only a bit. In this edition of the acclaimed anthology series, Strayed has gathered twenty-six essays that each capture an inexorable, tectonic shift in life. Personal and deeply perceptive, this collection examines a broad range of life experiences—from a man’s relationship with Mormonism to a woman’s search for a serial killer; from listening to the music of Joni Mitchell to surviving five months at sea; from triaging injured soldiers to giving birth to a daughter; and much more. The Best American Essays 2013 includes entries by Alice Munro, Zadie Smith, John Jeremiah Sullivan, Dagoberto Gilb, Vicki Weiqi Yang, J.D. Daniels, Michelle Mirsky, and others.
Specters of Democracy examines how figurations of blackness were used to illuminate the fraught relationship between citizenship, equality, and democracy in the antebellum U.S. Through close readings of Frederick Douglass, William Wells Brown, Frances Ellen Watkins Harper, and Walt Whitman (on aurality), and Herman Melville, William J. Wilson, and a host of genre painters (on visuality), the book reveals how the difficult tasks of representing African Americans-both enslaved and free-in imaginative expression was part of a larger dilemma concerning representative democracy itself.
Women's Work by Laurie F. Maffly-Kipp,Kathryn Lofton Pdf
Whether in schoolrooms or kitchens, state houses or church pulpits, women have always been historians. Although few participated in the academic study of history until the mid-twentieth century, women labored as teachers of history and historical interpreters. Within African-American communities, women began to write histories in the years after the American Revolution. Distributed through churches, seminaries, public schools, and auxiliary societies, their stories of the past translated ancient Africa, religion, slavery, and ongoing American social reform as historical subjects to popular audiences North and South. This book surveys the creative ways in which African-American women harnessed the power of print to share their historical revisions with a broader public. Their speeches, textbooks, poems, and polemics did more than just recount the past. They also protested their present status in the United States through their reclamation of that past. Bringing together work by more familiar writers in black America-such as Maria Stewart, Francis E. W. Harper, and Anna Julia Cooper-as well as lesser-known mothers and teachers who educated their families and their communities, this documentary collection gathers a variety of primary texts from the antebellum era to the Harlem Renaissance, some of which have never been anthologized. Together with a substantial introduction to black women's historical writings, this volume presents a unique perspective on the past and imagined future of the race in the United States.
Written in a clear, accessible, storytelling style, African American Theater will shine a bright new light on the culture which has historically nurtured and inspired Black Theater. Functioning as an interactive guide for students and teachers, African American Theater takes the reader on a journey to discover how social realities impacted the plays dramatists wrote and produced. The journey begins in 1850 when most African people were enslaved in America. Along the way, cultural milestones such as Reconstruction, the Harlem Renaissance and the Black Freedom Movement are explored. The journey concludes with a discussion of how the past still plays out in the works of contemporary playwrights like August Wilson and Suzan-Lori Parks. African American Theater moves unsung heroes like Robert Abbott and Jo Ann Gibson Robinson to the foreground, but does not neglect the race giants. For actors looking for material to perform, the book offers exercises to create new monologues and scenes. Rich with myths, history and first person accounts by ordinary people telling their extraordinary stories, African American Theater will entertain while it educates.
The Complete Works of Charles Sumner by Charles Sumner Pdf
The speeches of Charles Sumner have many titles to endure in the memory of mankind. They contain the reasons on which the American people acted in taking the successive steps in the revolution which overthrew slavery, and made of a race of slaves, freemen, citizens, voters. They have a high place in literature. They are not only full of historical learning, set forth in an attractive way, but each of the more important of them was itself an historical event. They afford a picture of a noble public character. They are an example of the application of the loftiest morality to the conduct of the State. They are an arsenal of weapons ready for the friends of Freedom in all the great battles when she may be in peril hereafter. They will not be forgotten unless the world shall attain to such height of virtue that no stimulant to virtue shall be needed, or to a depth of baseness from which no stimulant can arouse it. Mr. Sumner held the office of Justice of the Peace, and that of Commissioner of the Circuit Court, to which he was appointed by his friend and teacher, Judge Story. He was a member of the convention held in 1853 to revise the Constitution of the Commonwealth of Massachusetts. With these exceptions, his only official service was as Senator in Congress from Massachusetts, from the 4th of March, 1851, when he was just past forty years of age, until his death, March 9, 1874. If his career could have been predicted in his earliest childhood, he could have had no better training for his great duties than that he in fact received. He was one of the best scholars in the public Latin School in Boston. He received the Franklin medal from the hands of Daniel Webster, who told him that "the state had a pledge of him." His school life was followed by four years in Harvard College, and a course at the Harvard Law School, where he was the favorite pupil of Judge Story. He was an eager student of the Greek and Roman classics. But his special delight was in history and international law. After his admission to the bar he was reporter of the decisions of his beloved master, and edited twenty volumes of the equity reports of Vesey, Jr., which he enriched with copious and learned notes. A little later, when he was twenty-six years old, he spent a month in Washington, tarrying a short time in New York on his way. In that brief period he made life-long friendships with some famous men, including Chancellor Kent, Judge Marshall, and Francis Lieber. He had a rare gift for making friendships with men, especially with great men, and with women. With him in those days an acquaintance with any person worth knowing soon ripened into an indissoluble friendship. A few years later he spent a little more than two years in Europe, coming home when he was just past twenty-nine years old. That time was spent in attending courts, lectures of eminent professors, and in society. No house which he desired to enter seems to have been closed to him. Statesmen, judges, scholars, beautiful women, leaders of fashionable society, welcomed to the closest intimacy this young American of humble birth, with no passport other than his own character and attainment. It is hardly too much to say that the youth of twenty-nine had a larger and more brilliant circle of friendship than any other man on either continent. The list of his friends and correspondents would fill many pages. He says in a letter to Judge Story, what would seem like boasting in other men, but with him was modest and far within the truth:— "I have a thousand things to say to you about the law, circuit life, and the English judges. I have seen more of all than probably ever fell to the lot of a foreigner. I have had the friendship and confidence of judges, and of the leaders of the bar. Not a day passes without my being five or six hours in company with men of this stamp. My tour is no vulgar holiday affair, merely to spend money and to get the fashions. It is to see men, institutions, and laws; and, if it would not seem vain in me, I would venture to say that I have not discredited my country. I have called the attention of the judges and the profession to the state of the law in our country, and have shown them, by my conversation (I will say this), that I understand their jurisprudence."