История
Различные книги в жанре ИсторияAn Oasis City
Scattered through the vast expanse of stone and sand that makes up Egypt’s Western Desert are several oases. These islands of green in the midst of the Sahara owe their existence to springs and wells drawing on ancient aquifers. In antiquity, as today, they supported agricultural communities, going back to Neolithic times but expanding greatly in the millennium from the Saite pharaohs to the Roman emperors. New technologies of irrigation and transportation made the oases integral parts of an imperial economy. Amheida, ancient Trimithis, was one of those oasis communities. Located in the western part of the Dakhla Oasis, it was an important regional center, reaching a peak in the Roman period before being abandoned. Over the past decade, excavations at this well-preserved site have revealed its urban layout and brought to light houses, streets, a bath, a school, and a church. The only standing brick pyramid of the Roman period in Egypt has been restored. Wall-paintings, temple reliefs, pottery, and texts all contribute to give a lively sense of its political, religious, economic, and cultural life. This book presents these aspects of the city’s existence and its close ties to the Nile valley, by way of long desert roads, in an accessible and richly illustrated fashion.
Filipino Studies
After years of occupying a vexed position in the American academy, Philippine studies has come into its own, emerging as a trenchant and dynamic space of inquiry. Filipino Studies is a field-defining collection of vibrant voices, critical perspectives, and provocative ideas about the cultural, political, and economic state of the Philippines and its diaspora. Traversing issues of colonialism, neoliberalism, globalization, and nationalism, this volume examines not only the past and present position of the Philippines and its people, but also advances new frameworks for re-conceptualizing this growing field. Written by a prestigious lineup of international scholars grappling with the legacies of colonialism and imperial power, the essays examine both the genealogy of the Philippines’ hyphenated identity as well as the future trajectory of the field. Hailing from multiple disciplines in the humanities and social sciences, the contributors revisit and contest traditional renditions of Philippine colonial histories, from racial formations and the Japanese occupation to the Cold War and “independence” from the United States. Whether addressing the contested memories of World War II, the “voyage” of Filipino men and women into the U.S. metropole, or migrant labor and the notion of home, the assembled essays tease out the links between the past and present, with a hopeful longing for various futures. Filipino Studies makes bold declarations about the productive frameworks that open up new archives and innovative landscapes of knowledge for Filipino and Filipino American Studies.
Abstractionist Aesthetics
An artistic discussion on the critical potential of African American expressive culture In a major reassessment of African American culture, Phillip Brian Harper intervenes in the ongoing debate about the “proper” depiction of black people. He advocates for African American aesthetic abstractionism—a representational mode whereby an artwork, rather than striving for realist verisimilitude, vigorously asserts its essentially artificial character. Maintaining that realist representation reaffirms the very social facts that it might have been understood to challenge, Harper contends that abstractionism shows up the actual constructedness of those facts, thereby subjecting them to critical scrutiny and making them amenable to transformation. Arguing against the need for “positive” representations, Abstractionist Aesthetics displaces realism as the primary mode of African American representational aesthetics, re-centers literature as a principal site of African American cultural politics, and elevates experimental prose within the domain of African American literature. Drawing on examples across a variety of artistic production, including the visual work of Fred Wilson and Kara Walker, the music of Billie Holiday and Cecil Taylor, and the prose and verse writings of Ntozake Shange, Alice Walker, and John Keene, this book poses urgent questions about how racial blackness is made to assume certain social meanings. In the process, African American aesthetics are upended, rendering abstractionism as the most powerful modality for Black representation.
Pillars of Cloud and Fire
At the birth of the United States, African Americans were excluded from the newly-formed Republic and its churches, which saw them as savage rather than citizen and as heathen rather than Christian. Denied civil access to the basic rights granted to others, African Americans have developed their own sacred traditions and their own civil discourses. As part of this effort, African American intellectuals offered interpretations of the Bible which were radically different and often fundamentally oppositional to those of many of their white counterparts. By imagining a freedom unconstrained, their work charted a broader and, perhaps, a more genuinely American identity. In Pillars of Cloud and Fire, Herbert Robinson Marbury offers a comprehensive survey of African American biblical interpretation. Each chapter in this compelling volume moves chronologically, from the antebellum period and the Civil War through to the Harlem Renaissance, the civil rights movement, the black power movement, and the Obama era, to offer a historical context for the interpretative activity of that time and to analyze its effect in transforming black social reality. For African American thinkers such as Absalom Jones, David Walker, Zora Neale Hurston, Frances E. W. Harper, Adam Clayton Powell, and Martin Luther King, Jr., the exodus story became the language-world through which freedom both in its sacred resonance and its civil formation found expression. This tradition, Marbury argues, has much to teach us in a world where fundamentalisms have become synonymous with “authentic” religious expression and American identity. For African American biblical interpreters, to be American and to be Christian was always to be open and oriented toward freedom.
Picture Freedom
In the decades leading up to the end of U.S. slavery, many free Blacks sat for daguerreotypes decorated in fine garments to document their self-possession. People pictured in these early photographs used portraiture to seize control over representation of the free Black body and reimagine Black visuality divorced from the cultural logics of slavery. In Picture Freedom, Jasmine Nichole Cobb analyzes the ways in which the circulation of various images prepared free Blacks and free Whites for the emancipation of formerly unfree people of African descent. She traces the emergence of Black freedom as both an idea and as an image during the early nineteenth century. Through an analysis of popular culture of the period—including amateur portraiture, racial caricatures, joke books, antislavery newspapers, abolitionist materials, runaway advertisements, ladies’ magazines, and scrapbooks, as well as scenic wallpaper—Cobb explores the earliest illustrations of free Blacks and reveals the complicated route through visual culture toward a vision of African American citizenship. Picture Freedom reveals how these depictions contributed to public understandings of nationhood, among both domestic eyes and the larger Atlantic world.
Wounds of the Spirit
In Wounds of the Spirit , Traci West employs first person accounts-from slave narratives to contemporary interviews to Tina Turner's autobiography-to document a historical legacy of violence against black women in the United States. West, a black feminist Christian ethicist, situates spiritual matters within a discussion of the psycho-social impact of intimate assault against African American women. Distinctive for its treatment of the role of the church in response to violence against African American women, the book identifies specific social mechanisms which contribute to the reproduction of intimate violence. West insists that cultural beliefs as well as institutional practices must be altered if we are to combat the reproduction of violence, and suggests methods of resistance which can be utilized by victim-survivors, those in the helping professions, and the church. Interrogating the dynamics of black women's experiences of emotional and spiritual trauma through the diverse disciplines of psychology, sociology, and theology, this important work will be of interest and practical use to those in women's studies, African American studies, Christian ethics, feminist and womanist theology, women's health, family counseling, and pastoral care.
Well Met
The Renaissance Faire—a 50 year-long party, communal ritual, political challenge and cultural wellspring—receives its first sustained historical attention with Well Met. Beginning with the chaotic communal moment of its founding and early development in the 1960s through its incorporation as a major “family friendly” leisure site in the 2000s, Well Met tells the story of the thinkers, artists, clowns, mimes, and others performers who make the Faire. Well Met approaches the Faire from the perspective of labor, education, aesthetics, business, the opposition it faced, and the key figures involved. Drawing upon vibrant interview material and deep archival research, Rachel Lee Rubin reveals the way the faires established themselves as a pioneering and highly visible counter cultural referendum on how we live now—our family and sexual arrangements, our relationship to consumer goods, and our corporate entertainments. In order to understand the meaning of the faire to its devoted participants,both workers and visitors, Rubin has compiled a dazzling array of testimony, from extensive conversations with Faire founder Phyllis Patterson to interviews regarding the contemporary scene with performers, crafters, booth workers and “playtrons.” Well Met pays equal attention what came out of the faire—the transforming gifts bestowed by the faire’s innovations and experiments upon the broader American culture: the underground press of the 1960s and 1970s, experimentation with “ethnic” musical instruments and styles in popular music, the craft revival, and various forms of immersive theater are all connected back to their roots in the faire. Original, intrepid, and richly illustrated, Well Met puts the Renaissance Faire back at the historical center of the American counterculture.
Trust in Black America
The more citizens trust their government, the better democracy functions. However, African Americans have long suffered from the lack of equal protection by their government, and the racial discrimination they have faced breaks down their trust in democracy. Rather than promoting democracy, the United States government has, from its inception, racially discriminated against African American citizens and other racial groups, denying them equal access to citizenship and to protection of the law. Civil rights violations by ordinary citizens have also tainted social relationships between racial groups—social relationships that should be meaningful for enhancing relations between citizens and the government at large. Thus, trust and democracy do not function in American politics the way they should, in part because trust is not color blind. Based on the premise that racial discrimination breaks down trust in a democracy, Trust in Black America examines the effect of race on African Americans' lives. Shayla Nunnally analyzes public opinion data from two national surveys to provide an updated and contemporary analysis of African Americans' political socialization, and to explore how African Americans learn about race. She argues that the uncertainty, risk, and unfairness of institutionalized racial discrimination has led African Americans to have a fundamentally different understanding of American race relations, so much so that distrust has been the basis for which race relations have been understood by African Americans. Nunnally empirically demonstrates that race and racial discrimination have broken down trust in American democracy.
The New H.N.I.C.
When Lauryn Hill stepped forward to accept her fifth Grammy Award in 1999, she paused as she collected the last trophy, and seeming somewhat startled said, “This is crazy, ‘cause this is hip hop music.’“ Hill’s astonishment at receiving mainstream acclaim for music once deemed insignificant testifies to the explosion of this truly revolutionary art form. Hip hop music and the culture that surrounds it—film, fashion, sports, and a whole way of being—has become the defining ethos for a generation. Its influence has spread from the state’s capital to the nation’s capital, from the Pineapple to the Big Apple, from ‘Frisco to Maine, and then on to Spain. But moving far beyond the music, hip hop has emerged as a social and cultural movement, displacing the ideas of the Civil Rights era. Todd Boyd maintains that a new generation, having grown up in the aftermath of both Civil Rights and Black Power, rejects these old school models and is instead asserting its own values and ideas. Hip hop is distinguished in this regard because it never attempted to go mainstream, but instead the mainstream came to hip hop. The New H.N.I.C. , like hip hop itself, attempts to keep it real, and challenges conventional wisdom on a range of issues, from debates over use of the “N-word,” the comedy of Chris Rock, and the “get money” ethos of hip hop moguls like Sean “P. Diddy” Combs and Russell Simmons, to hip hop’s impact on a diverse array of figures from Bill Clinton and Eminem to Jennifer Lopez.Maintaining that Martin Luther King, Jr.’s “I Have a Dream” speech is less important today than DMX's It's Dark and Hell is Hot , Boyd argues that Civil Rights as a cultural force is dead, confined to a series of media images frozen in another time. Hip hop, on the other hand, represents the vanguard, and is the best way to grasp both our present and future.
The New Black Politician
At the beginning of the Twenty-First Century, a vanguard of young, affluent black leadership has emerged, often clashing with older generations of black leadership for power. The 2002 Newark mayoral race, which featured a contentious battle between the young black challenger Cory Booker and the more established black incumbent Sharpe James, was one of a series of contests in which young, well-educated, moderate black politicians challenged civil rights veterans for power. In The New Black Politician, Andra Gillespie uses Newark as a case study to explain the breakdown of racial unity in black politics, describing how black political entrepreneurs build the political alliances that allow them to be more diversely established with the electorate. Based on rich ethnographic data from six years of intense and ongoing research, Gillespie shows that while both poor and affluent blacks pay lip service to racial cohesion and to continuing the goals of the Civil Rights Movement, the reality is that both groups harbor different visions of how to achieve those goals and what those goals will look like once achieved. This, she argues, leads to class conflict and a very public breakdown in black political unity, providing further evidence of the futility of identifying a single cadre of leadership for black communities. Full of provocative interviews with many of the key players in Newark, including Cory Booker himself, this book provides an on the ground understanding of contemporary Black and mayoral politics.