Search results for ""counterpoint""

Big Bill Otter was one member of the early American working class not preoccupied with republican principles or the heritage of the Revolution. Big Bill Otter—apprentice, journeyman, master plasterer—was a thug. Otter's autobiography, first published in 1835, provides a rare and fascinating counterpoint to romantic notions of virtuous, respectable craftsmen in the early republic. His Life and Adventures offer an inside account of the brawling racism common in the early nineteenth century and sharply detail the rowdy male subculture of the times. Born in England and conscripted into the British Navy during the Napoleonic wars, Otter jumped ship and came to New York City in 1801. He apprenticed as a plasterer and joined an urban gang; later he was a master plasterer, tavernkeeper, slavecatcher, "Jackson man," bigot, town bully, notorious practical joker, borderline psychopath, mayoral candidate, and all-round "jolly fellow." History of My Own Times is one of the few first-person accounts of a rural artisan in pre-genteel America. The book depicts the ambiguities of race relations in the early nineteenth century, sheds light on its definition of manhood, and conveys a sense of humor very different from today's. Richard B. Stott's introduction an,d commentary place Otter in the context of his times and explore the significance of his autobiography in understanding the social and cultural history of the early American republic.

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This book brings a new perspective to the study of Joyce's great novel. The author argues the case for employing the concept of irony as an explicatory tool in the study of Ulyssesóand indeed of the whole Joycean canon. Moreover he uses modern critical theory to enlarge our understanding of irony itself and to suggest how such theory has an appropriate object of attention in Joyce. Wright defines irony as "the use of a 'false' textual surface to direct a reader's attention towards initially concealed premises or implications". Thus an author lays a partly false trail, but one which usually leads towards a more authenthic or appropriate understanding of the subject under discussion. Joyce's work is full of this kind of semantic counterpoint. Indeed, it is essential to his whole comic method. Both Portrait of the Artist As a Young Man and Ulysses are full of ironic contrasts between the desire for order, certainty and stability on the one hand and random meetings and perverse associations. The author argues that Joyce's other favorite techniques of ambiguity and punning are so closely related to that of irony that all three may legitimately be considered as a unity, specially formed and deployed by Joyce in his mature work. ; Contents: Preface; List of Abbreviations; Introduction; Local Ironies; Single-Episode Ironies; Inter-Episode Ironies; Ironies from Early Joyce; Ironies from Homer to Shakespeare; Bibliography; Index.

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One of the few books on contemporary Native writing in Canada, Helen Hoy's absorbing and provocative work raises and addresses questions around 'difference' and the locations of cultural insider and outsider in relation to texts by contemporary Native women prose writers in Canada. Drawing on post-colonial, feminist, post-structuralist and First Nations theory, it explores the problems involved in reading and teaching a variety of works by Native women writers from the perspective of a cultural outsider. In each chapter, Hoy examines a particular author and text in order to address some of the basic theoretical questions of reader location, cultural difference, and cultural appropriation, finally concluding that these Native authors have refused to be confined by identity categories such as 'woman' or 'Native,' and have themselves provided a critical voice guiding how their texts might be read and taught. Hoy has written a thoughtful and original work, combining theoretical and textual analysis with insightful and witty personal and pedagogical narratives, as well as poetic and critical epigraphs - the latter of which function as counterpoint to the scholarly argument. The analysis is self-reflexive, making issues of difference and power ongoing subjects of investigation, which interact with the literary texts themselves, and which render the readings more clearly local, partial, and accountable. This highly imaginative volume will appeal to Canadianists, feminists, and the growing number of scholars in the field of Native Studies.

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Several biographies of Américo Paredes have been published over the last decade, yet they generally overlook the paradoxical nature of his life’s work. Embarking on an in-depth, critical exploration of the significant body of work produced by Paredes, José E. Limón (one of Paredes’s students and now himself one of the world’s leading scholars in Mexican American studies) puts the spotlight on Paredes as a scholar/citizen who bridged multiple arenas of Mexican American cultural life during a time of intense social change and cultural renaissance.Serving as a counterpoint to hagiographic commentaries, Américo Paredes challenges and corrects prevailing readings by contemporary critics of Paredes’s Asian period and of such works as the novel George Washington Gómez, illuminating new facets in Paredes’s role as a folklorist and public intellectual. Limón also explores how the field of cultural studies has drifted away from folklore, or “the poetics of everyday life,” while he examines the traits of Mexican American expressive culture. He also investigates the scholarly paradigm of ethnography itself, a stimulating inquiry that enhances readings of Paredes’s best-known study, “With His Pistol in His Hand,” and other works. Underscoring Paredes’s place in folklore and Mexican American literary production, the book questions the shifting reception of Paredes throughout his academic career, ultimately providing a deep hermeneutics of widely varied work. Offering new conceptions, interpretations, and perspectives, Américo Paredes gives this pivotal literary figure and his legacy the critical analysis they deserve.

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Featuring forewords from bandmates Mick Jagger and Keith Richards, this is the official and fully authorised biography of the world’s most revered and celebrated drummer. Mid-1962. The newly formed Rolling Stones are on the hunt for a permanent drummer. Their sights are set on Charlie Watts, a jazz musician already well-known within London’s rhythm and blues clubs. Fortunately for future Stones fans the world over, they persuade him to take on the job. Once installed at the drum seat, Charlie would not miss a beat for the rest of his life. He was there throughout the swinging sixties as the Stones reached superstardom and for the well-documented debauchery of the 1970s, typified by the iconic album Exile on Main St. Battling his own demons by the eighties, Charlie emerged unscathed, cementing his reputation as the thoughtful, cultured but no less compelling counterpoint to his more raucous bandmates. For almost 60 years – through all the band bust-ups, bereavements and changes in personnel both on stage and off – Charlie remained the rock at the heart of the Rolling Stones. At the same time, he was the antithesis of the rock-star archetype, an intensely private man who valued his family above all else. Drawing on new interviews with his family, friends and former bandmates – including Mick Jagger and Keith Richards – Charlie’s Good Tonight is the remarkable life story of Charlie Watts: official, authorised and as it’s never been told before.

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Featuring forewords from bandmates Mick Jagger and Keith Richards, this is the official and fully authorised biography of the world’s most revered and celebrated drummer. Mid-1962. The newly formed Rolling Stones are on the hunt for a permanent drummer. Their sights are set on Charlie Watts, a jazz musician already well-known within London’s rhythm and blues clubs. Fortunately for future Stones fans the world over, they persuade him to take on the job. Once installed at the drum seat, Charlie would not miss a beat for the rest of his life. He was there throughout the swinging sixties as the Stones reached superstardom and for the well-documented debauchery of the 1970s, typified by the iconic album Exile on Main St. Battling his own demons by the eighties, Charlie emerged unscathed, cementing his reputation as the thoughtful, cultured but no less compelling counterpoint to his more raucous bandmates. For almost 60 years – through all the band bust-ups, bereavements and changes in personnel both on stage and off – Charlie remained the rock at the heart of the Rolling Stones. At the same time, he was the antithesis of the rock-star archetype, an intensely private man who valued his family above all else. Drawing on new interviews with his family, friends and former bandmates – including Mick Jagger and Keith Richards – Charlie’s Good Tonight is the remarkable life story of Charlie Watts: official, authorised and as it’s never been told before.

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A Muslim scholar with extensive experience in Africa, T. Abdou Maliqalim Simone was recruited by the Islamic fundamentalist Shari'a Movement in Sudan to act as consultant for its project to unite Muslims and non-Muslims in Khartoum's shanty towns. Based on his interviews with hundreds of individuals during this time, plus extensive historical and archival research, "In Whose Image?" is an examination of the use of Islam as a tool for political transformation. Drawing a detailed portrait of political fundamentalism during the 1985-89 period of democratic rule in the Sudan, Simone shows how the Shari'a Movement attempted to shape a viable social order by linking religious integrity and economic development, where religious practice was to dominate all aspects of society and individuals' daily lives. However, because Sudanese society is remarkably diverse ethnically and religiously, this often led to conflict, fragmentation and violence in the name of Islam. Simone's own Islamic background leads him to deplore the violence and the devastating psychological, economic and cultural consequences of one form of Islamic radicalism, while holding to the hope that a viable form of this inherently political religion can in fact be applied. As a counterpoint, he ends with a discussion of South Africa's Call of Islam, which seeks political unity through a more tolerant interpretation of Islam. As an introduction to religious discourse in Africa, this book should be of interest to students and scholars of African Studies, Religious Studies, Anthropology and Political Science.

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Who are the people of India? What are their rights? What are their claims on the Indian Constitution and on democracy? We the People, the fourth volume in the Rethinking India series, brings together a collection of essays that explores the process of germination and growth of undisputed universal rights, and of them being developed as tangible entitlements in India. The essays also examine the continuing challenge of establishing, realizing and protecting these entitlements.The authors are academics, activists and practitioners who have a strong relationship with social movements. Their narratives trace the use of the rights-based framework of the Indian Constitution by sociopolitical movements in order to strengthen the economic, cultural and social rights of ordinary Indians. The multiple perspectives draw upon and contextualize the complex relationship of the citizen with the state, society and market in democratic India. Their sharp critiques have a counterpoint in stories of creative, successful alternatives designed by peoples' collectives.There is both an explicit and implicit challenge to conservative notions of 'market-led development' that see competition and profits as central to 'progress' and success. The essays showcase the continuing dialectic between established constitutional rights and shifting state policy. They provide invaluable insight at a time when many sacred pillars of neoliberal 'globalization' are crumbling, and the capitalist superstructure is itself turning to the state for survival. They promote understanding and scholarship, and enliven debates as we continue to search for answers in uncertain and challenging times.

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A selection of sharp, witty, and impeccably crafted poems from A. E. Stallings, the award-winning poet and translator. This Afterlife: Selected Poems brings together poetry from A. E. Stallings's four acclaimed collections, Archaic Smile, Hapax, Olives, and Like, as well as a lagniappe of outlier poems. Over time, themes and characters reappear, speaking to one another across years and experience, creating a complex music of harmony, dissonance, and counterpoint. The Underworld and the Afterlife, ancient history and the archaeology of the here and now, all slant rhyme with one another. Many of these poems unfold in the mytho-domestic sphere, through the eyes of Penelope or Pandora, Alice in Wonderland or the poet herself. Fulfilling the promise of the energy and sprezzatura of Stallings's earliest collection, her later technical accomplishments rise to meet the richness of lived experience: of marriage and motherhood, of a life lived in another language and country, of aging and mortality. Her chosen home of Greece adds layers of urgency to her fascination with Greek mythology; living in an epicenter of contemporary crises means current events and ancient history are always rubbing shoulders in her poems. Expert at traditional received forms, Stallings is also a poet of restless experiment, in cat's-cradle rhyme schemes, nonce stanzas, supple free verse, thematic variation, and metaphysical conceits. The pleasure of these poems, fierce and witty, melancholy and wise, lies in a timeless precision that will outlast the fickleness of fashion.

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Like many indigenous groups that have endured centuries of subordination, the Berber/Amazigh peoples of North Africa are demanding linguistic and cultural recognition and the redressing of injustices. Indeed, the movement seeks nothing less than a refashioning of the identity of North African states, a rewriting of their history, and a fundamental change in the basis of collective life. In so doing, it poses a challenge to the existing political and sociocultural orders in Morocco and Algeria, while serving as an important counterpoint to the oppositionist Islamist current.This is the first book-length study to analyze the rise of the modern ethnocultural Berber/Amazigh movement in North Africa and the Berber diaspora. Bruce Maddy-Weitzman begins by tracing North African history from the perspective of its indigenous Berber inhabitants and their interactions with more powerful societies, from Hellenic and Roman times, through a millennium of Islam, to the era of Western colonialism. He then concentrates on the marginalization and eventual reemergence of the Berber question in independent Algeria and Morocco, against a background of the growing crisis of regime legitimacy in each country. His investigation illuminates many issues, including the fashioning of official national narratives and policies aimed at subordinating Berbers in an Arab nationalist and Islamic-centered universe; the emergence of a counter-movement promoting an expansive Berber "imagining" that emphasizes the rights of minority groups and indigenous peoples; and the international aspects of modern Berberism.

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The political thought of Muslim societies is all too often defined in religious terms, in which the writings of clerics are seen as representative and ideas about governance are treated as an extension of commentary on sacred texts. Disenchanting the Caliphate offers a groundbreaking new account of political discourse in Islamic history by examining Abbasid imperial practice, illuminating the emergence and influence of a vibrant secular tradition.Closely reading key eighth-century texts, Hayrettin Yücesoy argues that the ulema’s discourse of religious governance and the political thought of lay intellectuals diverged during this foundational period, with enduring consequences. He traces how notions of good governance and reflections on prudent statecraft arose among cosmopolitan literati who envisioned governing as an art. Competent in nonreligious branches of knowledge and trained in administrative professions, these belletrists articulated and defended secular political practices, reimagining the caliphal realm as politically constituted rather than natural. They sought to improve administrative efficiency and bolster state control for an empire made up of diverse cultures. Their ideas about moral cultivation, temporal reasoning, and governmental rationality endured for centuries as a counterpoint to religious rulership. Drawing on this history, Yücesoy critiques the concept of “Islamic political thought,” calling for decolonizing debates about “secular” and “religious” politics.Theoretically rich and historically grounded, Disenchanting the Caliphate is an insightful and provocative reconsideration of key strands of political discourse in the intellectual history of Muslim societies.

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Until 2008 Nevada was the fastest-growing state in America. But the recession stopped this urbanizing gallop in the Mojave Desert, and Las Vegas froze at exactly the point where its aspirational excesses were most baroque and unfettered. In this third Radius Books installment of noted photographer Michael Light's aerial survey of the inhabited West, the photographer eschews the glare of the Strip to hover intimately over the topography of America's most fevered residential dream: castles on the cheap, some half-built, some foreclosed, some hanging on surrounded by golf courses gone bankruptcy brown, some still waiting to spring from empty cul-de-sacs. Throughout, Light characteristically finds beauty and empathy amidst a visual vertigo of speculation, overreach, environmental delusion and ultimate geological grace. Janus-faced in design, one side of the book plumbs the surrealities of "Lake Las Vegas," a lifestyle resort comprised of 21 Mediterranean-themed communities built around a former sewage swamp. The other side of the book dissects nearby Black Mountain and the city's most exclusive-and empty -future community where a quarter billion dollars was spent on moving earth that has lain dormant for the past six years. Following the boom and bust history of the West itself, Light's photographs terrifyingly and poignantly show the extraction and habitation industries as two sides of the same coin. Essays by two of the world's most celebrated cultural and landscape thinkers, Rebecca Solnit and Lucy Lippard, offer resonant counterpoint.

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'After all that - how, you might wonder, could one not become a fatalist?' Lermontov's hero, Pechorin, is a young army officer posted to the Caucasus, where his adventures - amorous and reckless - do nothing to alleviate his boredom and cynicism. World-weary and self-destructive, Pechorin is alienated from those around him yet he is full of passion and romantic ardour, sensitive as well as arrogant. His complex, contradictory character dominates A Hero of Our Time, the first great Russian novel, in which the intricate narrative unfolds episodically, transporting the reader from the breathtaking terrain of the Caucasus to the genteel surroundings of spa resorts. Told in an engaging yet pointedly ironic style, the story expresses Lermontov's own estrangement from the stifling conventions of bourgeois society and the oppression of Russian autocracy, but it also captures a longing for freedom through acts of love and bravery. This new edition also includes Pushkin's Journey to Arzrum, in which Pushkin describes his own experiences of Russia's military campaigns in the Caucasus and which provides a fascinating counterpoint to Lermontov's novel. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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Hitler's tyranny is still difficult to understand today. In this book, Ralf Georg Reuth examines ten aspects of this catastrophe. Among other things, he asks: Was anti-Semitism more pronounced in Germany than elsewhere? Was Versailles responsible for Hitler's rise, and why did the Germans follow a racial fanatic like him? How did his war differ from all others before it? The disturbing answers provide an overall picture that shows: Hitler was not just the consequence of German history, but the result of chance, deception, and seduction. This thought-provoking new study takes aim at several of the 'sacred cows' of Hitler scholarship from the past forty years. Reuth interrogates and challenges a range of orthodox views on such topics as how mainstream politicians facilitated Hitler's rise to power, the Fuhrer's infamous pact with Stalin, and the complicity of ordinary Germans in his genocidal tyranny. Eschewing a conventional chronological approach in favour of a forensic analysis of Adolf Hitler's mainsprings of action both as chancellor and military commander, Reuth portrays Hitler as the apotheosis of a specifically German strain of militarism and imperialism, shifting the focus firmly back on to the mindset and modus operandi of Hitler himself. The portrait that emerges is one of a murderous fantasist and political opportunist driven by an all-embracing ideology of racial superiority. Reuth's account courts controversy on a few points but offers a fascinating counterpoint to much recent scholarship.

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Western admirers have long seen the Islamic garden as an earthly reflection of the paradise said to await the faithful. However, such simplification, Ruggles contends, denies the sophistication and diversity of the art form. Islamic Gardens and Landscapes immerses the reader in the world of the architects of the great gardens of the Islamic world, from medieval Morocco to contemporary India. Just as Islamic culture is historically dense, sophisticated, and complex, so too is the history of its built landscapes. Islamic gardens began from the practical need to organize the surrounding space of human civilization, tame nature, enhance the earth's yield, and create a legible map on which to distribute natural resources. Ruggles follows the evolution of these early farming efforts to their aristocratic apex in famous formal gardens of the Alhambra in Spain and the Taj Mahal in Agra. Whether in a humble city home or a royal courtyard, the garden has several defining characteristics, which Ruggles discusses. Most notable is an enclosed space divided into four equal parts surrounding a central design element. The traditional Islamic garden is inwardly focused, usually surrounded by buildings or in the form of a courtyard. Water provides a counterpoint to the portioned green sections. Ranging across poetry, court documents, agronomy manuals, and early garden representations, and richly illustrated with pictures and site plans, Islamic Gardens and Landscapes is a book of impressive scope sure to interest scholars and enthusiasts alike.

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Michael Snediker offers a much-needed counterpoint to queer theoretical discourse, which has long privileged melancholy, self-shattering, incoherence, shame, and the death drive. Recovering the forms of positive affect that queer theory has jettisoned, Snediker insists that optimism must itself be taken beyond conventional tropes of hope and futurity and reimagined as necessary for critical engagement. Through fresh, perceptive, and sensitive readings of the poetry of Emily Dickinson, Hart Crane, Jack Spicer, and Elizabeth Bishop, Snediker reveals that each of these poets demonstrated an interest in the durability of positive affects. Dickinson, Snediker argues, expresses joy and grace as much as pain and loss, and the myriad cryptic smiles in Hart Crane’s White Building contradict prevailing narratives of Crane’s apocryphal literary failures and eventual suicide. Snediker’s ambitious and sophisticated study, informed by thinkers such as Winnicott, Deleuze, and de Man, both supplements and challenges the work of queer theory’s leading figures, including Judith Butler, Leo Bersani, Eve Kosofsky Sedgwick, and Lee Edelman. Queer Optimism revises our understanding of queer love and affiliation, examining Spicer’s serial collusion with matinee idol Billy the Kid as well as the critically neglected force of Bishop’s epistolary and poetic reparations of the drowned figure of Hart Crane. In doing so, Snediker persuasively reconceives a theoretical field of optimism that was previously unavailable to scrupulous critical inquiry and provides a groundbreaking approach to modern American poetry and poetics.

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From the Biblical period and Classical Antiquity to the rise of the Renaissance and the Enlightenment, aspects of Persian culture have been integral to European history. A diverse constellation of European artists, poets, and thinkers have looked to Persia for inspiration, finding there a rich cultural counterpoint and frame of reference. Interest in all things Persian was no passing fancy but an enduring fascination that has shaped not just Western views but the self-image of Iranians up to the present day. Persophilia maps the changing geography of connections between Persia and the West over the centuries and shows that traffic in ideas about Persia and Persians did not travel on a one-way street.How did Iranians respond when they saw themselves reflected in Western mirrors? Expanding on Jürgen Habermas’s theory of the public sphere, and overcoming the limits of Edward Said, Hamid Dabashi answers this critical question by tracing the formation of a civic discursive space in Iran, seeing it as a prime example of a modern nation-state emerging from an ancient civilization in the context of European colonialism. The modern Iranian public sphere, Dabashi argues, cannot be understood apart from this dynamic interaction.Persophilia takes into its purview works as varied as Xenophon’s Cyropaedia and Nietzsche’s Thus Spoke Zarathustra, Handel’s Xerxes and Puccini’s Turandot, and Gauguin and Matisse’s fascination with Persian art. The result is a provocative reading of world history that dismantles normative historiography and alters our understanding of postcolonial nations.

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Representing dancers, scholars, admirers, and critics, I See America Dancing is a diverse collection of primary documents and articles about the place and shape of dance in the United States from colonial times to the present. This volume offers a lively counterpoint between observers of the dance and dancers' views of what they do when they dance. Dance traditions represented include the Native American pow-wow; tribal music and dance activities on Sunday afternoons in New Orlean's Congo Square; the colonial Playford Balls and their modern offspring, country line dancing; and the Buddhist-inspired Japanese Bon dances in Hawaii. Anti-dance perspectives include government injunctions against Native American dancing and essays from a range of speakers who have declared the waltz, the twist, or the senior prom to be a careless quick-step away from hell or the brothel.I See America Dancing examines the styles that have marked theatrical dance in America, from French ballet to minstrel shows, and presents the views of influential dancers, choreographers, and the pioneers of early modern dance in America. Specific pieces examined include George Ballanchine's ballet Stars and Stripes, Yvonne Rainer's protest piece "Flag Dance, 1970," and Sonjé Mayo's "Naked in America." Covering historical social attitudes toward the dance as well as the performers and their works, I See America Dancing is a comprehensive, scholarly sourcebook that captures the energy and passion of this vital artform.

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Rob Krier is a unique voice in today's architectural discourse through his commitment to developing a relevant and pragmatic theory of architecture based on his own experience and observations of architectural practice and opposed to the easy, abstract theorising so common in contemporary architectural writing. Together with his brother Leon, he has perfected a form of presentation in which the potency of his thinking finds its perfect counterpoint in detailed drawings and sketches which argue his case visually through the power of example. Following the success of his widely acclaimed "Urban Space", a work which looked at the problems of our cities from a historical, theoretical and practical standpoint, Krier now applies his particular, highly influential mode of didactic criticism to contemporary architecture in continuing search for fundamental architectural truths. Architectural Composition is both a theoretical and visual analysis which clearly illustrates the creative process which informs Krier's vision and praxis. The culmination of a lifetime's thought and experience by one of Europe's most important architectural theorists, it is without doubt a major achievement and is a standard work of reference for both students and practising architects. The book, published for the first time in 1988 by Academy Editions in London, has been supported by funds from the Fond zur Förderung der wissenschaftlichen Forschung der Republik Österreich, and it was carried out at Krier's former Institut für Gestaltungslehre at the Technische Universität in Vienna.

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Answering a need for critical attention towards experimental and avant-garde music, Arcana is a ground-breaking work--as far-ranging and dynamic as the current generation of musicians. Through manifestoes, scores, interviews, notes and critical papers, performer/composers address composing, playing, improvising, teaching and thinking in and through music, Rather than an attempt to distill or define musicans' work, Arcana is a remarkable book--challenging and original--essential for composers, musicians, theorists and fans alike. Edited by John Zorn, it includes contributions from Bill Frisell, Marc Ribot (on earplugs), Ikue Mori (on drum machines), Bob Ostertag (on a string quartet) There's a discussion on plunderphonics with John Oswald, an overview from Elliott Sharp on his group Carbon, and David Mahler expounds his responses to a set of nine questions posed by Pauline Oliveros. The writings range from brief 2 or 3 page entries (Mike Patton's "How We Eat Our Young," Marilyn Crispell's "Elements of Improvisation") to long and elaborate essays (Scott Johnson's "Counterpoint," David Rosenboom's "Propositional Music"). Some of the contributions are more unusual, such as Zorn's "Treatment for a Film in Fifteen Scenes," Fred Frith's notebook extracts, or Peter Garland's journal of his trip to Australia's Northern Territory. All of them provide for inspiring and thought-provoking reading, making this an invaluable book for both fans of these artists and aspiring musicians of the avant garde. An appendix of brief bios for each artist ends the book, along with short lists of recommended listenings.

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A detailed study of the well-known, yet poorly understood, music theory of composer Paul Hindemith (1895-1963). The music theory of composer Paul Hindemith (1895-1963), originally entitled Unterweisung im Tonsatz, is well known, yet poorly understood. This book provides a critical engagement with Hindemith's Unterweisung, particularly concerning its relationship to existing acoustic music theories. By examining different Unterweisung-versions, it charts the evolution of Hindemith's use of language and mode of communication, including his reference to polytonality, atonality, Fuxian species counterpoint, and avoidance of existing music for his examples. It also elaborates the source material on which the theory is based, using a reconstruction of Hindemith's personal library. Central to the book is the relationship of Hindemith's Unterweisung to his compositional practice. Hindemith's fascination with the challenges of music theory falls into a middle period in his oeuvre, enabling profitable comparisons with his compositional practice both before and after his theory-making. The book also comprises a detailed discussion of Hindemith's theoretical and compositional legacy. Beginning with an overview of existing polemics, it draws together unpublished materials from the Yale Hindemith Institute with reminiscences from former students to construct an Unterweisung reception history. The book shows that, while many areas of Hindemith's theory have been overtaken by recent interests in music theory that relate to cognition and geometry, his influence has been deeply felt. SIMON DESBRUSLAIS is Lecturer in Music and Director of Performance at the University of Hull and an internationally acclaimed trumpet soloist.

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Maurice Rosenblatt was one of the principal behind-the-scenes engineers of the 1954 overthrow of Senator Joseph McCarthy, the rabidly anti-Communist chairman of the Senate Permanent Subcommittee on Investigations. Veteran journalist Shelby Scates tells the story of the rise of McCarthy’s power to destroy careers and livelihoods with his allegations of subversion, together with the story of Rosenblatt’s role in effecting McCarthy’s eventual censure by the Senate. Lobbyist Rosenblatt joined with colleagues to form the McCarthy Clearinghouse, dedicated to stopping the demagogue’s assault on civil liberties. Operating out of Rosenblatt’s suite in the Carroll Arms Hotel near Capitol Hill, Clearinghouse staff lent their support to the Republican senator from Vermont, Ralph Flanders, who introduced the successful resolution to censure McCarthy and remove him from his committee chairmanship. Drawing on interviews with Rosenblatt and other actors in the drama and on previously unresearched collections of papers, Scates tells a tale of excess and intrigue in an engagingly salty style. Passages quoted from the transcripts of McCarthy’s closed-door hearings -- not released until 2003, fifty years after the fact -- reveal in the participants’ own words how McCarthy grilled, cajoled, and threatened his witnesses and how they responded. Rosenblatt’s words and records offer the counterpoint, revealing the opposition’s strategy: “the way to defeat an extremist is with the conservative establishment.” In telling the story, Scates gives Rosenblatt the acknowledgment he deserves for having helped end a fearful episode in American political history.

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The political thought of Muslim societies is all too often defined in religious terms, in which the writings of clerics are seen as representative and ideas about governance are treated as an extension of commentary on sacred texts. Disenchanting the Caliphate offers a groundbreaking new account of political discourse in Islamic history by examining Abbasid imperial practice, illuminating the emergence and influence of a vibrant secular tradition.Closely reading key eighth-century texts, Hayrettin Yücesoy argues that the ulema’s discourse of religious governance and the political thought of lay intellectuals diverged during this foundational period, with enduring consequences. He traces how notions of good governance and reflections on prudent statecraft arose among cosmopolitan literati who envisioned governing as an art. Competent in nonreligious branches of knowledge and trained in administrative professions, these belletrists articulated and defended secular political practices, reimagining the caliphal realm as politically constituted rather than natural. They sought to improve administrative efficiency and bolster state control for an empire made up of diverse cultures. Their ideas about moral cultivation, temporal reasoning, and governmental rationality endured for centuries as a counterpoint to religious rulership. Drawing on this history, Yücesoy critiques the concept of “Islamic political thought,” calling for decolonizing debates about “secular” and “religious” politics.Theoretically rich and historically grounded, Disenchanting the Caliphate is an insightful and provocative reconsideration of key strands of political discourse in the intellectual history of Muslim societies.

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A Muslim scholar with extensive experience in Africa, T. Abdou Maliqalim Simone was recruited by the Islamic fundamentalist Shari'a Movement in Sudan to act as consultant for its project to unite Muslims and non-Muslims in Khartoum's shanty towns. Based on his interviews with hundreds of individuals during this time, plus extensive historical and archival research, "In Whose Image?" is an examination of the use of Islam as a tool for political transformation. Drawing a detailed portrait of political fundamentalism during the 1985-89 period of democratic rule in the Sudan, Simone shows how the Shari'a Movement attempted to shape a viable social order by linking religious integrity and economic development, where religious practice was to dominate all aspects of society and individuals' daily lives. However, because Sudanese society is remarkably diverse ethnically and religiously, this often led to conflict, fragmentation and violence in the name of Islam. Simone's own Islamic background leads him to deplore the violence and the devastating psychological, economic and cultural consequences of one form of Islamic radicalism, while holding to the hope that a viable form of this inherently political religion can in fact be applied. As a counterpoint, he ends with a discussion of South Africa's Call of Islam, which seeks political unity through a more tolerant interpretation of Islam. As an introduction to religious discourse in Africa, this book should be of interest to students and scholars of African Studies, Religious Studies, Anthropology and Political Science.

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Love and Friendship in the Western Tradition comprises a collection of essays written over a 25 year period by the late Rev. Professor James McEvoy on the theme of friendship. The book traces the genesis and development of philosophical treatments of friendship from Greek philosophy, through the Middle Ages, to modern and postmodern philosophy. The collection's three major concerns are: (1) the history of philosophical discussions of friendship; (2) the role of friendship in the cultivation of the philosophical life; (3) the marginalization of friendship as a theme for philosophical reflection and practice in the modern period.As the author was primarily a medievalist, a great deal of the focus of the essays is on the development of the theme of friendship in the Middle Ages (in the thought of Augustine, Aquinas, Aelred of Rievaulx, Henry of Ghent, Robert Grosseteste, etc.). However, this focus, while a value in itself, also serves to connect philosophical perspectives on friendship from before and after the middle ages. It connects to the time before inasmuch as much of the work done on friendship in the Middle Ages is anchored in interpretations of Aristotle and Plato, and it connects to the time after by providing a counterpoint to the modern paradigm of what constitutes the philosophical life.The collection combines historical with thematic approaches to scholarship on this issue and is one of the only books of its kind to do so. It is, perhaps, unique in its historical sweep and will prove to be a canonical source for further research on this topic.

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This book describes how the implementation of variable rate launching in the context of a mixed-model assembly line with unlimited customization flexibility promotes customer-centric production. Variable rate launching (VRL) – as opposed to fixed rate launching (FRL) – eliminates idle time and utility work in mixed-model assembly lines. Even in the context of limitless customization, which runs the risk of concentrated peak workloads and possible longer assembly lines, a variable takt proves to be more economical than a fixed takt. On the technical side, a fixed takt requires both a healthy balance of process times and optimal scheduling to create feasible production schedules, as using average takt does not allow workers enough time to complete their tasks for more complex products. Because the variable takt relies on similar process times for a given product across the entire line for one product, and all products are given exactly the time they need for assembly, optimal series-sequencing and regular task rescheduling can be eliminated. This book is intended as a reference guide for experienced executives in manufacturing and academics teaching operational effectiveness for customer-centric production, and makes extensive references to AGCO Fendt’s modern tractor line in Marktoberdorf, Germany. The book also offers application case studies from companies in related industries such as automotive, electronics, and machine tools. The book’s key message is that variation should not be universally eliminated from manufacturing. As such, the book represents a counterpoint to the philosophy advocated by the Toyota Production System.

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An intensely personal, and philosophical, account of why white America’s racial unconscious is not so unconsciousAn Essay for Ezra is a critique of terror that begins but by no means ends with the presidency of Donald J. Trump. A father addresses his son and a boy shares his observations in a dynamic dialogistic exchange that is a commentary of and for its time, taking the measure of racial terror and of white supremacy both in our moment and as a historical phenomenon.Framed through the experiences of the author’s biracial son, An Essay for Ezra is intensely personal while also powerfully universal. Drawing on the social and political thought of James Baldwin and Martin Luther King, Grant Farred examines the temptation and the perils of essentialism and the need to discriminate—to engage the black mind as much as the black body. With that dialectic as his starting point, Farred engages the ideas of Jameson, Barthes, Derrida, Adorno, Kant, and other thinkers to derive an ethics of being in our time of social peril. His antiessentialist racial analysis is salient, especially when he deploys Dave Chappelle as a counterpoint to Baldwin—and Chappelle’s brilliant comic philosophic voice jabs at both racial and gender identity.Standing apart for its willingness to explore terror in all its ambivalence, this theoretical reflection on racism, knowledge, ethics, and being in our neofascist present brings to bear the full weight of philosophical inquiry and popular cultural critique on black life in the United States.

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An intensely personal, and philosophical, account of why white America’s racial unconscious is not so unconsciousAn Essay for Ezra is a critique of terror that begins but by no means ends with the presidency of Donald J. Trump. A father addresses his son and a boy shares his observations in a dynamic dialogistic exchange that is a commentary of and for its time, taking the measure of racial terror and of white supremacy both in our moment and as a historical phenomenon.Framed through the experiences of the author’s biracial son, An Essay for Ezra is intensely personal while also powerfully universal. Drawing on the social and political thought of James Baldwin and Martin Luther King, Grant Farred examines the temptation and the perils of essentialism and the need to discriminate—to engage the black mind as much as the black body. With that dialectic as his starting point, Farred engages the ideas of Jameson, Barthes, Derrida, Adorno, Kant, and other thinkers to derive an ethics of being in our time of social peril. His antiessentialist racial analysis is salient, especially when he deploys Dave Chappelle as a counterpoint to Baldwin—and Chappelle’s brilliant comic philosophic voice jabs at both racial and gender identity.Standing apart for its willingness to explore terror in all its ambivalence, this theoretical reflection on racism, knowledge, ethics, and being in our neofascist present brings to bear the full weight of philosophical inquiry and popular cultural critique on black life in the United States.

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In The One, Other, and Only Dickens, Garrett Stewart casts new light on those delirious wrinkles of wording that are one of the chief pleasures of Dickens’s novels but that go regularly unnoticed in Dickensian criticism: the linguistic infrastructure of his textured prose. Stewart, in effect, looks over the reader’s shoulder in shared fascination with the local surprises of Dickensian phrasing and the restless undertext of his storytelling. For Stewart, this phrasal undercurrent attests both to Dickens’s early immersion in Shakespearean sonority and, at the same time, to the effect of Victorian stenography, with the repressed phonetics of its elided vowels, on the young author’s verbal habits long after his stint as a shorthand Parliamentary reporter. To demonstrate the interplay and tension between narrative and literary style, Stewart draws out two personas within Dickens: the Inimitable Boz, master of plot, social panorama, and set-piece rhetorical cadences, and a verbal alter ego identified as the Other, whose volatile and intensively linguistic, even sub-lexical presence is felt throughout Dickens’s fiction. Across examples by turns comic, lyric, satiric, and melodramatic from the whole span of Dickens’s fiction, the famously recognizable style is heard ghosted in a kind of running counterpoint ranging from obstreperous puns to the most elusive of internal echoes: effects not strictly channeled into the service of overall narrative drive, but instead generating verbal microplots all their own. One result is a new, ear-opening sense of what it means to take seriously Graham Greene’s famous passing mention of Dickens’s "secret prose."

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In The One, Other, and Only Dickens, Garrett Stewart casts new light on those delirious wrinkles of wording that are one of the chief pleasures of Dickens’s novels but that go regularly unnoticed in Dickensian criticism: the linguistic infrastructure of his textured prose. Stewart, in effect, looks over the reader’s shoulder in shared fascination with the local surprises of Dickensian phrasing and the restless undertext of his storytelling. For Stewart, this phrasal undercurrent attests both to Dickens’s early immersion in Shakespearean sonority and, at the same time, to the effect of Victorian stenography, with the repressed phonetics of its elided vowels, on the young author’s verbal habits long after his stint as a shorthand Parliamentary reporter. To demonstrate the interplay and tension between narrative and literary style, Stewart draws out two personas within Dickens: the Inimitable Boz, master of plot, social panorama, and set-piece rhetorical cadences, and a verbal alter ego identified as the Other, whose volatile and intensively linguistic, even sub-lexical presence is felt throughout Dickens’s fiction. Across examples by turns comic, lyric, satiric, and melodramatic from the whole span of Dickens’s fiction, the famously recognizable style is heard ghosted in a kind of running counterpoint ranging from obstreperous puns to the most elusive of internal echoes: effects not strictly channeled into the service of overall narrative drive, but instead generating verbal microplots all their own. One result is a new, ear-opening sense of what it means to take seriously Graham Greene’s famous passing mention of Dickens’s "secret prose."

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Drawing on more than 20 years of archaeological study and investigation at Zawiyet Umm el-Rakham by a team from the University of Liverpool (led by Professor Steven Snape), this book paints a nuanced picture of daily life not only at this liminal military site, but also in Ramesside Egypt more broadly. Constructed during the reign of Ramesses II, the fortified settlement was situated 300 kilometres west of Alexandria and represents the furthest western outpost of the Egyptian New Kingdom empire. Excavations in Area K of the fortress have uncovered extensive evidence for the living arrangements, minor industries, food production and daily life of the fort’s inhabitants. This previously unpublished material forms the bedrock of this volume, which focuses on analysing the various subsistence and craft production strategies that were conducted alongside each other in this area, from baking, brewing and butchery to lithics working, bone-carving and weaving. These traces of the activities of the soldiers and their families shed new light on what life was like at this military installation and for ordinary Egyptians more widely, shifting away from a focus on elite social groups. The archaeological evidence covered in this book prompts a re-evaluation of the realities of the relationship between Egyptians and Libyans at the close of the Late Bronze Age. The purpose of the fortress' construction was primarily defensive, however the surviving material points to co-operation by means of collaborative farming and trading, and provides a direct counterpoint to the more belligerent contemporary royal monumental inscriptions describing Egypto-Libyan relations.

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GREEK DRAMA and the Invention of Rhetoric “An impressively erudite, elegantly crafted argument for reversing what ‘everybody knows’ about the relation of two literary genres that played before mass audiences in the Athenian city state.” Victor Bers, Yale University “Sansone’s book is first-rate and should be read by any scholar interested in the origins of Greek rhetorical theory or, for that matter, interested in Greek tragedy. That Greek tragedy contains elements properly described as rhetorical is familiar, but Sansone goes far beyond this understanding by putting Greek tragedy at the heart of a counter-narrative of those origins.” Edward Schiappa, The University of Minnesota This book challenges the standard view that formal rhetoric arose in response to the political and social environment of ancient Athens. Instead, it is argued, it was the theater of Ancient Greece, first appearing around 500 BC that prompted the development of formalized rhetoric, which evolved soon thereafter. Indeed, ancient Athenian drama was inextricably bound to the city-state’s development as a political entity, as well as to the birth of rhetoric. Ancient Greek dramatists used mythical conflicts as an opportunity for staging debates over issues of contemporary relevance, civic responsibility, war, and the role of the gods. The author shows how the essential feature of dialogue in drama created a ‘counterpoint’—an interplay between the actor making the speech and the character reacting to it on stage. This innovation spurred the development of other more sophisticated forms of argumentation, which ultimately formed the core of formalized rhetoric.

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The exodus of millions of African Americans from the rural South is a central theme of black life and liberation in the twentieth century. A Mind to Stay offers a counterpoint to the narrative of the Great Migration. Sydney Nathans tells the rare story of people who moved from being enslaved to becoming owners of the very land they had worked in bondage, and who have held on to it from emancipation through the Civil Rights era.The story began in 1844, when North Carolina planter Paul Cameron bought 1,600 acres near Greensboro, Alabama, and sent out 114 enslaved people to cultivate cotton and enlarge his fortune. In the 1870s, he sold the plantation to emancipated black families who worked there. Drawing on thousands of letters from the planter and on interviews with descendants of those who bought the land, Nathans unravels how and why the planter’s former laborers purchased the site of their enslavement, kept its name as Cameron Place, and defended their homeland against challengers from the Jim Crow era to the present day.Through the prism of a single plantation and the destiny of black families that dwelt on it for over a century and a half, A Mind to Stay brings to life a vivid cast of characters and illuminates the changing meaning of land and landowning to successive generations of rural African Americans. Those who remained fought to make their lives fully free—for themselves, for their neighbors, and for those who might someday return.

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Presenting the first comprehensive art historical study of some magnificent Mesoamerican murals, this book demonstrates how generations of ancient Mexican artists, patrons, and audiences created a powerful statement of communal identity that still captures the imagination. Honorable Mention, ALAA Book Award, Association for Latin American Art/Arvey Foundation, 2016Between AD 650 and 950, artists at the small Central Mexican city-state of Cacaxtla covered the walls of their most important sacred and public spaces with dazzling murals of gods, historical figures, and supernatural creatures. Testimonies of a richly interconnected ancient world, the Cacaxtla paintings present an unexpectedly deep knowledge of the art and religion of the Maya, Zapotec, and other distant Mesoamerican peoples. Painted during a period of war and shifting alliances after the fall of Teotihuacan, the murals’ distinctive fusion of cosmopolitan styles and subjects claimed a powerful identity for the beleaguered city-state.Presenting the first cohesive, art historical study of the entire painting corpus, The Murals of Cacaxtla demonstrates that these magnificent works of art constitute a sustained and local painting tradition, treasured by generations of patrons and painters. Exhaustive chapters on each of the mural programs make it possible to see how the Cacaxtla painting tradition developed over time, responding to political and artistic challenges. Lavishly illustrated, The Murals of Cacaxtla illuminates the agency of ancient artists and the dynamics of artistic synthesis in a Mesoamerican context, offering a valuable counterpoint to studies of colonial and modern art operating at the intersection of cultural traditions.

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Superhero comics reckon with issues of corporeal control. And while they commonly deal in characters of exceptional or superhuman ability, they have also shown an increasing attention and sensitivity to diverse forms of disability, both physical and cognitive. The essays in this collection reveal how the superhero genre, in fusing fantasy with realism, provides a visual forum for engaging with issues of disability and intersectional identity (race, ethnicity, class, gender, and sexuality) and helps to imagine different ways of being in the world.Working from the premise that the theoretical mode of the uncanny, with its interest in what is simultaneously known and unknown, ordinary and extraordinary, opens new ways to think about categories and markers of identity, Uncanny Bodies explores how continuums of ability in superhero comics can reflect, resist, or reevaluate broader cultural conceptions about disability. The chapters focus on lesser-known characters—such as Echo, Omega the Unknown, and the Silver Scorpion—as well as the famous Barbara Gordon and the protagonist of the acclaimed series Hawkeye, whose superheroic uncanniness provides a counterpoint to constructs of normalcy. Several essays explore how superhero comics can provide a vocabulary and discourse for conceptualizing disability more broadly. Thoughtful and challenging, this eye-opening examination of superhero comics breaks new ground in disability studies and scholarship in popular culture.In addition to the editors, the contributors are Sarah Bowden, Charlie Christie, Sarah Gibbons, Andrew Godfrey-Meers, Marit Hanson, Charles Hatfield, Naja Later, Lauren O’Connor, Daniel J. O'Rourke, Daniel Pinti, Lauranne Poharec, and Deleasa Randall-Griffiths.

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What objects exist in the social world and how should we understand them? Is a specific Pizza Hut restaurant as real as the employees, tables, napkins and pizzas of which it is composed, and as real as the Pizza Hut corporation with its headquarters in Wichita, the United States, the planet Earth and the social and economic impact of the restaurant on the lives of its employees and customers? In this book the founder of object-oriented philosophy develops his approach in order to shed light on the nature and status of objects in social life. While it is often assumed that an interest in objects amounts to a form of materialism, Harman rejects this view and develops instead an “immaterialist” method. By examining the work of leading contemporary thinkers such as Bruno Latour and Levi Bryant, he develops a forceful critique of ‘actor-network theory’. In an extended discussion of Leibniz’s famous example of the Dutch East India Company, Harman argues that this company qualifies for objecthood neither through ‘what it is’ or ‘what it does’, but through its irreducibility to either of these forms. The phases of its life, argues Harman, are not demarcated primarily by dramatic incidents but by moments of symbiosis, a term he draws from the biologist Lynn Margulis. This book provides a key counterpoint to the now ubiquitous social theories of constant change, holistic networks, performative identities, and the construction of things by human practice. It will appeal to anyone interested in cutting-edge debates in philosophy and social and cultural theory.

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For most of us, the story of mammal evolution starts after the asteroid impact that killed the dinosaurs, but over the last 20 years scientists have uncovered new fossils and used new technologies that have upended this story. In Beasts Before Us, palaeontologist Elsa Panciroli charts the emergence of the mammal lineage, Synapsida, beginning at their murky split from the reptiles in the Carboniferous period, over three hundred million years ago. They made the world theirs long before the rise of dinosaurs. Travelling forward into the Permian and then Triassic periods, we learn how our ancient mammal ancestors evolved from large hairy beasts with accelerating metabolisms to exploit miniaturisation, which was key to unlocking the traits that define mammals as we now know them. Elsa criss-crosses the globe to explore the sites where discoveries are being made and meet the people who make them. In Scotland, she traverses the desert dunes of prehistoric Moray, where quarry workers unearthed the footprints of Permian creatures from before the time of dinosaurs. In South Africa, she introduces us to animals, once called ‘mammal-like reptiles’, that gave scientists the first hints that our furry kin evolved from a lineage of egg-laying burrowers. In China, new, complete fossilised skeletons reveal mammals that were gliders, shovel-pawed Jurassic moles, and flat-tailed swimmers. This book radically reframes the narrative of our mammalian ancestors and provides a counterpoint to the stereotypes of mighty dinosaur overlords and cowering little mammals. It turns out the earliest mammals weren’t just precursors, they were pioneers.

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Runner-up, International Photography Awards, Lucie Foundation, 2012 In this spectacular collection of panoramic images, award-winning photographer Macduff Everton proves why Chile’s Last Hope Province, in the extreme southern corner of Patagonia, is a landscape that kindles the dreams of world travelers. Patagonia, La Última Esperanza is a collaboration with writer and artist Mary Heebner, whose meditative prose reflects the poetry of place. Just as her observations seek to unearth and understand the spirit of the region, her paintings, watercolors, and drawings evocatively counterpoint Everton’s photographs of iconic mountains and glacier-lined fjords. Together they provide a unique perspective on this vast, still mysterious territory and the lives of the people who have made a home here at the tip of the South American continent. While visitors rush to the landmark peaks of UNESCO-designated Torres del Paine National Park or the wonders of Bernardo O’Higgins National Park, they too often miss equally gorgeous and accessible but less frequented areas. Everton and Heebner explore much more, from the shimmering ice fields and glassy lakes to the island mazes and expansive grasslands where you’re more likely to see condors than another person. They find the beauty and meaning in the fishermen’s harbors, the cowboys’ ranch labors, and the creations of visionary architects, whose stunning constructions mesh concern for the environment with the grandeur of the setting. Patagonia, La Última Esperanza indelibly captures a place of unending superlatives—the most breathtaking mountain ranges, the most storied valleys, the most inspiring destination for readers and travelers alike.

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Superhero comics reckon with issues of corporeal control. And while they commonly deal in characters of exceptional or superhuman ability, they have also shown an increasing attention and sensitivity to diverse forms of disability, both physical and cognitive. The essays in this collection reveal how the superhero genre, in fusing fantasy with realism, provides a visual forum for engaging with issues of disability and intersectional identity (race, ethnicity, class, gender, and sexuality) and helps to imagine different ways of being in the world.Working from the premise that the theoretical mode of the uncanny, with its interest in what is simultaneously known and unknown, ordinary and extraordinary, opens new ways to think about categories and markers of identity, Uncanny Bodies explores how continuums of ability in superhero comics can reflect, resist, or reevaluate broader cultural conceptions about disability. The chapters focus on lesser-known characters—such as Echo, Omega the Unknown, and the Silver Scorpion—as well as the famous Barbara Gordon and the protagonist of the acclaimed series Hawkeye, whose superheroic uncanniness provides a counterpoint to constructs of normalcy. Several essays explore how superhero comics can provide a vocabulary and discourse for conceptualizing disability more broadly. Thoughtful and challenging, this eye-opening examination of superhero comics breaks new ground in disability studies and scholarship in popular culture.In addition to the editors, the contributors are Sarah Bowden, Charlie Christie, Sarah Gibbons, Andrew Godfrey-Meers, Marit Hanson, Charles Hatfield, Naja Later, Lauren O’Connor, Daniel J. O'Rourke, Daniel Pinti, Lauranne Poharec, and Deleasa Randall-Griffiths.

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Private Lives, Proper Relations begins with the question of why contemporary African American literature—particularly that produced by black women—is continually concerned with issues of respectability and propriety. Candice M. Jenkins argues that this preoccupation has its origins in recurrent ideologies about African American sexuality, and that it expresses a fundamental aspect of the racial self—an often unarticulated link between the intimate and the political in black culture. In a counterpoint to her paradigmatic reading of Nella Larsen’s Passing, Jenkins’s analysis of black women’s narratives—including Ann Petry’s The Street, Toni Morrison’s Sula and Paradise, Alice Walker’s The Color Purple, and Gayl Jones’s Eva’s Man—offers a theory of black subjectivity. Here Jenkins describes middle-class attempts to rescue the black community from accusations of sexual and domestic deviance by embracing bourgeois respectability, and asserts that behind those efforts there is the “doubled vulnerability” of the black intimate subject. Rather than reflecting a DuBoisian tension between race and nation, to Jenkins this vulnerability signifies for the African American an opposition between two poles of potential exposure: racial scrutiny and the proximity of human intimacy. Scholars of African American culture acknowledge that intimacy and sexuality are taboo subjects among African Americans precisely because black intimate character has been pathologized. Private Lives, Proper Relations is a powerful contribution to the crucial effort to end the distortion still surrounding black intimacy in the United States. Candice M. Jenkins is associate professor of English at Hunter College, City University o

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Amadou Diallo, Abner Louima, Anthony Baez, Patrick Dorismond. New York City has been rocked in recent years by the fate of these four men at the hands of the police. But police brutality in New York City is a multi-dimensional phenomenon that refers not only to the hyperviolent response of white male police officers as in these cases, but to an entire set of practices that target homeless people, vendors, and sexual minorities. The complexity of the problem requires a commensurate response, which Zero Tolerance fulfills with a range of scholarship and activism. Offering perspectives from law and society, women's studies, urban and cultural studies, labor history, and the visual arts, the essays assembled here complement, and provide a counterpoint, to the work of police scholars on this subject. Framed as both a response and a challenge to official claims that intensified law enforcement has produced New York City's declining crime rates, Zero Tolerance instead posits a definition of police brutality more encompassing than the use of excessive physical force. Further, it develops the connections between the most visible and familiar forms of police brutality that have sparked a new era of grassroots community activism, and the day-to-day violence that accompanies the city's campaign to police the "quality of life." Contributors include: Heather Barr, Paul G. Chevigny, Derrick Bell, Tanya Erzen, Dayo F. Gore, Amy S. Green, Paul Hoffman, Andrew Hsiao, Tamara Jones, Joo-Hyun Kang, Andrea McArdle, Bradley McCallum, Andrew Ross, Eric Tang, Jacqueline Tarry, Sasha Torres, and Jennifer R. Wynn.

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During the late 1970s and 1980s speaking out about the traumatic reality of incest and rape was a rare and politically groundbreaking act. Today it is a ubiquitous feature of popular culture and its political value uncertain. In Violence and the Cultural Politics of Trauma, Jane Kilby explores the complexity and consequences of this shift in giving first-hand testimony by focusing on debates over recovered memory therapy and false memory syndrome, the spectacle of talkshow disclosures, discourses of innocence and complicity as well as the aesthetics and affect of shock. In counterpoint to the frequently cynical readings of personal narrative politics, Kilby advances an alternative reading built around the concept of unrepresentability. Key to this intervention is the stress placed by Kilby on the limits of representing sexually traumatic experiences and how this requires both theoretical and methodological innovation. Based on close readings of survivor narratives and artworks, this book demonstrates the significance of unrepresentability for a feminist understanding of sexual violence and victimisation. The book will of interest to those working in the areas of Cultural, Literary, Media and Women's Studies as well as Memory and Trauma Studies. Key Features * Provides a topical discussion of the debates generated by a mass culture of speaking out about violence and victimisation * Offers an interdisciplinary case-study analysis of survivor testimony * Applies cutting-edge developments in trauma and testimony theory to a feminist analysis of women's incest testimony * Makes accessible the significance of unrepresentability for a cultural politics of trauma

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"Grief emphatic, grief redeeming, grief protacted, grief abraded all intertwine in this funny, prickly memoir.” –David Denby, The New Yorker With fearlessness and grace,Bough Down reports from deep inside the maelstrom of grief. In this profoundly beautiful and intensely moving lament, artist and writer Karen Green conjures the inscrutable space of love and loss, clarity and contradiction, sense and madness. She summons memory and the machination of the interior mind with the emotional acuity of music as she charts her passage through the devastation of her husband’s suicide. In crystalline fragments of text, Green’s voice is paradoxically confessional and non-confessional: moments in her journey are devastating but also luminous, exacting in sensation but also ambiguous and layered in meaning. Her world is haunted by the unnameable, and yet she renders that world with poetic precision in her struggle to make sense of not only of death but of living. In counterpoint, tiny visual collages punctuate the text, each made of salvaged language and scraps of the material world—pages torn from books, bits of paper refuse, drawings and photographs, old postage stamps and the albums which classify them. Each collage--and the creative act of making it--evinces the reassembling of life. A breathtaking lyric elegy, Bough Down uses music and silence, color and its absence, authority of experience and the doubt that trembles at its center to fulfill a humane artistic vision. This is a lapidary, keenly observed work, awash with the honesty of an open heart.

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Susan Fleming appeared in three Broadway shows and twenty-eight films before she turned her back on a show business career she never really enjoyed or wanted. The role of her lifetime came when she married Harpo Marx in 1936. Together, they raised four adopted children and enjoyed one of Hollywood's happiest and most successful unions. But their twenty-year age difference made Susan a young widow in 1964.On her path to Hollywood, Susan worked in Broadway musicals produced by Florenz Ziegfeld and George White and befriended a young dancer who would later be known as Paulette Goddard. In Hollywood, she appeared in films with stars like John Wayne, W.C. Fields, and Katharine Hepburn and worked at all the major studios. But it wasn't until she fell in love with a confirmed bachelor, twenty years older than her, that she found her purpose. Her story is the counterpoint to the beloved and acclaimed Harpo Marx autobiography, Harpo Speaks! Susan's frank, opinionated perspective provides a true look behind the curtain and details Harpo's last years, following the publication of his own book.Susan's account of her more than thirty-year adventure with Harpo includes encounters with people like Charlie Chaplin, William Randolph Hearst, Salvador Dalí, Somerset Maugham, Joan Crawford, Howard Hughes, George S. Kaufman, Helen Keller, Oscar Levant, Jean Harlow, Bugsy Siegel, Samuel Goldwyn, Menachem Begin, Ginger Rogers, Alexander Woollcott, and of course, the Marx Brothers. Susan provides an inside look at the family and pulls no punches when discussing her brothers-in-law, who weren't always her favorite comedians.

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In one corner, a godless young warrior, Voltaire’s heralded ‘philosopher-king’, the It Boy of the Enlightenment. In the other, a devout if bad-tempered old composer of ‘outdated’ music, a scorned genius in his last years. The sparks from their brief conflict illuminate a turbulent age. Behind the pomp and flash, Prussia's Frederick the Great was a tormented man, son of an abusive king who forced him to watch as his best friend (probably his lover) was beheaded. In what may have been one of history's crueler practical jokes, Frederick challenged ‘old Bach’ to a musical duel, asking him to improvise a six-part fugue based on an impossibly intricate theme (possibly devised for him by Bach's own son). Bach left the court fuming, but in a fever of composition, he used the coded, alchemical language of counterpoint to write ‘A Musical Offering’ in response. A stirring declaration of faith, it represented ‘as stark a rebuke of his beliefs and world view as an absolute monarch has ever received,’ Gaines writes. It is also one of the great works of art in the history of music. Set at the tipping point between the ancient and the modern world, the triumphant story of Bach's victory expands to take in the tumult of the eighteenth century: the legacy of the Reformation, wars and conquest, the birth of the Enlightenment. Brimming with originality and wit, ‘Evening in the Palace of Reason’ is history of the best kind – intimate in scale and broad in its vision.

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Surveying print and digital graphic life narratives about people who become ‘othered’ within Western contexts, this book investigates how comics and graphic novels witness human rights transgressions in contemporary Anglophone culture and how they can promote social justice. With thought given to how the graphic form can offer a powerful counterpoint to the legal, humanitarian and media discourses that dehumanise the most violated and dispossessed, but also how these works may unconsciously reproduce Western neo-colonial presentations of the ‘other,’ Olga Michael focuses on gender, death, space, and border violence within graphic life narratives depicting suffering across different geo- and biopolitical locations. Combining the familiar with the lesser-known, this book covers works by artists such as Joe Sacco, Thi Bui, Mia Kirshner, Phoebe Gloeckner, Kamel Khélif, Francesca Sanna, Gabi Froden, Benjamin Dix and Lindsay Pollock, as well as Safdar Ahmed and Ali Dorani/Eaten Fish. Interdisciplinary in its consideration of life writing, comics and human rights studies, and comparative in approach, this book explores such topics as the aesthetics of visualised suffering; spatial articulations of human rights violations; the occurrence of violations whilst crossing borders; the gendered dimensions of visually captured violence; and how human rights discourses intersect with graphic depictions of the dead. In so doing, Michael establishes how to read human rights and social justice comics in relation to an escalating global crisis and deftly complicates negotiations of ‘otherness.’ A vitally important work to the humanities sector, this book underscores the significance of postcolonial decolonized reading acts as forms of secondary witness.

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The circumstances of their brother’s violent death inflicts such a wound on his family that its four oldest sisters feel compelled to come together to write, tell or imagine what led up to it, to unravel conflicting versions for the benefit of the younger generation of the huge Pointy-Morris clan.From the richly distinctive voices of the writer Micheline (Mitch), who could never tell a straight truth, the self-contained and sceptical Beatrice (B), the visionary and prophetic Evangeline (Vangie), and the severely practical Cynthia (Peaches), the novel builds a haunting sequence of narratives around the obsessive love of their brother, Pete, for his dazzling cousin, Tramadol, and its tragic aftermath.Set on the Caribbean island of Jacaranda at different points in a disturbing future, Ghosts weaves a counterpoint between the family wound and a world caught between amazing technological progress and the wounds global warming inflicts on an agitated planet.In a lyrical flow between English and Jamaican Creole, Ghosts catches the ear and gently invades the heart. Love enriches and heals, but its thwarting is revealed as the most painful of emotions. Yet if deep sadness is at the core of the novel, there are also moments of exuberant humour.Curdella Forbes is the critically-acclaimed Jamaican author of Songs of Silence (2002); a collection for younger readers, Flying with Icarus and Other Stories (2003); and more recently A Permanent Freedom (Peepal Tree, 2008). She is currently Professor of Caribbean Literature at Howard University, and lives in Takoma Park, Maryland.

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What objects exist in the social world and how should we understand them? Is a specific Pizza Hut restaurant as real as the employees, tables, napkins and pizzas of which it is composed, and as real as the Pizza Hut corporation with its headquarters in Wichita, the United States, the planet Earth and the social and economic impact of the restaurant on the lives of its employees and customers? In this book the founder of object-oriented philosophy develops his approach in order to shed light on the nature and status of objects in social life. While it is often assumed that an interest in objects amounts to a form of materialism, Harman rejects this view and develops instead an “immaterialist” method. By examining the work of leading contemporary thinkers such as Bruno Latour and Levi Bryant, he develops a forceful critique of ‘actor-network theory’. In an extended discussion of Leibniz’s famous example of the Dutch East India Company, Harman argues that this company qualifies for objecthood neither through ‘what it is’ or ‘what it does’, but through its irreducibility to either of these forms. The phases of its life, argues Harman, are not demarcated primarily by dramatic incidents but by moments of symbiosis, a term he draws from the biologist Lynn Margulis. This book provides a key counterpoint to the now ubiquitous social theories of constant change, holistic networks, performative identities, and the construction of things by human practice. It will appeal to anyone interested in cutting-edge debates in philosophy and social and cultural theory.

Read more less