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1
Conference, Society for Emblem Studies International. Polyvalenz und Multifunktionalität der Emblematik =: Multivalence and multifunctionality of the emblem : proceedings of the 5th International Conference of the Society for Emblem Studies. Frankfurt am Main: Oxford, 2002.
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Society for Emblem Studies. International Conference. Polyvalenz und Multifunktionalität der Emblematik =: Multivalence and multifunctionality of the emblem : proceedings of the 5th International Conference of the Society for Emblem Studies. Frankfurt am Main: Oxford, 2002.
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Norris, Robin, Rebecca Stephenson und Renée R. Trilling. Feminist Approaches to Early Medieval English Studies. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463721462.
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Scholarship on early medieval England has seen an exponential increase in scholarly work by and about women over the past twenty years, but the field has remained peculiarly resistant to the transformative potential of feminist critique. Since 2016, Medieval Studies has been rocked by conversations about the state of the field, shifting from #MeToo to #WhiteFeminism to the purposeful rethinking of the label “Anglo-Saxonist.” This volume takes a step toward decentering the traditional scholarly conversation with thirteen new essays by American, Canadian, European, and UK professors, along with independent scholars and early career researchers from a range of disciplinary perspectives. Topics range from virginity, women’s literacy, and medical discourse to affect, medievalism, and masculinity. The theoretical and political commitments of this volume comprise one strand of a multivalent effort to rethink the parameters of the discipline and to create a scholarly community that is innovative, inclusive, and diverse.
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Society for Emblem Studies. International Conference. Polyvalenz und Multifunktionalität der Emblematik: Akten des 5. Internationalen Kongresses der Society for Emblem Studies = Multivalence and multifunctionality of the emblem : proceedings of the 5th International Conference of the Society for Emblem Studies. New York: P. Lang, 2002.
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1941-, Hag Kari, und Broch Ole Jacob, Hrsg. The ubiquitous quasidisk. Providence, Rhode Island: American Mathematical Society, 2012.
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Culver, Annika A., und Norman Smith, Hrsg. Manchukuo Perspectives. Hong Kong University Press, 2020. http://dx.doi.org/10.5790/hongkong/9789888528134.001.0001.
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This collection reveals how, in Manchukuo (1932-1945), literature both furthered national aims while contesting them, as writers of varied ethnicities engaged in multivalent strategies to continue cultural production amidst difficult political circumstances. Studies of their work by transnational scholars today demonstrate that these writers faced factors influencing outcomes of their production, such as censorship, the Japanese puppet regime's propaganda aims, and even the market. In addition, particular hybrid language practices emerged, with writers engaging in transnational practices in a border region. This volume examines what we call "Manchukuo perspectives" unique to cultural producers in a state transformed by Japanese interests, but later shaped by more inclusive multivalent aims, reflected in the writings of Chinese, Korean, and Russian intellectuals who felt a keen loss of nation, which also included Japanese converted leftists who transformed their antipathy towards imperialist capitalism into support for a fascist state offering the utopian promises of a "right-wing proletarianism".
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Muller, Hannah Weiss. The Laws of Subjecthood. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190465810.003.0002.
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Chapter 1 explores the myriad legal understandings of subject status that coexisted in the seventeenth and eighteenth centuries. It revisits the landmark case of Calvin v. Smith, among others, in order to examine notions of allegiance, obedience, and protection that cast a long shadow over subsequent interpretations of subject status. Many of the questions left unanswered by this case, particularly those relating to the specific nature of allegiance and protection, led to further definitions and legal quandaries. The numerous treaties, opinions, and correspondence in which subjecthood was also discussed illuminate the importance of local factors and agents in shaping the multivalent legal ideas available to contemporaries.
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germ Society for Emblem Studies International Conference 1999 Munich. Polyvalenz Und Multifunktionalitat Der Emblematik: Akten Des 5. Internationalen Kongresses Der Society For Emblem Studies = Multivalence And Multifunctionality ... (Frankfurt Am Main, Germany), Bd. 65.). Peter Lang Publishing, 2002.
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Davison, Claire. Cross-Channel Modernisms. Herausgegeben von Derek Ryan und Jane A. Goldman. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474441872.001.0001.
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Described by Katherine Mansfield in 1921 as ‘a great cold sword between you and your dear love Adventure’, in the early twentieth century the English Channel, or ‘la Manche’ in French, represented both a political and intellectual barrier between European avant-gardism and British restraint, and a bridge for cultural connection and aesthetic innovation. Organised around key terms ‘Translating’, ‘Fashioning’ and ‘Mediating’, this book presents ten original essays by scholars working on both sides of the Channel. Cross-Channel Modernisms historicises artistic exchanges in Britain, France and beyond, and proposes a rich conceptual apparatus of ‘crossings’ and ‘channels’ through which we can read modernism and understand it as emerging from, and intervening in, an always-already shifting, multivalent, international context.
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Edwards, Leigh H. Country Music and Class. Herausgegeben von Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.19.
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This chapter establishes how class is a key category of analysis for country music studies because the genre is still symbolically associated with a southern white working-class audience and milieu and shares much in common with long-running thematic traditions in country music, even though audiences have always been broader. Through case studies about Johnny Cash as well as about Dolly Parton and the hillbilly trope, the chapter demonstrates the importance of discussing class in relation to gender and race in the genre. Class themes in country music can be multivalent. The chapter also links class to the genre’s regional folk culture roots and details the relevance of the blurred, arbitrary categories of folk culture and mass culture to country music.
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Ó Briain, Lonán. On Becoming Vietnamese. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190626969.003.0002.
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Chapter 1 examines the mythologization of the Hmong and other minorities by mainstream performing artists to show how those minorities have been inscribed into Vietnam’s national consciousness through popular music. The chapter traces the early history and migrations of the Hmong into the mountains of Southeast Asia to their formal identification as an ethnic group in French Indochina. From revolutionary songs (ca khúc cách mạnh) in the 1950s and 1960s to independent creative artists in the late twentieth and early twenty-first centuries, the multivalent superculture that comprises the Vietnamese mediascape has perpetuated a series of stereotypes about the minorities. Songs, artists, and composers are linked to historically situated political developments to illustrate the gradual assimilation of Hmong and other minorities into Vietnamese culture and society.
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Berlinerblau, Jacques. Political Secularism. Herausgegeben von Phil Zuckerman und John R. Shook. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988457.013.6.
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The term “secularism” stands as one of the most multivalent phrases in the contemporary global political lexicon. Mutually irreconcilable definitions of the term exist side by side in popular, journalistic, and even scholarly discourse. In an effort to reduce the confusion, this chapter suggests that the term “political secularism” be employed in contradistinction to “secularity,” “secular humanism,” or usages that equate secularism with atheism. It is argued that the fundamental principles that undergird political secularism have a lengthy and complex genealogy in Christian political philosophy, be it of the Ancient, Medieval, Renaissance, or Reformation periods. These ideational taproots inform and tincture the modern political concept of secularism in a variety of intriguing ways. They have also resulted in contemporary political secular projects that are at once divergent from one another, in flux, and constantly evolving.
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Wolfson, Todd, Hrsg. Governance: Democracy All the Way Down. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038846.003.0006.
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This chapter examines indymedia's multilayered, transnational application of direct democracy, which in many ways anticipates and sets the stage for Occupy Wall Street. It focuses on the ways that democracy is understood and enacted by indymedia activists—from the development of an open media system where anyone can speak (democratizing the media), to the preference for consensus-based decision making (democratic governance), and the belief that activists must develop the structures, processes, and relationships within the movement that they aim to achieve in the world (prefigurative politics). Seen from this vantage, for indymedia activists democracy is multivalent, standing in as the end goal of a new society, a revolutionary tool to remake that society, and the everyday practice that allows for innovation and new forms of collective power.
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Ghosh, Shubha. The Mirror, the Lamp, and Public Performances. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199935352.013.45.
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How courts determine copyright infringement has been the subject of scholarly debate. Where courts fail is in adequately appreciating the richness of a creative work, often reducing the novel, the song, the work to its literal terms. While the need for contextualizing creative works is accepted, the approach is not. This article uses the aesthetic framework of literary critic M.H. Abrams to offer a conceptual framework to contextualizing a work within the legal method for assessing copyright infringement. This framework is applied to the problems of infringement by reproduction and unauthorized public performance. Abrams’ aesthetic categories provide a multivalent approach to copyright law. The article ends with a precatory discussion of the problems of conceptualism in law, whether in the application of economic models or of aesthetic theories.
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Willingham, Lee, und Glen Carruthers. Community Music in Higher Education. Herausgegeben von Brydie-Leigh Bartleet und Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.9.
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The establishment of community music courses and degree programs in universities gives rise to discourse about the fundamental principles of community music. Can community music flourish in the complexity of academia, where disciplines are regulated, researched, and examined systematically? This chapter will argue that community music principles are synergistic with higher education goals, and, in fact, traditional music education has much to learn and gain from community music practices. How can schools of music be more civic minded, community friendly, and enhance the cultural life of the regions they serve? How can rigour exist (artistic and scholarly) in a culture of empathy, inclusivity, and hospitality where nonformal pedagogies are practiced, and where intergenerational and lifelong learning—along with activism, health, and wholeness—are foundational? These questions are addressed and measured against a tradition where audition standards and progression pathways are becoming increasingly multivalent.
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Hui, Isaac. Conclusion: ‘Fools, they are the only nation’: Rereading the Interlude and Beyond. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423472.003.0007.
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This concluding chapter re-examines Jonson’s thinking of metempsychosis based on the previous discussion of Volpone’s bastards. While metempsychosis is usually referred to as the transmigration of souls, the idea in Volpone can be carnivalesque and is full of slippage and deferral. Using Sontag’s concept of Camp, it argues how the interlude represents a celebration of an epicene style. Finally, this chapter discusses the idea of Jonson’s comedies as lack with other early modern city comedies and modern film comedies, with a particular focus on Middleton (for plays such as A Mad World, My Masters and A Chaste Maid in Cheapside, with the comparison of cuckold and wittol for instance), and attempts to think about bastardy as a multivalent trope to discuss the city, capitalism and comedy (including modern film comedy) and jokes themselves as improper, bastard forms of utterance.
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Lewis, Hannah. Source Music and Cinematic Realism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0006.
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Chapter 5 focuses on the role of diegetic music in early poetic realist films. Poetic realism, the filmmaking genre that emerged out of the politics of the mid-1930s, had its roots in transition-era films by filmmakers such as Jean Grémillon, Julien Duvivier, Jacques Feyder, and perhaps most notably, Jean Renoir. The soundtracks of these filmmakers tended to favor a “realistic” incorporation of music into the narrative, an aesthetic decision grounded in a broader preference for direct recording, and frequently featured popular songs and street musicians to enhance the realism of a film’s setting. But diegetic music in early poetic realist films was multivalent, revealing the emotions or thoughts of characters, providing narrative commentary, and at times going against the expectations of a scene’s mood or actions. Considering diegetic music in early poetic realist sound films shows the ways in which audiovisual realism and stylization worked hand in hand.
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Bivins, Jason C. Belief. Herausgegeben von Michael Stausberg und Steven Engler. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780198729570.013.35.
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Belief is a central shaping category in the study of religion. Owing to its continued scrutiny, belief is both an analytic device and a conceptual prism through which to assess changes in the study of religion. While it is difficult to write about ‘belief’ outside the category’s well-known critical interrogation, engagement with the complexities of lived religion shows ineluctably how belief takes numerous and multivalent shapes that point beyond such critiques. This chapter first describes some of the complexities of ‘belief’ as a concept in the study of religion, and it briefly considers three examples—New Age, Hindu, and Christian—to illustrate some of these complexities in context. A review of discussions in the history of the discipline highlights both the core of recent critiques that a focus on belief has obscured practice and recent possibilities for reassessing ‘belief.’ The chapter concludes by assessing recent related developments.
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Lather, Amy. Materiality and Aesthetics in Archaic and Classical Greek Poetry. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474462358.001.0001.
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This book formulates a novel way to comprehend the relationship between materiality and cognition by demonstrating how descriptions of objects in archaic and classical Greek texts reveal distinctive ways of conceptualizing human thought and perception. The readings center on the concept of poikilia, a richly multivalent term in Greek aesthetics that is used to characterize artifacts as well as mental activity. By delineating patterns of interaction between living and inorganic beings through the lens of this aesthetic concept, this book maps a body of canonical texts onto the new critical terrains comprised by the new materialisms and cognitive humanities and reveals the points of intersection between cognitive processes and the material entities produced by them. The result, an innovative contribution to both Classics and New Materialism studies, uncovers the intimate and reciprocal interaction between minds and matter as central to ancient Greek aesthetic experience.
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Barzel, Tamar. “We Began from Silence”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0010.
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In the late 1970s, the Mexican ensemble Atrás del Cosmos, a pioneering free improvisation collective (1975–1983), held an eight-month residency at El Galeón, a city theater. Jazz and experimental theater were twin touchstones for the ensemble, which adapted ideas borrowed from Alejandro Jodorowsky, a Chilean expatriate known for his radical influence on the city’s 1960s theater scene, including the notion that theatrical performance should shatter social decorum and elicit liberating ways of being-in-the-world. For Atrás del Cosmos, art’s transformative potential also lay in articulating a personal voice in a collective context—a central tenet of jazz and African-American expressive culture. The ensemble’s multivalent genealogy, as well as its collaborations with US-based improvisers—notably trumpeter Don Cherry—bolster arguments for the transnational nature of twentieth-century “American” music. This chapter proposes Vijay Iyer’s notion of “embodied empathy” as a key to understanding the ensemble’s immediate social impact and its lasting historical significance.
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Santamarina, Xiomara. Inscribing Economic Desire. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199390205.003.0005.
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This chapter offers a compact analysis of the greed or money inscriptions made by Dave the Potter. “Cash wanted” and “Give me silver or; either Gold” are inscriptions in which the speaker brazenly announces a desire for cash despite the fact that slaves were not permitted to participate in a cash economy at the time. The announcement of economic desire brings into relief Dave’s status as an “ambiguous economic subject” whose relationship to commodity capitalism is challenged through his inscriptions. According to Santamarina, these rebellious inscriptions sallow Dave to challenge Lewis Miles’ ownership of himself and his jars. Through her analysis of the inscription’s engagement with commodity fantasy and economic reality, Santamarina demonstrates how Dave uses the inscription to make visible the “multivalent value-status” of his pots “in a space of contradiction between precapitalist and capitalist economies.” This space is then read back into the inscriptions not simply for its thematics but as a structuring principle of Dave the Potter’s inscriptive and ceramic practice.
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Sweeney, Carole. From Fetish to Subject. Greenwood Publishing Group, Inc, 2004. http://dx.doi.org/10.5040/9798400654480.
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Was modern primitivism complicit with the ideologies of colonialism, or was it a multivalent encounter with difference? Examining race and modernism through a wider and more historically contextualized study, Sweeney brings together a variety of published and new scholarship to expand the discussion on the links between modernism and primitivism. Tracing the path from Dada and Surrealism to Josephine Baker and Nancy Cunard's Negro: An Anthology, she shows the development of négrophilie from the interest in black cultural forms in the early 1920s to a more serious engagement with difference and representations in the 1930s. Considering modernism, race, and colonialism simultaneously, this work breaks from traditional boundaries of disciplines or geographic areas. Why was the primitive so popular in this era? Sweeney shows how high, popular, and mass cultural contexts constructed primitivism and how black diasporic groups in Paris challenged this construction. Included is research from original archival material from black diasporic publications in Paris, examining their challenges to primitivism in French literature and state-sponsored exoticism. The transatlantic movement of modernism and primitivism also is part of this broad comparative study.
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Beeston, Alix. Black Flesh Is White Ash. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190690168.003.0003.
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This chapter argues that Jean Toomer’s tactics of poetic and narrative visualization of the series of black female bodies in Cane (1923) correspond to the strategic reappropriation of lynching photographs by African American political activists in the early twentieth century. Configured in line with the ontological multivalence of photography and bearing witness to the deep antinomy embedded in the photographic archive of white supremacy, Cane disassembles the ritualized scene of lynching by reframing and restaging it. Through the confluence of its ruptured, gap-ridden female figures and its ruptured, gap-ridden form, it images the contiguity between “black ash” and “white flesh”: black flesh as burned by, and for, white flesh.
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Fewell, Danna Nolan, und R. Christopher Heard. The Genesis of Identity in the Biblical World. Herausgegeben von Danna Nolan Fewell. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199967728.013.8.
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The book of Genesis has consistently attracted literary-critical attention to its stories. In addition to celebrating this rich tradition of critical engagement, this chapter examines how Genesis uses various narrative strategies to mark group boundaries, alternately establishing, maintaining, stretching, and crossing them, as well as debating the rules and conditions for boundary adjustments. Woven into the narrative fabric is a diverse range of questions, perspectives, and concerns that interrogate the moral dimensions of human experience against a backdrop where issues of communal identity and survival press with profound urgency. Genesis’s narrative multivalence constitutes fertile ground for political and social debate in Persian Yehud over the genesis of Israelite identity.
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Wang, Xiaojue. Borders and Borderlands Narratives in Cold War China. Herausgegeben von Carlos Rojas und Andrea Bachner. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199383313.013.17.
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The Cold War marks a key moment in a historical process that catalyzed a multivalent, transnational topography of Chinese literature. This chapter examines borderlands narratives in Cold War China that deal with borders, border-crossers, and the imaginary of other spaces. It features an analysis of Lu Ling’s “Wadi shang de ‘zhanyi’” (“Battle” of the Lowlands) in conjunction with Eileen Chang’sChidi zhilian(Love in the Redland). By emplotting the Korean War, these two stories address China–Korea contact from the perspective of romance, passion, and desire. The chapter continues with a reading of Deng Kebao (Bo Yang)’sYiyu(Alien lands), which tells the story of a Kuomintang force that continued to fight on in the borderlands of southwestern China, Burma, Laos, and Thailand long after the government had retreated to Taiwan. Although informed by ideological dictates of the KMT or the PRC cultural propaganda bureaus, or in Eileen Chang’s case by the United States Information Service (USIS) in Hong Kong, these three works explore border-crossing experiences in national, cultural, or existential terms and complicate the jagged boundaries of China and its identity politics.
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Gupta, Gopal K. Māyā in the Bhāgavata Purāṇa. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198856993.001.0001.
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The idea of māyā pervades Indian philosophy: it is complex, multivalent, and foundational, with its oldest referents found in the Ṛg -veda. This book explores māyā’s rich conceptual history, and then focuses on the highly developed theology of māyā found in the Sanskrit Bhāgavata Purāṇa, one of the most important Hindu sacred texts. Gopal K. Gupta examines māyā’s role in the Bhāgavata’s narratives, paying special attention to māyā’s relationship with other key concepts in the text, such as human suffering (duḥkha), devotion (bhakti), and divine play (līlā). In the Bhāgavata, māyā is often identified as the divine feminine, and her scope and influence are far-reaching—māyā is the world and the means by which God creates the world, she is the power that deludes living beings and ensorcells them in the phenomenal world, and she is the facilitator of God’s play, paradoxically revealing him to his devotees by concealing his majesty. While Vedānta philosophy typically sees māyā as a negative force, the Bhāgavata affirms that māyā also has a positive role, for in both the conditioned and liberated states, māyā is meant to ultimately draw living beings toward Kṛṣṇa and intensify their love for him.
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Ingleby, Matthew, und Matthew P. M. Kerr, Hrsg. Coastal Cultures of the Long Nineteenth Century. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474435734.001.0001.
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Coastal Cultures of the Long Nineteenth Century examines the importance of the coastline in the nineteenth-century British imagination. The years between the naval blockade of 1775, which began the American War, and the start of the First World War in 1914 witnessed a dramatic, varied flourishing in uses for and understandings of the coast on both sides of the Atlantic. Prior to the second half of the eighteenth century, coasts were often thought of as unhealthy, dangerous places. Developments in both medicine and aesthetics changed this. Increasingly, the coast could seem at once a space of clarity or of misty distance, a terminus or a place of embarkation – a place of solitude and exhilaration, of uselessness and instrumentality. Coastal Cultures takes as its subject this diverse set of meanings, using them to interrogate questions of space, place and cultural production. Outlining a broad range of coastal imaginings and engagements with the seaside, the book highlights the multivalent or even contradictory dimensions of these spaces. Spanning the late eighteenth to the early twentieth centuries, and including interdisciplinary discussions of coastal spaces relevant to literary criticism, art history, museum studies and cultural geography, these essays from major figures in the cutting-edge field of maritime studies speak across traditional period and disciplinary boundaries.
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Cole, Jean Lee. How the Other Half Laughs. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826527.001.0001.
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In the popular press of the early twentieth century, immigrant masses and the tenement districts were frequently portrayed as occasions for laughter rather than as objects of pity or problems to be solved. This distinctly comic sensibility, most visible in the form of the comic strip, merged the grotesque with the urbane and the whimsical with the cynical, representing the world of what Jacob Riis called the “Other Half” with a jaundiced, yet sympathetic, eye. Various forms of the comic sensibility emerged from a competitive, collaborative environment fostered at newspapers and magazines published by figures including William Randolph Hearst, Joseph Pulitzer, and S. S. McClure. Characterized by a breezy, irreverent style and packaged in eye-catching typography, vibrant color, and dynamic page design, the comic sensibility combined the performative aspects of vaudeville and the variety of stage, the verbal improvisations of dialect fiction, and a multivalent approach to caricature that originated in nineteenth-century comic weeklies, such as Puck and Judge. Though it was firmly rooted in ethnic humor, the comic sensibility did not simply denigrate or dehumanize ethnic and racial minorities. Stereotype and caricature was used not just to make fun of the Other Half, but also to engage in pointed sociopolitical critique. Sometimes grotesque, sometimes shocking, at other times sweetly humorous or gently mocking, the comic sensibility ultimately enabled group identification and attracted a huge working-class audience.
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Mitchell, Koritha. From Slave Cabins to the White House. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043321.001.0001.
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This book argues for a new reading practice. Rather than approach art and literature from marginalized groups as examples of protest or as responses to “dominant” culture, it demonstrates the power of reading through the lens of achievement, using case studies from black expressive culture. Even while bombarded with racist and sexist violence, African Americans remain focused on defining, redefining, and pursuing success. By examining canonical examples of black women’s cultural production, this study reveals how African Americans keep each other oriented toward accomplishment through an ongoing, multivalent community conversation. Analyzing widely taught and discussed works from the 1860s to the present (via Michelle Obama’s public persona), the book traces “homemade citizenship”—the result of practices of making-oneself-at-home, practices of affirming oneself while knowing violence will answer one’s achievements and assertions of belonging. The texts examined include Harriet Jacobs’s Incidents in the Life of a Slave Girl (1861), Elizabeth Keckley’s Behind the Scenes; Or, Thirty Years a Slave and Four Years in the White House (1868), Frances E. W. Harper’s Iola Leroy (1892), Pauline Hopkins’s Contending Forces (1900), Nella Larsen’s Quicksand (1928), Zora Neale Hurston’s Their Eyes Were Watching God (1937), Lorraine Hansberry’s A Raisin in the Sun (1959), Alice Childress’s Wine in the Wilderness (1969), Octavia Butler’s Kindred (1979), Toni Morrison’s Beloved (1987), and Michelle Obama’s first lady persona. [220 of 225 words]
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Williams, Gareth D. Pietro Bembo on Etna. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190272296.001.0001.
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This book is centered on the Venetian humanist Pietro Bembo (1470–1547), on his stay in Sicily in 1492–4 to study the ancient Greek language under the Byzantine émigré Constantine Lascaris, and above all on his ascent of Mount Etna in 1493. The more particular focus of this study is on the imaginative capacities that crucially shape Bembo’s elegantly crafted account, in Latin, of his Etna adventure in his so-called De Aetna, published at the Aldine Press in Venice in 1496. This work is cast in the form of a dialogue that takes place between the young Bembo and his father, Bernardo (himself a prominent Venetian statesman with strong humanist involvements), after Pietro’s return to Venice from Sicily in 1494. But De Aetna offers much more than a one-dimensional account of the facts, sights, and findings of Pietro’s climb. Three mutually informing features that are critical to the artistic originality of De Aetna receive detailed treatment in this study: (i) the stimulus that Pietro drew from the complex history of Mount Etna as treated in the Greco-Roman literary tradition from Pindar onward; (ii) the striking novelty of De Aetna’s status as the first Latin text produced at the nascent Aldine Press in the prototype of what modern typography knows as Bembo typeface; and (iii) Pietro’s ingenious deployment of Etna as a powerful, multivalent symbol that simultaneously reflects the diverse characterizations of, and the generational differences between, father and son in the course of their dialogical exchanges within De Aetna.
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Jones, Alisha Lola. Flaming? Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190065416.001.0001.
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Flaming?: The Peculiar Theopolitics of Fire and Desire in Black Male Gospel Performance examines the rituals and social interactions of African American men who use gospel music-making as a means of worshiping God and performing gendered identities. Prompted by the popular term “flaming” that is used to identify over-the-top or peculiar performance of identity, Flaming? argues that these men wield and interweave a variety of multivalent aural-visual cues, including vocal style, gesture, attire, and homiletics, to position themselves along a spectrum of gender identities. These multisensory enactments empower artists (i.e., “peculiar people”) to demonstrate modes of “competence” that affirm their fitness to minister through speech and song. Through a progression of transcongregational case studies, Flaming? observes the ways in which African American men traverse tightly knit social networks to negotiate their identities through and beyond the worship experience. Coded and “read” as either hypermasculine, queer, or sexually ambiguous, peculiar gospel performances are often a locus of nuanced protest, facilitating a critique of heteronormative theology while affording African American men opportunities for greater visibility and access to leadership. Same-sex relationships among men constitute an open secret that is carefully guarded by those who elect to remain silent in the face of traditional theology, but musically performed by those compelled to worship “in Spirit and in truth.” This book thus examines the performative mechanisms through which black men acquire an aura of sexual ambiguity, exhibit an ostensible absence of sexual preference, and thereby gain social and ritual prestige in gospel music circles.
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Elior, Rachel. Jewish Mysticism. Übersetzt von Arthur B. Millman. Liverpool University Press, 2007. http://dx.doi.org/10.3828/liverpool/9781874774679.001.0001.
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Mysticism is one of the central sources of inspiration of religious thought. It is an attempt to decode the mystery of divine existence by penetrating to the depths of consciousness through language, memory, myth, and symbolism. By offering an alternative perspective on the world that gives expression to yearnings for freedom and change, mysticism engenders new modes of authority and leadership; as such it plays a decisive role in moulding religious and social history. For all these reasons, the mystical corpus deserves study and discussion in the framework of cultural criticism and research. This book is a lyrical exposition of the Jewish mystical phenomenon. Its purpose is to present the meanings of the mystical works as they were perceived by their creators and readers. At the same time, it contextualizes them within the boundaries of the religion, culture, language, and spiritual and historical circumstances in which the destiny of the Jewish people has evolved. The book conveys the richness of the mystical experience in discovering the infinity of meaning embedded in the sacred text and explains the multivalent symbols. It illustrates the varieties of the mystical experience from antiquity to the twentieth century. The translations of texts communicate the mystical experiences vividly and make it easy for the reader to understand how the book uses them to explain the relationship between the revealed world and the hidden world and between the mystical world and the traditional religious world, with all the social and religious tensions this has caused.
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McGuire, Colin P. Martial Sound. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197775936.001.0001.
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Abstract Martial Sound is an ethnographic book examining the music of traditional Chinese martial arts. More specifically, the book investigates the gong and drum percussion used to accompany the lion dance and kung fu, as practised by the Hong Luck Kung Fu Club in Toronto, Canada. Hong Luck’s history and character are distinctive, but the club’s practices and approaches are typical of many styles of Southern Chinese martial arts, both in China and abroad. The book proposes a theory of martial sound, which is the way we can hear music as martial arts and listen to hand combat as musicking, providing a way of discussing fighting rhythms in musical terms and a conceptual framework for analyzing how music can function as a form of self-defence. Participant-observation fieldwork for the book was undertaken over the course of eight years and spanned a time of significant transition. Both of the founding masters passed away, marking the end of an era and a time of reflection for the membership. The first female lion dancers also began performing during the fieldwork period, which reconfigured traditional constructions of gender. The book argues that while kung fu practitioners have traditionally used their interdisciplinary performances as a ritual to disperse negative energy for patrons, they extend that martial function in diaspora to become an empowering performance that challenges a history of race-based discrimination in Canada. Some audiences, however, now treat the ritual as an entertaining performance or a marker of identity, revealing multivalent meanings.
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Jendza, Craig. Paracomedy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190090937.001.0001.
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Paracomedy: Appropriations of Comedy in Greek Tragedy is the first book that examines how ancient Greek tragedy engages with the genre of comedy. While scholars frequently study paratragedy (how Greek comedians satirize tragedy), this book investigates the previously overlooked practice of paracomedy: how Greek tragedians regularly appropriate elements from comedy such as costumes, scenes, language, characters, or plots. Drawing upon a wide variety of complete and fragmentary tragedies and comedies (Aeschylus, Sophocles, Euripides, Aristophanes, Rhinthon), this monograph demonstrates that paracomedy was a prominent feature of Greek tragedy. Blending a variety of interdisciplinary approaches, including traditional philology, literary criticism, genre theory, and performance studies, this book offers innovative close readings and incisive interpretations of individual plays. The author presents paracomedy as a multivalent authorial strategy: some instances impart a sense of ugliness or discomfort; others provide a sense of lightheartedness or humor. While the book traces the development of paracomedy over several hundred years, it focuses on a handful of Euripidean tragedies at the end of the fifth century BCE. The author argues that Euripides was participating in a rivalry with the comedian Aristophanes and often used paracomedy to demonstrate the poetic supremacy of tragedy; indeed, some of Euripides’s most complex uses of paracomedy attempt to reappropriate Aristophanes’s mockery of his theatrical techniques. The book theorizes a new, groundbreaking relationship between Greek tragedy and comedy that not only redefines our understanding of the genre of tragedy but also reveals a dynamic theatrical world filled with mutual cross-generic influence.