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All over Africa, an explosion in cultural productions of various genres is in evidence. Whether in relation to music, song and dance, drama, poetry, film, documentaries, photography, cartoons, fine arts, novels and short stories, essays, and (auto)biography; the continent is experiencing a robust outpouring of creative power that is as remarkable for its originality as its all-round diversity. Beginning from the late 1970s and early 1980s, the African continent has experienced the longest and deepest economic crises than at any other time since the period after the Second World War. Interestingly however, while practically every indicator of economic development was declining in nominal and/ or real terms for most aspects of the continent, cultural productions were on the increase. Out of adversity, the creative genius of the African produced cultural forms that at once spoke to crises and sought to transcend them. The current climate of cultural pluralism that has been produced in no small part by globalization has not been accompanied by an adequate pluralism of ideas on what culture is, and/or should be; nor informed by an equal claim to the production of the cultural ñ packaged or not. Globalization has seen to movement and mixture, contact and linkage, interaction and exchange where cultural flows of capital, people, commodities, images and ideologies have meant that the globe has become a space, with new asymmetries, for an increasing intertwinement of the lives of people and, consequently, of a greater blurring of normative definitions as well as a place for re-definition, imagined and real. As this book ñ Contemporary African Cultural Productions ñ has done, researching into African culture and cultural productions that derive from it allows us, among other things, to enquire into definitions, explore historical dimensions, and interrogate the political dimensions to presentation and representation. The book therefore offers us an intervention that goes beyond the normative literary and cultural studiesí main foci of race, difference and identity; notions which, while important in themselves might, without the necessary historicizing and interrogating, result in a discourse that rather re-inscribes the very patterns that necessitate writing against. This book is an invaluable compendium to scholars, researchers, teachers, students and others who specialize on different aspects of African culture and cultural productions, as well as cultural centers and general readers.
"After reading Neuromancer for the first time," literary scholar Larry McCaffery wrote, "I knew I had seen the future of [science fiction] (and maybe of literature in general), and its name was William Gibson." McCaffery was right. Gibson's 1984 debut is one of the most celebrated SF novels of the last half century, and in a career spanning more than three decades, the American Canadian science fiction writer and reluctant futurist responsible for introducing "cyberspace" into the lexicon has published nine other novels.
Editor Patrick A. Smith draws the twenty-three interviews in this collection from a variety of media and sources--print and online journals and fanzines, academic journals, newspapers, blogs, and podcasts. Myriad topics include Gibson's childhood in the American South and his early adulthood in Canada, with travel in Europe; his chafing against the traditional SF mold, the origins of "cyberspace," and the unintended consequences (for both the author and society) of changing the way we think about technology; the writing process and the reader's role in a new kind of fiction. Gibson (b. 1948) takes on branding and fashion, celebrity culture, social networking, the post-9/11 world, future uses of technology, and the isolation and alienation engendered by new ways of solving old problems. The conversations also provide overviews of his novels, short fiction, and nonfiction.
How Air Conditioning Changed Everything
It’s a contraption that makes the lists of “Greatest Inventions Ever”; at the same time it's accused of causing global disaster. It has changed everything from architecture to people’s food habits to their voting patterns, even the way big business washes its windows. It has saved countless lives . . . while causing countless deaths. Most of us are glad it's there. But we don't know how, or when, it got there._x000B__x000B_It's air conditioning._x000B__x000B_For thousands of years, humankind attempted to do something about the slow torture of hot weather. Everything was tried: water power, slave power, electric power, ice made from steam engines and cold air made from deadly chemicals, “zephyrifers,” refrigerated beds, ventilation amateurs and professional air-sniffers. It wasn't until 1902 when an engineer barely out of college developed the “Apparatus for Treating Air”—a machine that could actually cool the indoors—and everyone assumed it would instantly change the world. _x000B__x000B_That wasn't the case. There was a time when people “ignored” hot weather while reading each day's list of heat-related deaths, women wore furs in the summertime, heatstroke victims were treated with bloodletting . . . and the notion of a machine to cool the air was considered preposterous, even sinful. _x000B__x000B_The story of air conditioning is actually two stories: the struggle to perfect a cooling device, and the effort to convince people that they actually needed such a thing. With a cast of characters ranging from Leonardo da Vinci and Richard Nixon to Felix the Cat, Cool showcases the myriad reactions to air conditioning—some of them dramatic, many others comical and wonderfully inconsistent—as it was developed and presented to the world. Here is a unique perspective on air conditioning's fascinating history: how we rely so completely on it today, and how it might change radically tomorrow._x000B_
Shaping the Law to Realize America's Promise
"Bill Coleman's story is one that younger generations should mark and inwardly digest, lest they forget the pioneers who helped to make a better America possible." From the Foreword by Stephen G. Breyer
William Coleman has spent a lifetime opening doors and breaking down barriers. He has been an eyewitness to history; moreover, he has made history. This is his inspiring story, in his own words.
Americans of color faced daunting barriers in the 1940s. Despite graduating first in his class at Harvard Law and clerking for Supreme Court Justice Felix Frankfurter, Coleman was shut out of major East Coast law firms. But as the Philadelphia native writes, "The times, they were a'changing." He not only benefited from that change he helped propel it, by way of dogged determination, undeniable intellect, and stellar accomplishment.
Coleman's legal work with Thurgood Marshall and the NAACP Legal Defense and Educational Fund helped jumpstart the civil rights movement in the 1950s. He was the first American of color to clerk for the Supreme Court, and later served as senior counsel to the Warren Commission, investigating the assassination of President John F. Kennedy. In 1975 he was appointed secretary of transportation by President Gerald Ford the first American of color to serve in a Republican cabinet and in 1995 he received the Presidential Medal of Freedom from Bill Clinton.
At his core, Bill Coleman is a lawyer. He strives to be a "counsel for the situation" an advocate able to take on major matters in a variety of legal disciplines while upholding the highest traditions of justice and the public interest. He is fiercely proud of the legal profession's role in a democratic society and free economy, and he is grateful for the opportunities that profession has afforded him in the court room, the board room, and the corridors of power. It is through this prism that he relates his own story his life and the law.
The results speak for themselves, and in this immensely entertaining chronicle, the Counsel for the Situation speaks for himself.
This book discusses three major elements - MTV, the Music of Malaysia, and the Music of Indonesia - and how these three interact in the modern cultural setting. The research objective behind the book was to study the impact of globalization, in the form of the MTV onslaught on the youth musical culture and identities of Indonesia and Malaysia, and to determine what theoretical basis could explain the new cultural products which have risen in response to this process. The book goes on to examine whether the nasyid and irama Malaysia music genres in Malaysia and dangdut in Indonesia are part of this process and how it is achieved
Vol. 1 (2001) through current issue
CR: The New Centennial Review is devoted to comparative studies of the Americas that suggest possibilities for a different future. Centennial Review is published three times a year under the editorship of Scott Michaelsen (Department of English, Michigan State University) and David E. Johnson (Department of Comparative Literature, SUNY at Buffalo).
The journal recognizes that the language of the Americas is translation, and that questions of translation, dialogue, and border crossings (linguistic, cultural, national, and the like) are necessary for rethinking the foundations and limits of the Americas. Journal articles address philosophically inflected interventions, provocations, and insurgencies that question the existing configuration of the Americas, as well as global and theoretical work with implications for the hemisphere.
How an Unlikely Couple Found Love, Dodged the FBI, and Transformed Children's Literature
Crockett Johnson (born David Johnson Leisk, 1906-1975) and Ruth Krauss (1901-1993) were a husband-and-wife team that created such popular children's books as The Carrot Seed and How to Make an Earthquake. Separately, Johnson created the enduring children's classic Harold and the Purple Crayon and the groundbreaking comic strip Barnaby. Krauss wrote over a dozen children's books illustrated by others, and pioneered the use of spontaneous, loose-tongued kids in children's literature. Together, Johnson and Krauss's style--whimsical writing, clear and minimalist drawing, and a child's point-of-view--is among the most revered and influential in children's literature and cartooning, inspiring the work of Maurice Sendak, Charles M. Schulz, Chris Van Allsburg, and Jon Scieszka.
This critical biography examines their lives and careers, including their separate achievements when not collaborating. Using correspondence, sketches, contemporary newspaper and magazine accounts, archived and personal interviews, author Philip Nel draws a compelling portrait of a couple whose output encompassed children's literature, comics, graphic design, and the fine arts. Their mentorship of now-famous illustrator Maurice Sendak (Where the Wild Things Are) is examined at length, as is the couple's appeal to adult contemporaries such as Duke Ellington and Dorothy Parker. Defiantly leftist in an era of McCarthyism and Cold War paranoia, Johnson and Krauss risked collaborations that often contained subtly rendered liberal themes. Indeed, they were under FBI surveillance for years. Their legacy of considerable success invites readers to dream and to imagine, drawing paths that take them anywhere they want to go.
A History of the Great American Potato Chip
Daniel A. Rudd's Ecclesiologically-Centered Vision of Justice in "The American Catholic Tribune"
Daniel Rudd, born a slave in Bardstown, Kentucky, grew up to achieve much in the years following the Civil War. His Catholic faith, passion for activism, and talent for writing led him to increasingly influential positions in many places. One of his important early accomplishments was the publication of the American Catholic Tribune, which Rudd referred to as “the only Catholic journal owned and published by colored men.” At its zenith, the Tribune, run out of Detroit and Cincinnati, where Rudd lived, had ten thousand subscribers, making it one of the most successful black newspapers in the country. Rudd was also active in the leadership of the Afro-American Press Association, and he was a founding member of the Catholic Press Association. By 1889, Rudd was one of the nation’s best-known black Catholics. His work was endorsed by a number of high-ranking church officials in Europe as well as in the United States, and he was one of the founders of the Lay Catholic Congress movement. Later, his travels took him to Bolivar County, Mississippi, and eventually on to Forrest City, Arkansas, where he worked for the well-known black farmer and businessperson, Scott Bond, and eventually co-wrote Bond’s biography.