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Intimacy and Leisure Among Working-Class Immigrants in the United States
The rise of commercialized leisure coincided with the arrival of millions of immigrants to America's cities. Conflict was inevitable as older generations attempted to preserve their traditions, values, and ethnic identities, while the young sought out the cheap amusements and sexual freedom which the urban landscape offered. At immigrant picnics, social clubs, and urban dance halls, Randy McBee discovers distinct and highly contested gender lines, proving that the battle between the ages was also one between the sexes.
Free from their parents and their strict rules governing sexual conduct, working women took advantage of their time in dance halls to challenge conventional gender norms. They routinely passed certain men over for dances, refused escorts home, and embraced the sensual and physical side of dance to further accentuate their superior skills and ability on the dance floor. Most men felt threatened by women's displays of empowerment and took steps to thwart the changes taking place. Accustomed to street corners, poolrooms, saloons, and other all-male get-togethers, working men tried to transform the dance hall into something that resembled these familiar hangouts.
McBee also finds that men frequently abandoned the commercial dance hall for their own clubs, set up in the basements of tenement flats. In these hangouts, working men established rules governing intimacy and leisure that allowed them to regulate the behavior of the women who attended club events. The collective manner in which they behaved not only affected the organization of commercial leisure but also men and women's struggles with and against one another to define the meaning of leisure, sexuality, intimacy, and even masculinity.
A year after her husband’s death in a sailing accident off Martha’s Vineyard, Ellen Boisvert bumps into an old friend. In this chance encounter, she discovers that her immigrant husband of almost fifteen years was not an orphan after all. Instead, his aged mother Jo is alive and residing on the family’s isolated farm in the west of Ireland. Faced with news of her mother-in-law incarnate, the thirty-nine-year-old American prep school teacher decides to travel to Ireland to investigate the truth about her husband Fintan and why he kept his family’s existence a secret for so many years. Between Jo’s hilltop farm and the lakeside village of Gowna, Ellen begins to uncover the mysteries of her Irish husband’s past and the cruelties and isolation of his rural childhood. Ellen also stumbles upon Fintan’s long-ago romance with a local village woman, with whom he had a daughter, Cat. Cat is now fourteen and living with her mother in London. As Ellen reconciles her troubled relationship with Fintan, she discovers a way to heal the wounds of the past.
Breaking Cycles of Poverty in Brazil and Beyond
In a narrative brimming with honesty and grace, Dance Lest We All Fall Down unfolds the story of how friendship, when combined with courage, insight, and passion, can transform dreams of a better world into reality.
Performing Early Colonial Hegemony in the Congo
A Dance of Assassins presents the competing histories of how Congolese Chief Lusinga and Belgian Lieutenant Storms engaged in a deadly clash while striving to establish hegemony along the southwestern shores of Lake Tanganyika in the 1880s. While Lusinga participated in the east African slave trade, Storms' secret mandate was to meet Henry Stanley's eastward march and trace "a white line across the Dark Continent" to legitimize King Leopold's audacious claim to the Congo. Confrontation was inevitable, and Lusinga lost his head. His skull became the subject of a sinister evolutionary treatise, while his ancestral figure is now considered a treasure of the Royal Museum for Central Africa. Allen F. Roberts reveals the theatricality of early colonial encounter and how it continues to influence Congolese and Belgian understandings of history today.
Texas African Americans during Reconstruction
This anthology brings together the late Barry A. Crouch’s most important articles on the African American experience in Texas during Reconstruction. Grouped topically, the essays explore what freedom meant to the newly emancipated, how white Texans reacted to the freed slaves, and how Freedmen’s Bureau agents and African American politicians worked to improve the lot of ordinary African American Texans. The volume also contains Crouch’s seminal review of Reconstruction historiography, “Unmanacling Texas Reconstruction: A Twenty-Year Perspective.” The introductory pieces by Arnoldo De Leon and Larry Madaras recapitulate Barry Crouch’s scholarly career and pay tribute to his stature in the field of Reconstruction history.
Korean Adoptees and Their Journey toward Empowerment
Korean adoptees have a difficult time relating to any of the racial identity models because they are people of color who often grew up in white homes and communities. Biracial and nonadopted people of color typically have at least one parent whom they can racially identify with, which may also allow them access to certain racialized groups. When Korean adoptees attempt to immerse into the Korean community, they feel uncomfortable and unwelcome because they are unfamiliar with Korean customs and language. The Dance of Identities looks at how Korean adoptees "dance," or engage, with their various identities (white, Korean, Korean adoptee, and those in between and beyond) and begin the journey toward self-discovery and empowerment. Throughout the author draws closely on his own experiences and those of thirty-eight other Korean adoptees, mainly from the U.S. Chapters are organized according to major themes that emerged from interviews with adoptees. "Wanting to be like White" examines assimilation into a White middle-class identity during childhood. Although their White identity may be challenged at times, for the most part adoptees feel accepted as "honorary" Whites among their families and friends. "Opening Pandora’s Box" discusses the shattering of adoptees’ early views on race and racism and the problems of being raised colorblind in a race-conscious society. "Engaging and Reflecting" is filled with adoptee voices as they discover their racial and transracial identities as young adults. During this stage many engage in activities that they believe make more culturally Korean, such as joining Korean churches and Korean student associations in college. "Questioning What I Have Done" delves into the issues that arise when Korean adoptees explore their multiple identities and the possible effects on relationships with parents and spouses. In "Empowering Identities" the author explores how adoptees are able to take control of their racial and transracial identities by reaching out to parents, prospective parents, and adoption agencies and by educating Korean and Korean Americans about their lives. The final chapter, "Linking the Dance of Identities Theory to Life Experiences," reiterates for adoptees, parents, adoption agencies, and social justice activists and educators the need for identity journeys and the empowered identities that can result. The Dance of Identities is an honest look at the complex nature of race and how we can begin to address race and racism from a fresh perspective. It will be well received by not only members of the Korean adoption community and transracial parents, but also Asian American scholars, educators, and social workers.
Popular Music and Politics in Southeast Asia
The rock era is over, according to one pop music expert. Another laments that rock music is "metamorphosed into the musical wallpaper of ten thousand lifts, hotel foyers, shopping centers, airport lounges, and television advertisements that await us in the 1990s." Whatever its current role and significance in Anglo-American society, popular music has been and remains a tremendous social and cultural force in many parts of the world. This book explores the connections between popular music genres and politics in Southeast Asia, with particular emphasis on Indonesia, the Philippines, Thailand, Malaysia, and Singapore.
One Interpretation of American Indian Philosophy
Uses the concept of "worldmaking" to provide an introduction to American Indian philosophy. Ever since first contact with Europeans, American Indian stories about how the world is have been regarded as interesting objects of study, but also as childish and savage, philosophically curious and ethically monstrous. Using the writings of early ethnographers and cultural anthropologists, early narratives told or written by Indians, and scholarly work by contemporary Native writers and philosophers, Shawnee philosopher Thomas Norton-Smith develops a rational reconstruction of American Indian philosophy as a dance of person and place. He views Native philosophy through the lens of a culturally sophisticated constructivism grounded in the work of contemporary American analytic philosopher Nelson Goodman, in which stories (or “world versions”) satisfying certain criteria construct actual worlds—words make worlds. Ultimately, Norton-Smith argues that the Native stories construct real worlds as robustly as their Western counterparts, and, in so doing, he helps to bridge the chasm between Western and American Indian philosophical traditions.
The People, the President, and the Performance of Political Standup Comedy in America
Why did Barack Obama court Jon Stewart and trade jokes with Stephen Colbert during the campaign of 2008? Why did Sarah Palin forgo the opportunity to earn votes on the Sunday morning political talk shows but embrace the chance to get laughs on Saturday Night Live? The Dance of the Comedians examines the history behind these questions—the merry, mocking, and highly contested anarchies of standup political comedy that have locked humorists, presidents, and their fellow Americans in an improvisational three-way “dance” since the early years of the American republic. Peter M. Robinson shows how the performance of political humor developed as a celebration of democracy and an expression of political power, protest, and commercial profit. He places special significance on the middle half of the twentieth century, when presidents and comedians alike—from Calvin Coolidge to Ronald Reagan, from Will Rogers to Saturday Night Live’s “Not Ready for Prime Time Players”—developed modern understandings of the power of laughter to affect popular opinion and political agendas, only to find the American audience increasingly willing and able to get in on the act. These years put the long-standing traditions of presidential deference profoundly in play as all three parties to American political humor—the people, the presidents, and the comedy professionals—negotiated their way between reverence for the office of the presidency and ridicule of its occupants. Although the focus is on humor, The Dance of the Comedians illuminates the process by which Americans have come to recognize that the performance of political comedy has serious and profound consequences for those on all sides of the punch line.