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Since its introduction to Hawai‘i in 1879, the ‘ukulele has been many things: a symbol of an island paradise; a tool of political protest; an instrument central to a rich musical culture; a musical joke; a highly sought-after collectible; a cheap airport souvenir; a lucrative industry; and the product of a remarkable synthesis of western and Pacific cultures. The ‘Ukulele: A History explores all of these facets, placing the instrument for the first time in a broad historical, cultural, and musical context.
Drawing on a wealth of previously untapped sources, Jim Tranquada and John King tell the surprising story of how an obscure four-string folk guitar from Portugal became the national instrument of Hawai’i, of its subsequent rise and fall from international cultural phenomenon to “the Dangerfield of instruments,” and of the resurgence in popularity (and respect) it is currently enjoying among musicians from Thailand to Finland. The book shows how the technologies of successive generations (recorded music, radio, television, the Internet) have played critical roles in popularizing the ‘ukulele. Famous composers and entertainers (Queen Liliuokalani, Irving Berlin, Arthur Godfrey, Paul McCartney, SpongeBob SquarePants) and writers (Rudyard Kipling, Jack London, P. G. Wodehouse, Agatha Christie) wind their way through its history—as well as a host of outstanding Hawaiian musicians (Ernest Kaai, George Kia Nahaolelua, Samuel K. Kamakaia, Henry A. Peelua Bishaw). In telling the story of the ‘ukulele, Tranquada and King also present a sweeping history of modern Hawaiian music that spans more than two centuries, beginning with the introduction of western melody and harmony by missionaries to the Hawaiian music renaissance of the 1970s and 1980s.
Custodians of Change
From the cleric-led Iranian revolution to the rise of the Taliban in Afghanistan, many people have been surprised by what they see as the modern reemergence of an antimodern phenomenon. This book helps account for the increasingly visible public role of traditionally educated Muslim religious scholars (the `ulama) across contemporary Muslim societies. Muhammad Qasim Zaman describes the transformations the centuries-old culture and tradition of the `ulama have undergone in the modern era--transformations that underlie the new religious and political activism of these scholars. In doing so, it provides a new foundation for the comparative study of Islam, politics, and religious change in the contemporary world.
While focusing primarily on Pakistan, Zaman takes a broad approach that considers the Taliban and the `ulama of Iran, Egypt, Saudi Arabia, India, and the southern Philippines. He shows how their religious and political discourses have evolved in often unexpected but mutually reinforcing ways to redefine and enlarge the roles the `ulama play in society. Their discourses are informed by a longstanding religious tradition, of which they see themselves as the custodians. But these discourses are equally shaped by--and contribute in significant ways to--contemporary debates in the Muslim public sphere.
This book offers the first sustained comparative perspective on the `ulama and their increasingly crucial religious and political activism. It shows how issues of religious authority are debated in contemporary Islam, how Islamic law and tradition are continuously negotiated in a rapidly changing world, and how the `ulama both react to and shape larger Islamic social trends. Introducing previously unexamined facets of religious and political thought in modern Islam, it clarifies the complex processes of religious change unfolding in the contemporary Muslim world and goes a long way toward explaining their vast social and political ramifications.
The Autobiography of Art Cinema
Since 1974, German filmmaker Ulrike Ottinger has created a substantial body of films that explore a world of difference defined by the tension and transfer between settled and nomadic ways of life. In many of her films, including Exile Shanghai, an experimental documentary about the Jews of Shanghai, and Joan of Arc of Mongolia, in which passengers on the Trans-Siberian Express are abducted by Mongolian bandits, she also probes the encounter with the other, whether exotic or simply unpredictable.
In Ulrike Ottinger Laurence A. Rickels offers a series of sensitive and original analyses of Ottinger’s films, as well as her more recent photographic artworks, situated within a dazzling thought experiment centered on the history of art cinema through the turn of the twenty-first century. In addition to commemorating the death of a once-vital art form, this book also affirms Ottinger’s defiantly optimistic turn toward the documentary film as a means of mediating present clashes between tradition and modernity, between the local and the global.
Widely regarded as a singular and provocative talent, Ottinger’s conspicuous absence from critical discourse is, for Rickels, symptomatic of the art cinema’s demise. Incorporating interviews he conducted with Ottinger and illustrated with stunning examples from her photographic oeuvre, this book takes up the challenges posed by Ottinger’s filmography to interrogate, ultimately, the very practice-and possibility-of art cinema today.
Laurence A. Rickels is professor of German and comparative literature at the University of California, Santa Barbara, and the author of several books, including The Case of California, The Vampire Lectures, and the three-volume Nazi Psychoanalysis (all published by Minnesota). He is a recognized art writer whose reflections on contemporary visual art appear regularly in numerous exhibition catalogues as well as in Artforum, artUS, and Flash Art.
The Scots-Irish Migration Experience, 1680–1830
For years, immigrants from Ulster have been viewed through a monochromatic lens as hard living, hard fighting, individualistic, elitist, and resistant to authority. This groundbreaking new collection of essays challenges that entrenched view, presenting a more nuanced perspective on the Scots-Irish settlers and the crucial role they played in shaping the broader American culture. In Ulster to America: The Scots-Irish Migration Experience, 1680–1830, editor Warren R. Hofstra has gathered contributions from pioneering scholars who are rewriting the history of the Scots-Irish. In addition to presenting fresh information based on thorough and detailed research, they offer cutting-edge interpretations that help explain the Scots-Irish experience in the United States. In place of implacable Scots-Irish individualism, the writers stress the urge to build communities among Ulster immigrants. In place of rootlessness and isolation, the authors point to the trans-Atlantic continuity of Scots-Irish settlement and the presence of Germans and Anglo-Americans in so-called Scots-Irish areas. In a variety of ways, the book asserts, the Scots-Irish actually modified or abandoned some of their own cultural traits as a result of interacting with people of other backgrounds and in response to many of the main themes defining American history. While the Scots-Irish myth has proved useful over time to various groups with their own agendas—including modern-day conservatives and fundamentalist Christians—this book, by clearing away long-standing but erroneous ideas about the Scots-Irish, represents a major advance in our understanding of these immigrants. It also places Scots-Irish migration within the broader context of the historiographical construct of the Atlantic world. Organized in chronological and migratory order, this volume includes contributions on specific U.S. centers for Ulster immigrants: New Castle, Delaware; Donegal Springs, Pennsylvania; Carlisle, Pennsylvania; Opequon, Virginia; the Virginia frontier; the Carolina backcountry; southwestern Pennsylvania, and Kentucky. Ulster to America is essential reading for scholars and students of American history, immigration history, local history, and the colonial era, as well as all those who seek a fuller understanding of the Scots-Irish immigrant story.
why is there anything at all rather than nothing whatsoever?
This volume gathers studies by prominent scholars and philosophers about the question how have major figures from the history of philosophy, and some contemporary philosophers, addressed "the ultimate why question": why is there anything at all rather than nothing whatsoever?
In this collection, Jacqueline Osherow gives us perfectly formed, musical poems that glide between the worlds of art, architecture, literature, and religion. Traveling through Europe, Tel Aviv, and New York, Osherow observes with a keen eye the details of objects-beautiful buildings and ancient artifacts-and of the conversations and interactions she has with others. Finely constructed and always engaging, her poems uncover the startling truths of memory and coax our own forgotten moments from the recesses of the mind.
For James McMichael, Joyce's Ulysses invites the wide range of interpretations it has received: what it also does is to prod its interpreters to put the book to some just use. If Ulysses were more conventional than it is, McMichael claims, its readers could set more comfortable limits for themselves in their responses to it, limits that did not extend beyond Ulysses into their dealings with persons in the world. But what happens instead is that the singularly unconventional narrative structure of Ulysses keeps reminding them that the story they are being told about any of the characters is the same kind of story they tell themselves whenever they think about a person. It reminds them that every person needs to be responded to justly and that the justice of their response to any person depends on how justly they characterize that person in their thoughts. McMichael insists that it is justice that Joyce himself most wants. Distinguishing Joyce not only from the immature Stephen Dedalus but also from Ulysses' perfectly unresponsive narrator, this study describes Joyce's tacit but discomforting plea that Ulysses be judged not so much for its literary mastery as for the degree to which it is a just response to persons in need.
Originally published in 1991.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Ralph Ellison, Classicism, and African American Literature
In this groundbreaking work, Patrice D. Rankine asserts that the classics need not be a mark of Eurocentrism, as they have long been considered. Instead, the classical tradition can be part of a self-conscious, prideful approach to African American culture, esthetics, and identity. Ulysses in Black demonstrates that, similar to their white counterparts, African American authors have been students of classical languages, literature, and mythologies by such writers as Homer, Euripides, and Seneca.
Ulysses in Black closely analyzes classical themes (the nature of love and its relationship to the social, Dionysus in myth as a parallel to the black protagonist in the American scene, misplaced Ulyssean manhood) as seen in the works of such African American writers as Ralph Ellison, Toni Morrison, and Countee Cullen. Rankine finds that the merging of a black esthetic with the classics—contrary to expectations throughout American culture—has often been a radical addressing of concerns including violence against blacks, racism, and oppression. Ultimately, this unique study of black classicism becomes an exploration of America’s broader cultural integrity, one that is inclusive and historic.
Outstanding Academic Title, Choice Magazine