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Legendary Lyricist and Human Rights Activist
Known as "Broadway's social conscience," E. Y. Harburg (1896-1981) wrote the lyrics to the standards, "Brother, Can You Spare a Dime?," "April in Paris," and "It's Only a Paper Moon," as well as all of the songs in The Wizard of Oz, including "Over the Rainbow." Harburg always included a strong social and political component to his work, fighting racism, poverty, and war. Interweaving close to fifty interviews (most of them previously unpublished), over forty lyrics, and a number of Harburg's poems, Harriet Hyman Alonso enables Harburg to talk about his life and work. He tells of his early childhood on the Lower East Side of Manhattan, his public school education, how the Great Depression opened the way to writing lyrics, and his work on Broadway and Hollywood, including his blacklisting during the McCarthy era. Finally, but most importantly, Harburg shares his commitment to human rights and the ways it affected his writing and his career path. Includes an appendix with Harburg's key musicals, songs, and films.
Examines how Israeli society has commemorated Yitzhak Rabin. How does a society cope with the challenge of acknowledging and commemorating difficult aspects of its past? In Yitzhak Rabin’s Assassination and the Dilemmas of Commemoration, Vered Vinitzky-Seroussi develops a timely sociology of commemoration, drawing on the public memory of Israel’s Prime Minister Yitzhak Rabin, who was assassinated at the end of a peace rally in Tel Aviv in 1995. She identifies and analyzes the building blocks from which commemoration is made: agency, space, time, and narrative. Acting as a guide, she leads the reader through monuments and gravestones, memorial services and political demonstrations, rituals both moving and banal, and individuals determined to remember, as well as those who wish to forget. Yitzhak Rabin’s Assassination and the Dilemmas of Commemoration examines the meanings, boundaries, opportunities, and limits of commemoration, a phenomenon not unique to Israel but shared by many nations across the globe
Blackness in Peru
Yo Soy Negro is the first book in English--in fact, the first book in any language in more than two decades--to address what it means to be black in Peru. Based on extensive ethnographic work in the country and informed by more than eighty interviews with Peruvians of African descent, this groundbreaking study explains how ideas of race, color, and mestizaje in Peru differ greatly from those held in other Latin American nations.
The conclusion that Tanya Maria Golash-Boza draws from her rigorous inquiry is that Peruvians of African descent give meaning to blackness without always referencing Africa, slavery, or black cultural forms. This represents a significant counterpoint to diaspora scholarship that points to the importance of slavery in defining blackness in Latin America as well as studies that place cultural and class differences at the center of racial discourses in the region.
From Kitsch Folk to Contemporary Electronica
Language, Memory, and Mysticism
Harold Coward explores how the psychological aspects of Yoga philosophy have been important to intellectual developments both East and West. Foundational for Hindu, Jaina, and Buddhist thought and spiritual practice, Patañjali’s Yoga Suµtras, the classical statement of Eastern Yoga, are unique in their emphasis on the nature and importance of psychological processes. Yoga’s influence is explored in the work of both the seminal Indian thinker Bhartr|hari (c. 600 C.E.) and among key figures in Western psychology: founders Freud and Jung, as well as contemporary transpersonalists such as Washburn, Tart, and Ornstein. Coward shows how the yogic notion of psychological processes makes Bhartr|hari’s philosophy of language and his theology of revelation possible. He goes on to explore how Western psychology has been influenced by incorporating or rejecting Patañjali’s Yoga. The implications of these trends in Western thought for mysticism and memory are examined as well. This analysis results in a notable insight, namely, that there is a crucial difference between Eastern and Western thought with regard to how limited or perfectible human nature is—the West maintaining that we as humans are psychologically, philosophically, and spiritually limited or flawed in nature and thus not perfectible, while Patañjali’s Yoga and Eastern thought generally maintain the opposite. Different Western responses to the Eastern position are noted, from complete rejection by Freud, Jung, and Hick, to varying degrees of acceptance by transpersonal thinkers.
Histories and Legends of the Naths
An exploration of the history, religion, and folklore of the Naths, a Hindu lineage known for Hatha yoga practice. This book provides a remarkable range of information on the history, religion, and folklore of the Naµth Yogis. A Hindu lineage prominent in North India since the eleventh century, Naµths are well-known as adepts of Hatha yoga and alchemical practices said to increase longevity. Long a heterogeneous group, some Naµths are ascetics and some are householders; some are dedicated to personified forms of Shiva, others to a formless god, still others to Vishnu. The essays in the first part of the book deal with the history and historiography of the Naµths, their literature, and their relationships with other religious movements in India. Essays in the second part discuss the legends and folklore of the Naµths and provide an exploration of their religious ideas. Contributors to the volume depict a variety of local areas where this lineage is prominent and highlight how the Naµths have been a link between religious, metaphysical, and even medical traditions in India.
Faulkner's Fiction and Southern Roots Music
During the 1920s and 1930s, Mississippi produced two of the most significant influences upon twentieth-century culture: the modernist fiction of William Faulkner and the recorded blues songs of African American musicians like Charley Patton, Geeshie Wiley, and Robert Johnson. In Yoknapatawpha Blues, the first book examining both Faulkner and the music of the south, Tim A. Ryan identifies provocative parallels of theme and subject in diverse regional genres and texts.
Placing Faulkner's literary texts and prewar country blues song lyrics on equal footing, Ryan illuminates the meanings of both in new and unexpected ways. He provides close analysis of the Great Mississippi Flood of 1927 in Faulkner's "Old Man" and Patton's "High Water Everywhere"; racial violence in the story "That Evening Sun" and Wiley's "Last Kind Words Blues"; and male sexual dysfunction in Sanctuary and Johnson's "Dead Shrimp Blues." This interdisciplinary study reveals how the characters of Yoknapatawpha County and the protagonists in blues songs similarly strive to assert themselves in a threatening and oppressive world.
By emphasizing the modernism found in blues music and the echoes of black vernacular culture in Faulkner's writing, Yoknapatawpha Blues links elucidates the impact of both Faulkner's fiction and roots music on the culture of the modern South, and of the nation.
An Experimental Translation by Chantal Wright
Yoko Tawada's Portrait of a Tongue: An Experimental Translation by Chantal Wright is a hybrid text, innovatively combining literary criticism, experimental translation, and scholarly commentary. This work centres on a German-language prose text by Yoko Tawada entitled ‘Portrait of a Tongue’ [‘Porträt einer Zunge’, 2002]. Yoko Tawada is a native speaker of Japanese who learned German as an adult.
Portrait of a Tongue is a portrait of a German woman—referred to only as P—who has lived in the United States for many years and whose German has become inflected by English. The text is the first-person narrator’s declaration of love for P and for her language, a ‘thinking-out-loud’ about language(s), and a self-reflexive commentary.
Chantal Wright offers a critical response and a new approach to the translation process by interweaving Tawada’s text and the translator’s dialogue, creating a side-by-side reading experience that encourages the reader to move seamlessly between the two parts. Chantal Wright’s technique models what happens when translators read and responds to calls within Translation Studies for translators to claim visibility, to practice “thick translation”, and to develop their own creative voices. This experimental translation addresses a readership within the academic disciplines of Translation Studies, Germanic Studies, and related fields.
Whether set in Maxim D. Shrayer’s native Russia or in North America and Western Europe, the eight stories in this collection explore emotionally intricate relationships that cross traditional boundaries of ethnicity, religion, and culture. Tracing the lives, obsessions, and aspirations of Jewish-Russian immigrants, these poignant, humorous, and tender stories create an expansive portrait of individuals struggling to come to terms with ghosts of their European pasts while simultaneously seeking to build new lives in their American present.
An Ozarks Anthology
More than thirty years have passed since poet Miller Williams compiled his anthology Ozark, Ozark: A Hillside Reader, but time has not whittled away the talent of writers living in or native to the Ozarks. Yonder Mountain, inspired by Williams’s collection, remains rooted in the literary legacy of the Ozarks while reflecting the diversity and change of the region. Readers will find fresh, creative, honest voices profoundly influenced by the landscape and culture of the Ozark Mountains. Poets, novelists, columnists, and historians are represented—Donald Harington, Sara Burge, Marcus Cafagna, Art Homer, Pattiann Rogers, Miller Williams, Roy Reed, Dan Woodrell, and more.