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"Bringing together the minkisi tradition of the Kongo peoples of Central Africa and the art of Renée Stout, "Atonishment & Power" explores a complex African visual tradition and its resonance in the work of a contemporary African-American woman artist. Minkisi, as described by Wyatt MacGaffey, are figures or operative complexes made from natural and man-made materials are intended as containers for powerful medicines. Often visually impressive, minkisi are invoked to accomplish various purposes, both to heal and to harm. In discussing minkisi, MacGaffey includes numerous early-20th-century commentaries written by young Kongo men. As Michael Harris reveals, the art of Renée Stout incorporates the forms and conceptual qualities of Kongo minkisi. The inspiration for her work derives from her personal memories and her deep interest in minkisi and African beliefs. Like minkisi, Stout's work sits at a crossroads--of the sacred and the secular, the West and Africa. Both the Kongo people and Renée Stout are masters at creating works of astonishment and power, invocation and art."--Back cover.
Lutete devoted much of his attention to aspects of Kongo ritual and religious belief, including minkisi and the rituals for the installation of chiefs. The original text of what he had to say about chiefship is printed, with translation notes. The work of other informants is also used."--BOOK JACKET.
All societies are shaped by arts, media, and other persuasive practices that can awe, captivate, enchant or otherwise seem to cast a spell on the audience. Likewise, scholarship itself often is driven by a sense of wonder and a willingness to be open to what lies beyond the obvious. This book broadens and deepens this perspective. Inspired by Stephen Tyler’s view of ethnography as an art of evocation, international scholars from the fields of aesthetics, anthropology, and rhetoric explore the spellbinding power of elusive meanings as people experience them in daily life and while gazing at works of art, watching films or studying other cultures. The book is divided into three parts covering the evocative power of visual art, the immersion in ritual and performance, and the reading, writing, and interpretation of texts. Taken as a whole, the contributions to the book demonstrate how astonishment and evocation deserve an important place in the conceptual repertoire of the human sciences.
An acclaimed journalist and novelist makes history personal, painting a rich and vivid portrait of the time when America become modern by tracing the life of one man who lived through it. It all began with a black-and-white family snapshot of a distinguished elderly gentleman with a fine head of spun-sugar hair. He was wearing round, tortoise-shell glasses, a three-piece suit and an expression of delight mixed with terror, for on his right knee he was balancing a swaddled infant with a bewildered look. The baby is Bill morris, the man is his father’s father, John Morris. That photo, taken in November 1952, the month the United States detonated the first hydrogen bomb, a weapon a thousand times more powerful than the atom bombs that incinerated Hiroshima and Nagasaki. Three years later, John Morris died at the age of 92. Bill has no memories of the man, but even as a boy he found himself marveling at the changes John must have witnessed and experienced in his long lifetime. He was born into a slave-owning Virginia family during the Civil War, and he died at the peak of the Cold War. At the time of his birth, the dominant technologies were the steam engine and the telegraph. He grew up in a world lit by kerosene and candles, he traveled by foot and horseback and wagon and drank water hauled from a well. He would live through Reconstruction, women’s suffrage, Prohibition, the Great Depression, two world wars, the Korean War and the advent of nuclear weapons. Though he was from a slave-owning family, he changed his views as he grew into adulthood, and would unhappily witnessed the horrors of Jim Crow and work against it. Fluent in German, he would witness Hitler’s rise to power, just one of the unimaginable occurrences of his time that suddenly became all-too-real. Deep in the Bible Belt, John was agnostic, perhaps even atheist, and held remarkably progressive beliefs on race relations, child rearing, women’s rights and religious freedom. He married an Irish Catholic from upstate New York at a time when Catholics, Jews and Yankees were not warmly welcomed in the South. And in that traditionally bellicose region, he was a life-long pacifist. He was, in a word, a misfit, but one whose story embodies a pivotal generation in American history. An acclaimed journalist and novelist, Bill Morris makes history personal in The Age of Astonishment, painting a rich and vivid portrait of the time when America become modern by tracing the life of one man who lived through it.
Twenty-eight African cultures are represented here by artifacts created to communicate with ancestors, spirits, and gods, about such issues as health, conception, and determination of guilt or innocence. Issued in conjunction with an April-July 2000 exhibit at The Metropolitan Museum of Art, NY, this catalog contains extensive ethnographic, descriptive, and interpretive text in connection with each of 50 pictured pieces, as well as a 13-page essay about divination in Sub-Saharan Africa (by John Pemberton III) and an introductory essay by LaGamma. Annotation copyrighted by Book News, Inc., Portland, OR
This examination of the "Psalms of Historical Recital" reviews this portion of scripture's social-political intention and function. Focusing on Psalms 78, 105, 106, and 136, Brueggemann considers these psalms on their own terms and then applies them to the areas of modernity and marginality.
Featuring more than 100 extraordinary works of art from 1800 to the present, Earth Matters reveals how African individuals and communities have visually mediated their most poignant relationships with the land—whether it be to earth as a sacred or medicinal material, as something uncovered by mining or claimed by burial, as a surface to be interpreted and turned to for inspiration, or as an environment to be protected. Both internationally recognized and emerging contemporary artists are represented, from the continent and diaspora, including El Anatsui, Ghada Amer, Sammy Baloji, Ingrid Mwangi and William Kentridge. Highlights include a pair of rare Yoruba onile figures, a one-of-a-kind Punu reliquary from Gabon, and 3 bocio figures from the personal collection of legendary French dealer Jacques Kerchache. The text includes statements by contemporary African artists including Wangechi Mutu, Clive van den Berg, Allan de Souza, and George Osodi. National Museum of African Art curator Karen E. Milbourne explores how diverse African concepts of healing, the sacred, identity, memory, history, and environmental sustainability have all been formed in relation to the land in this pioneering scholarly study.
The best-selling author and producer of The Secret offers inspiring quotes and affirmations to encourage personal journaling and reflection on gratitude and abundance, equipping individuals with a powerful tool to transform their lives and experience more joy. 500,000 first printing. $250,000 ad/promo.
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.