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Slow to rise in the literary world, Octavia Estelle Butler cultivated musings on earth's future, reaching massive critical acclaim in the process. This companion will complement book club discussions and classroom lessons for the closest possible readings of Butler's science fiction and her texts on racism and pollution. A maven of speculative fiction so prescient that it hovers between tocsin and prophecy, Butler survives through her print stories, essays, novels and musings on individualism and compromise. This book guides the reader on a variety of Butler pieces, from her most obscure titles to her historical entries and pieces that speculate upon science, metaphysics, linguistics, psychology, writing and religion. The text serves as a guide through the depths of Octavia Butler's works and reinforces the reasons for which her name so often appears on reading lists for higher learning.
The first science fiction course in the American academy was held in the early 1950s. In the sixty years since, science fiction has become a recognized and established literary genre with a significant and growing body of scholarship. The Cambridge History of Science Fiction is a landmark volume as the first authoritative history of the genre. Over forty contributors with diverse and complementary specialties present a history of science fiction across national and genre boundaries, and trace its intellectual and creative roots in the philosophical and fantastic narratives of the ancient past. Science fiction as a literary genre is the central focus of the volume, but fundamental to its story is its non-literary cultural manifestations and influence. Coverage thus includes transmedia manifestations as an integral part of the genre's history, including not only short stories and novels, but also film, art, architecture, music, comics, and interactive media.
Decolonizing Colonial Heritage explores how different agents practice the decolonization of European colonial heritage at European and extra-European locations. Assessing the impact of these practices, the book also explores what a new vision of Europe in the postcolonial present could look like. Including contributions from academics, artists and heritage practitioners, the volume explores decolonial heritage practices in politics, contemporary history, diplomacy, museum practice, the visual arts and self-generated memorial expressions in public spaces. The comparative focus of the chapters includes examples of internal colonization in Europe and extends to former European colonies, among them Shanghai, Cape Town and Rio de Janeiro. Examining practices in a range of different contexts, the book pays particular attention to sub-national actors whose work is opening up new futures through their engagement with decolonial heritage practices in the present. The volume also considers the challenges posed by applying decolonial thinking to existing understandings of colonial heritage. Decolonizing Colonial Heritage examines the role of colonial heritage in European memory politics and heritage diplomacy. It will be of interest to academics and students working in the fields of heritage and memory studies, colonial and imperial history, European studies, sociology, cultural studies, development studies, museum studies, and contemporary art. The Open Access version of this book, available at www.taylor francis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.
Named a Best Art Book of 2017 by the New York Times and Artforum In South of Pico Kellie Jones explores how the artists in Los Angeles's black communities during the 1960s and 1970s created a vibrant, productive, and engaged activist arts scene in the face of structural racism. Emphasizing the importance of African American migration, as well as L.A.'s housing and employment politics, Jones shows how the work of black Angeleno artists such as Betye Saar, Charles White, Noah Purifoy, and Senga Nengudi spoke to the dislocation of migration, L.A.'s urban renewal, and restrictions on black mobility. Jones characterizes their works as modern migration narratives that look to the past to consider real and imagined futures. She also attends to these artists' relationships with gallery and museum culture and the establishment of black-owned arts spaces. With South of Pico, Jones expands the understanding of the histories of black arts and creativity in Los Angeles and beyond.
Kendrick Lamar has established himself at the forefront of contemporary hip-hop culture. Artistically adventurous and socially conscious, he has been unapologetic in using his art form, rap music, to address issues affecting black lives while also exploring subjects fundamental to the human experience, such as religious belief. This book is the first to provide an interdisciplinary academic analysis of the impact of Lamar’s corpus. In doing so, it highlights how Lamar’s music reflects current tensions that are keenly felt when dealing with the subjects of race, religion and politics. Starting with Section 80 and ending with DAMN., this book deals with each of Lamar’s four major projects in turn. A panel of academics, journalists and hip-hop practitioners show how religion, in particular black spiritualties, take a front-and-center role in his work. They also observe that his astute and biting thoughts on race and culture may come from an African American perspective, but many find something familiar in Lamar’s lyrical testimony across great chasms of social and geographical difference. This sophisticated exploration of one of popular culture’s emerging icons reveals a complex and multi faceted engagement with religion, faith, race, art and culture. As such, it will be vital reading for anyone working in religious, African American and hip-hop studies, as well as scholars of music, media and popular culture.
The Washington Post hails Greil Marcus as our greatest cultural critic. Writing in the London Review of Books, D. D. Guttenplan calls him probably the most astute critic of American popular culture since Edmund Wilson. For nearly thirty years, he has written a remarkable column that has migrated from the Village Voice to Artforum, Salon, City Pages, Interview, and The Believer and currently appears in the Barnes & Noble Review. It has been a laboratory where Marcus has fearlessly explored and wittily dissected an enormous variety of cultural artifacts, from songs to books to movies to advertisements, teasing out from the welter of everyday objects what amounts to a de facto theory of cultural transmission. Published to complement the paperback edition of The History of Rock & Roll in Ten Songs, Real Life Rock reveals the critic in full: direct, erudite, funny, fierce, vivid, astute, uninhibited, and possessing an unerring instinct for art and fraud. The result is an indispensable volume packed with startling arguments and casual brilliance.
What do literary dystopias reflect about the times? In Blast, Corrupt, Dismantle, Erase, contributors address this amorphous but pervasive genre, using diverse critical methodologies to examine how North America is conveyed or portrayed in a perceived age of crisis, accelerated uncertainty, and political volatility. Drawing from contemporary novels such as Cormac McCarthy’s The Road, Neil Gaiman’s American Gods, and the work of Margaret Atwood and William Gibson (to name a few), this book examines dystopian literature produced by North American authors between the signing of NAFTA (1994) and the tenth anniversary of 9/11 (2011). As the texts illustrate, awareness of and deep concern about perceived vulnerabilities—ends of water, oil, food, capitalism, empires, stable climates, ways of life, non-human species, and entire human civilizations—have become central to public discourseover the same period. By asking questions such as “What are the distinctive qualities of post-NAFTA North American dystopian literature?” and “What does this literature reflect about the tensions and contradictions of the inchoate continental community of North America?” Blast, Corrupt, Dismantle, Erase serves to resituate dystopian writing within a particular geo-social setting and introduce a productive means to understand both North American dystopian writing and its relevant engagements with a restricted, mapped reality.
An indispensable resource, this book provides wide coverage on aliens in fiction and popular culture. The wide impact that the imagined alien has had upon Western culture has not been surveyed before; in many cases the essays in Aliens in Popular Culture are the first written on the topic. The book is a compendium of short entries on notable uses of aliens in popular culture across different media and platforms by almost 90 researchers in the field. It covers science fiction from the late nineteenth century into the twenty-first century, including books, films, television, comics, games, and even advertisements. Individual essays point to the ways in which the imagined alien can be seen as a reflection of different fears and tensions within society, above all in the Anglo-American world. The book additionally provides an overview for context and suggestions for further reading. All varieties of readers will find it to be a comprehensive reference about the extra-terrestrial in popular culture.