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Americans have always shown a fascination with the people, customs, and legends of the "East--witness the popularity of the stories of the Arabian Nights, the performances of Arab belly dancers and acrobats, the feats of turban-wearing vaudeville magicians, and even the antics of fez-topped Shriners. In this captivating volume, Susan Nance provides a social and cultural history of this highly popular genre of Easternized performance in America up to the Great Depression. According to Nance, these traditions reveal how a broad spectrum of Americans, including recent immigrants and impersonators, behaved as producers and consumers in a rapidly developing capitalist economy. In admiration of the Arabian Nights, people creatively reenacted Eastern life, but these performances were also demonstrations of Americans' own identities, Nance argues. The story of Aladdin, made suddenly rich by rubbing an old lamp, stood as a particularly apt metaphor for how consumer capitalism might benefit each person. The leisure, abundance, and contentment that many imagined were typical of Eastern life were the same characteristics used to define "the American dream." The recent success of Disney's Aladdin movies suggests that many Americans still welcome an interpretation of the East as a site of incredible riches, romance, and happy endings. This abundantly illustrated account is the first by a historian to explain why and how so many Americans sought out such cultural engagement with the Eastern world long before geopolitical concerns became paramount.
The late Edward Said remains one of the most influential critics and public intellectuals of our time, with lasting contributions to many disciplines. Much of his reputation derives from the phenomenal multidisciplinary influence of his 1978 book Orientalism. Said's seminal polemic analyzes novels, travelogues, and academic texts to argue that a dominant discourse of West over East has warped virtually all past European and American representation of the Near East. But despite the book's wide acclaim, no systematic critical survey of the rhetoric in Said's representation of Orientalism and the resulting impact on intellectual culture has appeared until today. Drawing on the extensive discussion of Said's work in more than 600 bibliographic entries, Daniel Martin Varisco has written an ambitious intellectual history of the debates that Said's work has sparked in several disciplines, highlighting in particular its reception among Arab and European scholars. While pointing out Said's tendency to essentialize and privilege certain texts at the expense of those that do not comfortably it his theoretical framework, Varisco analyzes the extensive commentary the book has engendered in Oriental studies, literary and cultural studies, feminist scholarship, history, political science, and anthropology. He employs "critical satire" to parody the exaggerated and pedantic aspects of post-colonial discourse, including Said's profound underappreciation of the role of irony and reform in many of the texts he cites. The end result is a companion volume to Orientalism and the vast research it inspired. Rather than contribute to dueling essentialisms, Varisco provides a path to move beyond the binary of East versus West and the polemics of blame. Reading Orientalism is the most comprehensive survey of Said's writing and thinking to date. It will be of strong interest to scholars of Middle East studies, anthropology, history, cultural studies, post-colonial studies, and literary studies.
The Sheik—E. M. Hull’s best-selling novel that became a wildly popular film starring Rudolph Valentino—kindled “sheik fever” across the Western world in the 1920s. A craze for all things romantically “Oriental” swept through fashion, film, and literature, spawning imitations and parodies without number. While that fervor has largely subsided, tales of passion between Western women and Arab men continue to enthrall readers of today’s mass-market romance novels. In this groundbreaking cultural history, Hsu-Ming Teo traces the literary lineage of these desert romances and historical bodice rippers from the twelfth to the twenty-first century and explores the gendered cultural and political purposes that they have served at various historical moments. Drawing on “high” literature, erotica, and popular romance fiction and films, Teo examines the changing meanings of Orientalist tropes such as crusades and conversion, abduction by Barbary pirates, sexual slavery, the fear of renegades, the Oriental despot and his harem, the figure of the powerful Western concubine, and fantasies of escape from the harem. She analyzes the impact of imperialism, decolonization, sexual liberation, feminism, and American involvement in the Middle East on women’s Orientalist fiction. Teo suggests that the rise of female-authored romance novels dramatically transformed the nature of Orientalism because it feminized the discourse; made white women central as producers, consumers, and imagined actors; and revised, reversed, or collapsed the binaries inherent in traditional analyses of Orientalism.
Bringing the rich terrain of Arab American histories to bear on conceptualizations of race in the United States, this groundbreaking volume fills a critical gap in the field of U.S. racial and ethnic studies. The articles collected here highlight emergent discourses on the distinct ways that race matters to the study of Arab American histories and experiences and asks essential questions. What is the relationship between U.S. imperialism in Arab homelands and anti-Arab racism in the United States? In what ways have the axes of nation, religion, class, and gender intersected with Arab American racial formations? What is the significance of whiteness studies to Arab American studies? Transcending multiculturalist discourses that have simply added on the category “Arab-American” to the landscape of U.S. racial and ethnic studies after the attacks of September 11, 2001, this volume locates September 11 as a turning point, rather than as a beginning, in Arab Americans’
Transference of orientalist images and identities to the American landscape and its inhabitants, especially in the West—in other words, portrayal of the West as the “Orient”—has been a common aspect of American cultural history. Place names, such as the Jordan River or Pyramid Lake, offer notable examples, but the imagery and its varied meanings are more widespread and significant. Understanding that range and significance, especially to the western part of the continent, means coming to terms with the complicated, nuanced ideas of the Orient and of the North American continent that European Americans brought to the West. Such complexity is what historical geographer Richard Francaviglia unravels in this book. Since the publication of Edward Said’s book, Orientalism, the term has come to signify something one-dimensionally negative. In essence, the orientalist vision was an ethnocentric characterization of the peoples of Asia (and Africa and the “Near East”) as exotic, primitive “others” subject to conquest by the nations of Europe. That now well-established point, which expresses a postcolonial perspective, is critical, but Francaviglia suggest that it overlooks much variation and complexity in the views of historical actors and writers, many of whom thought of western places in terms of an idealized and romanticized Orient. It likewise neglects positive images and interpretations to focus on those of a decadent and ostensibly inferior East. We cannot understand well or fully what the pervasive orientalism found in western cultural history meant, says Francaviglia, if we focus only on its role as an intellectual engine for European imperialism. It did play that role as well in the American West. One only need think about characterizations of American Indians as Bedouins of the Plains destined for displacement by a settled frontier. Other roles for orientalism, though, from romantic to commercial ones, were also widely in play. In Go East, Young Man, Francaviglia explores a broad range of orientalist images deployed in the context of European settlement of the American West, and he unfolds their multiple significances.
How has a game brought together Americans and defined separate ethnic communities? This book tells the first history of mahjong and its meaning in American culture. Click-click-click. The sound of mahjong tiles connects American expatriates in Shanghai, Jazz Age white Americans, urban Chinese Americans in the 1930s, incarcerated Japanese Americans in wartime, Jewish American suburban mothers, and Air Force officers' wives in the postwar era. Mahjong: A Chinese Game and the Making of Modern American Culture illustrates how the spaces between tiles and the moments between games have fostered distinct social cultures in the United States. This mass-produced game crossed the Pacific, creating waves of popularity over the twentieth century. Annelise Heinz narrates the history of this game to show how it has created a variety of meanings, among them American modernity, Chinese American heritage, and Jewish American women's culture. As it traveled from China to the United States and caught on with Hollywood starlets, high society, middle-class housewives, and immigrants alike, mahjong became a quintessentially American game. Heinz also reveals the ways in which women leveraged a game to gain access to respectable leisure. The result was the forging of friendships that lasted decades and the creation of organizations that raised funds for the war effort and philanthropy. No other game has signified both belonging and standing apart in American culture. Drawing on photographs, advertising, popular media, and dozens of oral histories, Heinz's rich and colorful account offers the first history of the wildly popular game of mahjong.
Choice Outstanding Academic Title for 2020 With the dramatic rise of Freemasonry in the eighteenth century, art played a fundamental role in its practice, rhetoric, and global dissemination, while Freemasonry, in turn, directly influenced developments in art. This mutually enhancing relationship has only recently begun to receive its due. The vilification of Masons, and their own secretive practices, have hampered critical study and interpretation. As perceptions change, and as masonic archives and institutions begin opening to the public, the time is ripe for a fresh consideration of the interconnections between Freemasonry and the visual arts. This volume offers diverse approaches, and explores the challenges inherent to the subject, through a series of eye-opening case studies that reveal new dimensions of well-known artists such as Francisco de Goya and John Singleton Copley, and important collectors and entrepreneurs, including Arturo Alfonso Schomburg and Baron Taylor. Individual essays take readers to various countries within Europe and to America, Iran, India, and Haiti. The kinds of art analyzed are remarkably wide-ranging-porcelain, architecture, posters, prints, photography, painting, sculpture, metalwork, and more-and offer a clear picture of the international scope of the relationships between Freemasonry and art and their significance for the history of modern social life, politics, and spiritual practices. In examining this topic broadly yet deeply, Freemasonry and the Visual Arts sets a standard for serious study of the subject and suggests new avenues of investigation in this fascinating emerging field.
One of the largely untold stories of Orientalism is the degree to which the Middle East has been associated with "deviant" male homosexuality by scores of Western travelers, historians, writers, and artists for well over four hundred years. And this story stands to shatter our preconceptions of Orientalism. To illuminate why and how the Islamicate world became the locus for such fantasies and desires, Boone deploys a supple mode of analysis that reveals how the cultural exchanges between Middle East and West have always been reciprocal and often mutual, amatory as well as bellicose. Whether examining European accounts of Istanbul and Egypt as hotbeds of forbidden desire, juxtaposing Ottoman homoerotic genres and their European imitators, or unlocking the homoerotic encoding in Persian miniatures and Orientalist paintings, this remarkable study models an ethics of crosscultural reading that exposes, with nuance and economy, the crucial role played by the homoerotics of Orientalism in shaping the world as we know it today. A contribution to studies in visual culture as well as literary and social history, The Homoerotics of Orientalism draws on primary sources ranging from untranslated Middle Eastern manuscripts and European belles-lettres to miniature paintings and photographic erotica that are presented here for the first time.
Named Outstanding Academic Title by CHOICE Winnter of the Wesley-Logan Prize of the American Historical Association Winner of the Byron Caldwell Smith Book Prize Winner of the 2014 Albert J. Raboteau Book Prize for the Best Book in Africana Religions Jacob S. Dorman offers new insights into the rise of Black Israelite religions in America, faiths ranging from Judaism to Islam to Rastafarianism all of which believe that the ancient Hebrew Israelites were Black and that contemporary African Americans are their descendants. Dorman traces the influence of Israelite practices and philosophies in the Holiness Christianity movement of the 1890s and the emergence of the Pentecostal movement in 1906. An examination of Black interactions with white Jews under slavery shows that the original impetus for Christian Israelite movements was not a desire to practice Judaism but rather a studied attempt to recreate the early Christian church, following the strictures of the Hebrew Scriptures. A second wave of Black Israelite synagogues arose during the Great Migration of African Americans and West Indians to cities in the North. One of the most fascinating of the Black Israelite pioneers was Arnold Josiah Ford, a Barbadian musician who moved to Harlem, joined Marcus Garvey's Black Nationalist movement, started his own synagogue, and led African Americans to resettle in Ethiopia in 1930. The effort failed, but the Black Israelite theology had captured the imagination of settlers who returned to Jamaica and transmitted it to Leonard Howell, one of the founders of Rastafarianism and himself a member of Harlem's religious subculture. After Ford's resettlement effort, the Black Israelite movement was carried forward in the U.S. by several Harlem rabbis, including Wentworth Arthur Matthew, another West Indian, who creatively combined elements of Judaism, Pentecostalism, Freemasonry, the British Anglo-Israelite movement, Afro-Caribbean faiths, and occult kabbalah. Drawing on interviews, newspapers, and a wealth of hitherto untapped archival sources, Dorman provides a vivid portrait of Black Israelites, showing them to be a transnational movement that fought racism and its erasure of people of color from European-derived religions. Chosen People argues for a new way of understanding cultural formation, not in terms of genealogical metaphors of "survivals," or syncretism, but rather as a "polycultural" cutting and pasting from a transnational array of ideas, books, rituals, and social networks.