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In the second session of this interview, Morris discusses her work in other mediums and disciplines, including: her poetry; her film Brewsie and Willie, an adaptation of Gertrude Stein's novella by the same name; and her work with poet Yvette Christiansë and composer Zaid Jabri on their opera, Cities of Salt, based on a series of novels by Abdul Rahman. Morris talks about the relationship of activism to art. She also addresses international feminism, touching on Margaret Mead and anthropological feminisms. Morris also addresses the legacy of Carolyn Heilbrun, the 25th year anniversary conference of Gayatri Spivak's essay "Can the Subaltern Speak?", the financing of IRWGS, the creation of the Center for the Study of Social Difference, her involvement with the Institute for Comparative Literature and Society, the hiring and tenure process for women and minorities, and networking.
Drawing upon his experiences as both a Christian and an artist, Cameron J. Anderson traces the relationship between the evangelical church and modern art in postwar America. While acknowledging the tensions between faith and visual art, he casts a vision for how Christian artists can faithfully pursue their vocational calling in contemporary culture.
Now an award-winning documentary feature film The search for a “patient zero”—popularly understood to be the first person infected in an epidemic—has been key to media coverage of major infectious disease outbreaks for more than three decades. Yet the term itself did not exist before the emergence of the HIV/AIDS epidemic in the 1980s. How did this idea so swiftly come to exert such a strong grip on the scientific, media, and popular consciousness? In Patient Zero, Richard A. McKay interprets a wealth of archival sources and interviews to demonstrate how this seemingly new concept drew upon centuries-old ideas—and fears—about contagion and social disorder. McKay presents a carefully documented and sensitively written account of the life of Gaétan Dugas, a gay man whose skin cancer diagnosis in 1980 took on very different meanings as the HIV/AIDS epidemic developed—and who received widespread posthumous infamy when he was incorrectly identified as patient zero of the North American outbreak. McKay shows how investigators from the US Centers for Disease Control inadvertently created the term amid their early research into the emerging health crisis; how an ambitious journalist dramatically amplified the idea in his determination to reframe national debates about AIDS; and how many individuals grappled with the notion of patient zero—adopting, challenging and redirecting its powerful meanings—as they tried to make sense of and respond to the first fifteen years of an unfolding epidemic. With important insights for our interconnected age, Patient Zero untangles the complex process by which individuals and groups create meaning and allocate blame when faced with new disease threats. What McKay gives us here is myth-smashing revisionist history at its best.
Gayatri Chakravorty Spivak's original essay "Can the Subaltern Speak?" transformed the analysis of colonialism through an eloquent and uncompromising argument that affirmed the contemporary relevance of Marxism while using deconstructionist methods to explore the international division of labor and capitalism's "worlding" of the world. Spivak's essay hones in on the historical and ideological factors that obstruct the possibility of being heard for those who inhabit the periphery. It is a probing interrogation of what it means to have political subjectivity, to be able to access the state, and to suffer the burden of difference in a capitalist system that promises equality yet withholds it at every turn. Since its publication, "Can the Subaltern Speak?" has been cited, invoked, imitated, and critiqued. In these phenomenal essays, eight scholars take stock of the effects and response to Spivak's work. They begin by contextualizing the piece within the development of subaltern and postcolonial studies and the quest for human rights. Then, through the lens of Spivak's essay, they rethink historical problems of subalternity, voicing, and death. A final section situates "Can the Subaltern Speak?" within contemporary issues, particularly new international divisions of labor and the politics of silence among indigenous women of Guatemala and Mexico. In an afterword, Spivak herself considers her essay's past interpretations and future incarnations and the questions and histories that remain secreted in the original and revised versions of "Can the Subaltern Speak?" both of which are reprinted in this book.
An interview with Rosalind Fox Solomon conducted 2016 October 29-31, by Linda Yablonsky, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Solomon's home and studio in New York, New York.
The twenty-­first century has brought with it a shift from the notion of human security being located in secure national borders to the need to secure the safety, freedom, and dignity of all. Despite efforts to equalize women’s status in the world evidenced by changes in many international projects requiring a gender focus, women and men experience most of the world in very different ways according to gender. Further, the reality is that humans who do not all fall neatly into one of these categories – male or female – often find their lives further challenged. In the 1980s, Peace and Conflict Studies first began to acknowledge and study the different experiences males and females have during war and peace. Since then, there have been books about women and war, women working at grassroots levels to build peace, women and transitional justice, women and peace education, and women’s views of human security. All of these works have contributed to the discourse of our changing world. This book brings together some of those themes and voices and adds more with the final product being more than the sum of its parts. We add to the conversation a book that considers foundational/fundamental issues that span from the interpersonal to the global. Many of the chapters describe empirical research completed with author and community, shared here for the first time. Part One is a collection of case studies, documenting challenges and responses to peacebuilding by women from various parts of the world. Part Two focuses on Peace and Conflict Studies (PACS) as a discipline, examining not only what is, but also what should be taught. This section critiques today’s efforts at teaching Peace and Conflict Studies and provides suggestions of how this important work might be shared in more open and equitable ways. Part Three enters territory found even less in the PACS literature. In this section our authors confront patriarchy, engage in a discussion about the contribution queer theory makes to PACS, and tussle with the notion of inclusivity with considerations of both gender and disability. It then ends with a discussion about the contribution feminist methodologies make to PACS.
In less than half a century, the Socialist Federal Republic of Yugoslavia successfully defeated Fascist occupation, fended off dominating pressures from the Eastern and Western blocs, built a modern society on the ashes of war, created its own form of socialism, and led the formation of the Nonaligned Movement. This country's principles and its continued battles, fought against all odds, provided the basis for dynamic and exceptional forms of art. Drawing on archival materials, postcolonial theory, and Eastern European socialist studies, Nonaligned Modernism chronicles the emergence of late modernist artistic practices in Yugoslavia from the end of the Second World War to the mid-1980s. Situating Yugoslav modernism within postcolonial artistic movements of the twentieth century, Bojana Videkanic explores how cultural workers collaborated with others from the Global South to create alternative artistic and cultural networks that countered Western hegemony. Videkanic focuses primarily on art exhibitions along with examples of international cultural exchange to demonstrate that nonaligned art wove together politics and aesthetics, and indigenous, Western, and global influences. An interdisciplinary book, Nonaligned Modernism highlights Yugoslavia's key role in the creation of a global modernist ethos and international postcolonial culture.
Naomi Elizabeth Morris was born in 1921 in Wilson, North Carolina. Having grown up with a strong mother as a role model and with family expectations to excel in school, Morris attended Atlantic Christian College (now Barton College) from 1939 to 1943, earning her degree in English. The summer after her graduation from college, Morris lived in Washington, D.C., with several of her sorority sisters. There they worked for the war effort with the signal corps, coding and decoding messages. The death of her father brought Morris back to Wilson that same year. After moving in with her mother, Morris began to work as a legal secretary for William Lucas at the Lucas & Rand law firm. She excelled at her tasks there, and in 1952, Lucas recommended her for law school at the University of North Carolina-Chapel Hill. Morris describes what it was like to be one of the only women students attending law school at UNC during the mid-1950s. Following her graduation in 1955, Morris returned to Wilson to work for the Lucas & Rand law firm, where she became a partner by 1957. In the 1960s, Morris became increasingly involved in politics, campaigning for Governor Dan Moore. In 1967, Moore nominated Morris to become one of the founding members of the North Carolina Court of Appeals. Morris describes in detail what it was like to serve on the Court of Appeals from the late 1960s into the early 1980s, and she offers her thoughts on the role of law and the judiciary in politics.