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Here in their own words are Frederick Douglass, George Jackson, Chief Joseph, Martin Luther King Jr., Plough Jogger, Sacco and Vanzetti, Patti Smith, Bruce Springsteen, Mark Twain, and Malcolm X, to name just a few of the hundreds of voices that appear in Voices of a People's History of the United States, edited by Howard Zinn and Anthony Arnove. Paralleling the twenty-four chapters of Zinn's A People's History of the United States, Voices of a People’s History is the long-awaited companion volume to the national bestseller. For Voices, Zinn and Arnove have selected testimonies to living history—speeches, letters, poems, songs—left by the people who make history happen but who usually are left out of history books—women, workers, nonwhites. Zinn has written short introductions to the texts, which range in length from letters or poems of less than a page to entire speeches and essays that run several pages. Voices of a People’s History is a symphony of our nation’s original voices, rich in ideas and actions, the embodiment of the power of civil disobedience and dissent wherein lies our nation’s true spirit of defiance and resilience.
In the realm of the social our incommensurable differences define us, yet more often we find they divide us. Speaking–Writing With: Aboriginal and Settler Interrelations argues that power relations of suppression rely on particular ways of marking difference. Its discussion circulates in and through “indigenous” and “settler” interrelations, yet the focus is on relations and relationships – on the formation of subjectivities and ongoing construction of identities. In the context of Australia’s socio-political history, the text theorises ways of speaking “with” (instead of “for”) others by exploring the relationship between poststructural/deconstruction theories and indigenous relational ontologies. Such modes of thinking, outside the binarised thinking of the west, deeply resonate in their shared capacity for change, innovation, creativity and engagement with atavism–futurity. While Fiona McAllan’s PhD published articles have achieved recognition in trans-disciplinary fields, a cohesive development of her socio-cultural theory has been made accessible to academic audiences by incorporating those articles into this academic text. Written in the combined modes of a western theory/praxis fusion and an indigenous methodology, and utilising diverse theories including indigenous epistemologies and decolonising methodologies, deconstruction, feminist psychoanalytic theory, eco-phenomenology, postcolonialism, critical whiteness, etc., the text poses the research question: “is it possible to engage an in-relation ethos and inter-entity consciousness that will allow for the transformation from global relations of suppression and subordination to those of reciprocity, mutual respect and engagement, thus providing a model for a transformative and reciprocal sociality?” Speaking–Writing With is therefore a book that acknowledges how unconscious forces influence our everyday thoughts and actions (and their correlative material consequences) and thus engages pressing geo-political issues at a time when indigenous ontologies/understandings are becoming increasingly crucial to addressing the mounting problems of the west. It sits in the genre of critical cultural theory, yet will be equally relevant to other disciplines such as Indigenous Studies, Critical Whiteness/racial theories, cultural sociology, and philosophy.
The ideas of the world-renowned Black American are represented on the arts, civil rights, socialism, and other topics.
From Publishers Weekly: "... Doyle-Mekkes fluidly weaves together practical speaking tips and big-picture advice on how to shore up one’s self-esteem. The reticent will find much to mull over in this confidence-boosting manual.” I’m Speaking is every woman’s guide to creating a clear, confident voice that is authentically hers and then using it fearlessly. Full of effective, efficient, brain-science-based ways to make positive changes to your voice, in your head and coming out of your mouth, I’m Speaking also teaches the reader how to fearlessly use that voice, personally and professionally: ask for what you want and get what you need, speak up against toxicity, communicate everything better, have the difficult conversations, and cultivate resilience. Imagine a world without the voices of Maya Angelou, Malala Yousafzai, Gloria Steinem, your mother, your best girlfriend, your midwife, your hair stylist. Do you know a woman whose voice isn’t essential to her career, her family, the world? Women’s voices are essential, and they are powerful. Every woman can harness that power. This is the only book written that gives women the exact tools necessary to solve the common vocal problems they face, and literally reprogram their brains and bodies to be more confident when speaking. Think of how much more centered, how much more confident you would be knowing that you can deliver your message in a voice that makes people want to listen to you. Knowing that, regardless of situation, you can speak clearly and confidently, stay on track (or get back on), relax your body, and even enjoy the moment you’ve worked so hard for. Your voice is the secret weapon to success you’ve always had, but never knew how to use, til now.
Selected by Newsweek as one of “14 nonfiction books you’ll want to read this fall” Fifty years after it first appeared, one of Noam Chomsky’s greatest essays will be published for the first time as a timely stand-alone book, with a new preface by the author As a nineteen-year-old undergraduate in 1947, Noam Chomsky was deeply affected by articles about the responsibility of intellectuals written by Dwight Macdonald, an editor of Partisan Review and then of Politics. Twenty years later, as the Vietnam War was escalating, Chomsky turned to the question himself, noting that "intellectuals are in a position to expose the lies of governments" and to analyze their "often hidden intentions." Originally published in the New York Review of Books, Chomsky's essay eviscerated the "hypocritical moralism of the past" (such as when Woodrow Wilson set out to teach Latin Americans "the art of good government") and exposed the shameful policies in Vietnam and the role of intellectuals in justifying it. Also included in this volume is the brilliant "The Responsibility of Intellectuals Redux," written on the tenth anniversary of 9/11, which makes the case for using privilege to challenge the state. As relevant now as it was in 1967, The Responsibility of Intellectuals reminds us that "privilege yields opportunity and opportunity confers responsibilities." All of us have choices, even in desperate times.
Michael Haneke's films subject us to extreme experiences of disturbance, desperation, grief, and violence. They are unsoftened by music, punctuated by accosting noises, shaped by painful silences, and charged with aggressive dialogue. The sound tracks are even more traumatic to hear than his stories are to see, but they also offer us the transformative possibilities of reawakened sonic awareness. Haneke's use of sound redefines cinema in ways that can help us re-hear everything-including our own voices, and everything around us-better. Though Haneke's films make exceptional demands on us, he is among the most celebrated of living auteurs: he is two-time receipt of the Palme D'Or at Cannes Film Festival (for The White Ribbon (2009) and Amour (2012)), and Academy Award winner of Best Foreign Language Film (for Amour), along with numerous other awards. The radical confrontationality of his cinema makes him an internationally controversial, as well as revered, subject. Hearing Haneke is the first book-length study of the sound tracks that define this living legacy. This book explores the haunting, subversive, and political significance of all aural elements through Haneke's major feature films (dialogue, sound effects, silences, and music), all of which are meticulously conducted by him. Many critics read Haneke as coolly dispassionate about showing scenes of humanity under threat, but Hearing Haneke argues that all facets of his sound tracks stress humane understanding and the importance of compassion. This book provides exceptionally detailed analyses of all Haneke's most celebrated films: including The Seventh Continent, Funny Games, Code Unknown, The Piano Teacher, Cach , The White Ribbon, and Amour. The writing brings together film theory, musicology, history, and cultural studies in ways that resonate broadly. Hearing Haneke will matter to anyone who cares about the power of art to inspire progressive change.
A paradigm-shifting book in the vein of Sapiens that brings a crucial Indigenous perspective to historical and cultural issues of history, education, money, power, and sustainability—and offers a new template for living. As an indigenous person, Tyson Yunkaporta looks at global systems from a unique perspective, one tied to the natural and spiritual world. In considering how contemporary life diverges from the pattern of creation, he raises important questions. How does this affect us? How can we do things differently? In this thoughtful, culturally rich, mind-expanding book, he provides answers. Yunkaporta’s writing process begins with images. Honoring indigenous traditions, he makes carvings of what he wants to say, channeling his thoughts through symbols and diagrams rather than words. He yarns with people, looking for ways to connect images and stories with place and relationship to create a coherent world view, and he uses sand talk, the Aboriginal custom of drawing images on the ground to convey knowledge. In Sand Talk, he provides a new model for our everyday lives. Rich in ideas and inspiration, it explains how lines and symbols and shapes can help us make sense of the world. It’s about how we learn and how we remember. It’s about talking to everyone and listening carefully. It’s about finding different ways to look at things. Most of all it’s about a very special way of thinking, of learning to see from a native perspective, one that is spiritually and physically tied to the earth around us, and how it can save our world. Sand Talk include 22 black-and-white illustrations that add depth to the text.
The oral tradition has always played an important role in African American literature, ranging from works such as Zora Neale Hurston's Their Eyes Were Watching God to Toni Morrison's Beloved. These and countless other novels affirm the power of sonance and sound in the African American literary canon. Considering the wide swath of work in this powerful lineage -- in addition to its shared heritage with performance -- Mae G. Henderson deploys her trope of "speaking in tongues" to theorize the preeminence of voice and narration in black women's literary performance through her reconstruction of a fundamentally spiritual practice as a critical concept for reading black women's writing dialogically and intertextually. The first half of the book is devoted to influential works of fiction, as Henderson offers a series of spirited, attentive readings of works by Zora Neale Hurston, Alice Walker, Sherley Anne Williams, Toni Morrison, Gayl Jones, and Nella Larsen. The second half shifts gears to consider the world of female African American performance, most notably in the figures of Josephine Baker and the video dancer. Drawing on the trope of "dancing diaspora," Henderson proposes a model of theorizing based on "performing testimony" and "critical witnessing." Throughout the book, Henderson draws on a history of black women not only in the Pentecostal Holiness Church, but also within the traditions of classical, Christian, African, and black diasporic spirituality and performance. Ultimately, Speaking in Tongues and Dancing Diaspora provides a deeply felt reflection on race and gender and their effects within the discourses of speaker/listener and audience/performer.