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When the Reverend Carey brings a fugitive slave named Caesar to the New England village of Minton, the town is torn apart between pro- and anti-slavery factions.
Reprint of the original, first published in 1860.
When the Reverend Carey brings a fugitive slave named Caesar to the New England village of Minton, the town is torn apart between pro- and anti-slavery factions.
The declaration that a work of art is “about sex” is often announced to the public as a scandal after which there is nothing else to say about the work or the artist-controversy concludes a conversation when instead it should begin a new one. Moving beyond debates about pornography and censorship, Jennifer Doyle shows us that sex in art is as diverse as sex in everyday life: exciting, ordinary, emotional, traumatic, embarrassing, funny, even profoundly boring. Sex Objects examines the reception and frequent misunderstanding of highly sexualized images, words, and performances. In chapters on the “boring parts” of Moby-Dick, the scandals that dogged the painter Thomas Eakins, the role of women in Andy Warhol's Factory films, “bad sex” and Tracey Emin's crudely evocative line drawings, and L.A. artist Vaginal Davis's pornographic parodies of Vanessa Beecroft's performances, Sex Objects challenges simplistic readings of sexualized art and instead investigates what such works can tell us about the nature of desire. In Sex Objects, Doyle offers a creative and original exploration of how and where art and sex connect, arguing that to proclaim a piece of art “about sex” reveals surprisingly little about the work, the artist, or the spectator. Deftly interweaving anecdotal and personal writing with critical, feminist, and queer theory, she reimagines the relationship between sex and art in order to better understand how the two meet-and why it matters. Jennifer Doyle is associate professor of English at the University of California, Riverside. She is coeditor, with Jonathan Flatley and Jos Esteban Muoz, of Pop Out: Queer Warhol.
An artifact hidden for centuries... A power man was not meant to wield... A horror unlike anything ever unleashed... Postgraduate student and Renaissance man Julius Godom uncovers the legend of a mysterious artifact rumored to hold the key to human understanding. He sets off on a journey that will take him around the world to India during the Roaring Twenties, chasing the only thing that will quench his thirst for knowledge. From the monsoon-swollen banks of the Ganges to heights of the Himalayan mountains, the search for the Idol threatens to possess Julius' mind with fiery desire. The knowledge contained within is unlike anything he has ever experienced, and now he cannot be without it... But a shadowy coterie of assassins has other plans. Julius must navigate steamy markets, lush jungles, and perilous mountains to track down the Idol before it's used to unleash an ancient horror that will rip apart the world with its own carnal desires.
In the moralistic texts of jeremiadic discourse, authors lament the condition of society, utilizing prophecy as a means of predicting its demise. This study delves beneath the socio-religious and cultural exterior of the American jeremiadic tradition to unveil the complexities of African American jeremiadic rhetoric in antebellum America. It examines the development of the tradition in response to slavery, explores its contributions to the antebellum social protest writings of African Americans, and evaluates the role of the jeremiad in the growth of an African American literary genre. Despite its situation within an unreceptive environment, the African American jeremiad maintained its power, continuing to influence contemporary African American literary and cultural traditions.
Introduces the essential history of slavery from the American Revolution to post-Civil War Reconstruction in twelve thematic chapters.
Why can a "white" woman give birth to a "black" baby, while a "black" woman can never give birth to a "white" baby in the United States? What makes racial "passing" so different from social mobility? Why are interracial and incestuous relations often confused or conflated in literature, making "miscegenation" appear as if it were incest? Werner Sollors examines these questions and others in "Neither Black nor White yet Both," a fully researched investigation of literary works that, in the past, have been read more for a black-white contrast of "either-or" than for an interracial realm of "neither, nor, both, and in-between." From the origins of the term "race" to the cultural sources of the "Tragic Mulatto," and from the calculus of color to the retellings of various plots, Sollors examines what we know about race, analyzing recurrent motifs in scientific and legal works as well as in fiction, drama, and poetry. Copyright © Libri GmbH. All rights reserved.