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Volume 3 has some references to homosexuality and lesbianism in the index. -- dm.
American political history has been built around narratives of crisis, in which what “counts” are the moments when seemingly stable political orders collapse and new ones rise from the ashes. But while crisis-centered frameworks can make sense of certain dimensions of political culture, partisan change, and governance, they also often steal attention from the production of categories like race, gender, and citizenship status that transcend the usual break points in American history. Brent Cebul, Lily Geismer, and Mason B. Williams have brought together first-rate scholars from a wide range of subfields who are making structures of state power—not moments of crisis or partisan realignment—integral to their analyses. All of the contributors see political history as defined less by elite subjects than by tensions between state and economy, state and society, and state and subject—tensions that reveal continuities as much as disjunctures. This broader definition incorporates investigations of the crosscurrents of power, race, and identity; the recent turns toward the history of capitalism and transnational history; and an evolving understanding of American political development that cuts across eras of seeming liberal, conservative, or neoliberal ascendance. The result is a rich revelation of what political history is today.
Working at the forefront of cosmetic surgery at the turn of the twentieth century, Dr Suzanne Noël was both a pioneer in her medical field and a firm believer in the advancement of women. Today her views on the benefits of aesthetic surgery to women may seem at odds with her feminist principles, but by placing Noël in the context of turn-of-the-century French culture, this book is able to demonstrate how these two worldviews were reconciled. Noël was able to combine her intense convictions for gender equality and anti-ageism in the workforce with her underlying compassion and concern for her female patients, during a time when there were no laws in place to protect women from workplace discrimination. She was also responsible for several advances in cosmetic surgery, a thriving industry, and is today best known for her development of the mini facelift. This book, therefore, sheds much valuable light on advances in aesthetic surgery, twentieth-century beauty culture, women and the public sphere, and the ’new woman’.
Drawing on extensive field research conducted over the course of two decades, Bode Omojola examines traditional and contemporary Yorùbá genres of music. From the primeval age of Ayànàgalú (the Yorùbá pioneer-drummer-turned-deity-of-drumming) to the modern era, Yorùbá musical traditions have been shaped by individual performers: drummers, dancers, singers, and chanters, wself-mediated visions of their social and cultural environment. Yorùbá Music in the Twentieth Century explores the role of the performer and the performing group in creating these traditions, contributing to the ongoing reorientation of scholarship on African music toward individual creativity within a larger social network. Drawing on extensive field research conducted over the course of two decades, Bode Omojola examines traditional Yorùbá genres such as bàtá and dùndún drumming as well as more contemporary genres such as Yorùbá popular music. The book also addresses a spectrum of social issues, ranging from gender inequality to the impactianity and Islam on Yorùbá musical practice. Throughout, Omojola emphasizes the interrelatedness of the different components of the Yorùbá musical landscape, as well as the role of specific individuals and groups of musicians, whohave continued to draw from indigenous Yorùbá musical resources to create new musical forms in the process of engaging the social dynamics of a rapidly changing environment. Awarded honorable mention in the 2014 Kwabena Nketia Book Competition of the African Music Section of the Society for Ethnomusicology. Bode Omojola is a Five College Associate Professor of Music at Mt. Holyoke College.
Wahrman argues that toward the end of the 18th century there was a radical change in notions of self & personal identity - a sudden transformation that was a revolution in the understanding of selfhood & of identity categories including race, gender, & class.
In Media Res is a manifold collection that reflects the intersectional qualities of university programming in the twenty-first century. Taking race, gender, and popular culture as its central thematic subjects, the volume collects academic essays, speeches, poems, and creative works that critically engage a wide range of issues, including American imperialism, racial and gender discrimination, the globalization of culture, and the limitations of our new multimedia world. This diverse assortment of works by scholars, activists, and artists models the complex ways that we must engage university students, faculty, staff, and administration in a moment where so many of us are confounded by the “in medias res” nature of our interface with the world in the current moment. Featuring contributions from Imani Perry, Michael Eric Dyson, Suheir Hammad, John Jennings, and Adam Mansbach, In Media Res is a primer for academic inquiry into popular culture; American studies; critical media literacy; women, gender, and sexuality studies; and Africana studies.
Doris Lessing (1919–2013), a prolific contemporary author, was awarded the Nobel Prize in Literature in 2007 for her life work. Examining five decades of Lessing's unique life, narrative strategies, and the literary traditions that she drew upon and improvised, this book highlights her extraordinary significance as a writer of our times and for our times. Lessing's fiction and non-fiction provide a seminal understanding of the key issues that shaped the twentieth century. Autodidactic and keenly interested in the world around her, Lessing flagged the problems of racism in Africa; the inequity of class in modern England; the limitations of white, middle-class women's movements that overlooked the rights of women across race and class; the marginalisation of individuals; the horror of nuclear war and the need for disarmament; and the hazardous global expansion in the face of unrelenting technological progress. Further, she raised the concern of the atomisation of modern families, violence and the urgent need for alternate modes of viewing, voicing anxieties decades ahead of other contemporary writers. Making futuristic projections through innumerable genres of writing, such as realistic narratives, memoirs, diaries and science fiction, Lessing examines myth, psychoanalysis and Marxist perspectives, engaging with a gamut of experiences that have defined modernity, and sets up feminist blueprints that challenge atrophying patriarchal hegemonies.
Love, Language, Place, and Identity in Popular Culture: Romancing the Other explores the varied representations of Otherness in romance novels and other fiction with strong romantic plots. Contributors’ approaches range from sociolinguistics to cultural studies, and the texts analyzed are set on four continents, with particular emphasis on Caribbean and Atlantic islands. What all the essays have in common is the exploration of representations of the Other, be it in an inter-racial or inter-cultural relationship. Chapters are divided into two parts; the first examines place, travel, history, and language in 20th-century texts; while the second explores tensions and transformations in the depiction of Otherness, mainly in texts published in the early 21st century. This book reveals that even at the end of the 20th century, these texts display neocolonialist attitudes towards the Other. While more recent texts show noticeable changes in attitudes, these changes can often fall short, as stereotypes and prejudices are often still present, just below the surface, in popular novels. The understudied field of popular romance, in which the Other is frequently present as a love interest, proves to be a fruitful area in which to explore the potential and the realities of the treatment of Otherness in popular culture. Scholars of literature, communication, romance, and rhetoric will find this book particularly useful.
Traces changes in Andean artists' vision of indigenous peoples as well as shifts in the critical discourse surrounding their work between 1920 and 1960.