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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.
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.
Bringing theory and practice together, African Cinema and Human Rights argues that moving images have a significant role to play in advancing the causes of justice and fairness. The contributors to this volume identify three key ways in which film can achieve these goals: documenting human rights abuses and thereby supporting the claims of victims and goals of truth and reconciliation within larger communities; legitimating, and consequently solidifying, an expanded scope for human rights; and promoting the realization of social and economic rights. Including the voices of African scholars, scholar-filmmakers, African directors Jean-Marie Teno and Gaston Kaboré, and researchers whose work focuses on transnational cinema, this volume explores overall perspectives, and differences of perspective, pertaining to Africa, human rights, and human rights filmmaking alongside specific case studies of individual films and areas of human rights violations. With its interdisciplinary scope, attention to practitioners' self-understandings, broad perspectives, and particular case studies, African Cinema and Human Rights is a foundational text that offers questions, reflections, and evidence that help us to consider film's ideal role within the context of our ever-continuing struggle towards a more just global society.
Acknowledged as one of the classics of twentieth-century Marxism, Antonio Gramsci's Prison Notebooks contains a rich and nuanced theorization of class that provides insights that extend far beyond economic inequality. In Gramsci's Common Sense Kate Crehan offers new ways to understand the many forms that structural inequality can take, including in regards to race, gender, sexual orientation, and religion. Presupposing no previous knowledge of Gramsci on the part of the reader, she introduces the Prison Notebooks and provides an overview of Gramsci’s notions of subalternity, intellectuals, and common sense, putting them in relation to the work of thinkers such as Bourdieu, Arendt, Spivak, and Said. In the case studies of the Tea Party and Occupy Wall Street movements, Crehan theorizes the complex relationships between the experience of inequality, exploitation, and oppression, as well as the construction of political narratives. Gramsci's Common Sense is an accessible and concise introduction to a key Marxist thinker whose works illuminate the increasing inequality in the twenty-first century.
-- Merri Rosenberg, Education Update...
The first in-depth exploration of the rise and evolution of abstract, symbolic, and conceptual portraiture in American art This groundbreaking book traces the history of portraiture as a site of radical artistic experimentation, as it shifted from a genre based on mimesis to one stressing instead conceptual and symbolic associations between artist and subject. Featuring over 100 color illustrations of works by artists from Charles Demuth, Marcel Duchamp, Marsden Hartley, and Georgia O'Keeffe to Janine Antoni, Felix Gonzalez-Torres, Roni Horn, Jasper Johns, and Glenn Ligon, this timely publication probes the ways we think about and picture the self and others. With particular focus on three periods during which non-mimetic portraiture flourished--1912-25, 1961-70, and 1990-the present--the authors investigate issues related to technology, sexuality, artist networks, identity politics, and social media, and explore the emergence of new models for the visual representation of identity. Taking its title from a 1961 work by Robert Rauschenberg--a telegram that stated, "This is a portrait of Iris Clert if I say so"--this book unites paintings, sculpture, photography, and text portraits that challenge the genre in significant, often playful ways and question the convention, as well as the limits, of traditional portrayal.
The career of the German-American painter and educator Hans Hofmann (1880–1966) describes the arc of artistic modernism from pre–World War I Munich and Paris to mid twentieth-century Greenwich Village. His career also traces the transatlantic engagement of modern painting with the materials of its own making, a relationship that is perhaps still not completely understood. In these interrelated narratives, Hofmann is a central protagonist, providing a vital link between nineteenth- and twentieth-century art practice and between European and American modernism. The remarkable vitality of his later work affords insight not only into the style but also the literal substance of this formative period of artistic and material innovation. This richly illustrated book, the fourth in the Getty Conservation Institute’s Artist’s Materials series, presents a thorough examination of Hofmann’s late-career materials. Initial chapters present an informative overview of Hofmann’s life and work in Europe and America and discuss his crucial role in the development of Abstract Expressionism. Subsequent chapters present a detailed analysis of Hofmann’s materials and techniques and explore the relationship of the artist’s mature palette to shifts in the style and aging characteristics of his paintings. The book concludes with lessons for the conservation of modernist paintings generally, and particularly those that incorporate both traditional and modern paint media. This book will be of value to conservators, art historians, conservation scientists, and general readers with an interest in modern art.