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This book presents background information on the beliefs, customs, traditions and cosmologies of several of Africa's foremost peoples, relates these findings to each of Morrison's seven novels by highlighting the connections between the African root and the African-American product, and elucidates how this connection helps to understand and to clarify many of Morrison's allusions to the culture out of which she writes. It presents a new way of reading Morrison's work that has been previously overlooked, and moves beyond just African-American culture, delving into Africa and its people.
This book presents background information on the beliefs, customs, traditions and cosmologies of several of Africa's foremost peoples, relates these findings to each of Morrison's seven novels by highlighting the connections between the African root and the African-American product, and elucidates how this connection helps to understand and to clarify many of Morrison's allusions to the culture out of which she writes. It presents a new way of reading Morrison's work that has been previously overlooked, and moves beyond just African-American culture, delving into Africa and its people.
This groundbreaking book breaks with established canons and resists some of the stereotypes of feminist biblical studies. It features a wide range of contributors who showcase new methodological and theoretical movements such as feminist materialisms, intersectionality, postidentitarian 'nomadic' politics, gender archaeology, and lived religion, and theories of the human and the posthuman. The Bible and Feminism: Remapping the Field engages a range of social and political issues, including migration and xenophobia, divorce and family law, abortion, 'pinkwashing', the neoliberal university, the second amendment, AIDS and sexual trafficking, and the politics of 'the veil'. Foundational figures in feminist biblical studies work alongside new voices and contributors from a multitude of disciplines in conversations with the Bible that go well beyond the expected canon-within-the-canon assumed to be of interest to feminist biblical scholars. Moving beyond the limits of a text-orientated model of reading, this collection looks at how biblical texts were actualized in the lives of religious revolutionaries, such as Joanna Southcott or Sor Juana Inés de la Cruz. It charts the politics of the Pauline veil in the self-understanding of Europe and reads the 'genealogical halls' in the book of Chronicles alongside acts of commemoration and forgetting in 9/11 and Tiananmen Square.
A wide-ranging exploration of the story of Ruth, a foreigner who became the founding mother of the Davidic dynasty “A virtuoso exploration of the Book of Ruth as an admirable touchstone in the realms of literature, art, and human values. Ilana Pardes foregrounds the timeless emergency of migrants and refugees with compassion and depth.”—Galit Hasan-Rokem, author of Web of Life The biblical Ruth has inspired numerous readers from diverse cultural backgrounds across many centuries. In this insightful volume, Ilana Pardes invites us to marvel at the ever-changing perspectives on Ruth’s foreignness. She explores the rabbis’ lauding of Ruth as an exemplary convert, and the Zohar’s insistence that Ruth’s Moabite background is vital to her redemptive powers. In moving to early modern French art, she looks at pastoral paintings in which Ruth becomes a local gleaner, holding sheaves in her hands. Pardes concludes with contemporary adaptations in literature, photography, and film in which Ruth is admired for being a paradigmatic migrant woman. Ruth’s afterlives not only reveal much about their own times, but also shine new light upon this remarkable ancient tale and point to its enduring significance. In our own era of widespread migration and dislocation, Ruth remains as relevant as ever.
Folklore has been described as the unwritten literature of a culture: its songs, stories, sayings, games, rituals, beliefs, and ways of life. Encyclopedia of American Folklore helps readers explore topics, terms, themes, figures, and issues related to this popular subject. This comprehensive reference guide addresses the needs of multiple audiences, including high school, college, and public libraries, archive and museum collections, storytellers, and independent researchers. Its content and organization correspond to the ways educators integrate folklore within literacy and wider learning objectives for language arts and cultural studies at the secondary level. This well-rounded resource connects United States folk forms with their cultural origin, historical context, and social function. Appendixes include a bibliography, a category index, and a discussion of starting points for researching American folklore. References and bibliographic material throughout the text highlight recently published and commonly available materials for further study. Coverage includes: Folk heroes and legendary figures, including Paul Bunyan and Yankee Doodle Fables, fairy tales, and myths often featured in American folklore, including "Little Red Riding Hood" and "The Princess and the Pea" American authors who have added to or modified folklore traditions, including Washington Irving Historical events that gave rise to folklore, including the civil rights movement and the Revolutionary War Terms in folklore studies, such as fieldwork and the folklife movement Holidays and observances, such as Christmas and Kwanzaa Topics related to folklore in everyday life, such as sports folklore and courtship/dating folklore Folklore related to cultural groups, such as Appalachian folklore and African-American folklore and more.
Focusing on the lineage of pivotal African American and Irish women writers, the author argues that these authors often employ strategies of indirection, via folkloric expression, when exploring unpopular topics. This strategy holds the attention of readers who would otherwise reject the subject matter. The author traces the line of descent from Mary Lavin to Éilís Ní Dhuibhne and from Zora Neale Hurston to Toni Morrison, showing how obstacles to free expression, though varying from those Lavin and Hurston faced, are still encountered by Morrison and Ní Dhuibhne. The basis for comparing these authors lies in the strategies of indirection they use, as influenced by folklore. The folkloric characters these authors depict-wild denizens of the Otherworld and wise women of various traditions-help their creators insert controversy into fiction in ways that charm rather than alienate readers. Forms of rhetorical indirection that appear in the context of folklore, such as signifying practices, masking, sly civility, and the grotesque or bizarre, come out of the mouths and actions of these writers' magical and magisterial characters. Old traditions can offer new ways of discussing issues such as sexual expression, religious beliefs, or issues of reproduction. As differences between times and cultures affect what "can" and "cannot" be said, folkloric indirection may open up a vista to discourses of which we as readers may not even be aware. Finally, the folk women of Morrison, Ní Dhuibhne, Hurston, and Lavin open up new points of entry to the discussion of fiction, rhetoric, censorship, and folklore.
Focusing on the lineage of pivotal African American and Irish women writers, the author argues that these authors often employ strategies of indirection, via folkloric expression, when exploring unpopular topics. This strategy holds the attention of readers who would otherwise reject the subject matter. The author traces the line of descent from Mary Lavin to Éilís Ní Dhuibhne and from Zora Neale Hurston to Toni Morrison, showing how obstacles to free expression, though varying from those Lavin and Hurston faced, are still encountered by Morrison and Ní Dhuibhne. The basis for comparing these authors lies in the strategies of indirection they use, as influenced by folklore. The folkloric characters these authors depict-wild denizens of the Otherworld and wise women of various traditions-help their creators insert controversy into fiction in ways that charm rather than alienate readers. Forms of rhetorical indirection that appear in the context of folklore, such as signifying practices, masking, sly civility, and the grotesque or bizarre, come out of the mouths and actions of these writers' magical and magisterial characters. Old traditions can offer new ways of discussing issues such as sexual expression, religious beliefs, or issues of reproduction. As differences between times and cultures affect what "can" and "cannot" be said, folkloric indirection may open up a vista to discourses of which we as readers may not even be aware. Finally, the folk women of Morrison, Ní Dhuibhne, Hurston, and Lavin open up new points of entry to the discussion of fiction, rhetoric, censorship, and folklore.
Focusing on the lineage of pivotal African American and Irish women writers, Jacqueline Fulmer argues that these authors often employ strategies of indirection, via folkloric expression, when exploring unpopular topics. This strategy holds the attention of readers who would otherwise reject the subject matter. Fulmer traces the line of descent from Mary Lavin to Éilís Ní Dhuibhne and from Zora Neale Hurston to Toni Morrison, showing how obstacles to free expression, though varying from those Lavin and Hurston faced, are still encountered by Morrison and Ní Dhuibhne. The basis for comparing these authors lies in the strategies of indirection they use, as influenced by folklore. The folkloric characters these authors depict-wild denizens of the Otherworld and wise women of various traditions-help their creators insert controversy into fiction in ways that charm rather than alienate readers. Forms of rhetorical indirection that appear in the context of folklore, such as signifying practices, masking, sly civility, and the grotesque or bizarre, come out of the mouths and actions of these writers' magical and magisterial characters. Old traditions can offer new ways of discussing issues such as sexual expression, religious beliefs, or issues of reproduction. As differences between times and cultures affect what "can" and "cannot" be said, folkloric indirection may open up a vista to discourses of which we as readers may not even be aware. Finally, the folk women of Morrison, Ní Dhuibhne, Hurston, and Lavin open up new points of entry to the discussion of fiction, rhetoric, censorship, and folklore
Winner • NAACP Image Award for Outstanding Literary Work (Fiction) Winner • Anne Izard Storytellers’ Choice Award Holiday Gift Guide Selection • Indiewire, San Francisco Chronicle, and Minneapolis Star-Tribune These nearly 150 African American folktales animate our past and reclaim a lost cultural legacy to redefine American literature. Drawing from the great folklorists of the past while expanding African American lore with dozens of tales rarely seen before, The Annotated African American Folktales revolutionizes the canon like no other volume. Following in the tradition of such classics as Arthur Huff Fauset’s “Negro Folk Tales from the South” (1927), Zora Neale Hurston’s Mules and Men (1935), and Virginia Hamilton’s The People Could Fly (1985), acclaimed scholars Henry Louis Gates Jr. and Maria Tatar assemble a groundbreaking collection of folktales, myths, and legends that revitalizes a vibrant African American past to produce the most comprehensive and ambitious collection of African American folktales ever published in American literary history. Arguing for the value of these deceptively simple stories as part of a sophisticated, complex, and heterogeneous cultural heritage, Gates and Tatar show how these remarkable stories deserve a place alongside the classic works of African American literature, and American literature more broadly. Opening with two introductory essays and twenty seminal African tales as historical background, Gates and Tatar present nearly 150 African American stories, among them familiar Brer Rabbit classics, but also stories like “The Talking Skull” and “Witches Who Ride,” as well as out-of-print tales from the 1890s’ Southern Workman. Beginning with the figure of Anansi, the African trickster, master of improvisation—a spider who plots and weaves in scandalous ways—The Annotated African American Folktales then goes on to draw Caribbean and Creole tales into the orbit of the folkloric canon. It retrieves stories not seen since the Harlem Renaissance and brings back archival tales of “Negro folklore” that Booker T. Washington proclaimed had emanated from a “grapevine” that existed even before the American Revolution, stories brought over by slaves who had survived the Middle Passage. Furthermore, Gates and Tatar’s volume not only defines a new canon but reveals how these folktales were hijacked and misappropriated in previous incarnations, egregiously by Joel Chandler Harris, a Southern newspaperman, as well as by Walt Disney, who cannibalized and capitalized on Harris’s volumes by creating cartoon characters drawn from this African American lore. Presenting these tales with illuminating annotations and hundreds of revelatory illustrations, The Annotated African American Folktales reminds us that stories not only move, entertain, and instruct but, more fundamentally, inspire and keep hope alive. The Annotated African American Folktales includes: Introductory essays, nearly 150 African American stories, and 20 seminal African tales as historical background The familiar Brer Rabbit classics, as well as news-making vernacular tales from the 1890s’ Southern Workman An entire section of Caribbean and Latin American folktales that finally become incorporated into the canon Approximately 200 full-color, museum-quality images
An essential history of the greatest love poem ever written The Song of Songs has been embraced for centuries as the ultimate song of love. But the kind of love readers have found in this ancient poem is strikingly varied. Ilana Pardes invites us to explore the dramatic shift from readings of the Song as a poem on divine love to celebrations of its exuberant account of human love. With a refreshingly nuanced approach, she reveals how allegorical and literal interpretations are inextricably intertwined in the Song's tumultuous life. The body in all its aspects—pleasure and pain, even erotic fervor—is key to many allegorical commentaries. And although the literal, sensual Song thrives in modernity, allegory has not disappeared. New modes of allegory have emerged in modern settings, from the literary and the scholarly to the communal. Offering rare insights into the story of this remarkable poem, Pardes traces a diverse line of passionate readers. She looks at Jewish and Christian interpreters of late antiquity who were engaged in disputes over the Song's allegorical meaning, at medieval Hebrew poets who introduced it into the opulent world of courtly banquets, and at kabbalists who used it as a springboard to the celestial spheres. She shows how feminist critics have marveled at the Song's egalitarian representation of courtship, and how it became a song of America for Walt Whitman, Herman Melville, and Toni Morrison. Throughout these explorations of the Song's reception, Pardes highlights the unparalleled beauty of its audacious language of love.