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Oft-referenced and frequently set to music, Psalm 137 - which begins "By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion" - has become something of a cultural touchstone for music and Christianity across the Atlantic world. It has been a top single more than once in the 20th century, from Don McLean's haunting Anglo-American folk cover to Boney M's West Indian disco mix. In Song of Exile, David Stowe uses a wide-ranging, interdisciplinary approach that combines personal interviews, historical overview, and textual analysis to demonstrate the psalm's enduring place in popular culture. The line that begins Psalm 137 - one of the most lyrical of the Hebrew Bible - has been used since its genesis to evoke the grief and protest of exiled, displaced, or marginalized communities. Despite the psalm's popularity, little has been written about its reception during the more than 2,500 years since the Babylonian exile. Stowe locates its use in the American Revolution and the Civil Rights movement, and internationally by anti-colonial Jamaican Rastafari and immigrants from Ireland, Korea, and Cuba. He studies musical references ranging from the Melodians' Rivers of Babylon to the score in Kazakh film Tulpan. Stowe concludes by exploring the presence and absence in modern culture of the often-ignored final words: "Happy shall he be, that taketh and dasheth thy little ones against the stones." Usually excised from liturgy and forgotten by scholars, Stowe finds these words echoed in modern occurrences of genocide and ethnic cleansing, and more generally in the culture of vengeance that has existed in North America from the earliest conflicts with Native Americans. Based on numerous interviews with musicians, theologians, and writers, Stowe reconstructs the rich and varied reception history of this widely used, yet mysterious, text.
German Scholars in Exiledeals with intellectuals who fled Nazi Germany and found refuge in either the United States or in American Services in Great Britain and post-WWII Germany. The volume focuses on scholars who were outside the commonly known Max Horkheimer-Hannah Arendt circles, who are less well-known but not less important. Their experiences ranged from an outstanding career at an Ivy-League university to a return to the German Democratic Republic and a position as an economic advisor to East Berlin's party leadership. None had actual political power, but many asserted some degree of influence. Their intellecutal legacies can still be seen in today's political culture.
Throughout his life, Niccolò Machiavelli was deeply invested in Florentine culture and politics. More than any other priority, his overriding central concerns, informed by his understanding of his city's history, were the present and future strength and independence of Florence. This volume highlights and explores this underappreciated aspect of Machiavelli's intellectual preoccupations. Transcending a narrow emphasis on his two most famous works of political thought, The Prince and the Discourses on Livy, Mark Jurdjevic and Meredith K. Ray instead present a wide sample of the many genres in which he wrote—not only political theory but also letters, poetry, plays, comedy, and, most substantially, history. Throughout his writing, the city of Florence was at the same time his principal subject and his principal context. Florentine culture and history structured his mental landscape, determined his idiom, underpinned his politics, and endowed everything he wrote with urgency and purpose. The Florentine particulars in Machiavelli's writing reveal aspects of his psyche, politics, and life that are little known outside of specialist circles—particularly his optimism and idealism, his warmth and humor, his capacity for affection and loyalty, and his stubborn, enduring republicanism. Machiavelli: Political, Historical, and Literary Writings has been carefully curated to reveal those crucial but lesser known aspects of Machiavelli's thought and to show how his major arguments evolved within a dynamic Florentine setting.
Ever since Bessie Smith's powerful voice conspired with the "race records" industry to make her a star in the 1920s, African American writers have memorialized the sounds and theorized the politics of black women's singing. In Black Resonance, Emily J. Lordi analyzes writings by Richard Wright, Ralph Ellison, James Baldwin, Gayl Jones, and Nikki Giovanni that engage such iconic singers as Bessie Smith, Billie Holiday, Mahalia Jackson, and Aretha Franklin. Focusing on two generations of artists from the 1920s to the 1970s, Black Resonance reveals a musical-literary tradition in which singers and writers, faced with similar challenges and harboring similar aims, developed comparable expressive techniques. Drawing together such seemingly disparate works as Bessie Smith's blues and Richard Wright's neglected film of Native Son, Mahalia Jackson's gospel music and Ralph Ellison's Invisible Man, each chapter pairs one writer with one singer to crystallize the artistic practice they share: lyricism, sincerity, understatement, haunting, and the creation of a signature voice. In the process, Lordi demonstrates that popular female singers are not passive muses with raw, natural, or ineffable talent. Rather, they are experimental artists who innovate black expressive possibilities right alongside their literary peers. The first study of black music and literature to centralize the music of black women, Black Resonance offers new ways of reading and hearing some of the twentieth century's most beloved and challenging voices.
Survivors of the Armenian genocide of 1915 and their descendants have used music to adjust to a life in exile and counter fears of obscurity. In this nuanced and richly detailed study, Sylvia Angelique Alajaji shows how the boundaries of Armenian music and identity have been continually redrawn: from the identification of folk music with an emergent Armenian nationalism under Ottoman rule to the early postgenocide diaspora community of Armenian musicians in New York, a more self-consciously nationalist musical tradition that emerged in Armenian communities in Lebanon, and more recent clashes over music and politics in California. Alajaji offers a critical look at the complex and multilayered forces that shape identity within communities in exile, demonstrating that music is deeply enmeshed in these processes. Multimedia components available online include video and audio recordings to accompany each case study.
With their powerful blend of political and aesthetic concerns, Edward W. Said's writings have transformed the field of literary studies. This long-awaited collection of literary and cultural essays offers evidence of how much the fully engaged critical mind can contribute to the reservoir of value, thought, and action essential to our lives and culture.
WINNER OF THE CUNDHILL HISTORY PRIZE 2017 SHORTLISTED FOR THE WOLFSON HISTORY PRIZE 2017, THE PUSHKIN HOUSE RUSSIAN BOOK PRIZE 2017 AND THE LONGMAN-HISTORY TODAY BOOK PRIZE 2017 THE TIMES, SPECTATOR, BBC HISTORY and TLS BOOKS OF THE YEAR 'An absolutely fascinating book, rich in fact and anecdote.' - David Aaronovitch 'A splendid example of academic scholarship for a public audience. Yet even though he is an impressively calm and sober narrator, the injustices and atrocities pile up on every page.' - Dominic Sandbrook 'A superb, colourful history of Siberian exile under the tsars' - The Times It was known as 'the vast prison without a roof'. From the beginning of the nineteenth century to the Russian Revolution, the tsarist regime exiled more than one million prisoners and their families beyond the Ural Mountains to Siberia. Daniel Beer's new book, The House of the Dead, brings to life both the brutal realities of an inhuman system and the tragic and inspiring fates of those who endured it. This is the vividly told history of common criminals and political radicals, the victims of serfdom and village politics, the wives and children who followed husbands and fathers, and of fugitives and bounty-hunters. Siberia served two masters: colonisation and punishment. In theory, exiles would discover the virtues of self-reliance, abstinence and hard work and, in so doing, they would develop Siberia's natural riches and bind it more firmly to Russia. In reality, the autocracy banished an army not of hardy colonists but of half-starving, desperate vagabonds. The tsars also looked on Siberia as creating the ultimate political quarantine from the contagions of revolution. Generations of rebels - republicans, nationalists and socialists - were condemned to oblivion thousands of kilometres from European Russia. Over the nineteenth century, however, these political exiles transformed Siberia's mines, prisons and remote settlements into an enormous laboratory of revolution. This masterly work of original research taps a mass of almost unknown primary evidence held in Russian and Siberian archives to tell the epic story both of Russia's struggle to govern its monstrous penal colony and Siberia's ultimate, decisive impact on the political forces of the modern world.
Haunted by fleeting, nightmarish memories of her childhood on Darkover, Margaret Alton flees her home with her uncommunicative, brooding father to take a job as assistant to musicologist Ivor Davidson, a career that takes her back to Darkover and a terrifying confrontation with the past.
The extraordinary story of African American composer Edmond D d , raised in antebellum New Orleans, and his remarkable career in France In 1855, Edmond D d , a free black composer from New Orleans, emigrated to Paris. There he trained with France s best classical musicians and went on to spend thirty-six years in Bordeaux leading the city s most popular orchestras. How did this African American, raised in the biggest slave market in the United States, come to compose ballets for one of the best theaters outside of Paris and gain recognition as one of Bordeaux s most popular orchestra leaders? Beginning with his birth in antebellum New Orleans in 1827 and ending with his death in Paris in 1901, Sally McKee vividly recounts the life of this extraordinary man. From the Crescent City to the City of Light and on to the raucous music halls of Bordeaux, this intimate narrative history brings to life the lost world of exiles and travelers in a rapidly modernizing world that threatened to leave the most vulnerable behind.
Notions of home are of increasing concern to persons who are interested in the unfolding narratives of inhabitation, displacement and dislocation, and exile. Home is viewed as a multidimensional theoretical concept that can have contradictory meanings; homes may be understood as spaces as well as places, and be associated with feelings, practices, and active states of being and moving in the world. In this book, we offer a window into the distinct ways that home is theorized and conceptualized across disciplines. The essays in this volume pose and answer the following critical and communicative questions about home: 1) How do people speak and story home in their everyday lives? And why? 2) Why and how is home as a material presence, as a sense and feeling, or as an absence central to our notion of who we are, or who we want to become as individuals, and in relation to others? 3) What is the theoretical purchase in making home as a unit of analysis in our fields of study? This collection engages home from diverse contexts and disparate philosophical underpinnings; at the same time the essays converse with each other by centering their foci on the relationship between home, place, identity, and exile. Home how we experience it and what it that says about the selves we come to occupy is an exigent question of our contemporary moment. Place, Identity, Exile: Storying Home Spaces delivers timely and critical perspectives on these important questions."