bluuebunny/crossref_metadata_2025 huggingface dataset:
Che
Authors: Course Magnus
Published: May 2017

This chapter discusses the concept of che, a concept roughly translatable as “true person.” The mode of sociality in which the attribution of che emerges most clearly is the sociality of exchange, of which the paradigmatic form is the relation between friends. This mode of sociality differs in a fundamental way from the relations each person has inherited from his or her mother and father. This is because whereas these initial relations with parents are necessarily prior to the person, relations with friends must be created through each person's own volition. All humans are born to two parents, but only those who go beyond these initial relations to forge their own relations can truly be considered che.
The Sources
Authors: Raubicheck Walter , Srebnick Walter
Published: May 2017

This chapter examines how Hitchcock and his writers transformed his chosen sources, revealing two tendencies which are important in understanding how the director and the three writers went about adapting their sources into films. The first tendency has to do with Hitchcock's attitude toward adaptation and the viability and literary stature of the works he chose; the second with the genres he characteristically drew from. Throughout his career, Hitchcock focused on source material—plays, novels, and short stories—that used to be called “suspense fiction” but today is usually classified by bookstores and reviewers as “crime novels,” sources tailor-made for his thrillers. This chapter thus analyzes the three novels on Hitchcock's filmic triptych is based: Robert Bloch's Psycho (1959), Daphne du Maurier's The Birds (1952), and Winston Graham's Marnie (1961).
Living with Lynching
Authors: Mitchell Koritha
Published: May 2017

This book demonstrates that popular lynching plays were mechanisms through which African American communities survived actual and photographic mob violence. Often available in periodicals, lynching plays were read aloud or acted out by black church members, schoolchildren, and families. This book shows that these community performances and readings presented victims as honorable heads of households being torn from model domestic units by white violence, counter to the dominant discourses that depicted lynching victims as isolated brutes. Examining lynching plays as archival texts that embody broad networks of sociocultural exchange in the lives of black Americans, the author finds that audiences were rehearsing and improvising new ways of enduring in the face of widespread racial terrorism. Images of the black soldier, lawyer, mother, and wife helped readers assure each other that they were upstanding individuals who deserved the right to participate in national culture and politics. These powerful community coping efforts helped African Americans band together and withstand the nation's rejection of them as viable citizens.
Body Politics
Authors: Woodward Kath
Published: May 2017

This chapter interrogates the socially constructed inequalities of racial masculinities as evidenced in sport. It argues that global sport remains largely dominated by the “men's game” in so many fields. However, the men's game does not necessarily invoke an unproblematic, hegemonic masculinity. The centrality of bodies and the measures of embodiment are part of the culture of sport, which offers such primacy to masculinities, but sporting masculinities are also ambivalent and ambiguous, and are subject to the cultural transformations of other gendered identifications. Drawing on the works of Robert Connell, Michael Messner, and others, the chapter develops an argument around boxing as the embodiment of a normalized masculine activity that reifies a particular code of heterosexual gender identification.
Introduction
Authors: Grivno Max
Published: May 2017

This introductory chapter argues for a broader, more inclusive history of American workers by focusing on the histories of northern Maryland's free and enslaved farmhands. It presents an overview of this rural workforce and its inherent diversity, illustrating through anecdotes and other literature the myriad bonds that developed between labor regimes and among workers, regardless of the divide between slavery and free labor. Indeed, the chapter argues that this divide is not often as clear as it initially appears to be. And to supplement further discussion in the succeeding chapters, this introduction also offers a brief geographical and political overview of the narrow swath of territory near the Mason–Dixon Line. More specifically, it focuses on six Maryland counties that abutted the sectional border (Baltimore, Carroll, Cecil, Harford, Frederick, and Washington).
Ferocious Dance
Authors: Daniel Yvonne
Published: May 2017

This chapter examines ferocious or combat dance in Circum-Caribbean history. It documents martial art forms and stick-fighting dances on the African continent and Diaspora combat dances that are similar to Brazilian capoeira and maculelê. It also proposes the inclusion of armed and unarmed combat rituals within Caribbean dance categories. The chapter begins with a discussion of the African legacies of ferocious dance, focusing on the importance of martial arts to the societies of colonial Angola and its connection to Caribbean combat dances, as well as the ways in which martial techniques were transported within enslaved bodies to parts of the African Diaspora. It then describes examples of Circum-Caribbean combat dance games, including ladja and danmyé in Martinique, juego de maní in Cuba, kalinda in Trinidad and Tobago, and tambú and kokomakaku in Curaçao. The chapter concludes with an assessment of lessons imparted by combat dance.
A Secret Society History of the Civil War
Authors: Lause Mark A.
Published: May 2017

This history of the Civil War considers the impact of nineteenth-century American secret societies on the path to as well as the course of the war. Beginning with the European secret societies that laid the groundwork for Freemasonry in the United States, the book analyzes how the Old World's traditions influenced various underground groups and movements in America, particularly George Lippard's Brotherhood of the Union, an American attempt to replicate the political secret societies that influenced the European Revolutions of 1848. The book traces the Brotherhood's various manifestations, including the Knights of the Golden Circle (out of which developed the Ku Klux Klan), and the Confederate secret groups through which John Wilkes Booth and others attempted to undermine the Union. It shows how, in the years leading up to the Civil War, these clandestine organizations exacerbated existing sectional tensions and may have played a part in key events such as John Brown's raid on Harpers Ferry, Lincoln's election, and the Southern secession process of 1860–1861.
Hillary Rodham Clinton, the Race Question, and the “Masculine Mystique”
Authors: Sklar Kathryn Kish
Published: May 2017

This chapter explores the intricate connections between the politics of gender, race, and class in Clinton's presidential bid. Leading nineteenth-century feminists such as Angelina Grimké, the daughter of South Carolina slaveholders who became one of the most popular public speakers in the antebellum North, championed both antiracism and antisexism, refusing to privilege the freedom of one group at the expense of another. This chapter argues that in 2008, Clinton made a different choice. In her determination to pass the “masculinity test” for commander in chief, Clinton molded herself into the candidate for “hard-working Americans, white Americans,” failing the “race test” and setting back the cause of unity and justice for all Americans.
Generic Gleaning
Authors: Fischer Lucy
Published: May 2017

This chapter examines Agnès Varda's The Gleaners and I (2000), an elision of documentary with autobiography that connects—through Varda's own working life, spanning feminist and postfeminist generations—to women's early film practice. The film depicts an extended “road trip” that Varda takes in order to encounter and film a variety of people who “glean” things—be their plunder the traditional rural harvest or urban garbage. In noting Varda's extension of the significance of “gleaning” for food to a woman's practice of collecting, the chapter delineates an encounter between a sensibility culturally defined as feminine with the feminized throwaway culture of mass consumerism. Authorship figures, then, as a form of creative recycling or bricolage.
Introduction
Authors: White Miles
Published: May 2017

This introductory chapter reconsiders African American music and culture in the gendered context, however, it situates the discussion within masculinity and male performance. Rather than neglect women's excluded histories, this chapter argues that gender studies cannot or should not preclude the study of men if only to interrogate presumptions of male privilege and the kinds of constructions of masculinity that are herein critiqued. It makes a number of connections between masculinity and race as kinds of ritualized performance that have particular types of aesthetic markers and that depend upon certain histories and cultural memories. Here, masculinity as well as racial performance—of blackness and of whiteness—are interrogated in the context of one of the most commercially and culturally important musical styles of the last quarter century.
Affective Gestures
Authors: White Miles
Published: May 2017

This chapter looks at the ways in which the body, aesthetic features of hip-hop music, and the material culture that surrounds it are deployed to construct affect and help delineate between what is meant by hard and hardcore, both as music and as masculine performance. In hip-hop culture, uniqueness and the expression of individual identity are prioritized through behavior, modes of dress, language, and other ways. Those who adopt these styles of behavior in mannerism, dress, speech, or attitude become part of a community of practice that is able to persist because the expressive codes associated with the culture have the power to invoke it through any number of performative texts. The chapter also traces the historical evolution of hip-hop culture from a largely benign music to something more malevolent.
Propaganda Tool for Racial Progress?
Authors: Bodroghkozy Aniko
Published: May 2017

This chapter examines early discourses on the relationship between television and the developing black freedom movement, with particular emphasis on optimistic hopes that television could be a progressive tool for African American advancement and racial justice. Unlike radio, early network television appeared to take seriously obligations to present African Americans in respectful ways. In the early 1950s, for example, NBC's politically progressive chief censor worked to eradicate offensive black stereotypes from programming by scrubbing references to “darkies,” images of Stepin Fetchit–style characters. This chapter first considers the National Association for the Advancement of Colored People's protest against the Amos 'n' Andy and response to the Beulah radio shows before discussing the role of entertainment television in the pre-civil rights period. It looks at the ABC program The Beulah Show. While Beulah exemplifies early television's initial foray into the arena of race relations and black representation, this chapter argues that it did not give viewers a concept of black and white on equal terms.
Kim Ki-duk
Authors: Chung Hye Seung , Kim So-hee
Published: May 2017

This study investigates the controversial motion pictures written and directed by the independent filmmaker Kim Ki-duk, one of the most acclaimed Korean auteurs in the English-speaking world. Propelled by underdog protagonists who can only communicate through shared corporeal pain and extreme violence, Kim's graphic films have been classified by Western audiences as belonging to sensationalist East Asian “extreme” cinema, and Kim has been labeled a “psychopath” and “misogynist” in South Korea. Drawing upon both Korean-language and English-language sources, the book challenges these misunderstandings, recuperating Kim's oeuvre as a therapeutic, yet brutal cinema of Nietzschean ressentiment (political anger and resentment deriving from subordination and oppression). The book argues that the power of Kim's cinema lies precisely in its ability to capture, channel, and convey the raw emotions of protagonists who live on the bottom rungs of Korean society. It provides historical and postcolonial readings of victimization and violence in Kim's cinema, which tackles such socially relevant topics as national division in Wild Animals and The Coast Guard and U.S. military occupation in Address Unknown. The book also explores the religious and spiritual themes in Kim's most recent works, which suggest possibilities of reconciliation and transcendence.
Interview with Kim Ki-duk
Authors: So-hee Kim
Published: May 2017

This interview was originally published in a promotional booklet, edited by Lee Hae-jin, entitled Kim Ki-duk: From Crocodile to Address Unknown (Seoul: LJ Film, 2001). It is reprinted here with permission of LJ Film America. Although the interview only covers Kim Ki-duk’s first six feature films, many of the issues, themes, and ideas presented here apply to his later films as well. Several Korean-language interviews about Kim’s more recent films are quoted in the main essay to supplement this interview....
American Spectators, Tatlers, and Guardians
Authors: Gardner Jared
Published: May 2017

This chapter explores the forms, fantasies, and energies that gathered around the American magazine in the eighteenth century. Traditionally, the early American magazine has been seen as a kind of “overture” to the “Golden Age” of the American magazine to follow. Yet, the chapter considers this early “primitive” magazine in terms of the ambitions and energies with which it was invested, revealing its unique aspects and aspirations to periodical culture before the 1820s that mark it as discrete from the magazine to follow, in ways not dissimilar to the relationship between silent cinema and the sound cinema that emerges after 1927. Understood in its own terms and in relationship to a broader transatlantic circulation of energies and texts, the early American magazine can be seen to represent something very different from the magazine that was to follow.
The Wartime Creation of “Gending Sriwijaya”
Authors: Kartomi Margaret
Published: May 2017

This chapter examines South Sumatra's official musical symbol, “Gending Sriwijaya,” a single song-dance created in 1945 and was first performed with its accompanying dance “Tari Gending Sriwijaya” as an ironic joke at the expense of the Japanese invaders, but was actually intended to serve the cause of the Indonesian independence movement. The chapter begins with a discussion of the wartime politics behind the first performance of “Tari Gending Sriwijaya” on August 4, 1945. It then considers how “Gending Sriwijaya” evolved from a provincial symbol to an Indonesian regional song after the war of independence (1945–1949). It also describes the development of the “Gending Sriwijaya” dance into a new, more elaborate and theatrical version called “Tari Penguton,” as well as Ibu Erna Nun Tjik Aladin's life experience and ideas about South Sumatran dance in terms of their significance to her versions of “Tari Gending Sriwijaya” and “Tari Penguton.”
“Only if a Man Can Kill a Buffalo With One Blow Can He Play a Rapa’I Pasè”
Authors: Kartomi Margaret
Published: May 2017

This chapter examines how the ergology and morphology of the variants of the rapa'i Pasè, the largest kind of frame drum in Aceh, relate to its performance practice, the genres in which it is used, the cultural memory, and the sense of Acehnese cultural identity among its makers, performers, and audiences. The rapa'i Pasè was traditionally played in ensembles with the singing of improvised texts at lifecycle and religious feasts and in intervillage competitions. It is said that only a man who can kill a buffalo with one sharp blow can play a rapa'i Pasè. This chapter first considers the defining and distinctive elements of Acehnese identity in its connection to rapa'i before discussing the loss of thousands of rapa'i Pasè during Aceh's armed conflict of 1976–2005. It also describes the attempts by Indonesian governments to appropriate, secularize, and aestheticize rapa'i and other forms of the traditional arts, as well as the various elite and nonelite views of identity.
Henry Mancini
Authors: Caps John
Published: May 2017

Through film composer Henry Mancini, mere background music in movies became part of pop culture—an expression of sophistication and wit with a modern sense of cool and a lasting lyricism that has not dated. This, the first comprehensive study of Mancini's music, describes how the composer served as a bridge between the Big Band period of World War II and the impatient eclecticism of the Baby Boomer generation, between the grand formal orchestral film scores of the past and a modern American minimalist approach. Mancini's sound seemed to capture the bright, confident, welcoming voice of the middle class's new efficient life: interested in pop songs and jazz, in movie and television, in outreach politics but also conventional stay-at-home comforts. As the book shows, Mancini easily combined it all in his music. He wielded influence in Hollywood and around the world with his iconic scores: dynamic jazz for the noirish detective TV show Peter Gunn, the sly theme from The Pink Panther, and his wistful folk song Moon River from Breakfast at Tiffany's. Through insightful close readings of key films, the book traces Mancini's collaborations with important directors and shows how he homed in on specific dramatic or comic aspects of the film to create musical effects through clever instrumentation, eloquent musical gestures, and meaningful resonances and continuities in his scores.
Here Was Something Fresh
Authors: Caps John
Published: May 2017

This introductory chapter traces the path of Henry Mancini's career, highlighting the reasons why he became the first publicly successful and personally recognizable film composer in history. It suggests that Mancini was perfectly placed, by time and temperament, to be a bridge between the traditions of the big band period of World War II and the eclectic impatience of the baby boomer generation that followed, between the big formal orchestral film scores of Hollywood's so-called Golden Years and a modern American minimalist approach. On the one hand, his respect for pre-wartime pop and movie music represented continuity, even advocacy, of tradition. On the other hand, for many young postwar families, the Mancini sound seemed to represent the bright, confident, welcoming voice of a new middle-class life: interested in pop songs and jazz, in movies and television, in outreach politics but also conventional stay-at-home comfort.
Allegheny River Launch
Authors: Caps John
Published: May 2017

This chapter details the early life of Henry Mancini. Born in Cleveland, Ohio, in 1924 as Enrico Nicola Mancini, the young Henry would grow up just over the Pennsylvania border in the steel town of West Aliquippa, where two great rivers, the Allegheny and the Monongahela, come together to become the Ohio River. The first time Mancini became aware of the music score behind a movie was during a trip to the local movie theater with his father in 1935. Something in the grandiose score to a picture called The Crusaders, composed by Rudolf Kopp, made him pay attention to the role that music was playing in the adventure story. That day Henry decided that he wanted to be a composer, to somehow be involved in music for the movies. On his eighteenth birthday, Mancini circumvent the draft and enlisted. He was sent to Atlantic City for basic training where he met members of the band that Glenn Miller was trying to form.
Not Quite Jazz
Authors: Caps John
Published: May 2017

This chapter details events in Mancini's life after he was released from active army duty in March 1946. His old master sergeant in the army became one of the arrangers for what was called the Glenn Miller Orchestra with Tex Beneke, and a job was found for him there, first as an occasional arranger and in the late 1940s as the band's rather underused pianist. He eventually grew close to Beneke band singer, Ginny O'Connor, who convinced Henry that they should quit the Beneke band to settle near Los Angeles, and that they should get married. The year 1950 would bring two important milestones to Mancini's biography: a first-born son named Christopher and the first evidence of Mancini writing dramatic music for the media—in this case, orchestral background scores for a dramatic radio series called Family Theater over the Mutual Broadcasting Network out of Hollywood.
Off to See the World
Authors: Caps John
Published: May 2017

This chapter details events following Mancini's break with Blake Edwards. While the break was a private event that seemed to put his future career into a state of flux, Mancini sensed a chance to advance, an opportunity in the making, when a phone call reached him at that songwriting contest in Rio. It was Paramount Studios calling. They had been bankrolling a gritty film about the 1876 Irish coal miners' strike in Pennsylvania called The Molly Maguires (1970), and the project was in trouble. The film was being judged too monotone and grim, while the music was deemed too little, too light, casting the drama into doubt. The studio' thought was that with a little more color in the score, and especially a firmer sense of musical drama, the whole momentum of the film might be lifted. And from Mancini's point of view this was just the breath of fresh air that this composer-in-transition had wanted. Almost immediately on finishing The Molly Maguires, Mancini would receive another surprise call from even further afield, announcing that the great Italian neorealist director Vittorio De Sica and the great producer Carlo Ponti wanted to work with him in the film I Girasoli (1970), soon to take the American title Sunflower.
Morning
Authors: Ferguson Gillum
Published: May 2017

This chapter discusses the Illinois Territory, which was one of the frontier regions affected by war. Only recently split off from Indiana Territory in 1809, the new territory ran from the junction of the Ohio and Mississippi Rivers north to the U.S. border with Canada, embracing the current states of Illinois and Wisconsin, together with a part of the Upper Peninsula of Michigan and Minnesota east of the Mississippi River. All those states, especially Illinois, would eventually owe their existence to the War of 1812. Mortality on the Illinois frontier was high, although not necessarily higher than in other frontier communities. The settlers who had located in the river bottoms were often racked by recurrent fevers and malaria, which they called “the ague.” Nevertheless, adversity had made the settlers hardy in spirit and there was no challenge they feared to take on.
Chicago
Authors: Ferguson Gillum
Published: May 2017

This chapter shows how the fall of Mackinac began a series of events that eventually led to disaster in Illinois. The immediate effect was felt 250 miles away at Detroit, where General William Hull commanded all U.S. forces in the Northwest. Hearing of the surrender of Mackinac, the Wyandot tribe, which had been neutral, joined the British, and the prestige of that tribe was expected to bring the other tribes over to the British as well. Even worse, Hull was now opposed by a soldier of genius, Major General Isaac Brock, working in perfect harmony with Tecumseh. In the wake of these British victories, both Governor Ninian Edwards of Illinois and Governor Benjamin Howard of Missouri expected an attack on their territories.
Peoria
Authors: Ferguson Gillum
Published: May 2017

This chapter explores how Governor Ninian Edwards began to prepare a counterstroke as the Indians' offensive of August and September 1812 stalled and receded. The natural target was Peoria, where hostile Indians—Kickapoo, Potawatomi, and Piankashaw—were gathered in large numbers, and from which they had just launched their abortive raid on the settlements. Lacking assistance from outside the territory, Edwards would have to rely on the territory's own resources, which were very slender. The governor estimated that there were no more than 2,000 adult white males scattered between the Mississippi and the Wabash, while more than 1,000 Indian warriors could assemble at Peoria within a matter of days. None of the militiamen who had defended the territory during the spring and summer had been paid, and to obtain volunteers, Edwards was forced to pledge his own resources to guarantee payment.
Dickson and Forsyth
Authors: Ferguson Gillum
Published: May 2017

This chapter talks about the meeting of two former enemies—Robert Dickson and Thomas Forsyth—in Saint Louis after the war had ended. During a cordial evening, the two talked over their exploits during the war. Dickson was one of the most colorful figures on the frontier; the Indians idolized him. He was a large man of commanding appearance, with a ruddy complexion and blazing red hair, for which the Indians gave him the name “The Red Head.” Meanwhile, Forsyth's ambiguous citizenship enabled him to live safely among the Indians by posing as an Englishman, but some Americans on the frontier distrusted him as a British subject. The outbreak of war brought Dickson and Forsyth into the service of their respective countries, and thus into conflict with each other.
New Main Squeeze
Authors: Jacobson Marion
Published: May 2017

This chapter shows how the accordion and its music come into focus in different sectors of the mainstream music world of the 1980s and 1990s. The accordion was presented in a folksy vein, as a counterpart to the artist's working-class and/or ethnic identity, and as a counterbalance to the ubiquitous electronic soundscape of techno and punk. Although many of the newly “revived” folk styles (especially Irish traditional music) featured the button diatonic accordion or melodeon, the chapter argues that these instruments gave piano accordionists a new impetus to explore what they perceived as a more “folk” or “authentic” style of playing. In the academic music world, the accordion fueled an ongoing hunger for new sounds and new cultural experiences.
Conclusion
Authors: Jacobson Marion
Published: May 2017

This concluding chapter charts the relationships between all the different communities, regions, and phases of the accordion's life discussed so far, exploring common threads and disjunctions throughout history. It moves the study of the accordion away from the traditional subdiscipline of organology and attempts to say something about the processes through which instruments evolve. Musical instruments entail a great deal of disjunctions between the makers, individuals, institutions, and ideas that shape them at different phases in their history. This chapter offers a perspective on the very breadth of variables involved in all the repertoires, practices, and ideas of accordionists, which enables us to see, among all the variables, continuity and harmony among different sectors of the accordion world.
Lola Montez and Spanish Dance in the 19th Century
Authors: Jeschke Claudia
Published: May 2017

This chapter narrates the career of Lola Montez (c. 1820–1861), a performer who trafficked in staging the Spanish dancer as a figure of otherness on the stages of nineteenth-century Europe. It addresses both performative qualities and written discourse, in particular Montez's own writings, as strategies for self-fashioning. Here, discourse itself gains a performative potential, pronouncing into being a successful persona that relied on a variety of marketing tactics. The chapter casts new light on dance history by exploring how a dilettante female performer used constructions of gender and alterity to forge a star identity for herself. It argues that Montez was uniquely aware of the discourses surrounding the profession of dance in the nineteenth century, and manipulated them to her own advantage.
Picturing Palucca at the Bauhaus
Authors: Funkenstein Susan
Published: May 2017

Gret Palucca quickly ascended to dance stardom in the 1920s. Born in 1902, Palucca received her dance training at Mary Wigman's pioneering Dresden studio in the early 1920s and was among the first generation of Wigman students to go on to innovate in the world of dance. During her career ascent, Palucca positioned herself in close proximity to visual artists, and she especially touted her relationship with artists at the Bauhaus, the innovative school for art and design in Weimar Germany. This chapter examines the visual images of Palucca created by students and teachers at the Bauhaus. In so doing, it challenges the standard literature that associates Bauhaus dance exclusively with dance choreographer Oskar Schlemmer.
Hanya Holm and an American Tanzgemeinschaft
Authors: Randall Tresa
Published: May 2017

Hanya Holm arrived in the United States in September 1931 to open the New York Wigman School, created under the patronage of impresario Sol Hurok. On the heels of Mary Wigman's first, highly acclaimed U.S. tour from 1930 to 1931, interest in the Wigman method was high among American dancers, and a small staff from the Wigman Central Institute in Dresden, led by Holm, were sent to New York to capitalize on it. This chapter counters the standard narrative of Holm's assimilation and Americanization. Focusing on Holm's writings during her early years in the United States, it demonstrates how she saw her New World milieu through an Old World lens, conceptualizing the United States as a fragmented society (Gesellschaft) in need of a community that integrated its members and that dance could provide (Tanzgemeinschaft).
Lotte Goslar’s Clowns
Authors: Mozingo Karen
Published: May 2017

Lotte Goslar employed clowning and fairy tales throughout her choreographic career to create a feminist disruption of romanticism and tragedy in German and American dance representations of women. However, her departure from the tragic moods and narratives of Ausdruckstanz and her resistance to conventional representations of the intellectual emigration trouble the histories of dance and exile on both sides of the Atlantic. This chapter examines the performance of clowning in Goslar's works, an artistic strategy that marginalized the choreographer in histories of modern dance on both sides of the Atlantic. Writing Goslar back into both histories, it articulates a richly alternative vision of how dance engages its historical time and place.
Was bleibt? The Politics of East German Dance
Authors: Kant Marion
Published: May 2017

This chapter examines how dancers during the years immediately following World War II negotiated the terrain of divided Germany. It argues that the careers of Mary Wigman, Gret Palucca, Marianne Vogelsang, Jean Weidt, and Fritz Böhme prove that there was no Stunde Null in dance—there was no successful de-nazification process. Nazified dance concepts—together with their proponents— continued well into the 1950s until a new generation gradually emerged to face the burden of the Nazi past with its ideological baggage; some carry that baggage of their teachers to the present day. The two most thoughtful, reflective, synthetic, and least ruthless artists, Vogelsang and Weidt, failed. Dance had no intellectual apparatus comparable to literature, music, or theater and remained one of the most impoverished arts in East Germany.
Globalization, Discourse, and Development Communication
Authors: McAnany Emile G.
Published: May 2017

This chapter examines the role of the United Nations Educational, Scientific, and Cultural Organization (UNESCO) in crafting the modernization-diffusion paradigm and making it a dominant theory in the field of communication for development (c4d). It first provides a background on how UNESCO got into the communication business before explaining how the modernization-diffusion paradigm reached a wider audience by relating it to the nature of the UN system as an early form of globalization. It then discusses how UNESCO helped to define and then implement the paradigm by focusing on one of its major media projects to illustrate how practice and theory are mutually reinforcing: the use of radio, as a mass communication medium, in combination with the power of group discussion in promoting change in rural India. This chapter shows that institutions—in this case, UNESCO—play an important role in the development of a paradigm and its diffusion.
Rethinking the Paradigm
Authors: McAnany Emile G.
Published: May 2017

This chapter focuses on the rise of the critical or dependency paradigm in Latin America and the success of its theories but somewhat limited applications over a period from the early 1970s through the mid-1980s. It first examines the context of the paradigm shift that paved the way for a new theory in the discourse of communication and social change, and how that may have affected practice. It then considers how the dependency approach to communication for development (c4d) first came into favor in Latin America. It also discusses the dependency paradigm in theory and practice and Everett Rogers's critique of the old or dominant paradigm, which he articulated in the book Communication and Development: Critical Perspectives (1976a). The chapter concludes by demonstrating how practice and critical theory came together in a government project in Tanzania's ujamaa villages.
Hearing the Other in The Masque of Blackness
Authors: Schmalenberger Sarah
Published: May 2017

This chapter explores the role that the music for The Masque of Blackness, a court entertainment commissioned by Queen Anne and written by Ben Jonson, may have played in constructing a “black Other.” In particular, it questions existing interpretations about the meaning of “black Other” and frames historical perspectives of musical affect with regard to Otherness. Jonson printed a quarto containing The Masque of Blackness and its sequel, Masque of Beauty, ostensibly to preserve the spirit of an entertainment intended for a single performance. Both masques are filled with musical indications, from descriptions of sounds and dance types to song lyrics composed by Jonson himself. The chapter first considers the relationship between dance and music in The Masque of Blackness before discussing its cultural meaning, along with the issue of racial difference and Queen Anne's apparent dalliance with blackface in the masque. Finally, it describes the signification of blackness in The Masque of Blackness.
New Paradigms in William Grant Still’s Blue Steel
Authors: Murchison Gayle
Published: May 2017

This chapter examines the aesthetics underlying William Grant Still's Blue Steel and contextualizes it as a Harlem Renaissance work engaged with the African past and Still's diasporic present. Composed in 1934, Blue Steel was envisioned by Still as an African American opera—one that not only treated an African American subject, but was also rooted in African American and African diasporic culture—namely, its syncretic religion, voodoo or voudon. The chapter first takes a look at Still's first exposure to and early attempts at opera before discussing his collaborators in the creation of Blue Steel. It then provides a summary of Blue Steel's plot and characters as well as its use of African music for conceptual approaches to representing Africa and Africanness through musical signifiers. It also examines how voodoo became a means for Still to express himself as a Harlem Renaissance artist by functioning as a multifaceted signifier of African identity within the New World.
Performers in Catfish Row
Authors: Brown Gwynne Kuhner
Published: May 2017

This chapter challenges the assumption that George Gershwin's Porgy and Bess is something done by whites to blacks by highlighting the indispensable, active role played by African American performers in every critically successful production of the opera. Porgy and Bess has been the subject of controversy for decades owing to its depiction of African Americans. Many of the arguments against Gershwin's work casts African Americans as the victims of malevolent or thoughtless white actions. This chapter examines how Porgy and Bess came into being as an opportunity for productive interracial collaboration by focusing on the Theatre Guild production of 1935, one of several postwar productions of Porgy and Bess that have managed to bring performers and the director together. It also considers Gershwin's respect for his cast members as individuals and concludes with a discussion of five case studies that speak of the tension in the relationship between white directorial staff and black performers in Porgy and Bess, including the production of Samuel Goldwyn's 1959 Technicolor film about Catfish Row.
A Modernism of the City
Authors: Newcomb John Timberman
Published: May 2017

This book traces the emergence of modern American poetry at the turn of the nineteenth century, locating it within the collective efforts of poets, editors, publishers, and readers involved in the New Verse movement between 1912 and 1925, rather than in the individual accomplishments of a few titanic figures. It examines how these individuals renewed American verse by taking over existing literary institutions and creating avant-garde alternatives, allowing them to elaborate a poetics of metropolitan modernity that embraced the very subjects that the genteel establishment had condemned as incorrigibly unpoetic. It also discusses the importance of the visual arts in this process, which paved the way for the New Poetry or the New Verse, two terms used in this book interchangeably rather than modernism.
Young, Blithe, and Whimsical
Authors: Newcomb John Timberman
Published: May 2017

This chapter challenges the conceptual model dominating histories of modern American poetry from the 1940s, in which political and aesthetic radicalism are seen as mutually exclusive responses to twentieth-century modernity, by analyzing the avant-gardism of The Masses. It considers how The Masses, together with several other little magazines, enriched the New Verse movement by joining and competing with Poetry: A Magazine of Verse as vibrant venues of contemporary American poetry. It explains how The Masses, by putting ideology above artistry, placed itself beyond the pale of true modernism. It argues that the verse published in The Masses was more than just belated sentimentalizing or Marxist sermonizing with no significant role in the emergence of modern poetry. On the contrary, the magazine had a substantial institutional and aesthetic impact upon the New Poetry. The chapter also contends that The Masses's eclectic and iconoclastic poetics of modernity was strongly aligned with the experimental spirit later valorized by historians as modernist.
A People's History of Baseball
Authors: Nathanson Mitchell
Published: May 2017

Baseball is much more than the national pastime. It has become an emblem of America itself. Stories abound that illustrate baseball's significance in eradicating racial barriers, bringing neighborhoods together, and building civic pride. This book probes the less well-known but no less meaningful other side of baseball: episodes not involving equality, patriotism, heroism, and virtuous capitalism, but power—how it is obtained, and how it perpetuates itself. Exploring the founding of the National League, the book focuses on the newer Americans who sought club ownership to promote their own social status in the increasingly closed caste of late nineteenth-century America. The book's perspective on the rise and public rebuke of the Players Association shows that these events reflect both the collective spirit of working and middle-class America in the mid-twentieth century as well as the countervailing forces that sought to beat back this emerging movement that threatened the status quo. Even his take on baseball's racial integration that began with Branch Rickey's “Great Experiment” reveals the debilitating effects of the harsh double standard that resulted, requiring a black player to have unimpeachable character merely to take the field in a Major League game, a standard no white player was required to meet. Told with passion and occasional outrage, this book challenges the perspective of the well-known, deeply entrenched, hyper-patriotic stories of baseball and offers an incisive alternative history of America's much-loved national pastime.
Interview with Philip Kaufman
Authors: Insdorf Annette
Published: May 2017

From the author’s onstage interview with Kaufman at the 92nd Street Y in Manhattan, December 9, 1993. (Additional portions are drawn from the author’s email correspondence with Kaufman and a letter of March 2, 2001.)

ANNETTE INSDORF:In an early scene of Invasion of the Body Snatchers...
Partners for Progress?
Authors: Rossinow Doug
Published: May 2017

This chapter argues that from the Popular Front of the 1930s and 1940s through the anti-Vietnam War movement and the “new politics” of the 1960s and 1970s, liberals and leftists worked together to strengthen individual political and social rights. They sought to advance the interests of the industrial working class within the framework of liberal capitalist society, and to oppose war and empire. The chapter also describes the left edge of the liberal political tradition across the broad sweep of industrial U.S. history, revealing both the way in which the radical left provided idealistic, sometimes utopian fuel for liberal reform projects, as well as the broad influence of liberal ideas on the political left in the United States.
Bozie Sturdivant
Authors: Wade Stephen
Published: May 2017

This chapter describes the recordings of second-tenor quartet singer Bozie Sturdivant, who held down a job as a yard boy in Clarksdale, Mississippi, among other domestic chores. In July 1942, during a service at Clarksdale's Silent Grove Baptist Church, Bozie made nine recordings with his group, including a spiritual called “Ain't No Grave Can Hold My Body Down.” Bozie's approach to the song reflected a traditional style of religious singing and an emerging sound in quartet performance. Like the jukeboxes that Lewis Jones cataloged, Bozie's impassioned performance brought together the local with the national and the personal with the manufactured. Life in the Delta, as elsewhere in rural America, was changing. Bozie Sturdivant's song captured the complexity of that change. It also preserved what he held most dear.
Jess Morris
Authors: Wade Stephen
Published: May 2017

This chapter describes the recordings of Jess Morris, a classically trained violinist and former cowboy living in Dalhart, Texas, who played at ranch dances throughout the Panhandle. Jess lived many of the realities that Gene Autry portrayed on the movie screen. Like the wide open spaces Autry traversed by projectionist's lamp, Jess knew firsthand the unbroken range of the Texas Panhandle, the last of the long-distance cattle drives, and the all-night ranch dances reachable only by horse-drawn wagon. He also embodied a cultural breadth that exceeds cinematic stereotype. His community remembered him especially for “Goodbye, Old Paint,” a song he learned in childhood. It became his signature number, one that he copyrighted and published. His contribution to the piece mattered to him to the end of his life as he waited anxiously for its release on a Library of Congress album of cattle calls and cowboy songs.
Raising Orphans
Authors: Ramey Jessie B.
Published: May 2017

This chapter analyzes how poor families' own demands helped shape the institutional landscape of child welfare in turn-of-the century Pittsburgh, as they made choices based on religious preferences as well as location and reputation. Significantly, racial prejudice limited African American families' choices and led the black community to found its own child care institutions in this period. A demographic analysis of these families who chose orphanage care for their children reveals the often multiple, overlapping crises they faced—from the loss of a spouse to disrupted support networks and inadequate housing. As parents attempted to combine wage labor and child care responsibilities, they used orphanages as a strategy for family survival.
Introduction
Authors: Rivers Larry Eugene
Published: May 2017

This introductory chapter explores slave resistance in Florida while incorporating perspectives that reach beyond its borders to embrace a regional and even larger context. In doing so, it builds upon the foundation laid by John Hope Franklin and Loren Schweninger and also upon the works of scholars such as Jane Landers, Michael Gomez, John Blassingame, Lawrence Levine, Margaret Washington Creel, Walter Johnson, Sterling Stuckey, Freddie Parker, and Gwendolyn Hall. Taken together, these historians of slavery, among other things, offered highly useful tools for conceptualizing and analyzing the slave′s experience in the Old South and beyond. These authors note that a supportive African, Caribbean, and African American culture helped slaves to maintain a sense of agency and humanity.
Destinations of Runaways
Authors: Rivers Larry Eugene
Published: May 2017

This chapter discusses how questions related to where enslaved blacks fled have occupied historians of the southern experience for generations. Traditionally, the answers reached have pointed to the majority absconding to other southern states as opposed to the northern states. In that vein, John Hope Franklin and Loren Schweninger focused in one recent study on fugitives who fled, primarily, from one place in the South to another in the same region. Florida′s situation, however, offers a somewhat different view. Although considerable numbers of its fugitives replicated the traditional patterns noted by Franklin, Schweninger, and other historians, a significant number possessed what could be described as an Atlantic worldview. This is to say that they sought freedom in various parts of the Atlantic and Caribbean regions, particularly in the Bahamas.
The Second Seminole War
Authors: Rivers Larry Eugene
Published: May 2017

The chapter discusses how Florida′s experience with slavery from 1821 to 1865 evolved within an environment that was filled with the threat of race war, the actuality of race war, or the legacies of race war. Patterns of resistance that developed in the territory and state during that period also derived from that environment. It can be argued with credibility that the nation′s largest slave rebellion marked the midpoint of that era, an event so profound that no Floridian could have escaped its impact in one way or another. Known to history as the Second Seminole War, this significant but often neglected conflict came about through the leadership of maroons and was supported by hundreds of rebelling slaves. The major objective of Florida′s combatants involved not the complete overthrow of slavery but the safeguarding of individual and family freedom and of homes and homelands from white encroachment.
The Civil War
Authors: Rivers Larry Eugene
Published: May 2017

This chapter looks at how, during the Civil War period, bondservants in northeast Florida demonstrated more agency toward freedom than did their counterparts in other portions of the state. Given the partial or total breakdowns in white authority over enslaved blacks that eventually occurred in much of East Florida and the relative lack of white racial solidarity, slaveholders in the region proved somewhat more complacent when it came to restricting slave movement. Bondpeople in East Florida accordingly emerged as the most vocal in resisting slavery by joining either the US Army or Navy to fight emancipation. These prestigious occupations understandably afforded bondservants a sense of worth and dignity, with many becoming well assimilated into society over time. As a result, many became self-assured and self-reliant, able to depend upon their own skills in making a living.