A SCHOLARLY BOOK REPOSITORY
A volume in the American Literatures Initiative
Nicaragua's Sandinista revolution (1979-1990) initiated a broad program of social transformation to improve the situation of the working class and poor, women, and other non-elite groups through agrarian reform, restructured urban employment, and wide access to health care, education, and social services. This book explores how Nicaragua's least powerful citizens have fared in the years since the Sandinista revolution, as neoliberal governments have rolled back these state-supported reforms and introduced measures to promote the development of a market-driven economy.
Drawing on ethnographic research conducted throughout the 1990s, Florence Babb describes the negative consequences that have followed the return to a capitalist path, especially for women and low-income citizens. In addition, she charts the growth of women's and other social movements (neighborhood, lesbian and gay, indigenous, youth, peace, and environmental) that have taken advantage of new openings for political mobilization. Her ethnographic portraits of a low-income barrio and of women's craft cooperatives powerfully link local, cultural responses to national and global processes.
When railroads connected the United States and Mexico in 1884 and overland travel between the two countries became easier and cheaper, Americans developed an intense curiosity about Mexico, its people, and its opportunities for business and pleasure. Indeed, so many Americans visited Mexico during the Porfiriato (the long dictatorship of Porfirio Díaz, 1876–1911) that observers on both sides of the border called the hordes of tourists and business speculators a “foreign invasion,” an apt phrase for a historical moment when the United States was expanding its territory and influence.
Americans in the Treasure House examines travel to Mexico during the Porfiriato, concentrating on the role of travelers in shaping ideas of Mexico as a logical place for Americans to extend their economic and cultural influence in the hemisphere. Analyzing a wealth of evidence ranging from travelogues and literary representations to picture postcards and snapshots, Jason Ruiz demonstrates that American travelers constructed Mexico as a nation at the cusp of modernity, but one requiring foreign intervention to reach its full potential. He shows how they rationalized this supposed need for intervention in a variety of ways, including by representing Mexico as a nation that deviated too dramatically from American ideals of progress, whiteness, and sexual self-control to become a modern “sister republic” on its own. Most importantly, Ruiz relates the rapid rise in travel and travel discourse to complex questions about national identity, state power, and economic relations across the U.S.–Mexico border.
McCaughan argues that the social power of activist artists emanates from their ability to provoke people to see, think, and act in innovative ways. Artists, he claims, help to create visual languages and spaces through which activists can imagine and perform new collective identities and forms of meaningful citizenship. The artists' work that he discusses remains vital today—in movements demanding fuller democratic rights and social justice for working people, women, ethnic communities, immigrants, and sexual minorities throughout Mexico and the United States. Integrating insights from scholarship on the cultural politics of representation with structural analyses of specific historical contexts, McCaughan expands our understanding of social movements.
Between the Middle East and the Americas: The Cultural Politics of Diaspora traces the production and circulation of discourses about "the Middle East" across various cultural sites, against the historical backdrop of cross-Atlantic Mahjar flows. The book highlights the fraught and ambivalent situation of Arabs/Muslims in the Americas, where they are at once celebrated and demonized, integrated and marginalized, simultaneously invisible and spectacularly visible. The essays cover such themes as Arab hip-hop's transnational imaginary; gender/sexuality and the Muslim digital diaspora; patriotic drama and the media's War on Terror; the global negotiation of the Prophet Mohammad cartoons controversy; the Latin American paradoxes of Turcophobia/Turcophilia; the ambiguities of the bellydancing fad; French and American commodification of Rumi spirituality; the reception of Iranian memoirs as cultural domestication; and the politics of translation of Turkish novels into English. Taken together, the essays analyze the hegemonic discourses that position "the Middle East" as a consumable exoticized object, while also developing complex understandings of self-representation in literature, cinema/TV, music, performance, visual culture, and digital spaces. Charting the shifting significations of differing and overlapping forms of Orientalism, the volume addresses Middle Eastern diasporic practices from a transnational perspective that brings postcolonial cultural studies methods to bear on Arab American studies, Middle Eastern studies, and Latin American studies. Between the Middle East and the Americas disentangles the conventional separation of regions, moving beyond the binarist notion of "here" and "there" to imaginatively reveal the thorough interconnectedness of cultural geographies.
Black Movements analyzes how artists and activists of recent decades reference earlier freedom movements in order to imagine and produce a more expansive and inclusive democracy. The post–Jim Crow, post–apartheid, postcolonial era has ushered in a purportedly color blind society and along with it an assault on race-based forms of knowledge production and coalition formation. Soyica Diggs Colbert argues that in the late twentieth century race went “underground,” and by the twenty-first century race no longer functioned as an explicit marker of second-class citizenship.
The subterranean nature of race manifests itself in discussions of the Trayvon Martin shooting that focus on his hoodie, an object of clothing that anyone can choose to wear, rather than focusing on structural racism; in discussions of the epidemic proportions of incarcerated black and brown people that highlight the individual’s poor decision making rather than the criminalization of blackness; in evaluations of black independence struggles in the Caribbean and Africa that allege these movements have accomplished little more than creating a black ruling class that mirrors the politics of its former white counterpart. Black Movements intervenes in these discussions by highlighting the ways in which artists draw from the past to create coherence about blackness in present and future worlds.
Through an exploration of the way that black movements create circuits connecting people across space and time, Black Movements offers important interventions into performance, literary, diaspora, and African American studies.
CHOICE Outstanding Academic Title
Examining “the moment” as one of the primary motifs of Beat writing, Erik Mortenson offers the first book to investigate immediacy and its presence and importance in Beat writing. Capturing the Beat Moment: Cultural Politics and the Poetics of Presence places an expanded canon of Beat writers in an early postmodern context that highlights their importance in American poetics and provides an account of Beat practices that reveal how gender and race affect Beat politics of the moment.
Mortenson argues that Beat writers focused on action, desire, and spontaneity to establish an authentic connection to the world around them and believed that “living in the moment” was the only way in which they might establish the kind of life that led to good writing. With this in mind, he explores the possibility that, far from being the antithesis of their times, the Beats actually were a product of them. Mortenson outlines the effects of gender and race on Beat writing in the postwar years, as well as the Beats’ attempts to break free of the constrictive notions of time and space prevalent during the 1950s.
Mortenson discusses such topics as the importance of personal visionary experiences; the embodiment of sexuality and the moment of ecstasy in Beat writing; how the Beats used photographs to evoke the past; and the ways that Beat culture was designed to offer alternatives to existing political and social structures. Throughout the volume, Mortenson moves beyond the Kerouac-Ginsberg-Burroughs triumvirate commonly associated with Beat literature, discussing women—such as Diane di Prima, Janine Pommy Vega, and Joyce Johnson—and African American writers, including Bob Kaufman and Amiri Baraka. With the inclusion of these authors comes a richer understanding of the Beat writers’ value and influence in American literary history.
In the early 1990s, a major exhibition Chicano Art: Resistance and Affirmation, 1965-1985 toured major museums around the United States. As a first attempt to define and represent Chicano/a art for a national audience, the exhibit attracted both praise and controversy, while raising fundamental questions about the nature of multiculturalism in the U.S.
This book presents the first interdisciplinary cultural study of the CARA exhibit. Alicia Gaspar de Alba looks at the exhibit as a cultural text in which the Chicano/a community affirmed itself not as a "subculture" within the U.S. but as an "alter-Native" culture in opposition to the exclusionary and homogenizing practices of mainstream institutions. She also shows how the exhibit reflected the cultural and sexual politics of the Chicano Movement and how it serves as a model of Chicano/a popular culture more generally.
Drawing insights from cultural studies, feminist theory, anthropology, and semiotics, this book constitutes a wide-ranging analysis of Chicano/a art, popular culture, and mainstream cultural politics. It will appeal to a diverse audience in all of these fields.
McKay explores the music in relation to issues of whiteness, blackness, and masculinity—all against a backdrop of shifting imperial identities, postcolonialism, and the Cold War. He considers objections to the music’s spread by the “anti-jazzers” alongside the ambivalence felt by many leftist musicians about playing an “all-American” musical form. At the same time, McKay highlights the extraordinary cultural mixing that has defined British jazz since the 1950s, as musicians from Britain’s former colonies—particularly from the Caribbean and South Africa—have transformed the genre. Circular Breathing is enriched by McKay’s original interviews with activists, musicians, and fans and by fascinating images, including works by the renowned English jazz photographer Val Wilmer. It is an invaluable look at not only the history of jazz but also the Left and race relations in Great Britain.
Bridging the worlds of activism and academia-social movement theory informed with the real experiences of activists-this volume of accessible essays brings together insights from European New Social Movement theorists, U.S. scholars of social movements, and activists involved in social movements from the 1960s to the 1990s.
Contributors: Alice Echols, Barbara Epstein, Richard A. Cloward, Marcy Darnovsky, Jeffrey Escoffier, Ilene Rose Feinman, Richard Flacks, Cynthia Hamilton, Allen Hunter, L. A. Kauffman, Rebecca E. Klatch, Margit Mayer, Alberto Melucci, Bronislaw Misztal, Osha Neumann, Frances Fox Piven, Craig Reinarman, Roland Roth, Arlene Stein, Mindy Spatt, Andrew Szasz, Noél Sturgeon, Howard Winant.
To show the significance of this facet of the Revolution, Mary Kay Vaughan analyzes the educational effort of the state during the 1930s, locating it within the broader sweep of Mexican history to illustrate how the government sought to nationalize and modernize rural society. Vaughan focuses on activities in rural schools, where central state policy makers, teachers, and people of the countryside came together to forge a national culture. She examines the cultural politics of schooling in four rural societies in the states of Sonora and Puebla that are representative of the peasant societies in revolutionary Mexico, and she shows how the state's program of socialist education became an arena for intense negotiations over power, culture, knowledge, rights, and gender practices. The real cultural revolution, Vaughan observes, lay not in the state's efforts at socialist education but in the dialogue between state and society that took place around this program. In the 1930s, rural communities carved out a space to preserve their local identities while the state succeeded in nurturing a multi-ethnic nationalism based on its promise of social justice and development.
Vaughan brings to her analysis a comparative understanding of peasant politics and educational history, extensive interviews, and a detailed examination of national, regional, and local archives to create an evocative and informative study of Mexican politics and society during modern Mexico's formative years. Cultural Politics in Revolution clearly shows that only by expanding the social arena in which culture was constructed and contested can we understand the Mexican Revolution's real achievements.
"For a lucid and thorough 'real-world' analysis of the movement from the ground-up--including its history, aesthetics, and culture, there is surely no better place to start than Somers-Willett's trailblazing book."
--- Jerome Sala, Pleiades
"Finally, a clear, accurate, and thoroughly researched examination of slam poetry, a movement begun in 1984 by a mixed bag of nobody poets in Chicago. At conception, slam poetry espoused universal humanistic ideals and a broad spectrum of participants, and especially welcome is the book's analysis of how commercial marketing forces succeeded in narrowing public perception of slam to the factionalized politics of race and identity. The author's knowledge of American slam at the national level is solid and more authentic than many of the slammers who claim to be."
---Marc Kelly Smith, founder/creator of the International Poetry Slam movement
The cultural phenomenon known as slam poetry was born some twenty years ago in white working-class Chicago barrooms. Since then, the raucous competitions have spread internationally, launching a number of annual tournaments, inspiring a generation of young poets, and spawning a commercial empire in which poetry and hip-hop merge.
The Cultural Politics of Slam Poetry is the first critical book to take an in-depth look at slam, shedding light on the relationships that slam poets build with their audiences through race and identity performance and revealing how poets come to celebrate (and at times exploit) the politics of difference in American culture.
With a special focus on African American poets, Susan B. A. Somers-Willett explores the pros and cons of identity representation in the commercial arena of spoken word poetry and, in doing so, situates slam within a history of verse performance, from blackface minstrelsy to Def Poetry. What's revealed is a race-based dynamic of authenticity lying at the heart of American culture. Rather than being mere reflections of culture, Somers-Willett argues, slams are culture---sites where identities and political values get publicly refigured and exchanged between poets and audiences.
Susan B. A. Somers-Willett is a decade-long veteran of slam and teaches creative writing and poetics as an Assistant Professor of English at Montclair State University. She is the author of two books of poetry, Quiver and Roam. Visit the author's website at: http://www.susansw.com/.
Photo by Jennifer Lacy.
Second, if neoliberalism has successfully employed various cultural media, then what are the best means of criticizing its main claims and fundamental purposes? Is it possible under these circumstances to imagine a “counter-culture” which might effectively challenge neoliberalism or is such an alternative already controlled and contained by such labels as “political correctness,” “the far left,” “radicalism,” “extremism,” even “terrorism,” which in the popular imagination refer to political and social minorities, doomed thereby to marginalization?
Rowe argues that the tradition of “cultural criticism” advocated by influential public intellectuals like Edward Said can be adapted to the new circumstances demanded by the hegemony of neoliberalism and its successful command of new media. Yet rather than simply honoring important predecessors such as Said, we need to reconceive the role of the public intellectual as more than just an “interdisciplinary scholar” but also as a social critic able to negotiate the different media.
Detroit in the 1960s was a city with a pulse: people were marching in step with Martin Luther King, Jr., dancing in the street with Martha and the Vandellas, and facing off with city police. Through it all, Motown provided the beat. This book tells the story of Motown--as both musical style and entrepreneurial phenomenon--and of its intrinsic relationship to the politics and culture of Motor Town, USA.
As Suzanne Smith traces the evolution of Motown from a small record company firmly rooted in Detroit's black community to an international music industry giant, she gives us a clear look at cultural politics at the grassroots level. Here we see Motown's music not as the mere soundtrack for its historical moment but as an active agent in the politics of the time. In this story, Motown Records had a distinct role to play in the city's black community as that community articulated and promoted its own social, cultural, and political agendas. Smith shows how these local agendas, which reflected the unique concerns of African Americans living in the urban North, both responded to and reconfigured the national civil rights campaign.
Against a background of events on the national scene--featuring Martin Luther King, Jr., Langston Hughes, Nat King Cole, and Malcolm X--Dancing in the Street presents a vivid picture of the civil rights movement in Detroit, with Motown at its heart. This is a lively and vital history. It's peopled with a host of major and minor figures in black politics, culture, and the arts, and full of the passions of a momentous era. It offers a critical new perspective on the role of popular culture in the process of political change.
Duke University Press Scholars of Color First Book Award recipient
Yielding pivotal new perspectives on the indigenous women of Mexico, Dissident Women: Gender and Cultural Politics in Chiapas presents a diverse collection of voices exploring the human rights and gender issues that gained international attention after the first public appearance of the Zapatista National Liberation Army (EZLN) in 1994.
Drawing from studies on topics ranging from the daily life of Zapatista women to the effect of transnational indigenous women in tipping geopolitical scales, the contributors explore both the personal and global implications of indigenous women's activism. The Zapatista movement and the Women's Revolutionary Law, a charter that came to have tremendous symbolic importance for thousands of indigenous women, created the potential for renegotiating gender roles in Zapatista communities. Drawing on the original research of scholars with long-term field experience in a range of Mayan communities in Chiapas and featuring several key documents written by indigenous women articulating their vision, Dissident Women brings fresh insight to the revolutionary crossroads at which Chiapas stands—and to the worldwide implications of this economic and political microcosm.
Electronic Iran introduces the concept of the Iranian Internet, a framework that captures interlinked, transnational networks of virtual and offline spaces.
Taking her cues from early Internet ethnographies that stress the importance of treating the Internet as both a site and product of cultural production, accounts in media studies that highlight the continuities between old and new media, and a range of works that have made critical interventions in the field of Iranian studies, Niki Akhavan traces key developments and confronts conventional wisdom about digital media in general, and contemporary Iranian culture and politics in particular.
Akhavan focuses largely on the years between 1998 and 2012 to reveal a diverse and combative virtual landscape where both geographically and ideologically dispersed individuals and groups deployed Internet technologies to variously construct, defend, and challenge narratives of Iranian national identity, society, and politics. While it tempers celebratory claims that have dominated assessments of the Iranian Internet, Electronic Iran is ultimately optimistic in its outlook. As it exposes and assesses overlooked aspects of the Iranian Internet, the book sketches a more complete map of its dynamic landscape, and suggests that the transformative powers of digital media can only be developed and understood if attention is paid to both the specificities of new technologies as well as the local and transnational contexts in which they appear.
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In The Exceptional Woman, Mary D. Sheriff uses Vigée-Lebrun's career to explore the contradictory position of "woman-artist" in the moral, philosophical, professional, and medical debates about women in eighteenth-century France. Paying particular attention to painted and textual self-portraits, Sheriff shows how Vigée-Lebrun's images and memoirs undermined the assumptions about "woman" and the strictures imposed on women.
Engaging ancien-régime philosophy, as well as modern feminism, psychoanalysis, literary theory, and art criticism, Sheriff's interpretations of Vigée-Lebrun's paintings challenge us to rethink the work and the world of this controversial woman artist.
Mining investment in Peru has been presented as necessary for national progress; however, it also has brought socioenvironmental costs, left unfulfilled hopes for development, and has become a principal source of confrontation and conflict.
Fighting for Andean Resources focuses on the competing agendas for mining benefits and the battles over their impact on proximate communities in the recent expansion of the Peruvian mining frontier. The book complements renewed scrutiny of how globalization nurtures not solely antagonism but also negotiation and participation.
Having mastered an intimate knowledge of Peru, Vladimir R. Gil Ramón insightfully documents how social technologies of power are applied through social technical protocols of accountability invoked in defense of nature and vulnerable livelihoods. Although analyses point to improvements in human well-being, a political and technical debate has yet to occur in practice that would define what such improvements would be, the best way to achieve and measure them, and how to integrate dimensions such as sustainability and equity.
Many confrontations stem from frustrated expectations, environmental impacts, and the virtual absence of state apparatus in the locations where new projects emerged. This book presents a multifaceted perspective on the processes of representation, the strategies in conflicts and negotiations of development and nature management, and the underlying political actions in sites affected by mining.
The experience of Central Americans in the United States is marked by a vicious contradiction. In entertainment and information media, Salvadorans, Guatemalans, Nicaraguans, and Hondurans are hypervisible as threatening guerrillas, MS-13 gangsters, maids, and “forever illegals.” Central Americans are unseen within the broader conception of Latinx community, foreclosing avenues to recognition.
Yajaira M. Padilla explores how this regime of visibility and invisibility emerged over the past forty years—bookended by the right-wing presidencies of Ronald Reagan and Donald Trump—and how Central American immigrants and subsequent generations have contested their rhetorical disfiguration. Drawing from popular films and TV, news reporting, and social media, Padilla shows how Central Americans in the United States have been constituted as belonging nowhere, imagined as permanent refugees outside the boundaries of even minority representation. Yet in documentaries about cross-border transit through Mexico, street murals, and other media, US Central Americans have counteracted their exclusion in ways that defy dominant paradigms of citizenship and integration.
Calypso music is an integral part of Trinidad’s national identity. When, for instance, Franklin D. Roosevelt asked the great Trinidadian musician Roaring Lion where he was from, Lion famously replied “the land of calypso.” But in a nation as diverse as Trinidad, why is it that calypso has emerged as the emblematic music?
In Governing Sound, Jocelyne Guilbault examines the conditions that have enabled calypso to be valorized, contested, and targeted as a field of cultural politics in Trinidad. The prominence of calypso, Guilbault argues, is uniquely enmeshed in projects of governing and in competing imaginations of nation, race, and diaspora. During the colonial regime, the period of national independence, and recent decades of neoliberal transformation, calypso and its musical offshoots have enabled new cultural formations while simultaneously excluding specific social expressions, political articulations, and artistic traditions. Drawing on over a decade of ethnographic work, Guilbault maps the musical journeys of Trinidad’s most prominent musicians and arrangers and explains the distinct ways their musical sensibilities became audibly entangled with modes of governing, audience demands, and market incentives.
Generously illustrated and complete with an accompanying CD, Governing Sound constitutes the most comprehensive study to date of Trinidad’s carnival musics.
The contributions presented here represent a wide range of disciplines, points of view, and ideological orientations. Taken together they convey the notion that much might be gained if the idea were abandoned that a single understanding of what constitutes Indonesian culture is possible or desirable.
A critical and personal inquiry into the historical factors behind Hawaiian identity
Deep within the historical imagination, there lies the image of a Western explorer surrounded by dark and strange natives. In the modern and postmodern spaces of tourism, one finds the reflections of an antiquated nativism that is already dead, however commercially viable. And in the statutes of the State of Hawai‘i, the Aloha spirit is codified into the ideology of multiculturalism. Where, among the multiple representations and constructions of what is "Hawaiian," is Hawaiian identity actually lived?
Rona Tamiko Halualani analyzes the diverse formations and practices of Hawaiian identity and sociality, on the U.S. mainland as well as on the islands, across several interrelated contexts: museum culture, explorer journals, maps, tourism, census technology, blood quantum mandates, neocolonial administration, and lived community practice. Halualani shows how these contexts represent larger forces from different historical moments that significantly changed the social relations surrounding Hawaiians, the ways in which they have been identified, and how they make sense of who they are. Throughout she interweaves the countering narratives and practices by indigenous Hawaiians as they seek authorization of their identities, land rights, and culture.
Jazz Internationalism offers a bold reconsideration of jazz's influence in Afro-modernist literature. Ranging from the New Negro Renaissance through the social movements of the 1960s, John Lowney articulates nothing less than a new history of Afro-modernist jazz writing. Jazz added immeasurably to the vocabulary for discussing radical internationalism and black modernism in leftist African American literature. Lowney examines how Claude McKay, Ann Petry, Langston Hughes, and many other writers employed jazz as both a critical social discourse and mode of artistic expression to explore the possibilities—and challenges—of black internationalism. The result is an expansive understanding of jazz writing sure to spur new debates.
Rather than seeing U.S. empire in Puerto Rico during this period as a contest between two sharply polarized groups, del Moral views their interaction as a process of negotiation. Although educators and families rejected some tenets of Americanization, such as English-language instruction, they also redefined and appropriated others to their benefit to increase literacy and skills required for better occupations and social mobility. Pushing their citizenship-building vision through the schools, Puerto Ricans negotiated a different school project—one that was reformist yet radical, modern yet traditional, colonial yet nationalist.
Describing how la familia came to be adopted as an organizing strategy for communitarian politics, Rodríguez looks at foundational texts including Rodolfo Gonzales’s well-known poem “I Am Joaquín,” the Chicano Liberation Youth Conference’s manifesto El Plan Espiritual de Aztlán, and José Armas’s La Familia de La Raza. Rodríguez analyzes representations of the family in the films I Am Joaquín, Yo Soy Chicano, and Chicana; the Los Angeles public affairs television series ¡Ahora!; the experimental videos of the artist-activist Harry Gamboa Jr.; and the work of hip-hop artists such as Kid Frost and Chicano Brotherhood. He reflects on homophobia in Chicano nationalist thought, and examines how Chicano gay men have responded to it in works including Al Lujan’s video S&M in the Hood, the paintings of Eugene Rodríguez, and a poem by the late activist Rodrigo Reyes. Next of Kin is both a wide-ranging assessment of la familia’s symbolic power and a hopeful call for a more inclusive cultural politics.
As Askew shows, the genres of ngoma (traditional dance), dansi (urban jazz), and taarab (sung Swahili poetry) have played prominent parts in official articulations of "Tanzanian National Culture" over the years. Drawing on over a decade of research, including extensive experience as a taarab and dansi performer, Askew explores the intimate relations among musical practice, political ideology, and economic change. She reveals the processes and agents involved in the creation of Tanzania's national culture, from government elites to local musicians, poets, wedding participants, and traffic police. Throughout, Askew focuses on performance itself—musical and otherwise—as key to understanding both nation-building and interpersonal power dynamics.
Zhang examines the reactions of intellectuals, authors, and filmmakers to the cultural and political conflicts in China during the 1990s. He offers a nuanced assessment of the changing divisions and allegiances within the intellectual landscape, and he analyzes the postsocialist realism of the era through readings of Mo Yan’s fiction and the films of Zhang Yimou. With Postsocialism and Cultural Politics, Zhang applies the same keen insight to China’s long 1990s that he brought to bear on the 1980s in Chinese Modernism in the Era of Reforms.
Ka-ming Wu's ethnographic account of contemporary Yan'an documents how people have reworked the revival of three rural practices--paper-cutting, folk storytelling, and spirit cults--within (and beyond) the socialist legacy. Moving beyond dominant views of Yan'an folk culture as a tool of revolution or object of market reform, Wu reveals how cultural traditions become battlegrounds where conflicts among the state, market forces, and intellectuals in search of an authentic China play out. At the same time, she shows these emerging new dynamics in the light of the ways rural residents make sense of rapid social change.
Alive with details, Reinventing Chinese Tradition is an in-depth, eye-opening study of an evolving culture and society within contemporary China.
Around the world and across time, singers and their songs stand at the crossroads of differing politics and perspectives. Levi S. Gibbs edits a collection built around the idea of listening as a political act that produces meaning. Contributors explore a wide range of issues by examining artists like Romani icon Esma Redžepova, Indian legend Lata Mangeshkar, and pop superstar Teresa Teng. Topics include gendered performances and the negotiation of race and class identities; the class-related contradictions exposed by the divide between highbrow and pop culture; links between narratives of overcoming struggle and the distinction between privileged and marginalized identities; singers’ ability to adapt to shifting notions of history, borders, gender, and memory in order to connect with listeners; how the meanings we read into a singer’s life and art build on one another; and technology’s ability to challenge our ideas about what constitutes music.
Cutting-edge and original, Social Voices reveals how singers and their songs equip us to process social change and divergent opinions.
Contributors: Christina D. Abreu, Michael K. Bourdaghs, Kwame Dawes, Nancy Guy, Ruth Hellier, John Lie, Treva B. Lindsey, Eric Lott, Katherine Meizel, Carol A. Muller, Natalie Sarrazin, Anthony Seeger, Carol Silverman, Andrew Simon, Jeff Todd Titon, and Elijah Wald
Author Arlene Davila focuses on the Institute for Puerto Rican Culture, the government institution charged with defining authenticated views of national identity since the 1950s, and on popular festival organizers to illuminate contestations over appropriate representations of culture in the increasingly mass-mediated context of contemporary Puerto Rico. She examines the creation of an essentialist view of nationhood based on a peasant culture and a "unifying" Hispanic heritage, and the ways in which grassroots organizations challenge and reconfigure definitions of national identity through their own activities and representations.
Davila pays particular attention to the increasing prominence of corporate sponsorship in determining what is distinguished as authentic "Puerto Rican culture" and discusses the politicization of culture as a discourse to debate and legitimize conflicting claims from selling commercial product to advocating divergent status options for the island. In so doing, Davila illuminates the prospects for cultural identities in an increasingly transnational context by showing the growth of cultural nationalism to be intrinsically connected to forms of political action directed to the realm of culture and cultural politics. This in-depth examination also makes clear that despite contemporary concerns with "authenticity," commercialism is an inescapable aspect of all cultural expression on the island.
Referring discreetly to her own experience, Woodward examines the interpenetration of social structures and subjectivity, considering how psychological emotions are social phenomena, with feminist anger, racial shame, old-age depression, and sympathy for non-human cyborgs (including robots) as key cases in point. She discusses how emerging institutional and discursive structures engender “new” affects that in turn can help us understand our changing world if we are attentive to them—the “statistical panic” produced by the risk society, with its numerical portents of disease and mortality; the rage prompted by impenetrable and bloated bureaucracies; the brutal shame experienced by those caught in the crossfire of the media; and the conservative compassion that is not an emotion at all, only an empty political slogan.
The orbit of Statistical Panic is wide, drawing in feminist theory, critical phenomenology, and recent theories of the emotions. But at its heart are stories. As an antidote to the vacuous dramas of media culture, with its mock emotions and scattershot sensations, Woodward turns to the autobiographical narrative. Stories of illness—by Joan Didion, Yvonne Rainer, Paul Monette, and Alice Wexler, among others—receive special attention, with the inexhaustible emotion of grief framing the book as a whole.
Irr highlights works by Richard Wright, John Dos Passos, Nathanael West, and others to uncover the complex relationship between American anti-communism and communist anti-Americanism. In an unprecedented move, she extends her inquiry to the work of Canadian intellectuals such as Dorothy Livesay and Hugh MacLennan to reveal the important yet overlooked fact that the territory at the border of the United States and Canada provided a vital contact zone and transnational “home” for leftist thinkers. Attending to intersections of race, ethnicity, and gender, Irr illustrates the ways dissenting writers made culture actively respond to the political crises of the Great Depression and questioned the nature of what it means to be “American.”
Drawing on insights from postcolonial and American studies and taking into account the intellectual and cultural dimensions of leftist politics, The Suburb of Dissent is the first study of the 1930s to bring together U.S. and Canadian writings. In doing so, it reveals how the unique culture of the left contributed to North American history at this critical juncture and beyond.
"Gilroy demonstrates effectively that cultural traditions are not static, but develop, grow and indeed mutate, as they influence and are influenced by the other changing traditions around them."—David Edgar, Listener Review of Books.
"A fascinating analysis of the discourses that have accompanied black settlement in Britain. . . . An important addition to the stock of critical works on race and culture."—David Okuefuna, Chicago Tribune
Why do we know every gory crime scene detail about such victims as Matthew Shepard and James Byrd Jr. and yet almost nothing about the vast majority of other hate crime victims? Now that federal anti-hate-crimes laws have been passed, why has the number of these crimes not declined significantly? To answer such questions, Clara S. Lewis challenges us to reconsider our understanding of hate crimes. In doing so, she raises startling issues about the trajectory of civil and minority rights.
Tough on Hate is the first book to examine the cultural politics of hate crimes both within and beyond the law. Drawing on a wide range of sources—including personal interviews, unarchived documents, television news broadcasts, legislative debates, and presidential speeches—the book calls attention to a disturbing irony: the sympathetic attention paid to certain shocking hate crime murders further legitimizes an already pervasive unwillingness to act on the urgent civil rights issues of our time. Worse still, it reveals the widespread acceptance of ideas about difference, tolerance, and crime that work against future progress on behalf of historically marginalized communities.
The book emphasizes the economic and industrial aspects of the story, looking at questions on the interaction of politics and economics, including censorship and public funding, and provides a better view of the big picture by laying bare the relationship between film industries, the global market, and government. Jin also sheds light on the operations and globalization strategies of Korean film industries alongside changing cultural policies in tandem with Hollywood’s continuing influences in order to comprehend the power relations within cultural politics, nationally and globally. This is the first book to offer a full overview of the nascent development of Korean cinema.
Unstable Frontiers was first published in 1994. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
"John Erni's heartfelt and insightful book is a valuable contribution to the study of the cultural politics of AIDS."–Jeff Nunokawa Princeton University
The "cure" for AIDS: The search goes on, keeping pace with our belief that AIDS is incurable. How such a seeming paradox works-and how it may well work against the proper treatment of the disease-is the subject of Unstable Frontiers, a probing, critical look at the cultural politics behind the quest for a cure for AIDS.
This massive commercial and scientific project, John Erni suggests, actually hinges on our contradictory definitions of the disease as curable and incurable at the same time. Drawing on diverse sources, from popular media to medical literature to cultural theory, he shows how the dual discourse of curability/incurability frames the way we think about and act on issues of medical treatment for AIDS. His work makes a major advance in our understanding of—and, perhaps, humane response to—a national crisis.
In his critique of the logic and fantasies underlying the double definition of AIDS, Erni explores a broad range of issues: the scientific paradigm used to develop AZT; the politics of alternative treatment practices, of clinical drug trials, and of AIDS activism; and the notions of time and temporality operating in AIDS treatment science. He also addresses the problematic popular themes, such as "AIDS is invariably fatal" and "Knowledge = Cure."
Unique in its approach to a social and political issue still in the making, the book reveals how AIDS has challenged technomedicine's historical position of authority-and in doing so, recasts this challenge in a powerful and ultimately hopeful way.
John Nguyet Erni is assistant professor of communication at the University of New Hampshire. He has published essays on AIDS and is currently working on a book about AIDS in Thailand.
Cabanaconde, a town of 5,000 people, is located in the arid Andean highlands. It is dominated by the foreboding Hualca Hualca mountain peak that is the source of this town’s much-needed water. How the villagers obtain this water, Paul Gelles writes, is not a simple process: the politics of irrigation in this area reflect a struggle for control of vital resources, deeply rooted in the clash between local, ritualized models of water distribution and the secular model put forth by the Peruvian state. Water and Power in Highland Peru provides an insightful case study on the intense conflicts over water rights, and a framework for studying ethnic conflict and the effects of “development,” not only in Peru, but in other areas as well.
Most of the inhabitants of Cabanaconde do not identify themselves with the dominant Spanish-speaking culture found in Peru. And the Peruvian state, grounded in a racist, post-Colonial ethos, challenges the village’s long-standing, non-Western framework for organizing water management.
Gelles demonstrates that Andean culture is dynamic and adaptive, and it is a powerful source of ethnic identity, even for those who leave the village to live elsewhere. Indigenous rituals developed in this part of the world, he states, have become powerful tools of resistance against interference by local elites and the present-day Peruvian state. Most importantly, the micropolitics of Cabanaconde provide a window into a struggle that is taking place around the world.
Two events in wartime Los Angeles thrust young Mexican American zoot suiters into the media spotlight. In the Sleepy Lagoon incident, a man was murdered during a mass brawl in August 1942. Twenty-two young men, all but one of Mexican descent, were tried and convicted of the crime. In the Zoot Suit Riots of June 1943, white servicemen attacked young zoot suiters, particularly Mexican Americans, throughout Los Angeles. The Chicano movement of the 1960s–1980s cast these events as key moments in the political awakening of Mexican Americans and pachucos as exemplars of Chicano identity, resistance, and style. While pachucas and other Mexican American women figured in the two incidents, they were barely acknowledged in later Chicano movement narratives. Catherine S. Ramírez draws on interviews she conducted with Mexican American women who came of age in Los Angeles in the late 1930s, 1940s, and 1950s as she recovers the neglected stories of pachucas. Investigating their relative absence in scholarly and artistic works, she argues that both wartime U.S. culture and the Chicano movement rejected pachucas because they threatened traditional gender roles. Ramírez reveals how pachucas challenged dominant notions of Mexican American and Chicano identity, how feminists have reinterpreted la pachuca, and how attention to an overlooked figure can disclose much about history making, nationalism, and resistant identities.
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