A multifaceted voyage into the past, Jolliet and Marquette expands and updates the oft-told story of a pivotal event in American history.
Jonathan Edwards - American Writers 97 was first published in 1971. 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.
Jonathan Swift: Irish Blow-in covers the arc of the first half of Jonathan Swift’s life, offering fresh details of the contentment and exuberance of his childhood, of the support he received from his grandmother, of his striking affection for Esther Johnson from the time she was ten years old (his pet name for her in her twenties was “saucebox”), of his precocious entry into English politics with his Contests and Dissensions pamphlet, of his brilliant and much misunderstood Tale of a Tub, and of his naive determination to do well both as a vicar of the small parish of Laracor in Ireland and as a writer for the Tory administration trying to pull England out of debt by ending the war England was engaged in with France.
I do not share with past biographers the sense that Swift had a deprived childhood. I do not share the suspicion that most of Swift’s enmities were politically motivated. I do not feel critical of him because he was often fastidious with his money. I do not think he was insincere about his religious faith. His pride, his sexual interests, his often shocking or uninhibited language, his instinct for revenge – emphasized by many previous biographers – were all fundamental elements of his being, but elements that he either used for rhetorical effect, or that he tried to keep in check, and that he felt that religion helped him to keep in check. Swift had as firm a conviction as did Freud that we are born with wayward tendencies; unlike Freud, though, he saw both religion and civil society as necessary and helpful checks on those wayward tendencies, and he (frequently, but certainly not always) acknowledged that he shared those tendencies with the rest of us.
This biography, in two books, Jonathan Swift: Irish Blow-in and Jonathan Swift: Our Dean, will differ from most literary biographies in that it does not aim to show how Swift’s life illuminates his writings, but rather how and why Swift wrote in order to live the life he wanted to live. I have liberally quoted Swift’s own words in this biography because his inventive expression of ideas, both in his public works and in his private letters, was what has made him a unique and compelling figure in the history of literature. I hope in these two books to come closer than past biographies to capturing how it felt to Swift himself to live his life.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Jonathan Swift: Our Dean details the political climax of his remarkable career—his writing and publication of The Drapier’s Letters (1724), Gulliver’s Travels (1726), and A Modest Proposal (1729)—stressing the relentless political opposition he faced and the numerous ways, including through his sermons, that he worked from his political base as Dean of St. Patrick’s Cathedral, psychologically as well as physically just outside the Dublin city walls, to attempt to rouse the Irish people to awareness of the ways that England was abusing them.
This book faces squarely the likelihood that Swift had a physical affair with Esther Vanhomrigh between 1719 and 1723, and reassesses in the light of that likelihood his conflicting relations with Esther Vanhomrigh and Esther Johnson. It traces the many loving friendships with both men and women in Ireland that sustained Swift during the years when his health gradually failed him, enabling him to continue indefatiguably, both through his writings and his authority as Dean of St. Patrick’s, to contribute to the public welfare in the face of relentless British attempts to squeeze greater and greater profits out of their Irish colony. Finally, it traces how Swift’s political indignation led to his treating many people, friends and enemies, cruelly during the 1730s, even while his humor and his ability to make and attract new friends sustained themselves until his memory finally failed him in 1742.
This biography, in two books, Jonathan Swift: Irish Blow-in and Jonathan Swift:Our Dean, comes closer than past biographies to capturing how it felt to Swift himself to live his life.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Katrina Hazzard-Gordon offers the first analysis of the development of the jook—an underground cultural institution created by the black working class—together with other dance arenas in African-American culture. Beginning with the effects of African slaves’ middle passage experience on their traditional dances, she traces the unique and virtually autonomous dance culture that developed in the rural South. Like the blues, these secular dance forms and institutions were brought north and urbanized by migrating blacks. In northern cities, some aspects of black dance became integrated into white culture and commercialized. Focusing on ten African-American dance arenas from the period of enslavement to the mid-twentieth century, this book explores the jooks, honky-tonks, rent parties, and after-hours joints as well as the licensed membership clubs, dance halls, cabarets, and the dances of the black elite.
Jook houses emerged during the Reconstruction era and can be viewed as a cultural response to freedom. In the jook, Hazzard-Gordon explains, an immeasurable amount of core black culture including food, language, community fellowship, mate selection, music, and dance found a sanctuary of expression when no other secular institution flourished among the folk. The jook and its various derivative forms have provided both entertainment and an economic alternative (such as illegal lotteries and numbers) to people excluded from the dominant economy. Dances like the Charleston, shimmy, snake hips, funky butt, twist, and slow drag originated in the jooks; some can be traced back to Africa.
Social dancing links black Americans to their African past more strongly than any other aspect of their culture. Citing the significance of dance in the African-American psyche, this study explores the establishments that nurtured ancestral as well as communal links for African-Americans, vividly describing black dances, formal rituals, such as debutante balls, and the influence of black dance on white culture.
“Through the years, a man peoples a space with images of provinces, kingdoms, mountains, bays, ships, islands, fishes, rooms, tools, stars, horses and people. Shortly before his death, he discovers that the patient labyrinth of lines traces the image of his own face.”
These words, inseparably marrying Jorge Luis Borges's life and work, encapsulate how he interwove the two throughout his legendary career. But the Borges of popular imagination is the blind, lauded librarian and man of letters; few biographers have explored his tumultuous early life in the streets and cafes of Buenos Aires, a young man searching for his path in the world. In Jorge Luis Borges, Jason Wilson uncovers the young poet who wrote, loved, and lost with adventurous passion, and he considers the later work and life of the writer who claimed he never created a character other than himself. As Borges declared, “It’s always me, subtly disguised.”
Born in Buenos Aires in 1899, Borges was a voracious reader from childhood, perhaps in part because he knew he lived under an inescapable sentence of adult-onset blindness inherited from his father. Wilson chronicles Borges’s life as he raced against time and his fated blindness, charting the literary friendships, love affairs, and polemical writings that formed the foundation of his youth. Illuminating the connections running between the biography and fictions of Borges, Wilson traces the outline of this self-effacing literary figure.
Though in his later writings Borges would subjugate emotion to the wild play of ideas, this bracing book reminds us that his works always recreated his life in subtle and delicate ways. Restoring Borges to his Argentine roots, Jorge Luis Borges will be an invaluable resource for all those who treasure this modern master.
Appointed by Pope John XXIII to the Pontifical Commission on Population, Family, and Birth, Fuchs ultimately found himself disappointed in his three years of service and spent the next thirty years exploring a broad array of issues pivotal to a reconstruction of Roman Catholic natural law theory. This is the first full-length analysis of Fuchs's efforts.
Beginning historically by looking at Fuchs's writings and beliefs before the Pontifical Commission appointment, including his defense of natural law during the "situation ethics" debates of the 50s and 60s, the concept of personal salvation, and the status of "nature" and "human nature," Graham moves to the intellectual conversion that inspired Fuchs to reconsider his concepts following the commission appointment. From there, Graham engages in a sustained critique of Fuchs's natural theory, addressing both the strengths and weaknesses to be found there and suggest possible avenues of development that would make a positive contribution to the ongoing quest to rehabilitate the Roman Catholic natural law theory that continues to dominate the landscape of moral theology today.
Having operated now for more than 140 years, the University of Arkansas at Pine Bluff (UAPB) was founded in 1875 as Branch Normal College by Joseph Carter Corbin, a native of Ohio and the son of former slaves. Corbin, who had a classical education, was the first African American superintendent of public education in Arkansas and literally built the school from the ground up. There was a desperate need for teachers in Arkansas, as there was a great desire for education by former slaves who had been prohibited from learning to read and write.
Corbin himself cleared the land that would soon house the college and then set about to create a school that would produce the first African American teachers following the Reconstruction years. For almost three decades, he worked tirelessly on behalf of Arkansas’s black community to meet the need for educators.
In the early days, Corbin worked both as the president and the janitor so that he could control costs and keep the school going. He often waived matriculation fees and other expenses to allow impoverished students the opportunity to graduate and become qualified to teach throughout Arkansas.
Although he might not have realized it at the time, Corbin was a member of the so-called aristocrats of color, the African American elite of national prominence and a group that included such luminaries as Booker T. Washington. Corbin was a true giant in the history of education in Arkansas. His story, told by a former UAPB student, is monumental for the scope of what one man was able to accomplish.
Incisive and illuminating, Joseph Fielding Smith examines the worldview and development of an influential theologian and his place in American religious and intellectual history.
Until his death in 1944, Holloway attended almost every performance of the Abbey Theatre and daily recorded in his journal his reactions to plays and players and his comments about and conversations with literary and theatrical people. From the journal’s 221 bulky volumes, housed in the National Library of Ireland, Mr. Hogan and Mr. O’Neill have compiled this book of extracts from the approximately 25,000,000 words written by the Irishman. The years from 1899 to 1926 were chosen because they are generally considered to be the significant ones for the Abbey Theatre: the year of its founding to the production of Sean O’Casey’s The Plough and the Stars, which caused a riot in the theatre. Mr. Holloway attended every play during these years, as well as many rehearsals, and talked with nearly everybody who had anything to do with the theatre. This journal reflects the tensions, feuds, and anguish that produced one of the great theatres of modern times.
The meticulous display of minute detail makes Joseph Holloway’s Abbey Theatre imperative reading for the student of modern theatre, particularly since its character as a daily account permits ready checking of dates listed in previous works about the Irish National Theatre.
LeRoy Anderson in 1981 first published, under the title For Christ Will Come Tomorrow, his definitive study of a charismatic, millenarian prophet and the Church of Jesus Christ of the Most High. He told there of a Mormon posse’s 1862 attack on the Morrisite compound, killing Joseph Morris, and of the continuing Morrisite movement, which survived into the mid-twentieth century. In this newly revised edition, Anderson revisits his subject by referring to more recently discovered documents, considering other scholars’ continuing work on Morris’s sect and related subjects, and examining a 1980s messianic sect that claimed a direct connection to the Morrisites.
New documentary sources include a holograph “History of George Morris,” written by Joseph Morris’s brother, which Anderson quotes at length. What was once a little-studied subject has since received attention from a number of scholars. Anderson references such current work on Mormon schismatic movements and broader subjects, much of which drew on his work. Perhaps the book’s most interesting and unintended influence was on that obscure 1980s messianic sect, in Montana, which learned of Morris through Joseph Morris and the Saga of the Morrisites.
This book offers the first full-length treatment of Joseph Schumpeter's political thought. Schumpeter's theory of democracy as a competition among elites has influenced several generations of political scientists, but this book is the first to show that Schumpeter also conceived of democracy as a powerful transformative tendency leading toward the establishment of democratic socialism. Deploring this prospect, he theorized elite-dominated forms of society in which democratic change could be reined in.
The contrasts between the two perspectives are striking. The neglected transformative view, which this book expounds, stressed the importance of democratic beliefs and ideology, whereas the elite conception minimized their significance. The transformative perspective highlighted the radicalizing, dynamic effects of movements that attempt to realize democratic values and act upon democratic ideologies, while the better-known elite model depicted democracy in static terms and as institutionally stable.
Despite the sharp contrasts, both perspectives were part of Schumpeter's complex and deeply conservative response to political change in his lifetime. Precisely because he viewed democracy as a potent transformative social force, he labored strenuously to theorize a form of society in which elites could restrain the pace and nature of democratic change.
This book marks the publication of the first, full translation of the so-called Joseph Smith Egyptian papyri translated into English. These papyri comprise “The Breathing Permit of Hor,” “The Book of the Dead of Ta-Sherit-Min,” “The Book of the Dead Chapter 125 of Nefer-ir-nebu,” “The Book of the Dead of Amenhotep,” and “The Hypocephalus of Sheshonq,” as well as some loose fragments and patches. The papyri were acquired by members of the LDS Church in the 1830s in Kirtland, Ohio, and rediscovered in the mid-1960s in the Metropolitan Museum of Art in New York. They served as the basis for Joseph Smith’s “Book of Abraham,” published in Nauvoo, Illinois, in 1842 and later canonized.
As Robert K. Ritner, Professor of Egyptology at the Oriental Institute, University of Chicago, explains: “The translation and publication of the Smith papyri must be accessible not merely to Egyptologists but to non-specialists within and outside of the LDS religious community for whom the Book of Abraham was produced.” Dr. Ritner provides not only his own original translations but gives variant translations by other researchers to demonstrate better the “evolving process” of decipherment. He also includes specialized transliterations and his own informed commentary on the accuracy of past readings. “These assessments,” he notes, “are neither equivocal nor muted.” At the same time, they do not have a “partisan basis originating in any religious camp.”
The present volume includes insightful introductory essays by noted scholars Christopher Woods, Associate Professor of Sumerology, University of Chicago (“The Practice of Egyptian Religion at ‘Ur of the Chaldees’”), Marc Coenen, Egyptian Studies Ph. D., University of Leuven, Belgium (“The Ownership and Dating of Certain Joseph Smith Papyri”), and H. Michael Marquardt, author of The Revelations of Joseph Smith: Text and Commentary (“Joseph Smith’s Egyptian Papers: A History”). It contains twenty-eight photographic plates, including color images of the primary papyri (with corrected alignment for Papyrus Joseph Smith 2) and other relevant items.
Vogel weaves together strands of evidence into a complete fabric including, among other aspects of Smith’s environment, the content of his daily dictation of scriputre and revelation—all contributing to a nearly complete view of what occurred on any given day in Smith’s lfie. The result is as much intellectual history as traditional biography. Readers will feel engaged in the dramatic, formative events in the prophet’s life against a backdrop of theology, local and national politics, Smith family dynamics, organizational issues, and interpersonal relations. One can form a mental picture, and many will find themselves carrying on an internal dialogue about the issues raised.
Vogel addresses the following broad themes:
1. The home that Joseph Smith was raised in was religiously divided. His mother’s family was orthodox and partly mystical; his father’s family tended toward rationalism and skepticism. Joseph’s maternal grandfather published an account of seeing a heavenly light and hearing Jesus’ voice. Joseph’s paternal grandfather promoted Thomas Paine’s skeptical critique of the Bible, The Age of Reason.
2. When Andrew Jackson was elected U.S. president in 1828, it was a key transitional period in American history. Jackson was a Mason and an advocate of secularism, which alarmed evangelical Protestants.
3. The Smith family experienced a series of financial setbacks and lost their farm in 1825. Joseph felt disinherited and saw no way of escape—no chance for his family to regain its former standing in the community.
4. Joseph found solace in religion. In the early 1820s, he had a powerful conversion experience and felt that Jesus had forgiven him of his sins. This inspired him to share the gospel message with others, particularly with his own family. About the same time, Smith found a talent for preaching and delivered “passable” Methodist sermons at a nearby revival.
5. Over time, Joseph became aware that people trusted him and that he could be an influence for good or ill, that even through nefarious means, God worked through him when his heart was right. He realized this when he led groups in search of Spanish treasure in New York and Pennsylvania. Although no treasure was found, the men sincerely believed that Smith had a spiritual gift and could see where casks of gold were hidden in the earth. This training ground in spiritual leadership was invaluable because the prophet learned how to create an environment for belief—one in which people could exercise faith and be converted to Christ through the sensible influence of the Spirit, all prior to the overarching work of restoring primitive Christianity.
Preparations to initiate the first members of Joseph Smith’s Quorum of the Anointed, or Holy Order, as it was also known, were made on May 3, 1842. The walls of the second level of the Red Brick Store were painted with garden-themed murals, the rooms fitted with carpets, potted plants, and a veil hung from the ceiling. All the while, the ground level continued to operate as Joseph Smith’s general mercantile.
In this companion volume to The Nauvoo Endowment Companies and The Development of LDS Temple Worship, 1846-2000: A Documentary History, the editors have assembled all available primary references to the Anointed Quorum and its regular gatherings, both in the Red Brick Store and elsewhere (women were initially washed and anointed in Emma Smith’s bedroom and then escorted to the store) prior to the opening of the Nauvoo Temple. The sources include excerpts from the diaries of William Clayton, Joseph Fielding, Zina D. H. Jacobs, Heber C. Kimball, John Taylor, Willard Richards, George A. Smith, Joseph Smith, Wilford Woodruff, and Brigham Young; autobiographies and reminiscences by Joseph C. Kingsbury, George Miller, and Mercy Fielding Thompson; letters from Vilate Kimball and Lucius N. Scoville; the Manuscript History of Brigham Young; General Record of the Seventies, Book B; Bathsheba W. Smith’s unedited testimony from the 1892 Temple Lot Case; other manuscripts such as the Historian’s Office Journal and “Meetings of Anointed Quorum”; and published records such as the History of the Church, Latter Day Saints’ Messenger and Advocate and Times and Seasons.
from the jacket flap:
Despite the secrecy imposed upon members of the Anointed Quorum, word of the gatherings above Joseph Smith’s store soon spread. In one instance, housekeeper Maria Jane Johnston helped prepare the special ceremonial clothing for John Smith to wear at the group’s meetings. In another, Ebenezer Robinson innocently opened the upstairs door at the mercantile and was startled to see church apostle John Taylor in a long white robe and “turban,” carrying a sword. Only Nauvoo’s elite were invited to participate in these new ceremonies?never more than ninety individuals and even fewer during Joseph Smith’s lifetime?and, as the editors of the current volume write, only those who had been introduced to the prophet’s doctrine of plural marriage.
An unusual aspect of the Quorum of the Anointed, compared to the membership in the Nauvoo Masonic Lodge, was that women were initiated as regular members. However, the women effectively disappear after Brigham Young’s assumption of leadership in 1844, following Joseph Smith’s death, and remain virtually absent until the Nauvoo Temple is completed nearly a year and a half later. Readers will also note some of the differences in protocol between what Smith instigated and what Young eventually settled on, for instance that members could be washed and anointed repeatedly but were “endowed” only once. There were not yet proxy ordinances.
Among Latter-day Saints today, temple worship is a sensitive topic; but the editors of this volume do not reveal anything that would be considered invasive or indelicate. In fact, the accounts, which come almost exclusively from the early LDS leadership itself, manifest discretion about what to report.
Never before have these primary, authoritative sources been correlated by date for comparison and fuller understanding of the gradual development of the temple ceremonies. Readers may find an added benefit in discovering some of their own ancestors’ names included in these records; but in fact, anyone interested in LDS temple worship will find this compilation of primary documents to be invaluable.
Musser’s devotion to Joseph Smith’s vision and the faith’s foundational texts reflected a widespread uneasiness with, and reaction against, changes taking place across society. Rosetti analyzes how Musser’s writing and thought knit a disparate group of outcast LDS believers into a movement. She also places Musser’s eventful life against the backdrop of a difficult period in LDS history, when the Church strained to disentangle itself from plural marriage and leaders like Musser emerged to help dissident members make sense of their lives outside the mainstream.
The first book-length account of the Mormon thinker, Joseph White Musser reveals the figure whose teachings helped mold a movement.
Creating a sensation with her risqué nightclub act and strolls down the Champs Elysées, pet cheetah in tow, Josephine Baker lives on in popular memory as the banana-skirted siren of Jazz Age Paris. In Josephine Baker and the Rainbow Tribe, Matthew Pratt Guterl brings out a little known side of the celebrated personality, showing how her ambitions of later years were even more daring and subversive than the youthful exploits that made her the first African American superstar.
Her performing days numbered, Baker settled down in a sixteenth-century chateau she named Les Milandes, in the south of France. Then, in 1953, she did something completely unexpected and, in the context of racially sensitive times, outrageous. Adopting twelve children from around the globe, she transformed her estate into a theme park, complete with rides, hotels, a collective farm, and singing and dancing. The main attraction was her Rainbow Tribe, the family of the future, which showcased children of all skin colors, nations, and religions living together in harmony. Les Milandes attracted an adoring public eager to spend money on a utopian vision, and to worship at the feet of Josephine, mother of the world.
Alerting readers to some of the contradictions at the heart of the Rainbow Tribe project—its undertow of child exploitation and megalomania in particular—Guterl concludes that Baker was a serious and determined activist who believed she could make a positive difference by creating a family out of the troublesome material of race.
Josephine Baker (1906-1975) was a dancer, singer, actress, author, politician, militant, and philanthropist, whose images and cultural legacy have survived beyond the hundredth anniversary of her birth. Neither an exercise in postmodern deconstruction nor simple biography, Josephine Baker in Art and Life presents a critical cultural study of the life and art of the Franco-American performer whose appearances as the savage dancer Fatou shocked the world.
Although the study remains firmly anchored in Josephine Baker’s life and times, presenting and challenging carefully researched biographical facts, it also offers in-depth analyses of the images that she constructed and advanced. Bennetta Jules-Rosette explores Baker’s far-ranging and dynamic career from a sociological and cultural perspective, using the tools of sociosemiotics to excavate the narratives, images, and representations that trace the story of her life and fit together as a cultural production.
While African National Congress narratives dominate much of the scholarship on South Africa’s freedom struggle, Josie Mpama/Palmer’s political life offers a different perspective. Highly critical of the patriarchal attitudes that hindered black women from actively participating in politics, Mpama/Palmer was an outspoken advocate for women’s social equality and encouraged black women to become more involved in national conversations. The first black woman to join the Communist Party of South Africa and an antiapartheid activist, Josie Mpama/Palmer remained involved in critical issues all her life, especially protests against Bantu Education and other forms of racial and sexist discrimination. She was an integral figure in establishing the Federation of South African Women, an organization open to women of all races. Mpama/Palmer’s activism and political legacy would become an inspiring example for women in South Africa and around the world to get up and get moving.
The artistic eminence of José Clemente Orozco (1883–1949) is such that he has been called “the greatest painter the Americas have produced.” In his Autobiography he also attains literary distinction. He is a writer who recounts the history of his period from a personal point of view and yet scarcely mentions himself. He is an observer who writes about the history of his country and of his country’s art, yet makes his own character implicit in the narrative.
The character that emerges is charming. It is that of a man strong but retiring, sharply critical of what he disapproves yet generous in praise of what he admires, decided in his views but modest in his assumptions and given to understatement in describing his own activities, averse to war and political struggle yet eager for conflict of ideas, always dedicated to the welfare of humanity.
Through the details of day-by-day living, he presents the panorama of the Mexican Revolution and of events in other parts of the world to which he traveled. His is a personal story of the Revolution, giving his reactions (as those of any common man) to the barbarities of war: “Insolent leaders, inflamed with alcohol, taking whatever they wanted at pistol point. . . . By night in dark streets the sound of gunplay, followed by screams, blasphemies, and vile insults. Breaking windows, sharp blows, cries of pain, and shots again.”
Orozco’s ability, as a painter, to see the details and to sense the mood of a place is apparent in his word pictures of the places he visited: “After six in the evening Paris is an immense brothel.” “London was like the seat of a noble family which had been exceedingly rich but had lost its fortune.” “Old, old Montmartre [is] a moldering cadaver . . .”
Orozco also makes some penetrating observations on art itself. Although he emphasizes individuality and freedom from tradition in art, he abhors unschooled art, especially such extremes as primitive Impressionism and other groups that lack instruction in the general principles of art, in technique, in theory of color, in perspective. He says ironically of the artistically uneducated: “Blessed are the ignorant and the imbecile, for theirs is the supreme glory of art! Blessed are the idiots and the cretins, for masterpieces of painting shall issue from their hands!” Orozco believes in education, not only for the artists but for their public. Taste in art can come only through understanding of the purpose and the techniques of art—through knowledge. Without training, public taste “mostly likes sugar, honey, and candy. Diabetic art. The greater the amount of sugar, the greater the—commercial—success.”
The first full-length study of a significant figure of the Spanish Enlightenment
Latin American independence histories of the last 150 years have tended to stereotype Captain General Bustamante, governor of the Spanish colony of Guatemala from 1811 to 1818, as a tyrannical arch-villain who personified colonial oppression. Timothy Hawkins, in contrast, examines Bustamante and his administration within the context of preservation of empire, the effort by colonial officials and partisans to maintain the integrity of the Spanish empire in spite of internal and external unrest.
Based on extensive primary research in the archives of Guatemala, Mexico, and Spain, Hawkins’s approach links the Central American experience to that of areas such as Peru, Venezuela, and Mexico, that also responded equivocally and haphazardly to rebellious uprisings against colonial rule. While conceding that Bustamante’s role in the suppression of unrest turned him into one of the more controversial figures in Latin American history, Hawkins argues that the Bustamante administration should not be seen as an isolated and perverse case of Spanish repression but as an example of a relatively successful, if short lived, campaign by Spain to preserve its empire.
Cuba’s José Lezama Lima became the most controversial figure in the flowering of the Latin American novel with the 1966 publication of Paradiso. Hailed as a seminal writer of breathtaking originality by Julio Cortázar, Octavio Paz, and Mario Vargas Llosa, Lezama was also attacked by the Castro regime and others for his stylistic obscurity, erotic descriptions, and violation of literary norms. Indeed, his experimental fiction, written on the very boundaries of the novelistic genre, resists classification. José Lezama Lima’s Joyful Vision, a much-needed critical study of Paradiso, Oppiano Licario, and Lezama’s essays, is thus an exploration in reading, one that highlights and preserves the essential and persistent contradictions in Lezama’s theory and practice of literature.
Gustavo Pellón focuses his study on Lezama’s search for equilibrium, clarifying such oppositions in Lezama’s writings as the mystical quest for illumination through obscurity, the calculated cultivation of naïveté, the Proust-like fascination with yet ultimate condemnation of homosexuality, and a modernist (even postmodernist) narrative style that conveys a mystical (essentially medieval) worldview. Above all, Pellón shares his wonder at Lezama who, in an age of pessimism, maintained his joyful vision of art and existence.
José Limón (1908-1972) was one of the leading figures of modern dance in the twentieth century. Hailed by the New York Times as "the finest male dancer of his time" when the José Limón Dance Company debuted in 1947, Limón was also a renowned choreographer who won two Dance Magazine Awards and a Capezio Dance Award, two of dance's highest honors. In addition to directing his own dance company, Limón served as artistic director of the Lincoln Center's American Dance Theater and also taught choreography at the Juilliard School for many years.
In this volume, scholars and artists from fields as diverse as dance history, art history, Mesoamerican ethnohistory, Mexican American studies, music studies, and Mexican history come together to explore one of José Limón's masterworks, the ballet La Malinche. Offering many points of entry into the dance, they examine La Malinche from various angles, such as Limón's life story and the influence of his Mexican heritage on his work, an analysis of the dance itself, the musical score composed by Norman Lloyd, the visual elements of props and costumes, the history and myth of La Malinche (the indigenous woman who served the Spanish conquistador Hernán Cortés as interpreter and mistress), La Malinche's continuing presence in Mexican American culture, and issues involved in a modern restaging of the dance.
Also included in the book is a DVD written and directed by Patricia Harrington Delaney that presents the ballet in its entirety, accompanied by expert commentary that sets La Malinche within its artistic and historical context.
José Martí (1853–1895) was the founding hero of Cuban independence. In all of modern Latin American history, arguably only the “Great Liberator” Simón Bolívar rivals Martí in stature and legacy. Beyond his accomplishments as a revolutionary and political thinker, Martí was a giant of Latin American letters, whose poetry, essays, and journalism still rank among the most important works of the region. Today he is revered by both the Castro regime and the Cuban exile community, whose shared veneration of the “apostle” of freedom has led to his virtual apotheosis as a national saint.
In José Martí: A Revolutionary Life, Alfred J. López presents the definitive biography of the Cuban patriot and martyr. Writing from a nonpartisan perspective and drawing on years of research using original Cuban and U.S. sources, including materials never before used in a Martí biography, López strips away generations of mythmaking and portrays Martí as Cuba’s greatest founding father and one of Latin America’s literary and political giants, without suppressing his public missteps and personal flaws. In a lively account that engrosses like a novel, López traces the full arc of Martí’s eventful life, from his childhood and adolescence in Cuba, to his first exile and subsequent life in Spain, Mexico City, and Guatemala, through his mature revolutionary period in New York City and much-mythologized death in Cuba on the battlefield at Dos Ríos. The first major biography of Martí in over half a century and the first ever in English, José Martí is the most substantial examination of Martí’s life and work ever published.
Contributors. Jeffrey Belnap, Raúl Fernández, Ada Ferrer, Susan Gillman, George Lipsitz, Oscar Martí, David Noble, Donald E. Pease, Beatrice Pita, Brenda Gayle Plummer, Susana Rotker, José David Saldívar, Rosaura Sánchez, Enrico Mario Santí, Doris Sommer, Brook Thomas
José María Arguedas (1911–1969) is one of the most important authors to speak to issues of the survival of native cultures. José María Arguedas: Reconsiderations for Latin American Cultural Studies presents his views from multiple perspectives for English-speaking audiences for the first time.
The life and works of José María Arguedas reflect in a seminal way the drama of acculturation and transculturation suffered not only by what we think of as the indigenous and mestizo cultures of Peru, but by other Latin American societies as well. Intricately reflecting his pluricultural and bilingual life experience, Arguedas’s illuminating poetic visions of Andean culture cross multidisciplinary borders to transfigure pedagogical and social practices.
Few texts convey the complexity and contradictions of an Andean cosmopolitanism with the intense accuracy of Arguedas’s anthropological, ethnographic essays and literary writings. The ramifications of Arguedas’s cultural critiques have yet to be assessed, particularly as a response to the disruptive forces of modernity, acculturation, and essential identity.
José María Arguedas was a Peruvian ethnographer, anthropologist, folklorist, poet, and novelist. He based his novels and stories on the life and outlook of the Quechua-speaking Indians and was a pioneer of modern Quechua poetry.
The present anthology brings his work to the attention of broader audiences by pulling together diverse scholarly views on Arguedas’s aesthetic and multicultural contributions to the contemporary and political archipelago. It is a synthesis of his views on cultural change as it impinges upon considerations and theories of Latin American cultural studies.
Lu Xun (1881–1936) is widely considered the greatest writer of twentieth-century China. Although primarily known for his two slim volumes of short fiction, he was a prolific and inventive essayist. Jottings under Lamplight showcases Lu Xun’s versatility as a master of prose forms and his brilliance as a cultural critic with translations of sixty-two of his essays, twenty of which are translated here for the first time.
While a medical student in Tokyo, Lu Xun viewed a photographic slide that purportedly inspired his literary calling: it showed the decapitation of a Chinese man by a Japanese soldier, as Chinese bystanders watched apathetically. He felt that what his countrymen needed was a cure not for their physical ailments but for their souls. Autobiographical accounts describing this and other formative life experiences are included in Jottings, along with a wide variety of cultural commentaries, from letters, speeches, and memorials to parodies and treatises.
Lu Xun was remarkably well versed in Chinese tradition and playfully manipulated its ancient forms. But he also turned away from historical convention, experimenting with new literary techniques and excoriating the “slave mentality” of a population paralyzed by Confucian hierarchies. Tinged at times with notes of despair, yet also with pathos, humor, and an unparalleled caustic wit, Lu Xun’s essays chronicle the tumultuous transformations of his own life and times, providing penetrating insights into Chinese culture and society.
In 1841 Thomas Worthington King accepted a position as supercargo on the Helena, a ship some have called “the first American clipper,” as it was about to make its maiden voyage to China. Journal of a Voyage around the World recounts the travel of Thomas Worthington King on the Helena from 1841 to 1842.
In full and well-written entries, King recounts the routines and surprises of life at sea, where storms and calms could be equally threatening, and the next day might bring a stop at St. Helena to see Napoleon’s tomb or an encounter with pirates. King provides details often missing from histories that give a real sense of the period. In his description of Chile and Peru we learn about activities as diverse as cockfighting and courtship. We learn about produce and prisons, mints and monasteries, fruits and fashions. In his account of China, King vividly describes rivers so full of boats that one could “see no water—nothing but the large mat sales” and calm groves of “green lychee, or broad leaved & rustling plantain.”
Perhaps the most important subject of the diary is the diarist himself, whose talent and confidence develop on the pages of his record. Thomas Worthington King was born and raised in Chillicothe, Ohio, and was the grandson of two Ohio Senators: Rufus King and Thomas Worthington.
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