Música norteña, a musical genre with its roots in the folk ballad traditions of Northern Mexico and the Texas-Mexican border region, has become a hugely popular musical style in the U.S., particularly among Mexican immigrants. Featuring evocative songs about undocumented border-crossers, drug traffickers, and the plight of immigrant workers, música norteña has become the music of a “nation between nations.” Música Norteña is the first definitive history of this transnational music that has found enormous commercial success in norteamérica.
Cathy Ragland, an ethnomusicologist and former music critic, serves up the fascinating fifty-year story of música norteña, enlivened by interviews with important musicians and her own first-hand observations of live musical performances. Beyond calling our attention to musical influences, Ragland shows readers the social and economic forces at work behind the music. By comparing música norteña with other popular musical forms, including conjunto tejano, she helps us understand and appreciate the musical ties that bind the Mexican diaspora.
Grigorii Aleksandrov’s musical comedy films, created with composer Isaak Dunaevskii, were the most popular Russian cinema of the 1930s and ’40s. Drawing on studio documents, press materials, and interviews with surviving film crew members, The Musical Comedy Films of Grigorii Aleksandrov presents the untold production history of the films. Salys explores how Aleksandrov’s cinema preserved the paradigms of the American musical, including its comedic tradition, using both to inscribe the foundation myths of the Stalin era in the national consciousness. As the first major study to situate these films in the cultural context of the era, this book will be essential to courses on Russian cinema and Soviet culture.
Banu Şenay documents the years-long training required to become a neyzen—a player of the ney. The process holds a transformative power that invites students to create a new way of living that involves alternative relationships with the self and others, changing perceptions of the city, and a dedication to craftsmanship. Şenay visits reed harvesters and travels from studios to workshops to explore the practical processes of teaching and learning. She also becomes an apprentice ney-player herself, exploring the desire for spirituality that encourages apprentices and masters alike to pursue ney music and its scaffolding of Islamic ethics and belief.
Contributors are Stephen Blum, Patricia Shehan Campbell, Sabine M. Feisst, Lawrence Gushee, Robert S. Hatten, William Kinderman, Natalie Kononenko, Robert Levin, Charlotte Mattax Moersch, Ingrid Monson, John P. Murphy, Bruno Nettl, A. Jihad Racy, Anne K. Rasmussen, Stephen Slawek, Gabriel Solis, Nicholas Temperley, John Toenjes, and Thomas Turino.
Although Sumatra is the sixth largest island in the world and home to an estimated 44 million Indonesians, its musical arts and cultures have not been the subject of a book-length study until now. Documenting and explaining the ethnographic, cultural, and historical contexts of Sumatra's performing arts, Musical Journeys in Sumatra also traces the changes in their style, content, and reception from the early 1970s onward.
Having dedicated almost forty years of scholarship to exploring the rich and varied music of Sumatran provinces, Margaret Kartomi provides a fascinating ethnographic record of vanishing musical genres, traditions, and practices that have become deeply compromised by the pressures of urbanization, rural poverty, and government policy. This deeply informed collection showcases the complex diversity of Indonesian music and includes field observations from six different provinces: Aceh, North Sumatra, Riau, West Sumatra, South Sumatra, and Bangka-Belitung. Featuring photographs and original drawings from Kartomi's field observations of instruments and performances, Musical Journeys in Sumatra provides a comprehensive musical introduction to this neglected, very large island, with its hundreds of ethno-linguistic-musical groups.
Composers featured: Michael Abels, H. Leslie Adams, Lettie Beckon Alston, Thomas J. Anderson, Dwight Andrews, Regina Harris Baiocchi, David Baker, William C. Banfield, Ysaye Maria Barnwell, Billy Childs, Noel DaCosta, Anthony Davis, George Duke, Leslie Dunner, Donal Fox, Adolphus Hailstork, Jester Hairston, Herbie Hancock, Jonathan Holland, Anthony Kelley, Wendell Logan, Bobby McFerrin, Dorothy Rudd Moore, Jeffrey Mumford, Gary Powell Nash, Stephen Newby, Coleridge-Taylor Perkinson, Michael Powell, Patrice Rushen, George Russell, Kevin Scott, Evelyn Simpson-Curenton, Hale Smith, Billy Taylor, Frederick C. Tillis, George Walker, James Kimo Williams, Julius Williams, Tony Williams, Olly Wilson, and Michael Woods
On the Zócalo, the main square of Mexico City, Mexico's entire musical history is performed every day. "Mexica" percussionists drum and dance to the music of Aztec rituals on the open plaza. Inside the Metropolitan Cathedral, choristers sing colonial villancicos. Outside the National Palace, the Mexican army marching band plays the "Himno Nacional," a vestige of the nineteenth century. And all around the square, people listen to the contemporary sounds of pop, rock, and música grupera. In all, some seven centuries of music maintain a living presence in the modern city.
This book offers an up-to-date, comprehensive history and ethnography of musical rituals in the world's largest city. Mark Pedelty details the dominant musical rites of the Aztec, colonial, national, revolutionary, modern, and contemporary eras, analyzing the role that musical ritual played in governance, resistance, and social change. His approach is twofold. Historical chapters describe the rituals and their functions, while ethnographic chapters explore how these musical forms continue to resonate in contemporary Mexican society. As a whole, the book provides a living record of cultural continuity, change, and vitality.
Musicians of Asian descent enjoy unprecedented prominence in concert halls, conservatories, and classical music performance competitions. In the first book on the subject, Mari Yoshihara looks into the reasons for this phenomenon, starting with her own experience of learning to play piano in Japan at the age of three. Yoshihara shows how a confluence of culture, politics and commerce after the war made classical music a staple in middle-class households, established Yamaha as the world's largest producer of pianos and gave the Suzuki method of music training an international clientele. Soon, talented musicians from Japan, China and South Korea were flocking to the United States to study and establish careers, and Asian American families were enrolling toddlers in music classes.
Against this historical backdrop, Yoshihara interviews Asian and Asian American musicians, such as Cho-Liang Lin, Margaret Leng Tan, Kent Nagano, who have taken various routes into classical music careers. They offer their views about the connections of race and culture and discuss whether the music is really as universal as many claim it to be. Their personal histories and Yoshihara's observations present a snapshot of today's dynamic and revived classical music scene.
During the last years of his life, Rossini gathered his numerous vocal and piano pieces into fourteen unpublished albums, which he called Pèchès de vieillesse ("sins of my old age"). In 1857 he presented Musique anodine, a Prélude and six songs, to his wife Olimpe, in gratitude for her care during his long illness. This was the thirteenth album in the series. The first was Album italiano, a dozen pieces for one, two, or four voices with piano. Among the best known of these pieces is "La regata veneziana," three canzonettas for mezzo-soprano in Venetian dialect, in which the heroine encourages her racing gondolier. Another song, "Le gittane," has never before been published with its Italian text.
Based on the composer's own manuscripts, this critical edition restores Rossini's expressively precise musical notation. Appendixes contain earlier versions of six songs, some with different texts from the final versions.
Muskegon is a derivation of a Native American word meaning "river with marshes." Jeff Alexander examines the creation, uses of, devastation, and restoration of Michigan's historic and beautiful Muskegon River.
Four of the five Great Lakes touch Michigan's shores; the state's shoreline spans more than 4,500 miles, not to mention more than 11,000 inland lakes and a multitude of rivers. The Muskegon River, the state's second longest river, runs 227 miles and has the most diverse features of any of Michigan’s many rivers. The Muskegon rises from the center of the state, widens, and moves westward, passing through the Pere Marquette and AuSable State Forests. The river ultimately flows toward Lake Michigan, where it opens into Muskegon Lake, a 12 square-mile, broad harbor located between the Muskegon River and Lake Michigan.
Formed several thousand years ago, when the glaciers that created the Great Lakes receded, and later inhabited by Ottawa and Potawatomi Indians, the Muskegon River was used by French fur trappers in the 1600s. Rich in white pine, the area was developed during the turn-of-the-century lumber boom, and at one time Muskegon Lake boasted more than 47 sawmills. The Muskegon was ravaged following settlement by Europeans, when rivers and streams were used to transport logs to the newly developing cities. Dams on rivers and larger streams provided power for sawmills and grain milling, and later provided energy for generating electricity as technology advanced.
There is now an ambitious effort to restore and protect this mighty river's natural features in the face of encroaching urbanization and land development that threatens to turn this majestic waterway into a mirror image of the Grand River, Michigan's longest river and one of its most polluted.
Born to a wealthy family in West Africa around 1770, Omar Ibn Said was abducted and sold into slavery in the United States, where he came to the attention of a prominent North Carolina family after filling “the walls of his room with piteous petitions to be released, all written in the Arabic language,” as one local newspaper reported. Ibn Said soon became a local celebrity, and in 1831 he was asked to write his life story, producing the only known surviving American slave narrative written in Arabic.
In A Muslim American Slave, scholar and translator Ala Alryyes offers both a definitive translation and an authoritative edition of this singularly important work, lending new insights into the early history of Islam in America and exploring the multiple, shifting interpretations of Ibn Said’s narrative by the nineteenth-century missionaries, ethnographers, and intellectuals who championed it.
This edition presents the English translation on pages facing facsimile pages of Ibn Said’s Arabic narrative, augmented by Alryyes’s comprehensive introduction, contextual essays and historical commentary by leading literary critics and scholars of Islam and the African diaspora, photographs, maps, and other writings by Omar Ibn Said. The result is an invaluable addition to our understanding of writings by enslaved Americans and a timely reminder that “Islam” and “America” are not mutually exclusive terms.
This edition presents the English translation on pages facing facsimile pages of Ibn Said’s Arabic narrative, augmented by Alryyes’s comprehensive introduction and by photographs, maps, and other writings by Omar Ibn Said. The volume also includes contextual essays and historical commentary by literary critics and scholars of Islam and the African diaspora: Michael A. Gomez, Allan D. Austin, Robert J. Allison, Sylviane A. Diouf, Ghada Osman, and Camille F. Forbes. The result is an invaluable addition to our understanding of writings by enslaved Americans and a timely reminder that “Islam” and “America” are not mutually exclusive terms.
Best Books for General Audiences, selected by the American Association of School Librarians
A Foreign Affairs Best Book of the Year
In the century since the Muslim Brotherhood first emerged in Egypt, its idea of “the West” has remained a key driver of its behavior. From its founding, the Brotherhood stood opposed to the British Empire and Western cultural influence. Its leaders hoped to create more pristine, authentically Islamic societies. As British power gave way to American, the Brotherhood oscillated between anxiety about the West and the need to engage with it, while American and British officials struggled to understand the group, unsure whether to shun or embrace it.
The Muslim Brotherhood and the West offers the first comprehensive history of the relationship between the world’s largest Islamist movement and the powers that have dominated the Middle East for the past hundred years. Drawing on extensive archival research in London and Washington and the Brotherhood’s writings in Arabic and English, Martyn Frampton reveals the history of this charged relationship down to the eve of the Arab Spring. What emerges is an authoritative account of a story that is crucial to understanding one of the world’s most turbulent regions.
“Rigorous yet absorbing…Fills a crucial gap in the literature and will be essential reading not just for scholars, but for anyone seeking to understand the ever-problematic relationship between religion and politics in today’s Middle East.”
—Financial Times
“Breaks new ground by examining the links between the Egyptian Brotherhood’s relations with Britain and…the United States.”
—Times Literary Supplement
Contributors. Edward Allworth, Hans Bräker, Marie Broxup, Georg Brunner, Bert G. Fragner, Uwe Halbach, Wolfgang Höpken, Andreas Kappeler, Edward J. Lazzerini, Richard Lorenz, Alexandre Popovi´c, Sabrina Petra Ramet, Azade-Ayse Rorlich, Gerhard Simon, Tadeusz Swietochowski
Muslim Cosmopolitanism in the Age of Empire recovers the stories of five Indian Muslim scholars who, in the aftermath of the uprising of 1857, were hunted by British authorities, fled their homes in India for such destinations as Cairo, Mecca, and Istanbul, and became active participants in a flourishing pan-Islamic intellectual network at the cusp of the British and Ottoman empires. Seema Alavi traces this network, born in the age of empire, which became the basis of a global Muslim sensibility—a form of political and cultural affiliation that competes with ideas of nationhood today as it did in the previous century.
By demonstrating that these Muslim networks depended on European empires and that their sensibility was shaped by the West in many subtle ways, Alavi challenges the idea that all pan-Islamic configurations are anti-Western or pro-Caliphate. Indeed, Western imperial hegemony empowered the very inter-Asian Muslim connections that went on to outlive European empires. Diverging from the medieval idea of the umma, this new cosmopolitan community stressed consensus in matters of belief, ritual, and devotion and found inspiration in the liberal reforms then gaining traction in the Ottoman world. Alavi breaks new ground in the writing of nineteenth-century history by engaging equally with the South Asian and Ottoman worlds, and by telling a non-Eurocentric story of global modernity without overlooking the importance of the British Empire.
This work presents in English translation the largest collection ever assembled of the sayings and stories of Jesus in Arabic Islamic literature. In doing so, it traces a tradition of love and reverence for Jesus that has characterized Islamic thought for more than a thousand years. An invaluable resource for the history of religions, the collection documents how one culture, that of Islam, assimilated the towering religious figure of another, that of Christianity. As such, it is a work of great significance for the understanding of both, and of profound implications for modern-day intersectarian relations and ecumenical dialogue.
Tarif Khalidi's introduction and commentaries place the sayings and stories in their historical context, showing how and why this "gospel" arose and the function it served within Muslim devotion. The Jesus that emerges here is a compelling figure of deep and life-giving spirituality. The sayings and stories, some 300 in number and arranged in chronological order, show us how the image of this Jesus evolved throughout a millennium of Islamic history.
A Muslim Primer covers the basic beliefs of Islam and provides an informative source for both lay and professional readers. First published in 1992, it has proven to be a valuable handbook for all attempting to better understand the tenets of the religion of a major portion of the world’s population. The reader is introduced to the authority of the Quran, the prophethood of Muhammad, the Wisdom of the Law, the Five Pillars of Islam, and to other fundamental principles of the religion. Distinctions are made between Sunni and Shiite traditions and the Sufi mystical dimension of Islam.
Well organized, visually appealing, and accurate, A Muslim Primer is useful to pre-collegiate and collegiate students of Islam, church and community study groups, and travelers, both tourists and business people.
An estimated twenty million Muslims now reside in Europe, mostly as a result of large-scale postwar immigration. In The Muslim Question in Europe, Peter O’Brien challenges the popular notion that the hostilities concerning immigration—which continues to provoke debates about citizenship, headscarves, secularism, and terrorism—are a clash between “Islam and the West.” Rather, he explains, the vehement controversies surrounding European Muslims are better understood as persistent, unresolved intra-European tensions.
O’Brien contends that the best way to understand the politics of state accommodation of European Muslims is through the lens of three competing political ideologies: liberalism, nationalism, and postmodernism. These three broadly understood philosophical traditions represent the most influential normative forces in the politics of immigration in Europe today. He concludes that Muslim Europeans do not represent a monolithic anti-Western bloc within Europe. Although they vehemently disagree among themselves, it is along the same basic liberal, nationalist, and postmodern contours as non-Muslim Europeans.
From "green" pop and "clean" cinema to halal songs, Islamic soaps, Muslim rap, Islamist fantasy serials, and Suficized music, the performing arts have become popular and potent avenues for Islamic piety movements, politically engaged Islamists, Islamic states, and moderate believers to propagate their religio-ethical beliefs. Muslim Rap, Halal Soaps, and Revolutionary Theater is the first book that explores this vital intersection between artistic production and Islamic discourse in the Muslim world.
The contributors to this volume investigate the historical and structural conditions that impede or facilitate the emergence of a "post-Islamist" cultural sphere. They discuss the development of religious sensibilities among audiences, which increasingly include the well-to-do and the educated young, as well as the emergence of a local and global religious market. At the heart of these essays is an examination of the intersection between cultural politics, performing art, and religion, addressing such questions as where, how, and why pop culture and performing arts have been turned into a religious mission, and whether it is possible to develop a new Islamic aesthetic that is balanced with religious sensibilities. As we read about young Muslims and their quest for a "cool Islam" in music, their struggle to quell their stigmatized status, or the collision of morals and the marketplace in the arts, a vivid, varied new perspective on Muslim culture emerges.
Moderation theory describes the process through which radical political actors develop commitments to electoral competition, political pluralism, human rights, and rule of law and come to prefer negotiation, reconciliation, and electoral politics over provocation, confrontation, and contentious action. Revisiting this theory through an examination of two of the most prominent moderate Islamic political forces in recent history, Muslim Reformers in Iran and Turkey analyzes the gains made and methods implemented by the Reform Front in the Islamic Republic of Iran and the Justice and Development Party in Turkey.
Both of these groups represent Muslim reformers who came into continual conflict with unelected adversaries who attempted to block their reformist agendas. Based on extensive field research in both locales, Muslim Reformers in Iran and Turkey argues that behavioral moderation as practiced by these groups may actually inhibit democratic progress. Political scientist Güneş Murat Tezcür observes that the ability to implement conciliatory tactics, organize electoral parties, and make political compromises impeded democracy when pursued by the Reform Front and the Justice and Development Party. Challenging conventional wisdom, Tezcür's findings have broad implications for the dynamics of democratic progress.
Muslim Spain was first published in 1974. 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.
This comprehensive history of Muslim Spain in the centuries from 711 to 1492 provides a panoramic view of the whole field of Hispano-Arabic culture, including science, philosophy, and the arts. As the account makes clear, Muslim Spain was always an integral part of the main literary and intellectual stream of the East and as such was as Islamic as Syria or Egypt. Thus the history is important for an understanding of Islamic culture as a whole and of the interaction of people and ideas. The author shows that the interdependence and continuity of Muslim culture through its long history was nurtured by the unhampered travel of students and scholars and the circulation of publications throughout the width and breadth of the Islamic Empire, notwithstanding the political division that separated Muslim Spain from the center of Islam.
The first five chapter of the book describe, dynasty by dynasty, the Muslims' conquest and rule. The remaining chapters discuss in detail all aspects of Hispano-Arabic culture. Among the subjects are the social structure, the sciences and education, Arabic and linguistic studies, prose and belles lettres, poetry, history, geography, and travel, courtly love, religion, philosophy and mysticism, the natural sciences, and architecture, the minor arts, and music.
The book is illustrated with photographs, drawings, and maps, and there is an extensive bibliography.
The roster of Muslim superheroes in the comic book medium has grown over the years, as has the complexity of their depictions. Muslim Superheroes tracks the initial absence, reluctant inclusion, tokenistic employment, and then nuanced scripting of Islamic protagonists in the American superhero comic book market and beyond.
This scholarly anthology investigates the ways in which Muslim superhero characters fulfill, counter, or complicate Western stereotypes and navigate popular audience expectations globally, under the looming threat of Islamophobia. The contributors consider assumptions buried in the very notion of a character who is both a superhero and a Muslim with an interdisciplinary and international focus characteristic of both Islamic studies and comics studies scholarship. Muslim Superheroes investigates both intranational American racial formation and international American geopolitics, juxtaposed with social developments outside U.S. borders.
Providing unprecedented depth to the study of Muslim superheroes, this collection analyzes, through a series of close readings and comparative studies, how Muslim and non-Muslim comics creators and critics have produced, reproduced, and represented different conceptions of Islam and Muslimness embodied in the genre characters.
In the eyes of many Westerners, Muslim women are hidden behind a veil of negative stereotypes that portray them as either oppressed, subservient wives and daughters or, more recently, as potential terrorists. Yet many Muslim women defy these stereotypes by taking active roles in their families and communities and working to create a more just society. This book introduces eighteen Muslim women activists from the United States and Canada who have worked in fields from social services, to marital counseling, to political advocacy in order to further social justice within the Muslim community and in the greater North American society.
Each of the activists has written an autobiographical narrative in which she discusses such issues as her personal motivation for doing activism work, her views on the relationship between Islam and women's activism, and the challenges she has faced and overcome, such as patriarchal cultural barriers within the Muslim community or racism and discrimination within the larger society. The women activists are a heterogeneous group, including North American converts to Islam, Muslim immigrants to the United States and Canada, and the daughters of immigrants. Young women at the beginning of their activist lives as well as older women who have achieved regional or national prominence are included. Katherine Bullock's introduction highlights the contributions to society that Muslim women have made since the time of the Prophet Muhammad and sounds a call for contemporary Muslim women to become equal partners in creating and maintaining a just society within and beyond the Muslim community.
Representing diverse cultural viewpoints, Muslim Women in War and Crisis collects an array of original essays that highlight the experiences and perspectives of Muslim women—their dreams and nightmares and their daily struggles—in times of tremendous social upheaval. Analyzing both how Muslim women have been represented and how they represent themselves, the authors draw on primary sources ranging from poetry and diaries to news reports and visual media. Topics include:
Also exploring such images in the United States, Spain, the former Yugoslavia, Tunisia, Algeria, Lebanon, and Iraq, this collection offers a chorus of multidimensional voices that counter Islamophobia and destructive clichés. Encompassing the symbolic national and religious identities of Muslim women, this study goes beyond those facets to examine the realities of day-to-day existence in societies that seek scapegoats and do little to defend the victims of hate crimes. Enhancing their scholarly perspectives, many of the contributors (including the editor) have lived through the strife they analyze. This project taps into their firsthand experiences of war and deadly political oppression.
Pakistan, founded less than a decade after a homeland for India’s Muslims was proposed, is both the embodiment of national ambitions fulfilled and, in the eyes of many observers, a failed state. Muslim Zion cuts to the core of the geopolitical paradoxes entangling Pakistan to argue that India’s rival has never been a nation-state in the conventional sense. Pakistan is instead a distinct type of political geography, ungrounded in the historic connections of lands and peoples, whose context is provided by the settler states of the New World but whose closest ideological parallel is the state of Israel.
A year before the 1948 establishment of Israel, Pakistan was founded on a philosophy that accords with Zionism in surprising ways. Faisal Devji understands Zion as a political form rather than a holy land, one that rejects hereditary linkages between ethnicity and soil in favor of membership based on nothing but an idea of belonging. Like Israel, Pakistan came into being through the migration of a minority population, inhabiting a vast subcontinent, who abandoned old lands in which they feared persecution to settle in a new homeland. Just as Israel is the world’s sole Jewish state, Pakistan is the only country to be established in the name of Islam.
Revealing how Pakistan’s troubled present continues to be shaped by its past, Muslim Zion is a penetrating critique of what comes of founding a country on an unresolved desire both to join and reject the world of modern nation-states.
The twenty-first century has been a volatile period for American Muslims. Anti-Muslim hate crimes peaked after September 11, 2001, then increased again dramatically in parallel with the candidacy and presidency of Donald Trump. Yet American Muslims now have unprecedented avenues of influence in US politics. Muslims and US Politics Today explores the various representations of Muslims in American political and civic life, the myriad ways American Muslims are affected by politics, and how American Muslims are engaging political life as individuals and communities.
This integrative volume reaches back to presidential elections after 9/11 (Edward E. Curtis IV), further back to Iranian immigrants after the Iranian Revolution (Mohsen Mostafavi Mobasher), and back even to fundamentals of religious freedom in the United States (Kambiz GhaneaBassiri; Mucahit Bilici). Aspects of anti-Muslim politics and marginalization, as well as mobilization and activism, are covered in essays by Salah D. Hassan, Evelyn Alsultany, Juliane Hammer, Alisa Perkins, and Sally Howell. In a final section on rethinking Muslim politics, Donna Auston and Sylvia Chan-Malik dialogue on Black American Islam and Junaid Rana looks broadly to a global Muslim left. In this critically-timed volume, editor Mohammad Hassan Khalil has drawn together leading scholars to provide a deep look at the rich political history and future of American Muslims.
Muslims in a Post-9/11 America examines how public fears about Muslims in the United States compare with the reality of American Muslims’ attitudes on a range of relevant issues. While most research on Muslim Americans focuses on Arab Muslims, a quarter of the Muslim American population, Rachel Gillum includes perspectives of Muslims from various ethnic and national communities—from African Americans to those of Pakistani, Iranian, or Eastern European descent. Using interviews and one of the largest nationwide surveys of Muslim Americans to date, Gillum examines more than three generations of Muslim American immigrants to assess how segments of the Muslim American community are integrating into the U.S. social fabric, and how they respond to post-9/11 policy changes. Gillum’s findings challenge perceptions of Muslims as a homogeneous, isolated, un-American, and potentially violent segment of the U.S. population.
Despite these realities, negative political rhetoric around Muslim Americans persists. The findings suggest that the policies designed to keep America safe from terrorist attacks may have eroded one of law enforcement’s greatest assets in the fight against violent extremism—a relationship of trust and goodwill between the Muslim American community and the U.S. government. Gillum argues for policies and law enforcement tactics that will bring nuanced understandings of this diverse category of Americans and build trust, rather than alienate Muslim communities.
Contributors. Hamid Algar, Muriel Atkin, Walter Feldman, Dru C. Gladney, Edward J. Lazzerini, Beatrice Forbes Manz, Christopher Murphy, Oliver Roy, Isenbike Togan
Kenya’s Muslim population comprises ethnic Arabs, Indians, and black Africans, and its status has varied historically. Under British rule, an imposed racial hierarchy affected Muslims particularly, thwarting the development of a united political voice. Drawing on a broad range of interviews and historical research, Ndzovu presents a nuanced picture of political associations during the postcolonial period and explores the role of Kenyan Muslims as political actors.
In Muslims in Motion, Nazli Kibria provides a comparative look at Bangladeshi Muslims in different global contexts--including Britain, the U.S., the Middle East, and Malaysia. Kibria examines international migrant flows from Bangladesh, and considers how such migrations continue to shape Islamization in these areas. Having conducted more than 200 in-depth interviews, she explores how, in societies as different as these, migrant Muslims, in their everyday lives, strive to achieve economic gains, sustain community and family life, and realize a sense of dignity and honor.
Muslims in Motion offers fresh insights into the prominence of Islam in these communities, especially an Islam defined by fundamentalist movements and ideologies. Kibria also focuses on the complex significance of nationality--with rich analyses of the diaspora, the role of gender and class, and the multiple identities of the migrants, she shows how nationality can be both a critical source of support and also of difficulty for many in their efforts to attain lives of dignity. By bringing to life a vast range of experiences, this book challenges prevailing stereotypes of Muslims.
Tender, plump, and tasty, the blue mussel (Mytiius edulis) is treasured in most of the world's cuisines but strangely ignored in North American cooking. This edible mollusk is naturally abundant on both American coasts and easily cultivated. As over-harvesting makes many other seafoods ever more scarce and expensive, the blue mussel offers an inexpensive and attractive alternative to more costly and wasteful sources of protein. To tempt American palates and draw attention to this remarkably versatile and nutritious seafood, Sarah Hurlburt has written The Mussel Cookbook.
In her entertaining introduction, Hurlburt tells about mussels—how they live, how they saved a bridge from collapsing, why barrels of them appeared in American police stations, how they are farmed in Spain, France, and Holland. Then she offers over a hundred recipes. Whether you are a beginning cook or a devotee of haute cuisine, you will find recipes to match your abilities: simple dishes for the out-of-doors, appetizers, soups and stews, salads, casseroles, main dishes from abroad, and elegant party entrees. From Europe Hurlburt brings back paella, cannelloni, and souffle of mussels, among many others. From Asia come curried and stir-fried mussels as well as the delectable midia dolma. There are a dozen quick-and-easy tricks; there are flamed mussels and mussels Rockefeller. She describes how to clean and freeze mussels, and gives tips on how to use them.
Sarah Hurlburt in collaboration with her husband, Graham, has spent many years learning about the blue mussel. Together they have studied European methods of mussel farming and begun their own experimental Cultivation project in Massachusetts. Ms. Hurlburt's recipes have been featured in the New York Times, the Boston Globe, the Boston Herald American, and Harvard Magazine. Stories about the Hurlburts' adventures with mussels have appeared in the Washington Post, the Cornell Quarterly, and the Marine Fisheries Review. A discussion of their work has appeared in the Congressional Record.
Employing a multi-tiered approach, Emanuele Sica examines the simultaneously conflicting and symbiotic relationship between the French population and Italian soldiers. At the grassroots level, Sica asserts that the cultural proximity between the soldiers and the local population, one-quarter of which was Italian, smoothed the sharp angles of miscommunication and cultural faux-pas at a time of great uncertainty. At the same time, it encouraged a laxness in discipline that manifested as fraternization and black marketeering. Sica's examination of political tensions highlights how French prefects and mayors fought to keep the tatters of sovereignty in the face of military occupation. In addition, he reveals the tense relationship between Fascist civilian authorities eager to fulfil imperial dreams of annexation and army leaders desperate to prevent any action that might provoke French insurrection. Finally, he completes the tableau with detailed accounts of how food shortages and French Resistance attacks brought sterner Italian methods, why the Fascists' attempted "Italianization" of the French border city of Menton failed, and the ways the occupation zone became an unlikely haven for Jews.
In sounding out the problem of how to respond to violence and to the betrayal and domestication of that which is wild, this book counters with aesthetic violence and disruption of its own, opening the self to the unexpected powers of the senses and to encounters between "wildness" and "domestication" within the self. Though never easy, this openness creates the possibility for an all-enveloping love that touches and joins all animals, both nonhuman and human.
How capitalism is reconfiguring the very texture of life
Mutant Ecologies traces the spinning of new synthetic threads into the web of life. It is a critical cartography of the shifting landscapes of capital accumulation conjured by recent developments in genomic science, genome editing, and the biotech industry.
CRISPR crops, fast-growing salmons, heat-resistant Slick™ cows, Friendly™ Mosquitoes, humanized mice, pigs growing human organs – these are but a few of the dazzling new life-forms that have recently emerged from corporate and university laboratories around the world, all promising to lubricate the circuits of capital accumulation in distinct ways. The deliberate induction of genetic mutations is increasingly central to business operations in a number of sectors, from agriculture to pharmaceuticals.
While the Nobel Committee recently proclaimed the life sciences to have entered 'a new epoch', the authors show how these technological innovations continue to operate within a socio-historical context defined by the iron rules of capitalist competition and exploitation. Capital no longer contents itself by simply appropriating the living bodies of plants and animals. It purposefully designs its internal metabolism, and in that way, it redesigns the countless living vectors that constitute the global biosphere. It is driving a biological revolution, which will ripple through the everyday lives of people everywhere.
Fischer reveals how the distinctive expressive idiom emerging in contemporary Iranian film reworks Persian imagery that has itself been in dialogue with other cultures since the time of Zoroaster and ancient Greece. He examines a range of narrative influences on this expressive idiom and imagery, including Zoroastrian ritual as it is practiced in Iran, North America, and India; the mythic stories, moral lessons, and historical figures written about in Iran’s national epic, the Shahnameh; the dreamlike allegorical world of Persian surrealism exemplified in Sadeq Hedayat’s 1939 novella The Blind Owl; and the politically charged films of the 1960s and 1970s. Fischer contends that by combining Persian traditions with cosmopolitan influences, contemporary Iranian filmmakers—many of whom studied in Europe and America—provide audiences around the world with new modes of accessing ethical and political experiences.
Images play a fundamental role in relations among peoples. American and Japanese scholars have been among the foremost students of images in international and intercultural relations. Building on the historiographical achievements in the two countries, these essays aim further to explore aspects of Japanese-American mutual perceptions.
The contributors to this volume provide pieces of a puzzle, authentic but partial elements of a total picture. They examine the sources, ranges, uses (and misuses), and constituencies of images. They propose various ways of studying this extremely elusive subject and show how an examination of American-Japanese perception can contribute to a better understanding of Japanese history and American history. We see instances of misperceptions and misunderstandings, but also a streak of open-mindedness and flexibility in both Japan and the United States.
Contributors. John Barth, José Bianco, Robert Bly, Jorge Luis Borges, Alejo Carpentier, Hiber Conteris, Robert Coover, Julio Cortázar, Ezequiel Martínez Estrada, Waldo Frank, Carlos Fuentes, William H. Gass, Nicolás Guillén, William Kennedy, Mario Vargas Llosa, Gabriel García Márquez, José Martí, Pablo Neruda, Victoria Ocampo, Juan Carlos Onetti, Grace Paley, Octavio Paz, Katherine Anne Porter, Thomas Pynchon, Kenneth Rexroth, Antonio Benítez Rojo, Barbara Probst Solomon, Susan Sontag, Ilan Stavans, Mark Strand, John Updike, Pedro Henríque Ureña, Derek Walcott, Paul West
Mutual Reflections is the first book to examine this many-layered relationship through its visual dimension. Milly Heyd investigates how artists of both backgrounds have viewed each other during the last hundred years-how the visual languages and the-matic choices of their art have reflected changing concerns from symbiosis to disillusionment. She explores a wide range of artistic mediums: painting, sculpture, cartoons, comic strips, and installations. Interviews with artists provide additional insight. The post modern discourse poses questions problematizing ethnic and racial stereotyping.
As Heyd states, when an artist of one group investigates the other group, that person is embarking on a journey of self-discovery. And while that journey can lead to disillusionment and criticism, the artist's vision-and final work of art-very often can help put all of us on our own paths of self-discovery.
In Mutuality in the Rhetoric and Composition Classroom, David L. Wallace and Helen Rothschild Ewald point out the centrality of rhetoric in the academy, asserting the intimate connection between language and knowledge making. They also stress the need for a change in the roles of teachers and students in today’s classroom. Their goal is mutuality, a sharing of authority among teachers and students in the classroom that would allow everyone an equal voice in the communication of ideas.
Arguing that the impetus to empower students by engaging them in liberatory and emancipatory pedagogies is simply not enough, Wallace and Ewald seek to “help readers identify, theorize, and work through problems faced by teachers who already value alternative approaches but who are struggling to implement them in the classroom." It is not the teacher’s job merely to convey a received body of knowledge, nor is knowledge a prepackaged commodity to be delivered by the teacher. It is “constituted in the classroom through the dialogic interaction between teachers and students alike.”
Wallace and Ewald see mutuality as potentially transformative, but they “do not believe that the nature or that transformation can be designated in advance.” Rather it is located in the interaction between teachers and students. Wallace and Ewald look at how the transformative notion of mutuality can be effected in classrooms in three important ways: reconstituting classroom speech genres, redesigning the architecture of rhetoric and writing courses, and valuing students’ interpretive agency in classroom discourse. Mutuality in alternative pedagogy, they assert, is neither a single approach nor a specific set of valued practices; it is a continuous collaboration between teachers and students.
Although investigations of Hispanic popular culture were approached for decades as part of folklore studies, in recent years scholarly explorations—of lucha libre, telenovelas, comic strips, comedy, baseball, the novela rosa and the detective novel, sci-fi, even advertising—have multiplied. What has been lacking is an overarching canvas that offers context for these studies, focusing on the crucial, framing questions: What is Hispanic pop culture? How does it change over time and from region to region? What is the relationship between highbrow and popular culture in the Hispanic world? Does it make sense to approach the whole Hispanic world as homogenized when understanding Hispanic popular culture? What are the differences between nations, classes, ethnic groups, religious communities, and so on? And what distinguishes Hispanic popular culture in the United States?
In ¡Muy Pop!, Ilan Stavans and Frederick Luis Aldama carry on a sustained, free-flowing, book-length conversation about these questions and more, concentrating on a wide range of pop manifestations and analyzing them at length. In addition to making Hispanic popular culture visible to the first-time reader, ¡Muy Pop! sheds new light on the making and consuming of Hispanic pop culture for academics, specialists, and mainstream critics.
Originally published in 1986, this new edition returns to print a classic, influential work of American fiction
The author of the acclaimed novel Reflex and Bone Structure returns here in My Amputations to the question of identity, the double, adventure, detection, and mystery, but with more hypnotic power and range. In My Amputations he has his protagonist, Mason Ellis (who may just be “a desperate ex-con” or a wronged American novelist out to right the wrong done to him), jump through flaming loops like a trained dog, so to speak. In other words, there seems to be no end to the troubles Mason Ellis faces.
His story takes him from the South Side of Chicago, to New York, with a stint in Attica prison, across America and Europe and into the primal depths of Africa. Mason, all the while, tries to convince the reader that he is the important American writer he says he is. Upon his release from prison he sets out to prove his claim. After an audacious bank-robbery and a couple of burglaries that are hilarious, he goes into hiding to escape the malice of one of his cohorts, and eventually flees to Europe. The irony is that he is now as much the runner as the seeker. After encounters with a Zuni ex-folksinger, kidnappers, the New York underworld, literary groupies, an Italian swordsman, a violent German secret society, and an anti-bellum cotillion in rural Greece, he finds himself face to face (behind a mask) with his own destiny.
A vividly described and intensely personal memoir, My Bayou charts a personal and spiritual transformation along the fabled banks of Bayou Saint John in New Orleans. When Constance Adler moves to New Orleans, she begins what becomes a lasting love affair with the city, and especially the bayou—a living entity and the beating heart of local culture. Rites of passage, celebrations, mysterious accidents, and magic all take place on its banks, leading Adler to a vibrant awareness of the power of being part of a community. That faith is tested in the wake of Hurricane Katrina, and is ultimately proven right, as Bayou Saint John begins to rebuild.
My Brother's Madness is part thriller, part exploration that not only describes the causes, character, and journey of mental illness, but also makes sense of it. It is ultimately a story of our own humanity, and answers the question, Am I my brother's keeper?
Histories of revolutions often focus on military, political, or economic upheavals but sometimes neglect to connect these larger events to the daily lives of "ordinary" people. Yet the peoples' perception that "things are worse than before" can topple revolutionary governments, as shown by the recent defeat of the Sandinista regime in Nicaragua and the governments of Eastern Europe. Providing the kind of prosaic, revealing details that more formal histories have excluded, My Car in Managua offers an objective, often humorous description of the great difficulties and occasional pleasures of life in Nicaragua during the Sandinista revolution.
During a year's work (1985-1986) at the Instituto Centroamericano de Administración de Empresas (INCAE), Forrest Colburn purchased a dilapidated car—and with it an introduction to everyday life in Nicaragua. His discoveries of the length of time required to register the car (approximately six weeks), the impossibility of finding spare parts (except when U.S. dollars were applied to the search), and the fact that "anyone getting into a car in Managua can be charged a small fee [for car watching] by anyone else" all suggest the difficulties most Nicaraguans faced living in a devastated economy.
Drawing on experiences from visits throughout the revolutionary period (1979-1989), Colburn also sheds light on how the Revolution affected social customs and language, gender roles and family relationships, equality and authority, the availability of goods and services, the status of ethnic minorities, and governmental and other institutions. Illustrations by Nicaragua's celebrated political cartoonist Róger Sánchez Flores enliven the lucid text.
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