Stunning, highly original poems that celebrate the richness of the author's multicultural tradition, Teeth explores loves, wars, wild hope, defiance, and the spirit of creativity in a daring use of language and syntax. Behind this language one senses a powerful, inventive woman who is not afraid to tackle any subject, including rape, genocide, and love, always sustained by an optimistic voice, assuring us that in the end justice will triumph and love will persevere.
LOVE,
you be the reason why
we swagger & jive,
lift the guitar, & pick up the axe.
when it is i tilt my hat to the side,
wearing colors & perfumes, it's cause, love,
you did it to me. oh,
you do sure turn my tongue to fiddle,
& make the salt taste sweet. man,
i don't need a rooster, or peacock even,
to help me spend my time, nope,
just you, love, right & solid as
a line.
Finalist, 2019 PEN Open Book Award
Winner, 2019 American Book Award, Before Columbus Foundation
A century before the arrival of Stephen F. Austin's colonists, Spanish settlers from Mexico were putting down roots in Texas. From San Antonio de Bexar and La Bahia (Goliad) northeastward to Los Adaes and later Nacogdoches, they formed communities that evolved their own distinct "Tejano" identity.
In Tejano Journey, 1770-1850, Gerald Poyo and other noted borderlands historians track the changes and continuities within Tejano communities during the years in which Texas passed from Spain to Mexico to the Republic of Texas and finally to the United States. The authors show how a complex process of accommodation and resistance—marked at different periods by Tejano insurrections, efforts to work within the political and legal systems, and isolation from the mainstream—characterized these years of changing sovereignty.
While interest in Spanish and Mexican borderlands history has grown tremendously in recent years, the story has never been fully told from the Tejano perspective. This book complements and continues the history begun in Tejano Origins in Eighteenth-Century San Antonio, which Gerald E. Poyo edited with Gilberto M. Hinojosa.
While the flags of Spain, Mexico, the Republic of Texas, and the United States successively flew over San Antonio, its Tejano community (Texans of Spanish or Mexican descent) formed a distinct ethnic identity that persisted despite rapid social and cultural changes. In this pioneering study, Timothy Matovina explores the central role of Tejano Catholicism in forging this unique identity and in binding the community together.
The first book-length treatment of the historical role of religion in a Mexican-origin community in the United States, this study covers three distinct periods in the emergence of Tejano religious and ethnic identity: the Mexican period (1821-1836), the Texas Republic (1836-1845), and the first decade and a half after annexation into the United States (1845-1860). Matovina's research demonstrates how theories of unilateral assimilation are inadequate for understanding the Tejano community, especially in comparison with the experiences of European immigrants to the United States.
As residents of the southwestern United States continue to sort out the legacy of U.S. territorial expansion in the nineteenth century, studies like this one offer crucial understanding of the survival and resilience of Latino cultures in the United States. Tejano Religion and Ethnicity will be of interest to a broad popular and scholarly audience.
Winner, John Brinckerhoff Jackson Prize, Association of American Geographers
On the plains between the San Antonio River and the Rio Grande lies the heartland of what is perhaps the largest ethnic region in the United States, Tejano South Texas. In this cultural geography, Daniel Arreola charts the many ways in which Texans of Mexican ancestry have established a cultural province in this Texas-Mexico borderland that is unlike any other Mexican American region.
Arreola begins by delineating South Texas as an environmental and cultural region. He then explores who the Tejanos are, where in Mexico they originated, and how and where they settled historically in South Texas. Moving into the present, he examines many factors that make Tejano South Texas distinctive from other Mexican American regions—the physical spaces of ranchos, plazas, barrios, and colonias; the cultural life of the small towns and the cities of San Antonio and Laredo; and the foods, public celebrations, and political attitudes that characterize the region. Arreola's findings thus offer a new appreciation for the great cultural diversity that exists within the Mexican American borderlands.
Jill Hills picks up from her pathbreaking study The Struggle for Control of Global Communication: The Formative Century to continue her examination of the political, technological, and economic forces at work in the global telecommunications market from World War II to the World Trade Organization agreement of 1997. In the late twentieth century, focus shifted from the creation and development of global communication markets to their intense regulation. The historical framework behind this control--where the market was regulated, by what institution, controlled by what power, and to whose benefit--masterfully complements Hills's analysis of power relations within the global communications arena.
Hills documents attempts by governments to direct, replace, and bypass international telecommunications institutions. As she shows, the results have offered indirect control over foreign domestic markets, government management of private corporations, and government protection of its own domestic communication market. Hills reveals that the motivation behind these powerful, regulatory efforts on person-to-person communication lies in the unmatched importance of communication in the world economy.
As ownership of communications infrastructure becomes more valuable, governments have scrambled to shape international guidelines. Hills provides insight into struggles between U.S. policymakers and the rest of the world, illustrating the conflict between a growing telecommunications empire and sovereign states that are free to implement policy changes. Freshly detailing the interplay between U.S. federal regulation and economic power, Hills fosters a deep understanding of contemporary systems of power in global communications.
This book examines the revolution in Sanskrit poetics initiated by the ninth-century Kashmiri Anandavardhana. Anandavardhana replaced the formalist aesthetic of earlier poeticians with one stressing the unifunctionality of literary texts, arguing that all components of a work should subserve a single purpose—the communication of a single emotional mood (rasa). Attention was redirected from formal elements toward specific poems, viewed as aesthetically integrated wholes, thereby creating new literary critical possibilities.
Anandavardhana’s model of textual coherence, along with many key analytic concepts, are rooted in the hermeneutic theory of the Mimamsakas (Vedic Exegetes). Like Anandavardhana, the Mimamsakas made the unifunctionality of texts their most basic interpretive principle.
While Anandavardhana’s teleological approach to textual analysis gained rapid acceptance among the Kashmiri poeticians, another aspect of his theory became controversial. He argued that rasa, and certain other poetic meanings, cannot be conveyed by recognized semantic processes, and therefore postulated a new semantic function, dhvani (“suggestion”) to account for them. The controversy over this “suggestion” rapidly became the central topic in poetics, to the exclusion of teleologically based criticism. While dhvani ultimately gained universal acceptance among Sanskrit poeticians, the conflict over its existence, ironically, marginalized Anandavardhana’s preferred approach to poetic analysis.
The five editors of this book are longtime research professors and colleagues in the Survey Research Center of the Institute for Social Research at the University of Michigan. James S. House is also Professor in the Department of Sociology; F. Thomas Juster is Professor Emeritus in the Department of Economics; Robert L. Kahn is Professor Emeritus in the Department of Psychology and Department of Health Management and Policy; and Howard Schuman is Professor Emeritus in the Department of Sociology; Eleanor Singer is Research Professor in the Survey Research Center, all at the University of Michigan. Professors House (1991-2001), Kahn (1970-76), and Schuman (1982-90) have each served as Director of the Survey Research Center; Professor Juster served (1976-86) as Director of the Institute for Social Research; and Professor Singer served (1999-2002) as Associate Director of the Survey Research Center.
Television, a memoir is a hybrid collection of autobiographical pieces, tragi-comic in spirit, that depict a woman’s life evolving through time and culture in fragmentary glimpses. Indeterminate in genre, Television is a fluid text that sometimes reads as poetry, sometimes as prose, while exploring classism, ableism, and feminism in a world defined by the advent of new media and, for the author, a privilege that often felt suffocating. Working structurally and thematically, television creates conceptual mileposts in the memoir, with certain programs and cultural references corresponding to specific eras in the author’s past, but it also gestures at an existential modality — the experience of a televisual life, the performative arrangements of nuclear families and neighborhoods, the periodic events and dramas of an adolescence watched from outside oneself.
With historical, critical, and speculative essays by some of the leading television and media scholars, Television after TV examines both commercial and public service traditions and evaluates their dual (and some say merging) fates in our global, digital culture of convergence. The essays explore a broad range of topics, including contemporary programming and advertising strategies, the use of television and the Internet among diasporic and minority populations, the innovations of new technologies like TiVo, the rise of program forms from reality tv to lifestyle programs, television’s changing role in public places and at home, the Internet’s use as a means of social activism, and television’s role in education and the arts. In dialogue with previous media theorists and historians, the contributors collectively rethink the goals of media scholarship, pointing toward new ways of accounting for television’s past, present, and future.
Contributors. William Boddy, Charlotte Brunsdon, John T. Caldwell, Michael Curtin, Julie D’Acci, Anna Everett, Jostein Gripsrud, John Hartley, Anna McCarthy, David Morley, Jan Olsson, Priscilla Peña Ovalle, Lisa Parks, Jeffrey Sconce, Lynn Spigel, William Uricchio
Fieldwork from across Afghanistan allowed Osman to record the voices of many Afghan media producers and people. Afghans offer their own seldom-heard views on the country's cultural progress and belief systems, their understandings of themselves, and the role of international interventions. Osman analyzes the impact of transnational media and foreign funding while keeping the focus on local cultural contestations, productions, and social movements. As a result, she redirects the global dialogue about Afghanistan to Afghans and challenges top-down narratives of humanitarian development.
Introducing the collection, James Bennett explains how television as digital media is a non-site-specific, hybrid cultural and technological form that spreads across platforms such as mobile phones, games consoles, iPods, and online video services, including YouTube, Hulu and the BBC’s iPlayer. Television as digital media threatens to upset assumptions about television as a mass medium that has helped define the social collective experience, the organization of everyday life, and forms of sociality. As often as we are promised the convenience of the television experience “anytime, anywhere,” we are invited to participate in communities, share television moments, and watch events live. The essays in this collection demonstrate the historical, production, aesthetic, and audience changes and continuities that underpin the emerging meaning of television as digital media.
Contributors. James Bennett, William Boddy, Jean Burgess, John Caldwell, Daniel Chamberlain, Max Dawson, Jason Jacobs, Karen Lury, Roberta Pearson, Jeanette Steemers, Niki Strange, Julian Thomas, Graeme Turner
The broadcasting industry’s trade association, the National Association of Broadcasters (NAB), sought to sanitize television content via its self-regulatory document, the Television Code. The Code covered everything from the stories, images, and sounds of TV programs (no profanity, illicit sex and drinking, negative portrayals of family life and law enforcement officials, or irreverence for God and religion) to the allowable number of commercial minutes per hour of programming. It mandated that broadcasters make time for religious programming and discouraged them from charging for it. And it called for tasteful and accurate coverage of news, public events, and controversial issues.
Using archival documents from the Federal Communications Commission, NBC, the NAB, and a television reformer, Senator William Benton, this book explores the run-up to the adoption of the 1952 Television Code from the perspectives of the government, TV viewers, local broadcasters, national networks, and the industry’s trade association. Deborah L. Jaramillo analyzes the competing motives and agendas of each of these groups as she builds a convincing case that the NAB actually developed the Television Code to protect commercial television from reformers who wanted more educational programming, as well as from advocates of subscription television, an alternative distribution model to the commercial system. By agreeing to self-censor content that viewers, local stations, and politicians found objectionable, Jaramillo concludes, the NAB helped to ensure that commercial broadcast television would remain the dominant model for decades to come.
Contributors. Julie D’Acci, Mary Desjardins, Jane Feuer, Mary Beth Haralovich, Michele Hilmes, Moya Luckett, Lauren Rabinovitz, Jane M. Shattuc, Mark Williams
Television existed for a long time before it became commonplace in American homes. Even as cars, jazz, film, and radio heralded the modern age, television haunted the modern imagination. During the 1920s and 1930s, U.S. television was a topic of conversation and speculation. Was it technically feasible? Could it be commercially viable? What would it look like? How might it serve the public interest? And what was its place in the modern future? These questions were not just asked by the American public, but also posed by the people intimately involved in television’s creation. Their answers may have been self-serving, but they were also statements of aspiration. Idealistic imaginations of the medium and its impact on social relations became a de facto plan for moving beyond film and radio into a new era.
In Television in the Age of Radio, Philip W. Sewell offers a unique account of how television came to be—not just from technical innovations or institutional struggles, but from cultural concerns that were central to the rise of industrial modernity. This book provides sustained investigations of the values of early television amateurs and enthusiasts, the fervors and worries about competing technologies, and the ambitions for programming that together helped mold the medium.
Sewell presents a major revision of the history of television, telling us about the nature of new media and how hopes for the future pull together diverse perspectives that shape technologies, industries, and audiences.
In 1990, American television experienced a seismic shift when Twin Peaks premiered, eschewing formulaic plots and clear lines between heroes and villains. This game-changing series inspired a generation of show creators to experiment artistically, transforming the small screen in ways that endure to this day.
Focusing on six shows (Twin Peaks, with a critical analysis of both the original series and the 2017 return; The Wire; Treme; The Sopranos; Mad Men; and Girls), Television Rewired explores what made these programs so extraordinary. As their writers and producers fought against canned plots and moral simplicity, they participated in the evolution of the exhilarating new auteur television while underscoring the fact that art and entertainment don't have to be mutually exclusive. Nochimson also makes provocative distinctions between true auteur television and shows that were inspired by the freedom of the auteur series but nonetheless remained entrenched within the parameters of formula. Providing opportunities for vigorous discussion, Television Rewired will stimulate debates about which of the new television series since 1990 constitute “art” and which are tweaked “business-driven storytelling.”
Television, Tabloids, and Tears was first published in 1995. 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.
"I am Biberkopf," Rainer Werner Fassbinder declared, aligning himself with the protagonist of his widely seen television adaptation of Berlin Alexanderplatz. The statement provoked an unprecedented national debate about what constituted an acceptable German artist and who has the power to determine art. More than any recent German director, Fassbinder embodied this debate, and Jane Shattuc shows us how much this can tell us, not just about the man and his work, but also about the state of "culture" in Germany.
It is fascinating in itself that Fassbinder, a highly controversial public figure, was chosen to direct Berlin Alexanderplatz, Germany's longest, costliest, and most widely viewed television drama. Shattuc exposes the dichotomy of institutional support for this project versus the scandalous controversial reputation of Fassbinder as a gay man who flaunted his sexuality and involvement with drugs.
Fassbinder built his reputation on two separate images of the director-the faithful adapter and the underground star; with Berlin Alexanderplatz these two identities came together explosively. Tracing the two artistic paths that led Fassbinder to this moment, Shattuc offers us a look at cultural class divisions in Germany. Her account of Fassbinder's history as an Autor reveals both the triumph and the failure of bourgeois cultural domination in postwar West Germany.
A CHOICE Outstanding Academic Book
Flip through the channels at any hour of the day or night, and a television talk show is almost certainly on. Whether it offers late-night entertainment with David Letterman, share-your-pain empathy with Oprah Winfrey, trash talk with Jerry Springer, or intellectual give-and-take with Bill Moyers, the talk show is one of television's most popular and enduring formats, with a history as old as the medium itself.
Bernard Timberg here offers a comprehensive history of the first fifty years of television talk, replete with memorable moments from a wide range of classic talk shows, as well as many of today's most popular programs. Dividing the history into five eras, he shows how the evolution of the television talk show is connected to both broad patterns in American culture and the economic, regulatory, technological, and social history of the broadcasting industry. Robert Erler's "A Guide to Television Talk" complements the text with an extensive "who's who" listing of important people and programs in the history of television talk.
“Holling is tormented by Koyaanisqatsi dreams until he goes out and does the wild thing with a young stag . . . . ”––Synopsis from production company “Bible,” Northern Exposure, March 30, 1992
The collision of auteurism and rap––couched by primetime producers in the Northern Exposure script––was actually rather commonplace by the early 1990s. Series, and even news broadcasts, regularly engineered their narratives around highly coded aesthetic and cultural fragments, with a kind of ensemble iconography. Televisuality interrogates the nature of such performances as an historical phenomenon, an aesthetic and industrial practice, and as a socially symbolic act. This book suggests that postmodernism does not fully explain television's stylistic exhibitionism and that a reexamination of “high theory” is in order. Caldwell’s unique approach successfully integrates production practice with theory in a way that will enlighten both critical theory and cultural studies.
Poignant, fresh, and convincing, these are stories of women who smell of hairspray and beer and of landscapers who worry about their livers, of flooded basements and loud trucks, of bad exes and horrible jobs, of people who remain loyal to sports teams that always lose. Displaced by circumstances both in and out of their control, the characters who populate Tell Everyone I Said Hi are lost in their own surroundings, thwarted by misguided aspirations and long-buried disappointments, but fully open to the possibility that they will again find their way.
This casebook includes an introduction by the editor, a chronology of Olsen’s life, an authoritative text of “Tell Me a Riddle,” relevant essays by Olsen, seven critical essays, and a bibliography.
The contributors are: Joanne Trautmann Banks, Constance Coiner, Rachel Blau Duplessis, Mara Faulkner, Elaine Orr, Linda Ray Pratt, and Deborah Silverton Rosenfelt.
Texas, the 1930s—the years of the Great Depression. It was the Texas of great men: Dobie, Bedichek, Webb, the young Américo Paredes. And it was the Texas of May McCord and "Cocky" Thompson, the Reverend I. B. Loud, the Cajun Marcelle Comeaux, the black man they called "Grey Ghost," and all the other extraordinary "ordinary" people whom William A. Owens met in his travels.
"Up and down and sideways" across Texas, Owens traveled. His goal: to learn for himself what the diverse peoples of the state "believed in, yearned for, laughed at, fought over, as revealed in story and song." Tell me a story, sing me a song brings together both the songs he gathered—many accompanied by music—and Owens' warm reminiscences of his travels in the Texas of the Thirties and early Forties.
"Virginia Sutter uses an interesting technique to write the history of her people, the Northern Arapaho Indian Nation. She constructs her work as a series of conversations between herself and her paternal great-grandmother. . . . [T]hrough this device, the history of the Arapaho people is traced from the early nineteenth-century years, when the buffalo ran aplenty and the prairies were boundless, through present-day living conditions in American Indian tribal reservations."
- Moira Richards, www.WomenWriters.net
"Emblematic of the struggle of so many Native Americans of the twentieth century, who seek to reconcile modernity with tradition, and who struggle to recast, reframe, and restore what is Native, even as the majority culture has done its best to uproot, separate, and tell Natives that they can be either modern or Native, but certainly not both."
- Brian Hosmer, Studies in American Indian Literatures (SAIL)
Tell Me, Grandmother is at once the biography of Goes-in-Lodge, a traditional Arapaho woman of the nineteenth century, and the autobiography of her descendant, Virginia Sutter, a modern Arapaho woman with a Ph.D. in public administration. Sutter adeptly weaves her own story with that of Goes-in-Lodge - who, in addition to being Sutter's great-grandmother, was first wife of Sharpnose, the last chief of the Northern Arapaho nation.
Writing in a question-and-answer format between twentieth-century granddaughter and matriarchal ancestor, Sutter discusses four generations of home life, including details about child rearing, education, courtship, marriage, birthing, and burial. Sutter's portrait of Goes-in-Lodge is based on tribal history and interviews with tribal members. Goes-in-Lodge speaks of social and ceremonial gatherings, the Sun Dance, the sweat lodges, and the changes that took place on the Great Plains throughout her lifetime. Sutter details her own life as a child born in a teepee to a white mother and Indian father and the discrimination and injustice she faced struggling to make her way in an increasingly Euro-American world.
Deaf students are attending mainstream postsecondary institutions in increasing numbers, raising the stakes for the complicated and multifaceted task of tutoring deaf students at these schools. Common tutoring practices used with hearing students do not necessarily work for deaf people. Rebecca Day Babcock researched and wrote Tell Me How It Reads: Tutoring Deaf and Hearing Students in the Writing Center to supply writing instructors an effective set of methods for teaching Deaf and other students how to be better writers.
Babcock’s book is based on the resulting study of tutoring writing in the college context with both deaf and hearing students and their tutors. She describes in detail sessions between deaf students, hearing tutors, and the interpreters that help them communicate, using a variety of English or contact signing rather than ASL in the tutorials. These experiences illustrate the key differences between deaf-hearing and hearing-hearing tutorials and suggest ways to modify tutoring and tutor-training practices accordingly. Although this study describes methods for tutoring deaf students, its focus on students who learn differently can apply to teaching writing to Learning Disabled students, ESL students, and other students with different learning styles. Ultimately, the well-grounded theory analysis within Tell Me How It Reads provides a complete paradigm for tutoring in all writing centers.
Queer stories about love, loneliness, the surreal, and the self
The stories in Tell Me feature queer men of various ages reckoning with loneliness, selfishness, and the struggle for self-discovery and identity. In “The Vanisher,” a young bisexual man struggling with his own desire to be seen receives a bandana that allows him to become invisible. In “Retreat,” a widower travels to an artists’ colony to seek an audience with his recently deceased husband. And in “We Are Rendered Silent,” people lose their ability to speak when a man they love dies. Through Baumann’s inventive employment of the strange and surreal, these stories set out to explore the bizarre and often confounding experience of navigating modern-day queerness. With his unique voice and magnificent imagination, Baumann fully immerses readers in the queer experience.
Folio 46r from Codex Telleriano-Remensis was created in the sixteenth century under the supervision of Spanish missionaries in central Mexico. As an artifact of seismic cultural and political shifts, the manuscript painting is a singular document of indigenous response to Spanish conquest. Examining the ways in which the folio's tlacuilo (indigenous painter/writer) creates a pictorial vocabulary, this book embraces the place "outside" history from which this rich document emerged.
Applying contemporary intellectual perspectives, including aspects of gender, modernity, nation, and visual representation itself, José Rabasa reveals new perspectives on colonial order. Folio 46r becomes a metaphor for reading the totality of the codex and for reflecting on the postcolonial theoretical issues now brought to bear on the past. Ambitious and innovative (such as the invention of the concepts of elsewheres and ethnosuicide, and the emphasis on intuition), Tell Me the Story of How I Conquered You embraces the performative force of the native scribe while acknowledging the ineffable traits of 46r—traits that remain untenably foreign to the modern excavator/scholar. Posing provocative questions about the unspoken dialogues between evangelizing friars and their spiritual conquests, this book offers a theoretic-political experiment on the possibility of learning from the tlacuilo ways of seeing the world that dislocate the predominance of the West.
Tell This Silence by Patti Duncan explores multiple meanings of speech and silence in Asian American women's writings in order to explore relationships among race, gender, sexuality, and national identity. Duncan argues that contemporary definitions of U.S. feminism must be expanded to recognize the ways in which Asian American women have resisted and continue to challenge the various forms of oppression in their lives. There has not yet been adequate discussion of the multiple meanings of silence and speech, especially in relation to activism and social-justice movements in the U.S. In particular, the very notion of silence continues to invoke assumptions of passivity, submissiveness, and avoidance, while speech is equated with action and empowerment.
However, as the writers discussed in Tell This Silence suggest, silence too has multiple meanings especially in contexts like the U.S., where speech has never been a guaranteed right for all citizens. Duncan argues that writers such as Maxine Hong Kingston, Mitsuye Yamada, Joy Kogawa, Theresa Hak Kyung Cha, Nora Okja Keller, and Anchee Min deploy silence as a means of resistance. Juxtaposing their “unofficial narratives” against other histories—official U.S. histories that have excluded them and American feminist narratives that have stereotyped them or distorted their participation—they argue for recognition of their cultural participation and offer analyses of the intersections among gender, race, nation, and sexuality.
Tell This Silence offers innovative ways to consider Asian American gender politics, feminism, and issues of immigration and language. This exciting new study will be of interest to literary theorists and scholars in women's, American, and Asian American studies.
Illinois State Historical Society's Certificate of Excellence (2002)
Supplemented by recollections from the present era, Tell Us a Story is a colorful mosaic of African American autobiography and family history set in Springfield, Illinois, and in rural southern Illinois, Missouri, and Arkansas from the 1920s through the 1950s.
Shirley Motley Portwood shares rural, African American family and community history through a collection of vignettes about the Motley family. Initially transcribed accounts of the Motleys’ rich oral history, these stories have been passed among family members for nearly fifty years. In addition to her personal memories, Portwood presents interviews with her father, three brothers, and two sisters plus notes and recollections from their annual family reunions. The result is a composite view of the Motley family.
A historian, Portwood enhances the Motley family story by investigating primary data such as census, marriage, school, and land records, newspaper accounts, city directories, and other sources. The backbone of this saga, however, is oral history gathered from five generations, extending back to Portwood's grandparents, born more than one hundred years ago. Information regarding two earlier generations—her great- grandfather and great-great-grandparents, who were slaves—is based on historical research into state archives, county and local records, plantation records, and manuscript censuses.
A rich source for this material—the Motley family reunions—are week-long retreats where four generations gather at the John Motley house in Burlington, Connecticut, the Portwood home in Godfrey, Illinois, or other locations. Here the Motleys, all natural storytellers, pass on the family traditions. The stories, ranging from humorous to poignant, reveal much about the culture and history of African Americans, especially those from nonurban areas. Like many rural African Americans, the Motleys have a rich and often joyful family history with traditions reaching back to the slave past. They have known the harsh poverty that made even the necessities difficult to obtain and the racial prejudice that divided whites and blacks during the era of Jim Crow segregation and inequality; yet they have kept a tremendous faith in self-improvement through hard work and education.
“All my work fits in my mouth,” Jo Carson says. “I write performance material no matter what else the pieces get called, and whether they are for my voice or other characters’ voices … they are first to be spoken aloud.” Following an oral tradition that has strong roots in her native Tennessee, the author of Teller Tales invites the reader to participate in events in a way that no conventional history book can.
Both stories in this book are set in East Tennessee in the mid-eighteenth century and share certain characters. The first narrative, “What Sweet Lips Can Do,” recounts the story of the Overmountain Men and the battle of King’s Mountain, a tide-turning battle in the American Revolution. “Men of Their Time” is an exploration of white-Cherokee relationships from early contact through the time of the Revolution.
Although not well known to the outside world, the stories recounted in Teller Tales are cornerstones in the heritage of the Appalachian region and of American history. In ways that will appeal to young and old alike, Jo Carson’s irreverent telling will broaden the audience and the understanding for the stories of native Americans, settlers, explorers, and revolutionaries of early America.
Telling a Research Story: Writing a Literature Review is concerned with the writing of a literature review and is not designed to address any of the preliminary processes leading up to the actual writing of the literature review.
This volume represents a revision and expansion of the material on writing literature reviews that appeared in English in Today's Research World.
This volume progresses from general to specific issues in the writing of literature reviews. It opens with some orientations that raise awareness of the issues that surround the telling of a research story. Issues of structure and matters of language, style, and rhetoric are then discussed. Sections on metadiscourse, citation, and paraphrasing and summarizing are included.
Individuals with a mental illnesses—such as schizophrenia, bipolar disorder, and depression—have a double burden, Otto Wahl writes. Not only must they cope with disabling disorders, but they also must contend with the negative attitudes of the public toward those disorders. To truly understand the full extent of this stigma, we need to hear from the consumers (the term used in this book for people with mental illness) themselves. Telling is Risky Business is the first book to examine what these people have to say about their own experiences of stigma.
The center of Wahl’s research was a nationwide survey in which mental health consumers across the United States were asked, both through questionnaires and interviews, to tell about their experiences of stigma and discrimination. The research comes to life as many of the over 1,300 respondents’ acute observations are reported directly, in their own words.
Telling is Risky Business vividly covers topics such as isolation, rejection, discouragement, and discrimination. Consumers also offer perceptive observations of how our society depicts people with mental illness. The book ends with suggestions for strategies and coping; an invaluable section on resources available for fighting stigma guarantees its place on many bookshelves. As Laura Lee Hall writes, “This book will likely open your eyes to a topic that you probably did not understand.”
The finest essays from the newest generation of critics and poet-critics are gathered together in this volume documenting the growth in readership and awareness of avant-garde poetries.
This collection demonstrates the breadth and openness of the field of avant-garde poetry by introducing a wide range of work in poetics, theory, and criticism from emerging writers. Examining the directions innovative poetry has taken since the emergence and success of the Language movement, the essays discuss new forms and the reorientation of older forms of poetry in order to embody present and ongoing involvements. The essays center around four themes: the relation between poetics and contemporary cultural issues; new directions for avant-garde practices; in-depth explorations of current poets and their predecessors; and innovative approaches to the essay form or individual poetics.
Diverging from the traditional, linear argumentative style of academic criticism, many of the essays in this collection instead find critical forms more subtly related to poetry. Viewed as a whole, the essays return to a number of shared issues, namely poetic form and the production of present-day poetry. While focusing on North American poetry, the collection does reference the larger world of contemporary poetics, including potential biases and omissions based on race and ethnicity.
This is cutting-edge criticism at its finest, essential reading for students and scholars of avant-garde poetry, of interest to anyone interested in contemporary American literature and poetry.
Telling Narratives analyzes key texts from nineteenth- and early twentieth-century African American literature to demonstrate how secrets and their many tellings have become slavery's legacy. By focusing on the ways secrets are told in texts by Jessie Fauset, Charles W. Chesnutt, Pauline Hopkins, Frederick Douglass, and others, Leslie W. Lewis suggests an alternative model to the feminist dichotomy of "breaking silence" in response to sexual violence. This fascinating study also suggests that masculine bias problematically ignores female experience in order to equate slavery with social death. In calling attention to the sexual behavior of slave masters in African American literature, Lewis highlights its importance to slavery’s legacy and offers a new understanding of the origins of self-consciousness within African American experience.
Narratives are fundamental to our lives: we dream, plan, complain, endorse, entertain, teach, learn, and reminisce through telling stories. They provide hopes, enhance or mitigate disappointments, challenge or support moral order and test out theories of the world at both personal and communal levels. It is because of this deep embedding of narrative in everyday life that its study has become a wide research field including disciplines as diverse as linguistics, literary theory, folklore, clinical psychology, cognitive and developmental psychology, anthropology, sociology, and history.
In Telling Stories leading scholars illustrate how narratives build bridges among language, identity, interaction, society, and culture; and they investigate various settings such as therapeutic and medical encounters, educational environments, politics, media, marketing, and public relations. They analyze a variety of topics from the narrative construction of self and identity to the telling of stories in different media and the roles that small and big life stories play in everyday social interactions and institutions. These new reflections on the theory and analysis of narrative offer the latest tools to researchers in the fields of discourse analysis and sociolinguistics.
In Telling Stories, more than a dozen longitudinal writing researchers look beyond conventional project findings to story their work and, in doing so, offer otherwise unavailable glimpses into the logics and logistics of long-range studies of writing. The result is a volume that centers interrelations among people, places, and politics across two decades of praxis and an array of educational sites: two-year colleges, a senior military college, an adult literacy center, a small liberal arts college, and both public and private four-year universities.
Contributors share direct knowledge of longitudinal writing research, citing project data (e.g., interview transcripts, research notes, and journals), descriptions drawn from memory, and extended personal reflections. The resulting stories, tempered by the research and scholarship of others, convey a sense of longitudinal research as a lived activity as well as a prominent and consequential approach to inquiry. Yet Telling Stories is not a how-to guide, nor is it written for longitudinal researchers alone. Instead, this volume addresses issues about writing research that are germane to all who conduct or count on it. Such topics include building and sustaining good interpersonal research relations, ethically negotiating the institutional power dynamics that undergird writing research, effectively using knowledge from longitudinal studies to advocate for writers and writing educators, and improving both conceptual and concrete resources for long-range research in writing studies.
"This artful combination of memoir and selected essays reawakens our memory of Father O'Connell in all his immense personal charm, intellectual energy, rich erudition, keen wit, and steadfast dedication to his interlocking callings as priest and historian." —J. Philip Gleason, Emeritus Professor, History Department, University of Notre Dame
"The work of a master historian, these memoirs and essays are reliable in recounting what happened, insightful in judging how and why, and eloquent in presenting it all with a flair and wit rarely equaled in historical writing. Moreover, they come forth from a Catholic faith so deep and secure that it need not be imposed on the reader. Rather, they do what good historical writing does, placing the reader into a past that can be seen and felt, recognized and understood. Whether it be his colorful accounts of the tumultuous life and times of Thomas More, or the valiant struggles of Newman and the Oxford Movement, or his own seminary training and teaching in St. Paul, or his fortunes as a graduate student at Notre Dame under the tutelage of the eminent Monsignor Phillip Hughes—whatever the topic, reading O’Connell’s history gives one the gift of being able to say, I remember that happening and I wasn’t even there!"—Michael J. Baxter, Director of Catholic Studies, Regis University in Denver
"O'Connell was a master story teller. He was not, however, just a story teller. He was painstakingly rigorous in what and how he taught. His stories always perfectly illustrated a point, but they were never a substitution for the truth--rather an illustration of it." —Bradley Birzer, Russell Amos Kirk Chair in American Studies, Hillsdale College
This book explores the traditional art of storytelling still practiced by Kiowas today as Gus Palmer shares conversations held with storytellers. Combining narrative, personal experience, and ethnography in an original and artful way, Palmer—an anthropologist raised in a traditional Kiowa family—shows not only that storytelling remains an integral part of Kiowa culture but also that narratives embedded in everyday conversation are the means by which Kiowa cultural beliefs and values are maintained.
Palmer's study features contemporary oral storytelling and other discourses, assembled over two and a half years of fieldwork, that demonstrate how Kiowa storytellers practice their art. Focusing on stories and their meaning within a narrative and ethnographic context, he draws on a range of material, including dream stories, stories about the coming of Táimê (the spirit of the Sun Dance) to the Kiowas, and stories of tricksters and tribal heroes. He shows how storytellers employ the narrative devices of actively participating in oral narratives, leaving stories wide open, or telling stories within stories. And he demonstrates how stories can reflect a wide range of sensibilities, from magical realism to gossip.
Firmly rooted in current linguistic anthropological thought, Telling Stories the Kiowa Way is a work of analysis and interpretation that helps us understand story within its larger cultural contexts. It combines the author's unique literary talent with his people's equally unique perspective on anthropological questions in a text that can be enjoyed on multiple levels by scholars and general readers alike.
Willie Nelson, Joe Ely, Marcia Ball, Tish Hinojosa, Stevie Ray Vaughan, Lyle Lovett...the list of popular songwriters from Texas just goes on and on. In this collection of thirty-four interviews with these and other songwriters, Kathleen Hudson pursues the stories behind the songs, letting the singers' own words describe where their songs come from and how the diverse, eclectic cultures, landscapes, and musical traditions of Texas inspire the creative process.
Conducted in dance halls, dressing rooms, parking lots, clubs-wherever the musicians could take time to tell their stories-the interviews are refreshingly spontaneous and vivid. Hudson draws out the songwriters on such topics as the sources of their songs, the influence of other musicians on their work, the progress of their careers, and the nature of Texas music. Many common threads emerge from these stories, while the uniqueness of each songwriter becomes equally apparent. To round out the collection, Hudson interviews Larry McMurtry and Darrell Royal for their perspectives as longtime friends and fans of Texas musicians. She also includes a brief biography and discography of each songwriter.
Janet Burstein argues that American Jewish writers since the 1980s have created a significant literature by wrestling with the troubled legacy of trauma, loss, and exile. Their ranks include Cynthia Ozick, Todd Gitlin, Art Spiegelman, Pearl Abraham, Aryeh Lev Stollman, Jonathan Rosen, and Gerda Lerner. Whether confronting the massive losses of the Holocaust, the sense of “home” in exile, or the continuing power of Jewish memory, these Jewish writers search for understanding within “the little secrets” of their dark, complicated, and richly furnished past.
Technical Services isn’t the hidden discipline it once was. Even so, despite all the cross-departmental interaction, misconceptions about the work are all too common. It’s incumbent on technical services staff to take a proactive approach by communicating to others their value to the library and institutional mission. Spotlighting several successful initiatives, this collection will give you the guidance to bolster communication within departments, across the library, and campus-wide. You’ll learn about
Contributors. Luz del Alba Acevedo, Norma Alarcón, Celia Alvarez, Ruth Behar, Rina Benmayor, Norma E. Cantú, Daisy Cocco De Filippis, Gloria Holguín Cuádraz, Liza Fiol-Matta, Yvette Flores-Ortiz, Inés Hernández-Avila, Aurora Levins Morales, Clara Lomas, Iris Ofelia López, Mirtha N. Quintanales, Eliana Rivero, Caridad Souza, Patricia Zavella
Placing herself in the avid reader’s chair, Linda Wagner-Martin writes about women’s biography from George Eliot and Virginia Woolf to Eleanor Roosevelt and Margaret Mead, and even to Cher and Elizabeth Taylor. Along the way, she looks at dozens of other life stories, probing at the differences between biographies of men and women, prevailing stereotypes about women’s lives and roles, questions about what is public and private, and the hazy margins between autobiography, biography, and other genres. In quick paced and wide-ranging discussions, she looks at issues of authorial stance (who controls the narrative? who chooses which story to tell?), voice (is this story told in the traditional objective tone? and if it is, what effect does that telling have on our reading?), and the politics of publishing (why aren’t more books about women’s lives published? and when they are, what happens to their advertising budgets?). She discusses the problems of writing biography of achieving women who were also wives (how does the biographer balance the two?), of daughters who attempt to write about their mothers, and of husbands trying to portray their wives.
Telling Women’s Lives is the first overview of the writing and the history of biographies about women. It is a significant contribution to the reassessment of the work of the hundreds of women writers who have made a difference in our conception of what women’s stories--and women’s lives--have been, and are becoming. The book is a must read for anyone who loves reading biographies, particularly biographies of women.
As he explores the causes of the East-West conflict from its most remote antecedents, Herodotus includes conflicting traditions about different historical periods as well as apparently tangential descriptions of the customs of faraway peoples. What was his aim in combining such diverse material? Rosaria Vignolo Munson argues that Herodotus' aim was two-fold: to use historical narrative to illuminate the present and to describe barbarian customs so that the Greeks might understand themselves.
Herodotus assumes the role of advisor to his audience, acting as a master of metaphor and oracular speech and as an intellectual fully aware of new philosophical and political trends. By comparing, interpreting, and evaluating facts through time and space or simply by pointing them out as objects of "wonder," he teaches that correct political action is linked to an appropriate approach to foreigners and additional "others." Munson relies on traditional scholarship and modern studies in narratology and related critical fields to distinguish between narrative and metanarrative, providing a framework for analyzing the construction of Herodotus' discourse and his presentation of himself through it.
Munson's work will be useful to classicists and ancient historians and will also engage anthropologists interested in cultural interaction and notions of ethnicity and literary critics interested in narrative constructions.
Telling Young Lives presents more than a dozen fascinating, ethnograph-ically informed portraits of young people facing rapid changes in society and politics from different parts of the world. From a young woman engaged in agricultural labor in the High Himalayas to a youth activist based in Tanzania, the distinctive voices from the U.K., India, Germany, Sierra Leone, South Africa and Bosnia Herzegovina, provide insights into the active and creative ways these youths are addressing social and political challenges such as war, hunger and homelessness.
Telling Young Lives has great appeal for classroom use in geography courses and makes a welcome contribution to the growing field of “young geographies,” as well as to politics and political geography. Its focus on individual portraits gives readers a fuller, more vivid picture of the ways in which global changes are reshaping the actual experiences and strategies of young people around the world.
Everyone knows that work in America is not what it used to be. Layoffs, outsourcing, contingent work, disappearing career ladders—these are the new workplace realities for an increasing number of people. But why? In The Temp Economy, Erin Hatton takes one of the best-known icons of the new economy—the temp industry—and finds that it is more than just a symbol of this degradation of work. The temp industry itself played an active role in this decline—and not just for temps. Industry leaders started by inventing the "Kelly Girl," exploiting 1950s gender stereotypes to justify low wages, minimal benefits, and chronic job insecurity. But they did not stop with Kelly Girls. From selling human"business machines" in the 1970s to "permatemps" in the 1990s, the temp industry relentlessly portrayed workers as profit-busting liabilities that hurt companies' bottom lines even in boom times. These campaigns not only legitimized the widespread use of temps, they also laid the cultural groundwork for a new corporate ethos of ruthless cost cutting and mass layoffs.
Succinct, highly readable, and drawn from a vast historical record of industry documents, The Temp Economy is a one-stop resource for anyone interested in the temp industry or the degradation of work in postwar America.
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