A SCHOLARLY BOOK REPOSITORY17 start with R start with R
Race is not a subject most people associate with archaeological research. Yet because of archaeologists’ interest in long time-spans they are perfectly positioned to investigate the “naturalness” of racial designations through time.
Race and the Archaeology of Identity brings together twelve of America’s most perceptive and talented historical archaeologists. Their focus is on the recent archaeological record—stretching geographically from Jamaica to northern Michigan; their time frame is from colonial days to the late nineteenth century; and their subjects range from frontier fur traders to Victorian city dwellers. Using textual and archaeological sources, contributors explore such topics as the connections of race to economics, the creation and maintenance of institutionalized poverty, the role of race in structuring and guiding intercultural connections, and the importance of race in creating and defining space.
Contributors explore such topics as the connections of race to economics, the role of race in structuring and guiding intercultural connections, and the importance of race in creating and defining space.
Exploring the development of racial photography wherever it took place, including countries like France and England, Morris-Reich pays special attention to the German and Jewish contexts of scientific racism. Through careful reconstruction of individual cases, conceptual genealogies, and patterns of practice, he compares the intended roles of photography with its actual use in scientific argumentation. He examines the diverse ways it was used to establish racial ideologies—as illustrations of types, statistical data, or as self-evident record of racial signs. Altogether, Morris-Reich visits this troubling history to outline important truths about the roles of visual argumentation, imagination, perception, aesthetics, epistemology, and ideology within scientific study.
--Franz Kafka
Kafka's quip--paradoxical, self-questioning, ironic--highlights vividly some of the key issues of identity and self-representation for Jewish writers in the 20th century. No group of writers better represents the problems of Jewish identity than Jewish poets writing in the American modernist tradition--specifically secular Jews: those disdainful or suspicious of organized religion, yet forever shaped by those traditions.
This collection of essays is the first to address this often obscured dimension of modern and contemporary poetry: the secular Jewish dimension. Editors Daniel Morris and Stephen Paul Miller asked their contributors to address what constitutes radical poetry written by Jews defined as "secular," and whether or not there is a Jewish component or dimension to radical and modernist poetic practice in general. These poets and critics address these questions by exploring the legacy of those poets who preceded and influenced them--Stein, Zukofsky, Reznikoff, Oppen, and Ginsberg, among others.
While there is no easy answer for these writers about what it means to be a Jew, in their responses there is a rich sense of how being Jewish reflects on their aesthetics and practices as poets, and how the tradition of the avant-garde informs their identities as Jews. Fragmented identities, irony, skepticism, a sense of self as "other" or "outsider," distrust of the literal, and belief in a tradition that questions rather than answers--these are some of the qualities these poets see as common to themselves, the poetry they make, and the tradition they work within.
Rancheros hold a distinct place in the culture and social hierarchy of Mexico, falling between the indigenous (Indian) rural Mexicans and the more educated city-dwelling Mexicans. In addition to making up an estimated twenty percent of the population of Mexico, rancheros may comprise the majority of Mexican immigrants to the United States. Although often mestizo (mixed race), rancheros generally identify as non-indigenous, and many identify primarily with the Spanish side of their heritage. They are active seekers of opportunity, and hence very mobile. Rancheros emphasize progress and a self-assertive individualism that contrasts starkly with the common portrayal of rural Mexicans as communal and publicly deferential to social superiors.
Marcia Farr studied, over the course of fifteen years, a transnational community of Mexican ranchero families living both in Chicago and in their village-of-origin in Michoacán, Mexico. For this ethnolinguistic portrait, she focuses on three culturally salient styles of speaking that characterize rancheros: franqueza (candid, frank speech); respeto (respectful speech); and relajo (humorous, disruptive language that allows artful verbal critique of the social order maintained through respeto). She studies the construction of local identity through a community's daily talk, and provides the first book-length examination of language and identity in transnational Mexicans.
In addition, Farr includes information on the history of rancheros in Mexico, available for the first time in English, as well as an analysis of the racial discourse of rancheros within the context of the history of race and ethnicity in Mexico and the United States. This work provides groundbreaking insight into the lives of rancheros, particularly as seen from their own perspectives.
Cultural stereotypes to the contrary, approximately half of all video game players are now women. A subculture once dominated by men, video games have become a form of entertainment composed of gender binaries. Supported by games such as Diner Dash, Mystery Case Files, Wii Fit, and Kim Kardashian: Hollywood—which are all specifically marketed toward women—the gamer industry is now a major part of imagining what femininity should look like.
In Ready Player Two, media critic Shira Chess uses the concept of “Player Two”—the industry idealization of the female gamer—to examine the assumptions implicit in video games designed for women and how they have impacted gaming culture and the larger society. With Player Two, the video game industry has designed specifically for the feminine ideal: she is white, middle class, heterosexual, cis-gendered, and abled. Drawing on categories from time management and caregiving to social networking, consumption, and bodies, Chess examines how games have been engineered to shape normative ideas about women and leisure.
Ready Player Two presents important arguments about how gamers and game developers must change their thinking about both women and games to produce better games, better audiences, and better industry practices. Ultimately, this book offers vital prescriptions for how one of our most powerful entertainment industries must evolve its ideas of women.
Alongside the young rebel, the contemporary concept of identity emerged in the 1950s. It was in that decade that “identity” was first used to define collective selves in the politicized manner that is recognizable today: in terms such as “national identity” and “racial identity.” Medovoi traces the rapid absorption of identity themes across many facets of postwar American culture, including beat literature, the young adult novel, the Hollywood teen film, early rock ‘n’ roll, black drama, and “bad girl” narratives. He demonstrates that youth culture especially began to exhibit telltale motifs of teen, racial, sexual, gender, and generational revolt that would burst into political prominence during the ensuing decades, bequeathing to the progressive wing of contemporary American political culture a potent but ambiguous legacy of identity politics.
Out of many, one—e pluribus unum—is the motto of the American nation, and it sums up neatly the paradox that Stephanie Foote so deftly identifies in Regional Fictions. Regionalism, the genre that ostensibly challenges or offers an alternative to nationalism, in fact characterizes and perhaps even defines the American sense of nationhood.
In particular, Foote argues that the colorful local characters, dialects, and accents that marked regionalist novels and short stories of the late nineteenth century were key to the genre’s conversion of seemingly dangerous political differences—such as those posed by disaffected Midwestern farmers or recalcitrant foreign nationals—into appealing cultural differences. She asserts that many of the most treasured beliefs about the value of local identities still held in the United States today are traceable to the discourses of this regional fiction, and she illustrates her contentions with insightful examinations of the work of Sarah Orne Jewett, Hamlin Garland, Gertrude Atherton, George Washington Cable, Jacob Riis, and others. Broadening the definitions of regional writing and its imaginative territory, Regional Fictions moves beyond literary criticism to comment on the ideology of national, local, ethnic, and racial identity.
In Religion or Ethnicity? fifteen leading scholars trace the evolution of Jewish identity. The book examines Judaism from the Greco-Roman age, through medieval times, modern western and eastern Europe, to today. Jewish identity has been defined as an ethnicity, a nation, a culture, and even a race. Religion or Ethnicity? questions what it means to be Jewish. The contributors show how the Jewish people have evolved over time in different ethnic, religious, and political movements. In his closing essay, Gitelman questions the viability of secular Jewishness outside Israel but suggests that the continued interest in exploring the relationship between Judaism's secular and religious forms will keep the heritage alive for generations to come.
In this rich ethnography of life in Appalachia, Scott examines mountaintop removal in light of controversy and protests from environmental groups calling for its abolishment. But Removing Mountains takes the conversation in a new direction, telling the stories of the businesspeople, miners, and families who believe they depend on the industry to survive. Scott reveals these southern Appalachian coalfields as a meaningful landscape where everyday practices and representations help shape a community's relationship to the environment.
Removing Mountains demonstrates that the paradox that faces this community-forced to destroy their land to make a wage-raises important questions related not only to the environment but also to American national identity, place, and white working-class masculinity.
Most of the women immigrated as dependents when their U.S.-educated husbands found professional jobs upon graduation. Constrained by their dependent visas, these women could not work outside of the home during the initial phase of their settlement. The significant contrast of their lives before and after immigration—changing from successful professionals to foreign housewives—generated feelings of boredom, loneliness, and depression. Mourning their lost careers and lacking fulfillment in homemaking, these highly educated immigrant women were forced to redefine the meaning of work and housework, which in time shaped their perceptions of themselves and others in the family, at work, and in the larger community.
Grassroots historiography has been essential in shaping American sexual identities in the twentieth century. Retroactivism in the Lesbian Archives examines how lesbian collectives have employed “retroactivist” rhetorics to propel change in present identification and politics. By appropriating and composing versions of the past, these collectives question, challenge, deconstruct, and reinvent historical discourse itself to negotiate and contest lesbian identity.
Bessette considers a diverse array of primary sources, including grassroots newsletters, place-based archives, experimental documentary films, and digital video collections, to investigate how retroactivists have revised and replaced dominant accounts of lesbian deviance. Her analysis reveals inventive rhetorical strategies leveraged by these rhetors to belie the alienating, dispersing effects of discourses that painted women with same-sex desire as diseased and criminal. Focusing on the Daughters of Bilitis, the Lesbian Herstory Archives, and the June L. Mazer Archives, and on historiographic filmmakers such as Barbara Hammer and Cheryl Dunye, Bessette argues that these retroactivists composed versions of a queer past that challenged then-present oppressions, joined together provisional communities, and disrupted static definitions and associations of lesbian identity.
Retroactivism in the Lesbian Archives issues a challenge to feminist and queer scholars to acknowledge how historiographic rhetoric functions in defining and contesting identities and the historical forces that shape them.
Although all sixty interviewees had experienced discrimination, none had filed a formal protest or lawsuit. Nevertheless, civil rights played a crucial role in their lives. Rights improved their self-image, enhanced their career aspirations, and altered the perceptions and assumptions of their employers and coworkers-in effect producing more inclusive institutional arrangements. Focusing on these long-term life histories, Engel and Munger incisively show how rights and identity affect one another over time and how that interaction ultimately determines the success of laws such as the ADA.
Calling it a major crisis in African literary criticism, Mukoma Wa Ngugi considers key questions around the misreading of African literature: Why did Chinua Achebe’s generation privilege African literature in English despite the early South African example? What are the costs of locating the start of Africa’s literary tradition in the wrong literary and historical period? What does it mean for the current generation of writers and scholars of African literature not to have an imaginative consciousness of their literary past?
This book will become a foundational text in African literary studies, as it raises questions about the very nature of African literature and criticism. It will be essential reading for scholars of African literary studies as well as general readers seeking a greater understanding of African literary history and the ways in which critical consensus can be manufactured and rewarded at the expense of a larger and historical literary tradition.
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