In this careful analysis and evaluation of the monumental influence of Niebuhr, Werpehowski traces four streams that flow from Niebuhr's theology, particularly as it deals with ethics. In a tightly knit and comprehensive investigation of the work of four contemporary ethicists, important in their own right, Paul Ramsey, Stanley Hauerwas, James Gustafson, and Kathryn Tanner, Werpehowski explores how the legacy of Niebuhr has made an impact on their thought and work. He presents a clear, concise, nuanced, analytical criticism of the development of the four ethicist's construction of ethics-and does it in a way that interweaves and puts the four into a dialogue and conversation with Niebuhr and each other.
Addressing a number of substantive issues, including the viability of just war tradition and the relationship between "church" and "world," American Protestant Ethics and the Legacy of H. Richard Niebuhr demonstrates that Christian ethics operates within a set of polar tensions and that such "conversations" as are developed within need to be a part of moral discourse inside and between a variety of communities of faith.
Seldom recognized, yet contributing significantly to the structure of early American modernism is a group of women who were once the art students of the popular and perhaps most influential American art teacher of the twentieth century, Robert Henri (1865-1929). Henri encouraged an art that was expressive of personal emotions and experience and that was grounded in life. He preached equality among different media and approaches to art. Giving heed to his teachings, his women students engaged in a wide variety of artistic production. Collectively, the stunning variety and power of their work in painting, sculpture, printmaking, textiles, decorative arts, and furniture broadens our understanding of American modernism and illuminates the role of women artists in shaping it. Yet, these women have remained largely unstudied, and virtually unknown, even among art historians.
The seven new essays included in this volume move beyond the famed Ashcan School-the small group of Henri's male students who worked in a narrow range of urban realist subjects-to recover the lesser known work of his women students. The contributors, who include well-known scholars of art history, American studies, and cultural studies demonstrate how these women participated in the "modernizing" of women's roles during this era; how gender controlled their art, productivity, sales, and reception; how their many styles, media, and subjects enrich our understanding of modern American art; and how the work of modern women artists relates to women's involvement in other areas of modern American society and culture, including labor and social reform, patronage, literature, dance, and music.
Lavishly illustrated and complemented by short biographies of more than 400 of Henri's students, this delightful collection adds a long-ignored but deserving dimension to an expanded story of American modernism and to women's contributions to the arts.
Secretary to the Salem witch trials, Cotton Mather is the most reviled of our national historians. Yet James Russell Lowell admitted that “with all his faults, that conceited old pedant contrived to make one of the most entertaining books ever written on this side of the water.” In America’s Gothic Fiction, Dorothy Z. Baker investigates the ways in which nineteenth-century authors Edgar Allan Poe, Harriet Beecher Stowe, and Nathaniel Hawthorne, among others, look to Mather’s Magnalia Christi Americana at critical moments in their work and refashion his historical accounts as gothic fiction.
Cotton Mather’s 1702 Magnalia captured the imagination of its readers more than any other colonial history and impressed Americans with its message of American exceptionalism and God’s dramatic intervention on behalf of the country and its citizens. Poe, Stowe, and Hawthorne, who are rarely grouped together in literary studies, have radically divergent responses to Mather’s theology, historiography, and literary forms. However, each takes up Mather’s themes and forms and, in distinct ways, interrogates the providence tales in Magnalia Christi Americana as foundational statements about American history and identity.
This book is the first devoted entirely to an examination of working-class activism, broadly defined as that of farmers’ organizations, labor unions, and (often biracial) political movements, in Arkansas during the Gilded Age. On one level, Hild argues for the significance of this activism in its own time: had the Arkansas Democratic Party not resorted to undemocratic, unscrupulous, and violent means of repression, the Arkansas Union Labor Party would have taken control of the state government in the election of 1888. He also argues that the significance of these movements lasted beyond their own time, their influence extending into the biracial Southern Tenant Farmers’ Union of the 1930s, the civil rights movement of the 1950s and 1960s, and even today’s Farmers’ Union and the United Mine Workers of America.
The story of farmer and labor protest in Arkansas during the late nineteenth century offers lessons relevant to contemporary
working-class Americans in what some observers have called the “new Gilded Age.”
Growing out of the collaborative research of an American ethnomusicologist and Zimbabwean musician, Paul F. Berliner’s The Art of Mbira documents the repertory for a keyboard instrument known generally as mbira. At the heart of this work lies the analysis of the improvisatory processes that propel mbira music’s magnificent creativity.
In this book, Berliner provides insight into the communities of study, performance, and worship that surround mbira. He chronicles how master player Cosmas Magaya and his associates have developed their repertory and practices over more than four decades, shaped by musical interaction, social and political dynamics in Zimbabwe, and the global economy of the music industry. At once a detailed exposition of the music’s forms and practices, it is also an indispensable historical and cultural guide to mbira in a changing world.
Together with Berliner and Magaya's compendium of mbira compositions, Mbira’s Restless Dance, The Art of Mbira breaks new ground in the depth and specificity of its exploration of an African musical tradition, and in the entwining of the authors’ collaborative voices. It is a testament to the powerful relationship between music and social life—and the rewards of lifelong musical study, performance, and friendship.