Christianity and Public Culture in Africa takes readers beyond familiar images of religious politicians and populations steeped in spirituality. It shows how critical reason and Christian convictions have combined in surprising ways as African Christians confront issues such as national constitutions, gender relations, and the continuing struggle with HIV/AIDS.
The wide-ranging essays included here explore rural Africa and the continent’s major cities, colonial and missionary legacies, and mass media images in the twenty-first century. They also reveal the diversity of Pentecostalism in Africa and highlight the region’s remarkable denominational diversity. Scholars and students alike will find these essays timely and impressive.
The contributors demonstrate how the public significance of Christianity varies across time and place. They explore rural Africa and the continent’s major cities, and colonial and missionary situations, as well as mass-mediated ideas and images in the twenty-first century. They also reveal the plurality of Pentecostalism in Africa and keep in view the continent’s continuing denominational diversity. Studentsand scholars will find these topical studies to be impressive in scope.
Contributors: Barbara M. Cooper, Harri Englund, Marja Hinfelaar, Nicholas Kamau-Goro, Birgit Meyer, Michael Perry Kweku Okyerefo, Damaris Parsitau, Ruth Prince, James A. Pritchett, Ilana van Wyk
Closed Encounters was first published in 1998. 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.
It's committed. It's political. It's socially engaged. It's academic criticism in the nineties. But what does it achieve? In a provocative and fair-minded look at current critical practices and the future of the academy, Jeffrey Wallen draws a disturbing picture of public intellectuals in search of a public and cultural critics unable to enter a dialogue with others.
Wallen argues that literary politics is no substitute for debate on genuine political issues. Taking up several of the most influential critics of recent years-Edward Said, Eve Kosofsky Sedgwick, Michael Bérubé, Gerald Graff, Richard Rorty, Stanley Fish, and many others-Wallen asks: Can their desire to persuade an audience beyond the classroom be fulfilled? And can cultural critics realize their ambitious social and institutional goals for change? In a work that is neither of the Left nor of the Right, but likely to unsettle both, Wallen argues that literary criticism actually undermines the prospects for the dialogue it calls out for.
In addition, Wallen argues that the institutionalization of critiques of truth and difference-critiques that appear to liberate us by revealing that knowledge and values are constructed, and can therefore be transformed-often leads to a further constraining of thought and narrowing of outlooks. In his analysis of the administration of conflict, Wallen describes the troubled state of academic freedom and points to a shift from the institutional protection of dissenting views to the institutional protection from views one finds unpleasant.
Yet the prospects are not bleak: Wallen emphasizes that academic critics continue to play a crucial role in crafting what we expect from discussion. In this spirit, Closed Encounters lays the groundwork for fashioning a truly public, socially engaged criticism.
Consuming Modernity illustrates that what is distinctive of any particular society is not the fact of its modernity, but rather its own unique debates about modernity. Behind the embattled arena of culture in India, for example, lie particular social and political interests such as the growing middle class; the entrepreneurs and commercial institutions; and the state.
The contributors address the roles of these various intertwined interests in the making of India's public culture, each examining different sites of consumption. The sites they explore include cinema, radio, cricket, restaurants, and tourism. Consuming Modernity also makes clear the differences among public, mass, and popular culture.Contributors include Arjun Appadurai, University of Chicago; Frank F. Conlon, University of Washington; Sara Dickey, Bowdoin College; Paul Greenough, University of Iowa; David Lelyveld, Columbia University; Barbara N. Ramusack, University of Cincinnati; Rosie Thomas, University of Westminster; and Phillip B. Zarrilli, University of Wisconsin, Madison.Drawing on her research over the past two decades among urban residents and rural migrants in Hangzhou and Beijing, Rofel analyzes the meanings that individuals attach to various public cultural phenomena and what their interpretations say about their understandings of post-socialist China and their roles within it. She locates the first broad-based public debate about post-Mao social changes in the passionate dialogues about the popular 1991 television soap opera Yearnings. She describes how the emergence of gay identities and practices in China reveals connections to a transnational network of lesbians and gay men at the same time that it brings urban/rural and class divisions to the fore. The 1999–2001 negotiations over China’s entry into the World Trade Organization; a controversial women’s museum; the ways that young single women portray their longings in relation to the privations they imagine their mothers experienced; adjudications of the limits of self-interest in court cases related to homoerotic desire, intellectual property, and consumer fraud—Rofel reveals all of these as sites where desiring subjects come into being.
In No Caption Needed, Robert Hariman and John Louis Lucaites provide the definitive study of the iconic photograph as a dynamic form of public art. Their critical analyses of nine individual icons explore the photographs themselves and their subsequent circulation through an astonishing array of media, including stamps, posters, billboards, editorial cartoons, TV shows, Web pages, tattoos, and more. Iconic images are revealed as models of visual eloquence, signposts for collective memory, means of persuasion across the political spectrum, and a crucial resource for critical reflection.
Arguing against the conventional belief that visual images short-circuit rational deliberation and radical critique, Hariman and Lucaites make a bold case for the value of visual imagery in a liberal-democratic society. No Caption Needed is a compelling demonstration of photojournalism’s vital contribution to public life.
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