The volume covers a vast collection of subjects, including many important writers such as Richard Wright, Gwendolyn Brooks, and Lorraine Hansberry as well as cultural products such as black newspapers, music, and theater. The book includes individual entries by experts on each subject; a discography and filmography that highlight important writers, musicians, films, and cultural presentations; and an introduction that relates the Harlem Renaissance, the White Chicago Renaissance, the Black Chicago Renaissance, and the Black Arts Movement.
Contributors are Robert Butler, Robert H. Cataliotti, Maryemma Graham, James C. Hall, James L. Hill, Michael Hill, Lovalerie King, Lawrence Jackson, Angelene Jamison-Hall, Keith Leonard, Lisbeth Lipari, Bill V. Mullen, Patrick Naick, William R. Nash, Charlene Regester, Kimberly Ruffin, Elizabeth Schultz, Joyce Hope Scott, James Smethurst, Kimberly M. Stanley, Kathryn Waddell Takara, Steven C. Tracy, Zoe Trodd, Alan Wald, Jamal Eric Watson, Donyel Hobbs Williams, Stephen Caldwell Wright, and Richard Yarborough.
A century after the South African War (1899-1902), historians are beginning to reevaluate the accepted wisdom regarding the scope of the war, its participants, and its impact. Writing a Wider War charts some of the changing historical constructions of the memorialization of suffering during the war.
Writing a Wider War presents a dramatically new interpretation of the role of Boer women in the conflict and profoundly changes how we look at the making of Afrikaner nationalism. African experiences of the war are also examined, highlighting racial subjugation in the context of colonial war and black participation, and showcasing important new research by African historians.
The collection includes a reassessment of British imperialism and probing essays on J. A. Hobson; the masculinist nature of life on commando among Boer soldiers; Anglo-Jewry; secularism; health and medicine; nursing, women, and disease in the concentration camps; and the rivalry between British politicians and generals. An examination of the importance of the South African War in contemporary British political economy, and the part played by imperial propaganda, rounds off a thoroughly groundbreaking reinterpretation of this formative event in South Africa's history.
Anaïs Nin, the diarist, novelist, and provocateur, occupied a singular space in twentieth-century culture, not only as a literary figure and voice of female sexual liberation but as a celebrity and symbol of shifting social mores in postwar America. Before Madonna and her many imitators, there was Nin; yet, until now, there has been no major study of Nin as a celebrity figure.
In Writing an Icon, Anita Jarczok reveals how Nin carefully crafted her literary and public personae, which she rewrote and restyled to suit her needs and desires. When the first volume of her diary was published in 1966, Nin became a celebrity, notorious beyond the artistic and literary circles in which she previously had operated. Jarczok examines the ways in which the American media appropriated and deconstructed Nin and analyzes the influence of Nin’s guiding hand in their construction of her public persona.
The key to understanding Nin’s celebrity in its shifting forms, Jarczok contends, is the Diary itself, the principal vehicle through which her image has been mediated. Combining the perspectives of narrative and cultural studies, Jarczok traces the trajectory of Nin’s celebrity, the reception of her writings. The result is an innovative investigation of the dynamic relationships of Nin’s writing, identity, public image, and consumer culture.
Women seeking to express concerns about childbirth or to challenge institutionalized medicine by writing online birth plans or birth stories exercise rhetorical agency in undeniably feminist ways. In Writing Childbirth: Women’s Rhetorical Agency in Labor and Online, author Kim Hensley Owens explores how women create and use everyday rhetorics in planning for, experiencing, and writing about childbirth.
Drawing on medical texts, popular advice books, and online birth plans and birth stories, as well as the results of a childbirth writing survey, Owens considers how women’s agency in childbirth is sanctioned, and how it is not. She examines how women’s rhetorical choices in writing interact with institutionalized medicine and societal norms. Writing Childbirth reveals the contradictory messages women receive about childbirth, their conflicting expectations about it, and how writing and technology contribute to and reconcile these messages and expectations.
Demonstrating the value of extending rhetorical investigations of health and medicine beyond patient-physician interactions and the discourse of physicians, Writing Childbirth offers fresh insight into feminist rhetorical agency and technology and expands our understanding of the rhetorics of health and medicine.
Exposing little-known facts about the five modes of execution practiced in the United States today, Writing for Their Lives documents the progress of life on death row from a capital trial to execution and beyond, through the testimony of the prisoners themselves as well as those who watch, listen, and write to them. What emerges are stories of the survival of the human spirit under even the most unimaginable circumstances, and the ways in which some prisoners find penitence and peace in the most unlikely surroundings. In spite of the uniformity of their prison life and its nearly inevitable conclusion, prisoners able to read and write letters are shown to retain and develop their individuality and humanity as their letters become poems and stories.
Writing for Their Lives serves ultimately as an affirmation of the value of life and provides bountiful evidence that when a state executes a prisoner, it takes a life that still had something to give.
This edition features an introduction by the editor as well as a foreword by Jan Arriens. Dr. Mulvey-Roberts will be donating her profits from the sale of this volume to the legal charity Amicus, which assists in capital defense in the United States."
Winner of the 2001 Kraszna-Krausz Moving Image Book Awards | Winner of the Theatre Library Association Award
Writing Himself Into History is an eagerly anticipated analysis of the career and artistry surrounding the legendary Black filmmaker Oscar Micheaux. With the exception of Spike Lee, Micheaux is the most famous—and prolific—African American film director. Between 1918 and 1948 he made more than 40 “race pictures,” movies made for and about African Americans. A man of immense creativity, he also wrote seven novels.
Pearl Bowser and Louise Spence concentrate here on the first decade of Micheaux’s career, when Micheaux produced and directed more than twenty silent features and built a reputation as a controversial and maverick entrepreneur. Placing his work firmly within his social and cultural milieu, they also examine Micheaeux’s family and life. The authors provide a close textual analysis of his surviving films (including The Symbol of the Unconquered, Within Our Gates, and Body and Soul), and highlight the rivalry between studios, dilemmas of assimilation versus separatism, gender issues, and class. In Search of Oscar Micheaux also analyzes Micheaux’s career as a novelist in relation to his work as a filmmaker.
This is a much-awaited book that is especially timely as interest in Micheaux’s work increases.
Writing History in the Digital Age began as a “what-if” experiment by posing a question: How have Internet technologies influenced how historians think, teach, author, and publish? To illustrate their answer, the contributors agreed to share the stages of their book-in-progress as it was constructed on the public web.
To facilitate this innovative volume, editors Jack Dougherty and Kristen Nawrotzki designed a born-digital, open-access, and open peer review process to capture commentary from appointed experts and general readers. A customized WordPress plug-in allowed audiences to add page- and paragraph-level comments to the manuscript, transforming it into a socially networked text. The initial six-week proposal phase generated over 250 comments, and the subsequent eight-week public review of full drafts drew 942 additional comments from readers across different parts of the globe.
The finished product now presents 20 essays from a wide array of notable scholars, each examining (and then breaking apart and reexamining) if and how digital and emergent technologies have changed the historical profession.
The legal texts and aspirational ideals of human rights are usually understood and applied in a global context with little bearing on the legal discourse, domestic political struggles, or social justice concerns within the United States. In Writing Human Rights, Crystal Parikh uses the international human rights regime to read works by contemporary American writers of color—Toni Morrison, Chang-rae Lee, Ana Castillo, Aimee Phan, and others—to explore the conditions under which new norms, more capacious formulations of rights, and alternative kinds of political communities emerge.
Parikh contends that unlike humanitarianism, which views its objects as victims, human rights provide avenues for the creation of political subjects. Pairing the ethical deliberations in such works as Beloved and A Gesture Life with human rights texts like the United Nations Convention Against Torture, she considers why principles articulated as rights in international conventions and treaties—such as the right to self-determination or the right to family—are too often disregarded at home. Human rights concepts instead provide writers of color with a deeply meaningful method for political and moral imagining in their literature.
Affiliating transnational works of American literature with decolonization, socialist, and other political struggles in the global south, this book illuminates a human rights critique of idealized American rights and freedoms that have been globalized in the twenty-first century. In the absence of domestic human rights enforcement, these literatures provide a considerable repository for those ways of life and subjects of rights made otherwise impossible in the present antidemocratic moment.
Here is a celebration and an analysis of four Québécois feminist rebels whose self-conscious revolt against language has put them at the forefront of experimental writing in Quebec. These women—Nicole Brossard, Madeleine Gagnon, Louky Bersianik, and France Theoret—are attempting to explode male-dominated language and to construct a new language and literature of women.
In this first major study of their work in English, Karen Gould examines in depth these women’s literary visions and the new ways in which they communicate those visions. Gould broadens her book’s appeal by showing how these four women’s works, in modern forms of experimental literature, are shaped not only by Quebec feminism, politics, and culture but by American and French influences as well.
Rachel Spilka brings together nineteen previously unpublished essays concerned with ways in which recent research on workplace writing can contribute to the future direction of the discipline of technical and professional writing. Hers is the first anthology on the social perspective in professional writing to feature focused discussions of research advances and future research directions.
The workplace as defined by this volume is a widely diverse area that encompasses small companies and large corporations, public agencies and private firms, and a varied population of writers—engineers, managers, nurses, social workers, government employees, and others. Because much research has been conducted on the relationship between workplace writing and social contexts since the ground~breaking 1985 publication of Odell and Goswami’s Writing in Nonacademic Settings, Spilka contends that this is an appropriate time for the professional writing community to consider what it has learned to date and where it should be heading next in light of these recent discoveries. She argues that now professional writers should try to ask better questions and to define new directions.
Spilka breaks the anthology into two parts. Part 1 is a collection of ten essays presenting textual and qualitative studies conducted by the authors in the late l980s on workplace writing. Spilka has chosen these studies as representative of the finest research being conducted in professional writing that can serve as models for current and future researchers in the field. Barbara Couture, Jone Rymer, and Barbara Mirel report on surveys they conducted relying on the social perspective both to design survey instruments and to analyze survey data. Jamie MacKinnon assesses a qualitative study describing what workplace professionals might need to learn about social contexts and workplace writing. Susan Kleimann and editor Rachel Spilka discuss multiple case studies they conducted that help explain the value during the composing process of social interaction among the participants of a rhetorical situation. Judy Z. Segal explores the negotiation between the character of Western medicine and the nature of its professional discourse. Jennie Dautermann describes a qualitative study in which a group of nurses "claimed the authority to restructure their own procedural information system." Anthony Paré finds in a case study of social workers that writing can be constrained heavily by socially imposed limitations and restrictions. Graham Smart describes a study of discourse conventions in a financial institution. Geoffrey A. Cross reports on a case study of the interrelation of genre, context, and process in the group production of an executive letter and report.
Ancient Mesopotamia, the fertile crescent between the Tigris and Euphrates rivers in what is now western Iraq and eastern Syria, is considered to be the cradle of civilization—home of the Babylonian and Assyrian empires, as well as the great Code of Hammurabi. The Code was only part of a rich juridical culture from 2200–1600 BCE that saw the invention of writing and the development of its relationship to law, among other remarkable firsts.
Though ancient history offers inexhaustible riches, Dominique Charpin focuses here on the legal systems of Old Babylonian Mesopotamia and offers considerable insight into how writing and the law evolved together to forge the principles of authority, precedent, and documentation that dominate us to this day. As legal codes throughout the region evolved through advances in cuneiform writing, kings and governments were able to stabilize their control over distant realms and impose a common language—which gave rise to complex social systems overseen by magistrates, judges, and scribes that eventually became the vast empires of history books. Sure to attract any reader with an interest in the ancient Near East, as well as rhetoric, legal history, and classical studies, this book is an innovative account of the intertwined histories of law and language.
In texts from the mid-Heian to the early Kamakura periods, certain figures appear to be “marginal” or removed from “centers” of power. But why do we see these figures in this way?
This study first seeks to answer this question by examining the details of the marginalizing discourse found in these texts. Who is portraying whom as marginal? For what reason? Is the discourse consistent? The author next considers these texts in terms of the predilection of modern scholarship, both Japanese and Western, to label certain figures “marginal.” She then poses the question: Is this predilection a helpful tool or does it inscribe modern biases and misconceptions onto these texts?
Frances E. Willard's powerful leadership of the Woman's Christian Temperance Union (WCTU) made her one of the most commanding figures in the reform movements of the nineteenth century. World renowned and a force to be reckoned with, Willard grappled publicly and private with difficult issues, including temperance, slavery, women's rights, and her own sexuality. These selections from her forty-nine-volume journal reveal the private and confidential side of Willard for the first time. She comes to life in these pages--a person of character, passion, and self-determination who came to represent the woman of the dawning era.
Supplemented by an in-depth introduction and generous annotations, Writing Out My Heart sheds new light on an extraordinary individual and the lives of women in nineteenth-century America.
Winner of the 2019 Oskar Halecki Prize (Polish American Historical Association)
Though often unnoticed by scholars of literature and history, Polish American women have for decades been fighting back against the patriarchy they encountered in America and the patriarchy that followed them from Poland. Through close readings of several Polish American and Polish Canadian novels and short stories published over the last seven decades, Writing the Polish American Woman in Postwar Ethnic Fiction traces the evolution of this struggle and women’s efforts to construct gendered and classed ethnicity.
Focusing predominantly on work by North American born and immigrant authors that represents the Polish American Catholic tradition, Grażyna J. Kozaczka puts texts in conversation with other American ethnic literatures. She positions ethnic gender construction and performance at an intersection of social class, race, and sex. She explores the marginalization of ethnic female characters in terms of migration studies, theories of whiteness, and the history of feminist discourse. Writing the Polish American Woman in Postwar Ethnic Fiction tells the complex story of how Polish American women writers have shown a strong awareness of their oppression and sought empowerment through resistive and transgressive behaviors.
Silver Winner, ForeWord Magazine Book of the Year, History
From September 1941 until January 1944, Leningrad suffered under one of the worst sieges in the history of warfare. At least one million civilians died, many during the terribly cold first winter. Bearing the brunt of this hardship—and keeping the city alive through their daily toil and sacrifice—were the women of Leningrad. Yet their perspective on life during the siege has been little examined.
Cynthia Simmons and Nina Perlina have searched archival holdings for letters and diaries written during the siege, conducted interviews with survivors, and collected poetry, fiction, and retrospective memoirs written by the blokadnitsy (women survivors) to present a truer picture of the city under siege. In simple, direct, even heartbreaking language, these documents tell of lost husbands, mothers, children; meager rations often supplemented with sawdust and other inedible additives; crime, cruelty, and even cannibalism. They also relate unexpected acts of kindness and generosity; attempts to maintain cultural life through musical and dramatic performances; and provide insight into a group of ordinary women reaching beyond differences in socioeconomic class, ethnicity, and profession in order to survive in extraordinary times.
Between 1967 and 1972, a previously obscure group of authors entered the US cultural spotlight. During this five-year period, at least thirty anthologies of poetry and prose by African American, Latinx, Asian American, and Native American children came out of adult-led workshops, classrooms, and sites of juvenile incarceration. Mass-market publishers, independent imprinters, and local mimeograph machines produced volumes with titles such as I Am Somebody! and The Me Nobody Knows: Children’s Voices from the Ghetto. These young writers actively participated in the Black Arts Movement, and some collaborated with well-known adult authors, most prominently June Jordan. Their anthologies gained national media coverage, occasionally became bestsellers, were quoted by James Baldwin, and even inspired a hit Broadway musical. While writings by children had long attracted adult attention, this flurry of youth writing and publishing was distinguished by the widespread belief that children of color from poor and working-class neighborhoods were uniquely able to speak truth about American racism and inequality.
Focusing on Black and Latinx youth authorship within New York City, and using deep archival research and elegant close readings, Amy Fish examines child-authored texts of this era within the context of their literary production and reception. These young writers were often supervised and edited by white adults, raising concerns about the authenticity and agency of their voices. Fish contends that young authors themselves shared these concerns and that they employed savvy rhetorical strategies of address, temporality, and trope to self-consciously interrogate the perils and possibilities of their adult-influenced work. Young writers thus contributed to the era’s important debates about the nature of authorship and readership within a racist society, while also using their writing as an intimate occasion of self-discovery.
When was feminism born—in the 1960s, or in the 1660s? For England, one might answer: the early decades of the seventeenth century. James I was King of England, and women were expected to be chaste, obedient, subordinate, and silent. Some, however, were not, and these are the women who interest Barbara Lewalski—those who, as queens and petitioners, patrons and historians, and poets took up the pen to challenge and subvert the repressive patriarchal ideology of Jacobean England.
Setting out to show how these women wrote themselves into their culture, Lewalski rewrites Renaissance history to include some of its most compelling—and neglected—voices. In these women, Lewalski identifies an early challenge to the dominant culture—and an ongoing challenge to our understanding of the Renaissance world.
Beginning in the 1980s, a number of popular and influential anthologies organized around themes of shared identity—Nice Jewish Girls, This Bridge Called My Back, Home Girls, and others—have brought together women’s fiction and poetry with journal entries, personal narratives, and transcribed conversations. These groundbreaking multi-genre anthologies, Cynthia G. Franklin demonstrates, have played a crucial role in shaping current literary studies, in defining cultural and political movements, and in building connections between academic and other communities.
Exploring intersections and alliances across the often competing categories of race, class, gender, and sexuality, Writing Women’s Communities contributes to current public debates about multiculturalism, feminism, identity politics, the academy as a site of political activism, and the relationship between literature and politics.
Examining the expansive nature of Indigenous gender representations in history, literature, and film
Within Native American and Indigenous studies, the rise of Indigenous masculinities has engendered both productive conversations and critiques. Lisa Tatonetti intervenes in this conversation with Written by the Body by centering how female, queer, and/or Two-Spirit Indigenous people take up or refute masculinity, and, in the process, offer more expansive understandings of gender.
Written by the Body moves from the eighteenth- and nineteenth-century archive to turn-of-the-century and late-twentieth-century fiction to documentaries, HIV/AIDS activism, and, finally, recent experimental film and literature. Across it all, Tatonetti shows how Indigenous gender expansiveness, and particularly queer and non-cis gender articulations, moves between and among Native peoples to forge kinship, offer protection, and make change. She charts how the body functions as a somatic archive of Indigenous knowledge in Native histories, literatures, and activisms—exploring representations of Idle No More in the documentary Trick or Treaty, the all-female wildland firefighting crew depicted in Apache 8, Chief Theresa Spence, activist Carole laFavor, S. Alice Callahan, Thirza Cuthand, Joshua Whitehead, Carrie House, and more.
In response to criticisms of Indigenous masculinity studies, Written by the Body de-sutures masculinity from the cis-gendered body and investigates the ways in which female, trans, and otherwise nonconforming masculinities carry the traces of Two-Spirit histories and exceed the limitations of settler colonial imaginings of gender.
In Written in Stone, legal scholar Sanford Levinson considers the tangled responses of ever-changing societies to the monuments and commemorations created by past regimes or outmoded cultural and political systems. Drawing on examples from Albania to Zimbabwe, from Moscow to Managua, and paying particular attention to examples throughout the American South, Levinson looks at social and legal arguments regarding the display, construction, modification, and destruction of public monuments. He asks what kinds of claims the past has on the present, particularly if the present is defined in dramatic opposition to its past values. In addition, he addresses the possibilities for responding to the use and abuse of public spaces and explores how a culture might memorialize its historical figures and events in ways that are beneficial to all its members.
Written in Stone is a meditation on how national cultures have been or may yet be defined through the deployment of public monuments. It adds a thoughtful and crucial voice into debates surrounding historical accuracy and representation, and will be welcomed by the many readers concerned with such issues.
Three years before his death, Michel Foucault delivered a series of lectures at the Catholic University of Louvain that until recently remained almost unknown. These lectures—which focus on the role of avowal, or confession, in the determination of truth and justice—provide the missing link between Foucault’s early work on madness, delinquency, and sexuality and his later explorations of subjectivity in Greek and Roman antiquity.
Imperfections in the criminal justice system have long intrigued the general public and worried scholars and legal practitioners. In Wrongful Conviction, criminologists C. Ronald Huff and Martin Killias present an important collection of essays that analyzes cases of injustice across an array of legal systems, with contributors from North America, Europe and Israel. This collection includes a number of well-developed public-policy recommendations intended to reduce the instances of courts punishing innocents. It also offers suggestions for compensating more fairly those who are wrongfully convicted.
The American criminal justice system contains numerous safeguards to prevent the conviction of innocent persons. The Bill of Rights provides nineteen separate rights for the alleged criminal offender, including the right to effective legal representation and the right to be judged without regard to race or creed. Despite these safeguards, wrongful convictions persist, and the issue has reverberated in the national debate over capital punishment.
The essays in this volume are written from a cross-disciplinary perspective by some of the most eminent lawyers, criminologists, and social scientists in the field today. The articles are divided into four sections: the causes of wrongful convictions, the social characteristics of the wrongly convicted, case studies and personal histories, and suggestions for changes in the criminal justice system to prevent wrongful convictions. Contributors examine a broad range of issues, including the fallibility of eyewitness testimony, particularly in cross-racial identifications; the disadvantages faced by racial and ethnic minorities in the criminal justice system; and the impact of new technologies, especially DNA evidence, in freeing the innocent and bringing the guilty to justice. The book also asks such questions as: What legal characteristics do wrongful convictions share? What are the mechanisms that defendants and their attorneys use to overturn wrongful convictions? The book also provides case studies that offer specific examples of what can and does go wrong in the criminal justice system.
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