Advertising and marketing scholars offer some of their most instructive, stimulating, and entertaining works on subliminal perceptions in advertising; nineteenth-century trade cards; T-shirt messages; advertising in the twenty-first century; and the changing male image in advertising.
In recent years black South African music and dance have
become ever more popular in the West, where they are now
widely celebrated as expressions of opposition to
discrimination and repression. Less well known is the
rich history of these arts, which were shaped by several
generations of black artists and performers whose
struggles, visions, and aspirations did not differ fundamentally
from those of their present-day counterparts.
In five detailed case studies Veit Erlmann digs deep to expose the roots of the most important of these performance traditions. He relates the early history of isicathamiya, the a cappella vocal style made famous by Ladysmith Black Mambazo.
In two chapters on Durban between the World Wars he charts the evolution of Zulu music and dance, studying in depth the transformation of ingoma, a dance form popular among migrant workers since the 1930s. He goes on to
record the colorful life and influential work of Reuben T. Caluza,
South Africa's first black ragtime composer. And Erlmann's reconstruction of the 1890s concert tours of an Afro-American vocal group, Orpheus M. McAdoo and the Virginia Jubilee Singers, documents the earliest link between the African and American performance traditions.
Numerous eyewitness reports, musicians' personal testimonies, and song texts enrich Erlmann's narratives and demonstrate that black performance evolved in response to the growing economic and racial segmentation of South African
society. Early ragtime, ingoma, and isicathamiya enabled the black urban population to comment on their precarious social position and to symbolically construct a secure space within a rapidly changing political world.
Today, South African workers, artists, and youth continue to build upon this performance tradition in their struggle for freedom and democracy. The early performers portrayed by Erlmann were guiding lights—African stars—by which the present and future course of South Africa is being determined.
In this absorbing history, Henry Warner Bowden chronicles the encounters between native Americans and the evangelizing whites from the period of exploration and colonization to the present. He writes with a balanced perspective that pleads no special case for native separatism or Christian uniqueness. Ultimately, he broadens our understanding of both intercultural exchanges and the continuing strength of American Indian spirituality, expressed today in Christian forms as well as in revitalized folkways.
"Bowden makes a radical departure from the traditional approach. Drawing on the theories and findings of anthropologists, archaeologists, and historians, he presents Indian-missionary relations as a series of cultural encounters, the outcomes of which were determined by the content of native beliefs, the structure of native religious institutions, and external factors such as epidemic diseases and military conflicts, as well as by the missionaries' own resources and abilities. The result is a provocative, insightful historical essay that liberates a complex subject from the narrow perimeters of past discussions and accords it an appropriate richness and complexity. . . . For anyone with an interest in Indian-missionary relations, from the most casual to the most specialized, this book is the place to begin."—Neal Salisbury, Theology Today
"If one wishes to read a concise, thought-provoking ethnohistory of Indian missions, 1540-1980, this is it. Henry Warner Bowden's history, perhaps for the first time, places the sweep of Christian evangelism fully in the context of vigorous, believable, native religions."—Robert H. Keller, Jr., American Historical Review
Imperial Latin epic has seen a renaissance of scholarly interest. This book illuminates the work of the poet Lucan, a contemporary of the emperor Nero who as nephew of the imperial adviser Seneca moved in the upper echelons of Neronian society. This young and maverick poet, whom Nero commanded to commit suicide at the age of 26, left an epic poem on the civil war between Caesar and Pompey that epitomizes the exuberance and stylistic experimentation of Neronian culture. This study focuses on Lucan's epic technique and traces his influence through the Middle Ages and the Renaissance.
Martin T. Dinter's newest volume engages with Lucan's use of body imagery, sententiae, Fama (rumor), and open-endedness throughout his civil war epic. Although Lucan's Bellum Civile is frequently decried as a fragmented as well as fragmentary epic, this study demonstrates how Lucan uses devices other than teleology and cohesive narrative structure to bind together the many parts of his epic body.
Anatomizing Civil War places at center stage characteristics of Lucan's work that have so far been interpreted as excessive, or as symptoms of an overly rhetorical culture indicating a lack of substance. By demonstrating that they all contribute to Lucan's poetic technique, Martin T. Dinter shows how they play a fundamental role in shaping and connecting the many episodes of the Bellum Civile that constitute Lucan's epic body. This important volume will be of interest to students of classics and comparative literature as well as literary scholars. All Greek and Latin passages have been translated.
This volume of essays examines the question of copying and other forms of artistic imitation and emulation in relation to Greek and Roman art, focusing particularly on sculpture and painting in the Roman period. It goes beyond recent studies of the subject in bringing to bear the views of early modern, modern, and contemporary artists on matters of copying and imitation as well as an exceptionally wide array of traditional and current critical perspectives--historiographic, literary, technical, stylistic, iconographic, and museological, among others.
Long regarded as copies of lost Greek masterpieces, a great many Roman works are now seen as neoclassical images worthy of analysis within their own Roman contexts. This book identifies and takes account of Roman criteria in rethinking the function and aesthetic appeal of these works in the eyes of their Roman owners and audiences. Collectively, the essays argue that many traditional assumptions about the status of works of classical art as originals or copies, and much of the evidence that has been used to sustain these assumptions, must be thoroughly rethought.
Among the authors are classical archaeologists, art historians (whose areas of expertise range from antiquity to the nineteenth century), and a contemporary artist and critic.
Elaine K. Gazda is Professor in the Department of the History of Art and the Interdepartmental Program in Classical Art and Archaeology, University of Michigan.