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Reclaiming power and prophecy through California Indian intellectual resurgence and anticolonial resistance

 

Mark Minch-de Leon explores the anticolonial dimensions of California Indian intellectual and cultural resurgence in the aftermath of apocalypse in this compelling reexamination of Indigenous art, literature, and theory. Centering on a reinterpretation of the Ghost Dance, a ceremony first practiced in the nineteenth century, as a collective demonstration of prophecy and resilience, Indigenous Inhumanities envisions an expanded poetics of resistance through a reconfigured relationship to death and the dead. By dismantling the colonial frameworks of inclusion, recognition, and representation that reinforce settler-state power, Minch-de Leon shows how storytelling can be reclaimed as both research and as a tool for decolonization.

Taking up critical issues that the state has used to discipline California Indian relations to ancestors, such as the politics of human remains repatriation and the discourse around California Indian genocide, Minch-de Leon centers Indigenous knowledge and social systems while challenging legal and political definitions of violence, power, and the human. Rich case studies showcase the evocative art of Frank Day, the poetry of Tommy Pico, and the writings of Deborah Miranda, highlighting how these creators advance Indigenous theory and disrupt settler categories.

By refusing reconciliation and embracing Indigenous frameworks of radical relationality and the “inhuman” (what lies outside of human control), Minch-de Leon presents a bold vision of Indigenous antihumanist survival and resurgence. Indigenous Inhumanities illuminates the path toward decolonial futures by following the radical turn the ancestors made toward the powers of the dead to bring an end to the colonial world.

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Researchers now understand interpreting as an active process between two languages and cultures, with social interaction, sociolinguistics, and discourse analysis as more appropriate theoretical frameworks. Roy’s penetrating new book acts upon these new insights by presenting six dynamic teaching practices to help interpreters achieve the highest level of skill.

       Jeffrey Davis illustrates the translation skills that form the basis for teaching consecutive and simultaneous interpreting to help students understand the intended meaning of the source message, and also the manner in which listeners understand it. Rico Peterson demonstrates the use of recall protocols, which can be used to teach metacognitive skills and to assess the student’s sign language comprehension. Finally, Janice Humphrey details the use of graduation portfolios, a valuable assessment tool used by faculty to determine a student’s level of competency. These imaginative techniques in Innovative Practices promise gains in sign language interpreting that will benefit teachers, students, and clients alike in the very near future.

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Shows how musical instruments and the sounds they produce are not incidental, but an integral part of music theory.

Many musicians dread music theory: Its rules and diagrams can feel stern and lifeless, far removed from the sounds that make music so thrilling. In this book, Alexander Rehding looks at music theory from a different angle. He argues that the sounds of the instruments on which music theory is demonstrated—starting with the piano in the music classroom—play a much more active role than we usually notice. They are “instruments” in a double sense: musical noisemakers, but also tools in a kind of scientific experiment. Rehding strips these devices down to their sound-generating mechanisms to show us how to read musical instruments for their theoretical content.

Instruments of Music Theory turns our attention to instruments such as multiphonic sirens, tuning forks, Chladni plates, Aeolian harps, and Wheatstone concertinas—these devices generate sounds that call for new ways of listening, measuring, and thinking about music. Bringing together music theory, critical organology, and media theory, this book can be read as a user’s manual for how to put sound back into music theory. Rehding shows us how instruments do not only produce sound—they produce knowledge about music. Through the lens of these new instruments, Instruments of Music Theory recasts fundamental musical ideas such as pitch, harmony, form, and scale from the ground up to give new meaning to the stuff we call music.

This fully illustrated text offers a unique approach to using American Sign Language (ASL) and English in a bilingual setting. Each of the 25 lessons involve sign language conversation using colloquialisms that are prevalent in informal conversations. Each lesson includes equivalent expressions in English, plus:

• Glossed Vocabulary Review
• Translation Exercises from ASL to English to ASL
• Grammatical Notes
• Substitution Drills
• Suggested Activities

       The text also includes practice tests, a bibliography, and a glossed alphabetical index.

Scholars have studied international organizations (IOs) in many disciplines, thus generating important theoretical developments. Yet a proper assessment and a broad discussion of the methods used to research these organizations are lacking. Which methods are being used to study IOs and in what ways? Do we need a specific methodology applied to the case of IOs? What are the concrete methodological challenges when doing research on IOs? International Organizations and Research Methods: An Introduction compiles an inventory of the methods developed in the study of IOs under the five headings of Observing, Interviewing, Documenting, Measuring, and Combining. It does not reconcile diverging views on the purpose and meaning of IO scholarship, but creates a space for scholars and students embedded in different academic traditions to reflect on methodological choices and the way they impact knowledge production on IOs.

A rhetorical analysis of Civil War battlefields and parks, and the ways various commemorative traditions—and their ideologies of race, reconciliation, emancipation, and masculinity—compete for dominance.

The National Park Service (NPS) is known for its role in the preservation of public sites deemed to have historic, cultural, and natural significance. In Interpreting Sacred Ground, J. Christian Spielvogel studies the NPS’s secondary role as an interpreter or creator of meaning at such sites, specifically Gettysburg National Military Park, Harpers Ferry National Historical Park, and Cold Harbor Visitor Center.

Spielvogel studies in detail the museums, films, publications, tours, signage, and other media at these sites, and he studies and analyzes how they shape the meanings that visitors are invited to construct. Though the NPS began developing interpretive exhibits in the 1990s that highlighted slavery and emancipation as central facets to understanding the war, Spielvogel argues that the NPS in some instances preserves outmoded narratives of white reconciliation and heroic masculinity, obscuring the race-related causes and consequences of the war as well as the war’s savagery.

The challenges the NPS faces in addressing these issues are many, from avoiding unbalanced criticism of either the Union or the Confederacy, to foregrounding race and violence as central issues, preserving clear and accurate renderingsof battlefield movements and strategies, and contending with the various public constituencies with their own interpretive stakes in the battle for public memory.

Spielvogel concludes by arguing for the National Park Service’s crucial role as a critical voice in shaping twentieth-first-century Civil War public memory and highlights the issues the agency faces as it strives to maintain historical integrity while contending with antiquated renderings of the past.