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1
Howe, Justine. All-American Islam. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190258870.003.0004.
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This chapter examines the role of consumer culture and leisure in the performance of American Muslim culture. The Webb community embraces American culture as the fullest expression of their Muslim identity. Its members locate these efforts in two foundational narratives: that of premodern generations of Muslims, who embraced local cultures as their own, and that of white ethnic immigrants, who successfully made previously suspect religious traditions into mainstream ones. These practices demonstrate both the possibilities and constraints of Webb’s mission to rehabilitate American representations of Islam. Through leisure activities centered on the nuclear family unit, the community builds relationships among parents and their children, as well as among peers. Webb youth and parents also participate regularly in community service, partnering with various local organizations to provide assistance to less privileged communities.
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Lines, David. “While My Guitar Gently Weeps”. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.22.
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The popularity of guitar has ensured that it has become a significant aspect of music in leisure. This chapter explores and reflects on the author’s personal leisure guitar experiences through six autoethnographic meditations. Themes from the meditations include tacit experiences, closeness, community, curiosity, and ethical dimensions associated with leisure guitar culture. These themes suggest an embodied view of music and a social connectedness with a living music culture. Using a Foucaultian lens, these themes are critically positioned alongside the experience of the neoliberal, schooled musical subject, who encounters expressions of power and subjectification in narrow, limiting terms. The chapter concludes by suggesting that the reflective process of autoethnography, an awareness and sensitivity of the body, and explorations of emergent subject positions are critical for a reconstituted music education and that leisure and music education can be envisaged together as synchronic forms of musical action.
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Ed, Sutcliffe David M., and Wong Ansel, eds. The Language of the Black experience: Cultural expression through word and sound in the Caribbean and Black Britain. Oxford, UK: B. Blackwell, 1986.
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Sutcliffe, David, and Ansel Wong. The Language of the Black Experience: Cultural Expression Through Word and Sound in the Caribbean and Black Britain. Blackwell Pub, 1986.
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5
Rudy, Lemcke, Chinn Lenore, and Qcc, eds. Face: An exhibit of queer expression through self-portraiture : South of Market Cultural Center Gallery, June 11-27, 1998. [San Francisco, Calif: Queer Cultural Center], 1998.
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6
Sorabji, Richard. Freedom of Speech and Expression. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197532157.001.0001.
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This book on freedom of speech and expression starts (chapter 1) with an inter-cultural history of this valued right through the ages and then recalls (chapter 2) the benefits for which we rightly value it. But what about speech that frustrates these benefits? Supporters of the benefits of free speech have reason to exercise voluntary self-restraint on speech which frustrates the benefits. They should also cultivate a second remedy: the art, illustrated in chapter 1, and called by Gandhi the art of ‘opening ears’, by other kinds of speech and conduct. Such voluntary methods are to be preferred to legal constraints. But (chapter 3) legal constraint is sometimes necessary. In the twenty-first century, social media funding based on manipulation of personal speech data requires skilful legislation and enforcement in favour of social media that protect freedoms.
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Murphy, Clifford R. Country Music as Cultural Practice. Edited by Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.14.
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This chapter argues that country music should be examined first and foremost as social practice—as a driver of community expression and social capital through music, words, and dance. While country music functions in a multitude of ways, from narrative storytelling to commercial product and points in between, the commercial sphere of country music has been exhaustively examined. Scholarly inquiry into country music, rooted in the folk revival of the mid-twentieth century and significantly influenced by collectors (and collections) of commercial country music, has maintained a southern, commercial focus for much of the past half-century. As such, scholarly and popular understanding of what, where, and who country music springs from has ignored significant regional vernacular forms and uses of country music. Ethnographic inquiry has made it possible to tell the story country music culture and traditions. Murphy illustrates his argument with examples from New England, the Mid-Atlantic, and Atlantic Canada.
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Sunardi, Christina. Maintaining Female Power through Male Style Dance. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038952.003.0002.
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This chapter explores some of the ways female dancers, as well as the mostly male musicians who accompany them, are maintaining and making cultural space for the expression of women's magnetic female power through women's performance of male style dance. It first establishes that for centuries, women in Java have expressed and embodied a magnetic power that is connected to their femaleness and that they have done so in myriad ways, and moreover that a certain ambivalence in the Javanese imagination has surrounded these expressions of female power. The chapter argues that, by performing male style dance, female dancers and (mostly) male musicians negotiated boundaries of gender and sex visually and sonically, maintaining and making cultural space for women's expression of female power despite pressures from state and society to control and subdue it.
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Wallace-Hadrill, Andrew, Andrew Wallace-Hadrill, Katherine L. French, Amanda Flather, Clive Edwards, Jane Hamlett, Despina Stratigakos, Joanne Berry, and Joanne Berry, eds. A Cultural History of the Home in Antiquity. Bloomsbury Publishing Plc, 2021. http://dx.doi.org/10.5040/9781474207140.
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‘Home’ is a powerful idea throughout antiquity, from Odysseus’ epic journey to recover his own home, nostalgically longed-for through his long absence, to the implanting of Christianity in the domestic sphere in late antiquity. We can recognise the idea even if there is no word for it that quite corresponds to our own: the Greek oikos and the Latin domus mean both house and family, the essential components of home. To attempt a history of ‘the home’ in antiquity means bringing together two separate, if closely related, fields of study. On the one hand, study of the family, both in the legal frameworks that define it as institution and the literary representations of it in daily life; on the other, archaeological study of the domestic setting, within which such relationships are played out. Ranging across a period of over a millennium, this collection looks at the home as a force of integration: of the worlds of family and of the outsider in hospitality; of the worlds of leisure and work; of the worlds of public and private life; of the world of practical structures and furnishings and the world of religion.
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Sunardi, Christina. Constructing Gender and Tradition through Senses of History. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038952.003.0004.
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This chapter looks at how performers constructed senses of gender—including boundaries of femaleness and maleness—as they established what comprised tradition through their senses of history. It emphasizes that the ways performers connected femaleness, the female style dance Beskalan Putri, the past, spiritual power, and Malang indicates ways of thinking that in effect maintain cultural space for the magnetic power of femaleness and connect female power to Malangan identity. The senses of femaleness and its power that performers associated with Beskalan Putri were so strong that they shaped the ways performers understood and talked about the histories of other dances discussed in this chapter, including Ngremo Lanang, Ngremo Putri, and Beskalan Lanang, as well as the expression of gender in these dances. These perceptions also provide deeper insight into what has concerned performers about the performance of Ngremo Tayub and Ngremo Putri since the 1990s.
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Santos, Frederico Rios C. dos. A Retórica da guerra cultural e o parlamento brasileiro: A argumentação no impeachment de Dilma Rousseff. Brazil Publishing, 2020. http://dx.doi.org/10.31012/978-65-86854-47-3.
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The origin of the term “culture wars” is controversial. It was in the United States, however, that the expression became popularized, through the publication of Culture Wars, by James Davison Hunter, in 1991. It was a description of the clash between two antagonistic world views, a conservative one, often associated with political right, and a progressive one, predominantly related to the left, but not only. Cultural war brings with it social and moral problems that concern, for example, sexuality, behavior, race, religiosity, etc., but which may also involve political and economic issues. From the point of view of language, it is asked: in view of these cultural clashes in society, would there be a rhetoric that is peculiar to it? Would it be possible to think of some regularities, even though this war has peculiar traits among countries and historical periods? To think about these issues, this work is based on the pronouncements made in the Chamber of Deputies of Brazil, during the vote on the admissibility of the impeachment of Dilma Rousseff, on April 17, 2016. With the help of concepts in Rhetoric and Discourse Analysis, the objective of the book is also to evaluate in which sense the arguments in the process of dismissing the former president contributed or not to the integrity of Parliament, considered the par excellence public space for deliberation of democratic societies.
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Blain, Keisha N., and Tiffany M. Gill, eds. To Turn the Whole World Over. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042317.001.0001.
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Black women in the United States and across the African diaspora have historically linked national concerns to global ones. This interdisciplinary collection explores the varied ways black women have engaged in internationalism since the late nineteenth century through political agitation, consumption activities and economic pursuits, leisure and religious practices, as well as performance and artistic expression. The essays in this collection employ diverse and innovative methodological approaches and explore new sites of internationalism, including Australia, Germany, and Spain. By highlighting the range and complexity of black women’s ideas and activities across time and space, this volume expands the contours of black internationalism in the United States and across the globe.
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Pate, Joseph, and Brian Kumm. Contemplating Compilations. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.6.
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Through this chapter the crafting of compilations is explored as an act, art, and expression of music making, illuminating the listeners’ and compilers’ positions as cocreators of meaning, function, and purpose. Music becomes repositioned and repurposed as found or sound objects that pass through Gaston Bachelard’s triptych of resonance, repercussion, and reverberations, a process of music speaking to so as to speak for individuals’ deeply personal and significantly meaningful experiences. The chapter addresses the question, “What motivates someone to partake in this personally meaningful, vulnerable, and artistic endeavor?” Using Josef Pieper’s conceptions of leisure as celebration, an orientation toward the wonderful, and an act of affirmation, the chapter concludes that the creation and crafting of compilations (e.g., mix tape) affords poetic spaces for connection, enchantment, felt-aliveness, or what Max van Manen called an “incantative, evocative speaking, a primal telling, [whose] aim [is] to involve the voice in an original singing of the world.”
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Hasan-Rokem, Galit. Jewish Folklore and Ethnography. Edited by Martin Goodman. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199280322.013.0038.
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This article describes folklore as a unique form of cultural creativity and expression and discusses Jewish folklore through the ages and the scholarship of Jewish folklore. Folklore is a form of creativity and expression that exists in all the cultures we know. It is characterized by its qualities of collectivity and tradition, by its oral mode of expression, and usually by anonymity. Folklore is created and transmitted among individuals and groups through all the audio-visual interpersonal channels of communication. The discussion offers remarks on the field of folkloristics, to facilitate the application of accepted general terminology to the survey of Jewish folklore. The collective aspect of folklore is expressed both in the immediate interaction established between performer and audience, and in the concept of authority and ownership of the work, that is considered as belonging to the group and not an individual.
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Mantie, Roger. Community Music and Rational Recreation. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.25.
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Care and concern for the welfare of others is a central tenet of community music. Care often masks deeper issues of power and control, however. This chapter interrogates the nature of community music care and concern through an examination of the ancient Greek concept of schole, and the concept of ‘rational recreation,’ a term used to describe the paternalist practices of late nineteenth century reformers who, through a programme of social control, sought to ensure people engaged their leisure time ‘wisely.’ Through an examination of leisure, rational recreation, education, and mass leisure, questions are raised about the benevolent intentions and innocent assumptions often made in the name of community music practice and cultural democracy.
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Redmon, Allen H., ed. Next Generation Adaptation. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832603.001.0001.
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Next Generation Adaptation: Spectatorship and Process explores the ways in which cross-cultural adaptations often stage a collusion between competing cultural capital. The collusion conceals and reveals commonalities and differences between these cultural traditions before giving way to the differences that can distinguish one textual expression from another, just as it ultimately distinguishes one set of readers from another. An adaptation of any sort, but especially those that cross accepted stereotypes, or geographic or political boundaries, provide spectators space to negotiate attitudes and ideas that might otherwise lay latent in the text. Spectators are left to parse through each, often with special attention to the differences that exist between two expressions. Each new set of readers, each generation, distinguishes itself from an earlier set of readers, even as they exist along the same family tree. Given enough time, some new shared organizing strategy emerges until a new encounter or new expression of a text restarts the adaptational process every adaptation can trigger. Taken together, the chapters in Next Generation Adaptation each argue that the texts they consider foreground the kinds of space that exists between texts, between political commitments, between ethical obligations that every filmic text can open when the text is experienced as an adaptation. The chapters esteem the expansive dialogue adaptations accelerate when they realize their capacity to bring together two or more texts, two or more peoples, two or more ideologies without allowing one expression to erase another.
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Bolden, Tony. Groove Theory. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830524.001.0001.
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Tony Bolden presents an innovative history of funk music focused on the performers, regarding them as intellectuals who fashioned a new aesthetic. Utilizing musicology, literary studies, performance studies, and African American intellectual history, Bolden explores what it means for music, or any cultural artifact, to be funky. Multitudes of African American musicians and dancers created aesthetic frameworks with artistic principles and cultural politics that proved transformative. Bolden approaches the study of funk and black musicians by examining aesthetics, poetics, cultural history, and intellectual history. The study traces the concept of funk from early blues culture to a metamorphosis into a full-fledged artistic framework and a named musical genre in the 1970s, and thereby Bolden presents an alternative reading of the blues tradition. Funk artists, like their blues relatives, tended to contest and contextualize racialized notions of blackness, sexualized notions of gender, and bourgeois notions of artistic value. Funk artists displayed contempt for the status quo and conveyed alternative stylistic concepts and social perspectives through multimedia expression. Bolden argues that on this road to cultural recognition, funk accentuated many of the qualities of black expression that had been stigmatized throughout much of American history.
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Brown, Andrew R. Algorithms and Computation in Music Education. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.17.
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The chapter discusses how bringing music and computation together in the curriculum offers socially grounded contexts for the learning of digital expression and creativity. It explores how algorithms codify cultural knowledge, how programming can assist students in understanding and manipulating cultural norms, and how these can play a part in developing a student’s musicianship. In order to highlight how computational thinking extends music education and builds on interdisciplinary links, the chapter canvasses the challenges, and solutions, involved in learning through algorithmic music. Practical examples from informal and school-based educational contexts are included to illustrate how algorithmic music has been successfully integrated with established and emerging pedagogical approaches.
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Chan, Leonard Kwok-Kou. Sense of Place and Urban Images. Edited by Carlos Rojas and Andrea Bachner. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199383313.013.20.
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Through a close reading of works by a number of different Hong Kong poets, this chapter analyzes how the poets construct an identity for themselves and their place by finding expression for their urban experience. The analysis focuses on North Point and Nathan Road—two of the busiest districts in Hong Kong—and their position within the poetic imagination. Paying particular attention to poetry’s sociohistorical function as a construction site of cultural memory, the discussion looks into the feeling of topophilia towards the places, as well as the sociocultural critique of the poems, which gives rise to an antithetical feeling of topophobia.
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Bielo, James S. Performing the Bible. Edited by Paul C. Gutjahr. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190258849.013.36.
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This chapter explores the phenomenon of performing the Bible; that is, transforming the written words of scriptures into materialized, experiential environments. Throughout the United States, the Bible is performed as replicas and re-creations of particular and general biblical scenes, characters, and stories through registers of museum, theme park, and garden. Distinctive insights into key dynamics of religious materiality and American religious history can be gained by closely analyzing the cultural production of sites that perform the Bible. Ultimately, the chapter argues that performing the Bible is a strategy for actualizing a problem that animates any and every lived expression of Christianity.
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Weil, Louis. Anglican Liturgical Developments in New Contexts. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199643011.003.0012.
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The deep roots of Anglican liturgical prayer in English history and culture raise the question of whether that liturgical tradition can achieve authentic expression in other cultural contexts. The planting of that tradition through missionary expansion in the Anglo-Americas did not initially raise that question because of the indebtedness of both Canada and the United States to their English origins. Even as the Anglican tradition was planted in non-Anglo environments, local liturgical practice long continued in the use of the 1662 Book of Common Prayer or of the substantially similar Book of Common Prayer of the Episcopal Church. Only in the latter part of the twentieth century was Anglican liturgical evolution seriously affected by cultural diversity.
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Harrell, D. Fox. Subjective Computing and Improvisation. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.003.
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Subjective computingis an approach to designing and understanding computational systems that serve improvisational, cultural, and critical aims typically exhibited in the arts. The termphantasmal mediadescribes media forms that evoke and reveal phantasms: blends of cultural knowledge and sensory imagination. Phantasmal media include subjective computing systems that deeply engage human culture, imagination, and aesthetics through computer programming (Harrell, 2009). Such subjective computing systems can powerfully useagency play(Harrell and Zhu, 2009), the interplay betweenuser agency(actions that users perform on systems) andsystem agency(experiences that the system enables for users), as a basis for creative expression. This chapter explores the relationship between user agency and system agency as analogous to the relationship between improvisation and composition. The result is a model articulating how subjective computing systems can embody an aesthetic approach grounded in improvisation.
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Guran, Petre. Slavonic Historical Writing in South-Eastern Europe, 1200–1600. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199236428.003.0017.
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This chapter considers the period from 1200 to 1600 because social and political realities of Southeastern Europe delineate such a delayed chronology. The latter term, beginning in the seventeenth century, marks the end of those medieval societies who used Slavonic for their cultural expression. The other main reason for this chronology is the fact that most of the literary production of ninth- and tenth-century Bulgaria is known through Russian literary activity. The chapter begins with the birth of new states using Slavonic as a cultural language on the territory of Byzantium at the end of the twelfth century. The chronological closing term of this study is marked by the two Romanian principalities, Wallachia and Moldavia, where court culture continued to use a medieval Slavonic dialect up to the beginning of the seventeenth century.
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Porter, Dilwyn. Sport and National Identity. Edited by Robert Edelman and Wayne Wilson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199858910.013.33.
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This chapter explores the role of sport in the construction of national identity. It focuses initially on sport as a cultural practice possessing the demonstrable capacity to generate events and experiences through which imagined communities are made real. The governments of nation-states or other political agencies might intervene directly in this process, using sport as a form of propaganda to achieve this effect. More often, however, the relationship between sport and national identity is reproduced in everyday life, flagged daily by the mass media as an expression of banal nationalism. Particular attention is given to the role of sports that are indigenous to particular nations and also to sports engaged in competitively between nations. These have contributed in different ways to the making of national identities.
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Fluhrer, Sandra, and Alexander Waszynski, eds. Tangieren - Szenen des Berührens. Rombach Wissenschaft, 2020. http://dx.doi.org/10.5771/9783968210032.
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Scenic representations in the arts and cultural practices create countless forms of contact. Not only are film, theatre, opera, performance and exhibitions forms of expression that evoke tactile and emotional responses, that is, that allow us to touch or that touch us in some way, but so are cultural theory and philology. This is achieved just as much through closeness and detachment and illusions of immediacy, or of an infectious or spellbinding nature as through forms of imagery, conceptuality and corporeality. Based on the concept of touching someone emotionally and from both historical and systematic perspectives, this book examines scenes which affect their viewers in some way. How can the tension between loss of distance and modulation in the process of evoking an emotional response at the point where aesthetic behaviour and reception meet and interact be described?
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Flynn, Shawn W. The Pre-Born Child. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198784210.003.0002.
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A previously unstudied stage of the child’s life in current scholarship, the pre-born child is an essential expression of the child’s life in the ancient Near East. Through Mesopotamian medical texts, personal letters, prayers, and the mythology that intersects with this data set, thought on pre-born and birthing children strongly suggests the child’s value in domestic cult. In particular the connection between child and deity is an important connection between the child and the domestic cult that underpins the question of value. This data illustrates how the child is understood in ancient Israel, showing that texts like Jeremiah 1 and Psalm 139 are rooted in a wider comparative matrix. Here we see where Israelite intersects and diverges from its cultural matrix to make unique claims about YHWH through the pre-born child.
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Rossen, Rebecca. Dancing Jews and Jewesses. Edited by Anthony Shay and Barbara Sellers-Young. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.019.
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In the 1930s, “Jewish dance” emerged in the United States as a category that drifted between ethnic and modern dance. Although some Jewish choreographers were able to transcend their ethnicity through the universalism of modern dance, others, like Belle Didjah and Dvora Lapson, were ghettoized by their overtly Jewish characterizations of Hasidic Jews or exotic Jewesses. Despite their exclusion from modern-dance history, Didjah and Lapson identified with modern dance, reinvented cultural traditions and rituals for the stage, and used the solo form to imagine expanded roles for women. Although some of their dances emphasized Jewish difference over assimilation, they aimed to make a place for Jewish expression on the American concert stage, and to expand possibilities for constructing Jewish-American identities through a mode of performance that was both ethnic and modern.
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Castellanos, Rosario. On Feminine Culture (1950). Translated by Carlos Alberto Sánchez. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190601294.003.0016.
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Sobre cultura femenina is Rosario Castellanos’s first attempt to champion women’s right to participate in the production of culture through certain forms of personal expression. Her argument centers on the notion that culture is a refuge for those who have been exiled from maternity, that is, that the realm of cultural production is reserved for those who are incapable or have chosen not to participate in the giving of human life. Because culture requires egoism and, since maternity is the ultimate rejection of egoism, women can participate in one or the other, but, she suggests, not both. Her immediate concern seems to be with those women who have a choice between maternity and producing culture and have chosen the latter. These women have been devalued and marginalized from opportunities that contribute to meaningful cultural production, a marginalization owed to those structures of patriarchy that have existed since antiquity.
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Linton, David. English West End Revue. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.5.
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London West End revue constituted a particular response to mounting social, political, and cultural insecurities over Britain’s status and position at the beginning of the twentieth century. These insecurities were compounded by growing demands for social reform: the call for women’s emancipation and the growth of the labour and the trade union movements created a climate of mounting disillusionment. Revue correlated the immediacy of this uncertain world, through a fragmented vocabulary of performance, placing satire, parody, social commentary, and critique at its core and achieving popularity by reflecting and responding to the variations of the new lived experiences. Experimenting with narrative and expressions of speech, movement, design, and sound, revue displaced the romanticism of musical comedy by combining satirical detachment with defiant sophistication in a manner that reflected the sensibility of a waning British hegemony as a cultural expression of the fragile and changing social and political order.
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Gareiss, Nicholas. An Buachaillín Bán. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199377329.003.0011.
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Helen O’Shea asserts that ‘Irish’ and ‘queer’ are mutually exclusive identifications in the discourse of Irish nationalism and Irish traditional arts. If indigenous Irish cultural practices are indeed devoid of queerness, how can queer dancers working within these forms make sense of their role as both cultural exponents and sexual and gender outsiders? Embodying alterity within idioms historically touted as the representation of essentialized Irishness, how do queer Irish step dancers negotiate their queerness through a dance form historically cast so close to the heteronormative heart of rural Ireland? This chapter queries the experience of the author to excavate nascent queerness within Irish traditional dance practice. Drawing upon his fifteen years of performance and ethnography with many of the luminaries of traditional Irish music and dance, the essay offers a queer reimagining of contemporary performance conventions of Irish step dance, revealing insights into the form’s ethnology and proposing new possibilities for Irish dance as a polysemic means of cultural and personal expression.
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Wheeler, Andrew. ‘God has come Amongst us Slowly and we didn’t Realise it!’ The Transformation of Anglican Missionary Heritage in Sudan. Edited by Mark Chapman, Sathianathan Clarke, and Martyn Percy. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199218561.013.19.
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This chapter examines the missionary origins, through the agency of the Church Missionary Society, of the Anglican Church in Sudan (the Episcopal Church of the Sudan) and its transformation during its 100-year history, with special reference to the last fifty years. It is a study of the cultural transformation of missionary heritage in the cauldron of war and devastation. In particular the experience of the Dinka and Azande people is reflected upon. The emergence of a truly vernacular Anglicanism is described, distinctive but also faithful to Anglican principle. The significance of Bible translation, vernacular liturgy, and hymns is assessed, and the role of this new indigenous expression of Christian faith in the emergence of a distinctive South Sudanese identity that would eventually lead to independence and the setting up of a new African state, South Sudan.
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Seitler, Dana. Reading Sideways. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823282623.001.0001.
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This book explores the pivotal role that various art forms played in American literary fiction in direct relation to the politics of gender and sexuality at the turn of the twentieth century. It tracks the transverse circulation of aesthetic ideas in fiction and argues that at stake in fin-de-siècle American writers’ aesthetic turn was not only the theorization of aesthetic experience, but also a fashioning forth of an understanding of aesthetic form in relation to political arguments and debates about available modes of sociability and cultural expression. To track these practices it performs an interpretive method Seitler calls “lateral reading,” a mode of interpretation that moves horizontally through various historical entanglements and across the fields of the arts to make sense of, and see in a new light, their connections, challenges, and productive frictions.
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Parr, Connal. Stewart Parker, the UWC Strike of May 1974, and Prisons. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198791591.003.0005.
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This chapter explores the UWC strike of May 1974 through the prism of playwright Stewart Parker. A native of East Belfast, Parker experimented with the dramatic form at the same time as structuring his work around the politics, divisions, and contradictions of his own community. The strike led to the destruction of the Sunningdale power-sharing Executive, though this was as much an expression of working-class Protestant power as an assault on the concept of nationalists (and Catholics) in power. This connectedly takes in Loyalist prisoners who began swelling the jails, a familiar academic concentration but seldom addressed through a cultural prism. Martin Lynch’s Chronicles of Long Kesh (2009) tackles the experience via a contested portrayal of Loyalist prisoners. The chapter ends with a return to Stewart Parker’s capacious and self-critical take on Ulster Protestant identity.
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Domínguez, Virginia R., and Jane C. Desmond, eds. Ana Mauad on Bán and Ellis. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040832.003.0023.
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This essay asks whether the world could be (or could become) its own imagined community in the 21st century. Thinking with and through Benedict Anderson’s Imagined Communities, Mauad contemplates Anderson’s shift from defining the “nation” from a political perspective to defining it in cultural and symbolic ways, and uses that to examine both Ban’s essay and Ellis’ essay in the book Global Perspectives on the United States. Mauad is interested in the large gap that has opened up between the kinds of global emphasis one sees nowadays and the relatively established “new American intra- and contingent hemispheric studies” on the other. Both essays, she writes, raise the issue of how cultural expression can suggest meanings and even proposals for a new world in a new century, whether drawing on popular culture or on “high art.” But Mauad also brings into the discussion ideas developed by Brazilian anthropologist Renato Ortiz on mundializacao and ways this differs from what is commonly called globalization (at least in the U.S.).
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Cardenas, Alexandra. Mexico and India. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.27.
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This chapter sheds light on the origin of two of the most vibrant live coding communities outside of the European continent: the Indian and the Mexican. Despite the fact that both communities find themselves in different stages of consolidation and that their origins diverge in their conceptualization, there are similarities that converge in the ‘hacker philosophy’ principles. Sharing, inclusion, transparency, technology appropriation, the lack of hierarchical organization, the involvement in social causes, and the need to generate positive communal impact are some of the characteristics that have turned live coding into a versatile and reachable way of expression for artists of both countries. Live coding seems to be a favourable environment in which many diverse artistic, economic, social, and cultural currents meet through the common interest of experimentation with algorithms. India and Mexico are proof that live coding thrives in freedom, inclusion and diversity.
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Thomas, Edmund. Performance Space. Edited by Daniel S. Richter and William A. Johnson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199837472.013.15.
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This chapter explores how public speakers of the second and third centuries ce, accustomed to extravagant physical demonstrations of their art, exploited the architectural spaces where they performed. Theaters, temples, and smaller roofed assembly buildings were all locations for oratorical performances and adapted to achieve stronger oral expression through sharper acoustics. As the demand for public speaking increased, halls were built specially, their materials chosen to enhance the voices of orators. With the vast wealth they accrued from their teaching and public speaking, “sophists” sponsored ambitious building projects, particularly gymnasia, which included spacious auditoria, as from the later second century the palaestra became an intellectual and cultural arena instead of an athletic space. Private houses too had lavishly decorated halls for public speaking, as both literary accounts and archaeological evidence attest. At Rome, the emperors’ projects, not only bath-gymnasia, but the imperial fora, were adapted to similar uses.
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Carrol, Alison. Reimagining Alsatian Identities. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198803911.003.0006.
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This chapter considers attempts to reimagine what it meant to be Alsatian after the region’s return to France through discussion of two areas of daily life: language and festivities. The region’s elites offered alternative visions of Alsace through debates over the use of French, German, and Alsatian dialect, and discussions over how the region’s past and present should be presented at festivities and in exhibitions. In so doing, they drew upon the region’s social and cultural practices, as well as its local context, position in France, and cross-border links. Their attempts are suggestive of questions over how to reconcile difference within the French nation, and their efforts to differentiate what was Alsatian from what was German reveal that rather than viewing loyalties in binary terms as ‘for or against’ France, nationalization in Alsace would be better understood as a spectrum that allowed for the expression of multiple loyalties and attachments.
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Borris, Kenneth. Platonism in Early Modern Poetics and Spenser’s Poesis. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198807070.003.0002.
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Outlining Platonism’s roles in early modern poetics and literary quests for the sublime, this chapter surveys relevant Italian, French, and English primary sources, whether Latin or vernacular. It distinguishes antipoetic usages of Platonism from “literary Platonism” (Platonizing approaches favorable to imaginative fiction, and their expression in the theory and practice of poetics). To define the latter, three main alternatives are compared: Horatian and Aristotelian poetics, and condemnation of poetry. Six sections address central themes of Platonizing literary advocacy: the true poet’s furor, worthy poetry’s uplifting beauty, its “cosmopoesis” or representation of the cosmos, its legitimacy because of its benefits to readers and communities, its powers of revealing truth through idealized mimesis, and its characteristic allegorism. Each section concludes by examining the Elizabethan literary context accordingly. Knowledge of Renaissance literary Platonism profoundly changes our understanding of the period’s poetics and major fictions, their cultural context, and their reception.
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Coutinho, Amanda. Trabalhadores da cultura. Brazil Publishing, 2020. http://dx.doi.org/10.31012/978-65-5861-133-2.
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This work unveils the composition, the structure, the expansions, the tensions, asymmetries, fights and ways of political-professional recognization of workers' culture in Brazil, having as specificity, the musical language considered independent. The cultural work, the artistic creation activities and the technical and technologic process associated to it are in the center of the capitalism transformation in the last times, whose ambiguities integrate the new global chains of specialized symbolic services and the transnational industries. Behind the expansion of the global cultural markets, there is the creation of symbolic-economic value propitiated through the art and culture´s fieldwork. Looking at the professional category of art, through a work's parameter contributes to reveal the reality of an area that has not been studied that much: of the self-management artist. It is about not only considering the artistic activities as profession, but as paradigmatic expression of the current market. Analyzing the specifications that allows to draw the independent musician's morphology, collaborates for the theorical debate of the artistic work and the public cultural politics, in its fundamental articulations.
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Jamil, Ghazala. Materiality of Culture and Identity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199470655.003.0002.
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This chapter opens with a brief survey of literature on spatialization of discrimination. It presents an account of Old Delhi and Seelampur. It investigates ideological purposes of production of space and asserts that urban space has been commodified by capitalism even in its quality as a place of play and leisure. Parts of the Muslim localities in the walled city are produced as museumized space for the adventurous neo-liberal consumer of artistic, cultural, historical, and architectural heritage. Simultaneously, Muslim localities (such as Seelampur) are produced as derelict, dense and illicit areas by discursive practice—journalists, social science/planning researchers, social work/development practitioners. It is asserted that the two processes of segregation through ‘representation of space’ are affected due to materiality of culture and identity. Cultural commodification and labour market segmentation, as two modes of accumulation, are aided by segregation.
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Green-Mercado, Mayte. Visions of Deliverance. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501741463.001.0001.
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This book traces the circulation of Muslim and crypto-Muslim apocalyptic texts known as joferes through formal and informal networks of merchants, Sufis, and other channels of diffusion among Muslims and Christians across the Mediterranean from Constantinople and Venice to Morisco towns in eastern Spain. The movement of these prophecies from the eastern to the western edges of the Mediterranean illuminates strategies of Morisco cultural and political resistance, reconstructing both productive and oppositional interactions and exchanges between Muslims and Christians in the early modern Mediterranean. Challenging a historiography that has primarily understood Morisco apocalyptic thought as the expression of a defeated group that was conscious of the loss of their culture and identity, this book depicts Moriscos not simply as helpless victims of Christian oppression but as political actors whose use of end-times discourse helped define and construct their society anew. The book helps us understand the implications of confessionalization, forced conversion, and assimilation in the early modern period and the intellectual and theological networks that shaped politics and identity across the Mediterranean in this era.
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Bick, Sally. Unsettled Scores. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042812.001.0001.
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Unsettled Scores treats the Hollywood activities of Aaron Copland and Hanns Eisler, who were among the earliest modernist composers to negotiate the collision of the high/low dichotomy within these two cultural realms. The social and political crises provoked by capitalism and war profoundly affected these ideals and, in turn, the men’s cultural and aesthetic thinking. Confronting and living through social crisis (Eisler during the instability of Weimar Germany and Copland through America’s Depression years), both composers experimented with new artistic forms and values, shaping their musical perspectives. Eventually, they turned to Hollywood, where they found possibilities to negotiate their distinct modernist aesthetics and political beliefs. The book approaches Copland’s and Eisler’s Hollywood activities through a dual study, pairing interpretations of their writings on the subject with close examination of their first film scores: Copland’s music for Lewis Milestone’s 1939 film Of Mice and Men and Eisler’s 1943 score for Hangmen Also Die!, directed by Fritz Lang. This study examines how the highly politicized and topical nature of these films appealed to each composer’s political ideologies concerning society and the human condition. Their scores became agents for political expression as they transformed their individual styles into the commercial sphere.
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Gutjahr, Paul C., ed. The Oxford Handbook of the Bible in America. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190258849.001.0001.
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The Oxford Handbook of the Bible in America is designed to address a noticeable void in resources focused on analyzing the Bible in America in specific historical moments and in relationship to specific institutions and cultural expressions. Paying attention to the Bible from its earliest appearance in seventeenth-century New England up through its presence and usage in twenty-first century America, this handbook takes seriously the fact that the Bible is both a physical object that has exercised considerable totemic power, as well as a text with a powerful intellectual design that has inspired a wide range of cultural rituals, social policies, and artistic expression. This Handbook brings together a number of established scholars, as well as younger scholars on the rise, to provide insightful overviews and rich bibliographic resources to those interested in the Bible’s role in the history of American cultural formation. Topics addressed in the Handbook include—but are not limited to—the Bible’s production, translation, distribution, and interpretation in the United States, the Bible’s usage and relationship to a host of American religious traditions and social movements, as well the Bible’s linkage to such things as American cinema, literature, art, music, amusement parks, environmentalism, theories of gender and race, education, and politics.
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Jones, Kevin M. The Dangers of Poetry. Stanford University Press, 2020. http://dx.doi.org/10.11126/stanford/9781503613393.001.0001.
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Poetry has long dominated the cultural landscape of modern Iraq, simultaneously representing the literary pinnacle of high culture and giving voice to the popular discourses of mass culture. As the favored genre of culture expression for religious clerics, nationalist politicians, leftist dissidents, and avant-garde intellectuals, poetry critically shaped the social, political, and cultural debates that consumed the Iraqi public sphere in the twentieth century. The popularity of poetry in modern Iraq, however, made it a dangerous practice that carried serious political consequences and grave risks to dissident poets. The Dangers of Poetry is the first book to narrate the social history of poetry in the modern Middle East. Moving beyond the analysis of poems as literary and intellectual texts, Kevin Jones shows how poems functioned as social acts that critically shaped the cultural politics of revolutionary Iraq. He narrates the history of three generations of Iraqi poets who navigated the fraught relationship between culture and politics in pursuit of their own ambitions and agendas. Through this historical analysis of thousands of poems published in newspapers, recited in popular demonstrations, and disseminated in secret whispers, this book reveals the overlooked contribution of these poets to the spirit of rebellion in modern Iraq.
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Leathem, Karen Trahan. Walking Raddy. Edited by Kim Vaz-Deville. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817396.001.0001.
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Since 2004, the Baby Doll Mardi Gras tradition in New Orleans has gone from an obscure, almost-forgotten practice to a flourishing cultural force. The original Baby Dolls were groups of black women, and some men, in the early Jim Crow era who adopted New Orleans street-masking tradition as a unique form of fun and self-expression against a backdrop of racial discrimination. Wearing short dresses, bloomers, bonnets, and garters with money tucked tight, they strutted, sang ribald songs, chanted, and danced on Mardi Gras Day and on St. Joseph feast night. Today’s Baby Dolls continue the tradition of one of the first street women's masking and marching groups in the United States. They joyfully and unabashedly defy gender roles, claiming public space and proclaiming through their performance their right to social citizenship. Essayists draw on interviews, theoretical perspectives, archival material, and historical assessments to describe women’s cultural performances that take place on the streets of New Orleans. They recount the history and contemporary resurgence of the Baby Dolls while delving into the larger cultural meaning of the phenomenon. Over 140 color photographs and personal narratives of immersive experiences provide passionate testimony of the impact of the Baby Dolls on their audiences. Fifteen artists offer statements regarding their work documenting and inspired by the tradition as it stimulates their imagination to present a practice that revitalizes the spirit.
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Lohne, Kjersti. Advocates of Humanity: Human Rights NGOs in International Criminal Justice. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198818748.001.0001.
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Advocates of Humanity offers an analysis of international criminal justice from the perspective of sociology of punishment by exploring the role of human rights organizations in their mobilization for global justice through the International Criminal Court. Based on multi-sited ethnography, primarily in The Hague and Uganda, the author approaches the transnational networks of NGOs advocating for the ICC as an ethnographic object. A central objective is to explore how connections are made, and how forces and imaginations of global criminal justice travel. By analysing how international criminal justice is arranged spatially, and as such expresses social, political, and cultural relations of power, Advocates of Humanity shows how international criminal justice is situated in particular spaces, networks, and actors, and how they structure the imaginations of justice circulating in the field. From a sociology of punishment perspective, it compares the ‘penal imaginations’ of domestic and international criminal justice, and considers the particularly central role of victims as a universalized symbol of humanity for the legitimacy of international criminal justice. With clear global asymmetries emerging from the work, Advocates of Humanity provides descriptive as well as explanatory understandings of criminal punishment ‘gone global’, analysing its social causation while examining its cultural meanings, particularly as regards its role as an expression of ‘the international’ will to punish. To whom is it meaningful, and why?
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Vander Wel, Stephanie. Hillbilly Maidens, Okies, and Cowgirls. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043086.001.0001.
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Well before the success of Loretta Lynn and Dolly Parton, female artists were integral to the commercial expansion and aural reception of country music. Women in early country music took on and redefined the theatrical and musical roles of the hillbilly maiden, the unruly Okie, the singing cowgirl, and the honky-tonk angel in live performance, on radio, in film, and in the recording studio. This book accounts for the vibrant presence of female country artists through an interdisciplinary focus on performance and vocal expression in relation to the cultural currents of the 1930s and 1950s. Across a variety of media, women’s country music engendered new ways of making sense of public and private spaces (such as the home, the dance hall, and the honky-tonk) that were integral to the real and imagined lives of working-class women striving for upward social mobility and/or resisting the rigidity of middle-class codes of behavior. Connecting the female singing voice to the theatrics of the popular stage and to the musical practices of specific country styles, this study shows how women in country music wielded a range of performative devices in order to work within and against social and commercial expectations.
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Schlapbach, Karin. The Anatomy of Dance Discourse. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807728.001.0001.
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This book makes an original contribution to the newly thriving field of ancient Greek and Roman performance and dance studies. It offers a better grasp of ancient perceptions and conceptualizations of dance through the lens of literary texts. It gives attention not only to the highly encoded genre of pantomime, which dominates the stages in the Roman Empire, but also to acrobatic, non-representational dances. It is distinctive in its juxtaposition of ancient theorizations of dance with literary depictions of dance scenes. Part I explores the contact zones of ancient dance discourse with other areas of cultural expression, especially language and poetry, rhetoric and art, and philosophy and religion. Part II discusses ekphraseis of dance performances in prose and poetry. The main bulk of the book focuses roughly on the second century CE (discussing Plutarch, Lucian of Samosata, Athenaeus, the apocryphal Acts of John, Longus, and Apuleius), with excursions to Xenophon and Nonnus. Dance is performative and dynamic, and its way to cognition and action is physical experience. This book argues that dance was understood as a practice in which human beings, whether as dancers or spectators, are confronted with the irreducible reality of their own physical existence, which is constantly changing.
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Murphy, Joanne M. A., ed. Death in Late Bronze Age Greece. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190926069.001.0001.
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Late Bronze Age tombs in Greece and their attendant mortuary practices have been a topic of scholarly debate for over a century, dominated by the idea of a monolithic culture with the same developmental trajectories throughout the region. This book contributes to that body of scholarship by exploring both the level of variety and of similarity in the practices at each site and thereby highlights the differences between communities that otherwise look very similar. Bringing together an international group of scholars working on tombs and cemeteries on mainland Greece, Crete, and in the Dodecanese, the volume affords a unique view of the development and diversity of these communities. The chapters provide a penetrative analysis of the related issues by discussing tombs connected with sites ranging in size from palaces to towns to villages and in date from the start to the end of the Late Bronze Age. This book contextualizes the mortuary studies in recent debates on diversity at the main palatial and secondary sites and between the economic and political strategies and practices throughout Greece. The chapters in the volume illustrate the pervasive connection between the mortuary sphere and society through the creation and expression of cultural narratives, and draw attention to the social tensions played out in the mortuary arena.
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Marín, Yarí Pérez. Marvels of Medicine. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622508.001.0001.
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Marvels of Medicine makes a compelling case for including sixteenth century medical and surgical writing in the critical frameworks we now use to think about a genealogy of cultural expression in Latin America. Focusing on a small group of practitioners who differed in their levels of training, but who shared the common experience of having left Spain to join colonial societies in the making, this book analyses the paths their texts charted to attitudes and political positions that would come to characterize a criollo mode of enunciation. Unlike the accounts of first explorers, which sought to amaze audiences back in Europe with descriptions of strange and astonishing lands, these texts instead engaged the marvellous in an effort to supersede it, stressing the value of sensorial experience and of verifying information through repetition and demonstration. Vernacular medical writing became an unlikely early platform for a new form of regionally anchored discourse that demanded participation in a global intellectual conversation yet found itself increasingly relegated to the margins. In responding to that challenge, anatomical treatises, natural histories and surgical manuals exceeded the bounds set by earlier templates becoming rich, hybrid narratives that were as concerned with science as with portraying the lives and sensibilities of women and men in early colonial Mexico.