First published in 1880, Lew Wallace’s Ben-Hur is one of the best-selling novels of all time. Employing analytical strategies from the fields of literature, fan studies, reception history, and media research, Barbara Ryan traces Ben-Hur’s popularity from 1880 to 1924. She analyzes fan mail as well as a wide range of manuscript and print sources, using as her starting place two letters in which admirers declared that they would rather be the author of Ben-Hur than to be President of the United States. Ryan’s discussion of the novel in terms of its contemporary fandom makes it possible for her to dispel misconceptions about the novel’s audience which include assumptions about its popularity with all Christians. She makes fascinating connections between Ben-Hur, slavery discourse, and the changing nature of U.S. politics to challenge critics who assume that Wallace consciously used a sure-fire formula. By shedding light on attempts to squash the novel’s popularity, Ryan examines dramatizations of Ben-Hur by amateurs and on Broadway. Her in-depth reception history of Ben-Hur’s incarnations in print and on stage establishes the novel’s importance for understanding nineteenth-century U.S. literature, politics, and culture.
Today’s public schools represent a demographic of students that are more diverse than ever before. In turn, culturally responsive and affirming teaching practices should mirror the academic, social, and cultural needs of an ever-increasing population of diverse students. Through multicultural education students can discover the ways they are shaped by their own culture, as well as learn more about others. Multicultural education practices provide mutually beneficial dialogue between cultures, and the pedagogical practices increase learning outcomes for not just the ethnically and racially diverse, but all students who are participatory in the content. This book provides educational stakeholders with culturally relevant and affirming techniques for utilizing multicultural literature as a pedagogical tool in social studies, mathematics, science, and reading. Each chapter provides a brief summary about the selected multicultural text and also contains an instructional strategy to be used. Following this, an inquiry-based lesson is provided with supplementary materials and resources that allow for K-12 differentiation.
Many masterpieces of central African sculpture were created to amplify the power of sacred relics that affirm a family's vital connection to its ancestral heritage. This important volume, focusing on some 130 works representing a diverse variety of regional genres, illuminates the purpose and significance of these icons of African art, which first came to prominence because of their appeal to the Western avant-garde. While providing an overview of sources ranging from colonial explorers, missionaries, critics, artists, and art historians, the book breaks new ground in its examination of the complex aesthetic and spiritual dimensions of the reliquaries. Its interdisciplinary approach brings together the perspectives of scholars in African and medieval art history along with those in African history, religion, and ethnography." -- Publisher.
The year was 1896, the woman was Alice Guy-Blaché, and the film was The Cabbage Fairy. It was less than a minute long. Guy-Blaché, the first female director, made hundreds of movies during her career. Thousands of women with passion and commitment to storytelling followed in her footsteps. Working in all aspects of the movie industry, they collaborated with others to create memorable images on the screen. This book pays tribute to the spirit, ambition, grit and talent of these filmmakers and artists. With more than 1200 women featured in the book, you will find names that everyone knows and loves—the movie legends. But you will also discover hundreds and hundreds of women whose names are unknown to you: actresses, directors, stuntwomen, screenwriters, composers, animators, editors, producers, cinematographers and on and on. Stunning photographs capture and document the women who worked their magic in the movie business. Perfect for anyone who enjoys the movies, this photo-treasury of women and film is not to be missed.
Pathologizing Black Bodies reconsiders the black body as a site of cultural and corporeal interchange; one involving violence and oppression, leaving memory and trauma sedimented in cultural conventions, political arrangements, social institutions and, most significantly, materially and symbolically engraved upon the body, with “the self” often deprived of agency and sovereignty. Consisting of three parts, this study focuses on works of the twentieth- and twenty-first-century fiction and cultural narratives by mainly African American authors, aiming to highlight the different ways in which race has been pathologized in America and examine how the legacies of plantation ideology have been metaphorically inscribed on black bodies. The variety of analytical approaches and thematic foci with respect to theories and discourses surrounding race and the body allow us to delve into this thorny territory in the hope of gaining perspectives about how African American lives are still shaped and haunted by the legacies of plantation slavery. Furthermore, this volume offers insights into the politics of eugenic corporeality in an illustrative dialogue with the lasting carceral and agricultural effects of life on a plantation. Tracing the degradation and suppression of the black body, both individual and social, this study includes an analysis of the pseudo-scientific discourse of social Darwinism and eugenics; the practice of mass incarceration and the excessive punishment of black bodies; and food apartheid and USDA practices of depriving black farmers of individual autonomy and collective agency. Based on such an interplay of discourses, methodologies and perspectives, this volume aims to use literature to further examine the problematic relationship between race and the body and stress that black lives do indeed matter in the United States.
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