Beth Clure's Books

Over the past several years, Anglo-Saxon studies-alongside the larger field of medieval studies-has undergone a reckoning. Outcries against the misogyny and sexism of prominent figures in the field have quickly turned to issues of racism, prompting Anglo-Saxonists to recognize an institutional, structural whiteness that not only bars the door to people of color but also prohibits scholars from confronting the very idea that race and racism operate within the field's scholarship, scholarly practices, and intellectual history. Anglo-Saxon(ist) Pasts, postSaxon Futures traces the integral role that colonialism and racism play in Anglo-Saxon studies by tracking the development of the "Anglo-Saxonist," an overtly racialized term that describes a person whose affinities point towards white nationalism. That scholars continue to call themselves "Anglo-Saxonists," despite urgent calls to combat racism within the field, suggests that this term is much more than just a professional appellative. It is, this book argues, a ghost in the machine of Anglo-Saxon studies-a spectral figure created by a group of nineteenth-century historians, archaeologists, and philologists responsible for not only framing the interdisciplinary field of Anglo-Saxon studies but for also encoding ideologies of British colonialism and Anglo-American racism within the field's methods and pedagogies. Anglo-Saxon(ist) pasts, postSaxon Futures is at once a historiography of Anglo-Saxon studies, a mourning of its Anglo-Saxonist "fathers," and an exorcism of the colonial-racial ghosts that lurk within the field's scholarly methods and pedagogies. Part intellectual history, part grief work, this book leverages the genres of literary criticism, auto-ethnography, and creative nonfiction in order to confront Anglo-Saxonist pasts in order to imagine speculative postSaxon futures inclusive of voices and bodies heretofore excluded from the field of Anglo-Saxon studies"--

Eminent contributors from the fields of art, literature, and contemporary culture work together to provide a wide-ranging introduction to American art as well as to the Whitney Museum's unparalleled collection. 105 color plates. 130 b&w illustrations.

Laurie Beth Jones proves you dont have to be a mystic to possess visionary powers. The capacity to offer and receive prophecy exists in all of us, right now. Prophecy can come from anywhere. Even when couched in negative terms, prophecy can have a provocative and healing effect, spurring us on to accomplish things out of determination to prove others wrong. Showing us the force inherent in our words, Jones reveals that merely by naming something, we can call it forth. Anyone can access this power, but she encourages readers to use prophecy responsibly.

Depicts scenes from seven familiar fairy tales with accompanying labels for various details in the pictures.

Encourages the reader to produce a number of different pictures by using the enclosed mirror.

Introduces left- and right-handedness by asking readers to place each hand in specific places on the page.

The reader may guess the content of seven boxes by using a series of clues on the box flap.

Transparent overlays provide an inside look at a flower, a volcano, a car, and the human body.

Demonstrates that basic shapes can be combined to form different objects.

The reader finds answers to questions about eight pictures concealed behind half-page flaps.

Book's by Beth Clure

AngloSaxon(ist) Pasts, PostSaxon Futures

AngloSaxon(ist) Pasts, PostSaxon Futures

Frames of Reference

Frames of Reference

Power of Positive Prophecy

Power of Positive Prophecy

Come with Me

Come with Me

Mirror Magic

Mirror Magic

Matching Hands

Matching Hands

Surprise Boxes

Surprise Boxes

What's Inside?

What's Inside?

What Can it Be?

What Can it Be?

Can You Guess?

Can You Guess?

Username

Password

Username

Password

Password again

Birthday

Email