In Song of Exile, David Stowe reconstructs the rich and varied reception history of Psalm 137 using textual analysis, historical overview, and a study of the psalm's place in popular culture. He weaves together the fascinating story of how the psalm has both shaped and been shaped by our understanding of violence, pain, oppression, and justice.
Drawing on memoirs, oral histories, newspapers, magazines, recordings, photographs, literature, and films, Stowe looks at New Deal America through its music and shows us how the contradictions and tensions within swing--over race, politics, its own cultural status, the role of women--mirrored those played out in the larger society.
In this cultural history of evangelical Christianity and popular music, David Stowe demonstrates how mainstream rock of the 1960s and 1970s has influenced conservative evangelical Christianity through the development of Christian pop music. The chart-topping, spiritually inflected music created a space in popular culture for talk of Jesus, God, and Christianity, thus lessening for baby boomers and their children the stigma associated with religion while helping to fill churches and create new modes of worship. Stowe shows how evangelicals' increasing acceptance of Christian pop music ultimately has reinforced a variety of conservative cultural, economic, theological, and political messages.
Oft-referenced and frequently set to music, Psalm 137 - which begins "By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion" - has become something of a cultural touchstone for music and Christianity across the Atlantic world. It has been a top single more than once in the 20th century, from Don McLean's haunting Anglo-American folk cover to Boney M's West Indian disco mix. In Song of Exile, David Stowe uses a wide-ranging, interdisciplinary approach that combines personal interviews, historical overview, and textual analysis to demonstrate the psalm's enduring place in popular culture. The line that begins Psalm 137 - one of the most lyrical of the Hebrew Bible - has been used since its genesis to evoke the grief and protest of exiled, displaced, or marginalized communities. Despite the psalm's popularity, little has been written about its reception during the more than 2,500 years since the Babylonian exile. Stowe locates its use in the American Revolution and the Civil Rights movement, and internationally by anti-colonial Jamaican Rastafari and immigrants from Ireland, Korea, and Cuba. He studies musical references ranging from the Melodians' Rivers of Babylon to the score in Kazakh film Tulpan. Stowe concludes by exploring the presence and absence in modern culture of the often-ignored final words: "Happy shall he be, that taketh and dasheth thy little ones against the stones." Usually excised from liturgy and forgotten by scholars, Stowe finds these words echoed in modern occurrences of genocide and ethnic cleansing, and more generally in the culture of vengeance that has existed in North America from the earliest conflicts with Native Americans. Based on numerous interviews with musicians, theologians, and writers, Stowe reconstructs the rich and varied reception history of this widely used, yet mysterious, text.
Stowe traces the evolution of sacred music from colonial times to the present, from the Puritans to Sun Ra, and shows how these cultural encounters have produced a rich harvest of song and faith.
Drawing on memoirs, oral histories, newspapers, magazines, recordings, photographs, literature, and films, Stowe looks at New Deal America through its music and shows us how the contradictions and tensions within swing--over race, politics, its own cultural status, the role of women--mirrored those played out in the larger society.
Drawing on a selection of the best British and American detective fiction past and present, Lehman takes readers on a probing investigation of why men and women of all educational and social backgrounds are continually fascinated by the murder mystery.
The titanic three-day battle of Gettysburg left 50,000 casualties in its wake, a battered Southern army far from its base of supplies, and a rich historiographic legacy. Thousands of books and articles cover nearly every aspect of the battle, but not a single volume focuses on the military aspects of the monumentally important movements of the armies to and across the Potomac River. One Continuous Fight: The Retreat from Gettysburg and the Pursuit of Lee's Army of Northern Virginia, July 4-14, 1863 is the first detailed military history of Lee's retreat and the Union effort to catch and destroy the wounded Army of Northern Virginia. Against steep odds and encumbered with thousands of casualties, Confederate commander Robert E. Lee's post-battle task was to successfully withdraw his army across the Potomac River. Union commander George G. Meade's equally difficult assignment was to intercept the effort and destroy his enemy. The responsibility for defending the exposed Southern columns belonged to cavalry chieftain James Ewell Brown (Jeb) Stuart. If Stuart fumbled his famous ride north to Gettysburg, his generalship during the retreat more than redeemed his flagging reputation. The ten days of retreat triggered nearly two dozen skirmishes and major engagements, including fighting at Granite Hill, Monterey Pass, Hagerstown, Williamsport, Funkstown, Boonsboro, and Falling Waters. President Abraham Lincoln was thankful for the early July battlefield victory, but disappointed that General Meade was unable to surround and crush the Confederates before they found safety on the far side of the Potomac. Exactly what Meade did to try to intercept the fleeing Confederates, and how the Southerners managed to defend their army and ponderous 17-mile long wagon train of wounded until crossing into western Virginia on the early morning of July 14, is the subject of this study One Continuous Fight draws upon a massive array of documents, letters, diaries, newspaper accounts, and published primary and secondary sources. These long-ignored foundational sources allow the authors, each widely known for their expertise in Civil War cavalry operations, to describe carefully each engagement. The result is a rich and comprehensive study loaded with incisive tactical commentary, new perspectives on the strategic role of the Southern and Northern cavalry, and fresh insights on every engagement, large and small, fought during the retreat. The retreat from Gettysburg was so punctuated with fighting that a soldier felt compelled to describe it as "One Continuous Fight." Until now, few students fully realized the accuracy of that description. Complimented with 18 original maps, dozens of photos, and a complete driving tour with GPS coordinates of the entire retreat, One Continuous Fight is an essential book for every student of the American Civil War in general, and for the student of Gettysburg in particular. About the Authors: Eric J. Wittenberg has written widely on Civil War cavalry operations. His books include Glory Enough for All (2002), The Union Cavalry Comes of Age (2003), and The Battle of Monroe's Crossroads and the Civil War's Final Campaign (2005). He lives in Columbus, Ohio. J. David Petruzzi is the author of several magazine articles on Eastern Theater cavalry operations, conducts tours of cavalry sites of the Gettysburg Campaign, and is the author of the popular "Buford's Boys" website at www.bufordsboys.com. Petruzzi lives in Brockway, Pennsylvania. A long time student of the Gettysburg Campaign, Michael Nugent is a retired US Army Armored Cavalry Officer and the descendant of a Civil War Cavalry soldier. He has previously written for several military publications. Nugent lives in Wells, Maine.
In this cultural history of evangelical Christianity and popular music, David Stowe demonstrates how mainstream rock of the 1960s and 1970s has influenced conservative evangelical Christianity through the development of Christian pop music. For an earlier
Stowe traces the evolution of sacred music from colonial times to the present, from the Puritans to Sun Ra, and shows how these cultural encounters have produced a rich harvest of song and faith.
Formed in 1972, Jesus People USA is an evangelical Christian community that fundamentally transformed the American Christian music industry and the practice of American evangelicalism, which continues to evolve under its influence. In this fascinating ethnographic study, Shawn David Young replays not only the growth and influence of the group over the past three decades but also the left-leaning politics it developed that continue to serve as a catalyst for change. Jesus People USA established a still-thriving Christian commune in downtown Chicago and a ground-breaking music festival that redefined the American Christian rock industry. Rather than join "establishment" evangelicalism and participate in what would become the megachurch movement, this community adopted a modified socialism and embraced forms of activism commonly associated with the New Left. Today the ideological tolerance of Jesus People USA aligns them closer to liberalism than to the religious right, and Young studies the embodiment of this liminality and its challenge to mainstream evangelical belief. He suggests the survival of this group is linked to a growing disenchantment with the separation of public and private, individual and community, and finds echoes of this postmodern faith deep within the evangelical subculture.
The New Gettysburg Campaign Handbook is an informative full-color guide for American Civil War and Gettysburg enthusiasts of all ages. Authors J. David Petruzzi and Steven Stanley use clear and concise writing broken down into short and easy to understand chapters complete with original maps, modern and historic photographs, tables, charts, and artwork to narrate the history of the Gettysburg Campaign from the opening battle at Brandy Station in Virginia on June 9, 1863, to the escape of Gen. Robert E. Lee’s Confederate Army of Northern Virginia across the Potomac River on July 14, 1863. Chapters include quotes of interest from participants, tables and charts of the ages and seniority ranking of the generals of both sides; weather observations during the battle; a stunning photographic study of the entire campaign; a discussion of the battle’s myths and controversies; biographies of select officers, civilians, and battlefield photographers; trivia about the campaign; a comprehensive order of battle; a suggested reading list and websites; and much more. As enjoyable to look at as it is easy to use, every casual and serious student of the Civil War and Gettysburg will want a copy of The New Gettysburg Campaign Handbook as a constant companion while reading other books on the campaign—and even as a supplement and general field guide while walking the hallowed Pennsylvania ground. About the Authors: J. David Petruzzi is an award-winning Civil War cavalry historian. He is the author of many articles for a wide variety of publications, and has written or co-authored several books including: (with Eric Wittenberg) Plenty of Blame to Go Around: Jeb Stuart’s Controversial Ride to Gettysburg (Savas Beatie, 2006); (with Wittenberg and Michael F. Nugent) One Continuous Fight: The Retreat from Gettysburg and the Pursuit of Lee’s Army of Northern Virginia, July 4-14, 1863 (Savas Beatie, 2008); and (with Steven Stanley) The Complete Gettysburg Guide: Walking and Driving Tours of the Battlefield, Town, Cemeteries, Field Hospital Sites, and other Topics of Historical Interest (Savas Beatie, 2009), winner of the U.S. Army Historical Foundation’s 2009 Distinguished Writing Award, Reference Category. With Stanley, he also produced The Complete Gettysburg Guide: Audio Driving and Walking Tour, Volume One: The Battlefield (Savas Beatie, 2010). Steven Stanley lives in Gettysburg and is a graphic artist specializing in historical map design and battlefield photography. His maps, considered among the best in historical cartography, have been a longtime staple of the Civil War Trust and have helped raise millions of dollars for the Trust through their preservation appeals and interpretation projects. Steve’s maps have appeared in a wide variety of publications. Co-authored by J. David Petruzzi, Steve produced the maps and the complete design of The Complete Gettysburg Guide: Walking and Driving Tours of the Battlefield, Town, Cemeteries, Field Hospital Sites, and other Topics of Historical Interest (Savas Beatie, 2009), the winner of the U.S. Army Historical Foundation’s 2009 Distinguished Writing Award, Reference Category, as well as The Complete Gettysburg Guide: Audio Driving and Walking Tour, Volume One: The Battlefield (Savas Beatie, 2010).
The Longman Compact Anthology of British Literature" is a concise and thoughtfully arranged survey of British literature. Within its pages, canonical authors mingle with newly visible writers; English accents are heard next to Anglo-Norman, Welsh, Gaelic, and Scottish ones; female and male voices are set in dialogue; literature from the British Isles is integrated with post-colonial writing; and major works are illuminated by clusters of shorter texts that bring literary, social, and historical issues vividly to life. Readers interested in British Literature.
Co-authored by three prominent philosophers of art, Jazz and the Philosophy of Art is the first book in English to be exclusively devoted to philosophical issues in jazz. It covers such diverse topics as minstrelsy, bebop, Voodoo, social and tap dancing, parades, phonography, musical forgeries, and jazz singing, as well as Goodman’s allographic/autographic distinction, Adorno’s critique of popular music, and what improvisation is and is not. The book is organized into three parts. Drawing on innovative strategies adopted to address challenges that arise for the project of defining art, Part I shows how historical definitions of art provide a blueprint for a historical definition of jazz. Part II extends the book’s commitment to social-historical contextualism by exploring distinctive ways that jazz has shaped, and been shaped by, American culture. It uses the lens of jazz vocals to provide perspective on racial issues previously unaddressed in the work. It then examines the broader premise that jazz was a socially progressive force in American popular culture. Part III concentrates on a topic that has entered into the arguments of each of the previous chapters: what is jazz improvisation? It outlines a pluralistic framework in which distinctive performance intentions distinguish distinctive kinds of jazz improvisation. This book is a comprehensive and valuable resource for any reader interested in the intersections between jazz and philosophy.
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