Monstrous Kinds is the first book to explore textual representations of disability in the global Renaissance. Elizabeth B. Bearden contends that monstrosity, as a precursor to modern concepts of disability, has much to teach about our tendency to inscribe disability with meaning. Understanding how early modern writers approached disability not only provides more accurate genealogies of disability, but also helps nuance current aesthetic and theoretical disability formulations. The book analyzes the cultural valences of early modern disability across a broad national and chronological span, attending to the specific bodily, spatial, and aesthetic systems that contributed to early modern literary representations of disability. The cross section of texts (including conduct books and treatises, travel writing and wonder books) is comparative, putting canonical European authors such as Castiglione into dialogue with transatlantic and Anglo-Ottoman literary exchange. Bearden questions grand narratives that convey a progression of disability from supernatural marvel to medical specimen, suggesting that, instead, these categories coexist and intersect.
The ancient Greek romances of Achilles Tatius and Heliodorus were widely imitated by early modern writers such as Miguel de Cervantes, Philip Sidney, and Mary Wroth. Like their Greek models, Renaissance romances used ekphrasis, or verbal descriptions of visual representation, as a tool for characterization. The Emblematics of the Self shows how the women, foreigners, and non-Christians of these tales reveal their identities and desires in their responses to the 'verbal pictures' of romance. Elizabeth B. Bearden illuminates how 'verbal pictures' enliven characterization in English, Spanish, and Neolatin romances from 1552 to 1621. She notes the capacity for change among characters -- such as cross-dressed Amazons, shepherdish princesses, and white Mauritanians -- who traverse transnational cultural and aesthetic environments. Engaging and rigorous, The Emblematics of the Self breaks new ground in understanding hegemonic and cosmopolitan European conceptions of the 'other, ' as well as new possibilities for early modern identities, in an increasingly global Renaissance.
Romare Bearden (1911–1988), one of the most prolific, original, and acclaimed American artists of the twentieth century, richly depicted scenes and figures rooted in the American South and the Black experience. Bearden hailed from North Carolina but was forced to relocate to the North when a white mob harassed his family in the 1910s. His family story is a compelling, complicated saga of Black middle-class achievement in the face of relentless waves of white supremacy. It is also a narrative of the generational trauma that slavery and racism inflicted over decades. But as Glenda Gilmore reveals in this trenchant reappraisal of Bearden's life and art, his work reveals his deep imagination, extensive training, and rich knowledge of art history. Gilmore explores four generations of Bearden's family and highlights his experiences in North Carolina, Pittsburgh, and Harlem. She engages deeply with Bearden's art and considers it as an alternative archive that offers a unique perspective on the history, memory, and collective imagination of Black southerners who migrated to the North. In doing so, she revises and deepens our appreciation of Bearden's place in the artistic canon and our understanding of his relationship to southern, African American, and American cultural and social history.
Romare Bearden (1911–1988), one of the most prolific, original, and acclaimed American artists of the twentieth century, richly depicted scenes and figures rooted in the American South and the Black experience. Bearden hailed from North Carolina but was forced to relocate to the North when a white mob harassed his family in the 1910s. His family story is a compelling, complicated saga of Black middle-class achievement in the face of relentless waves of white supremacy. It is also a narrative of the generational trauma that slavery and racism inflicted over decades. But as Glenda Gilmore reveals in this trenchant reappraisal of Bearden's life and art, his work reveals his deep imagination, extensive training, and rich knowledge of art history. Gilmore explores four generations of Bearden's family and highlights his experiences in North Carolina, Pittsburgh, and Harlem. She engages deeply with Bearden's art and considers it as an alternative archive that offers a unique perspective on the history, memory, and collective imagination of Black southerners who migrated to the North. In doing so, she revises and deepens our appreciation of Bearden's place in the artistic canon and our understanding of his relationship to southern, African American, and American cultural and social history.
A volume in the Poets on Poetry series, which collects critical works by contemporary poets, gathering together the articles, interviews, and book reviews by which they have articulated the poetics of a new generation. Elizabeth Alexander is considered one of the country's most gifted contemporary poets, and the publication of her essays in The Black Interior in 2004 established her as an astute critic and cultural commentator as well. Arnold Rampersad has called Alexander "one of the brightest stars in our literary sky . . . a superb, invaluable commentator on the American scene." In this new collection of her essays, reviews, and interviews, Alexander again focuses on African American artistic production, particularly poetry, and the cultural contexts in which it is created and experienced. The book's first section, "Black Arts 101," takes up the poetry of Paul Laurence Dunbar, Sterling Brown, Lucille Clifton, Gwendolyn Brooks, and Rita Dove (among others); artist Romare Bearden; dancer Bill T. Jones; and dramatist August Wilson. A second section, "Black Feminist Thinking," provides engaging meditations ranging from "My Grandmother's Hair" and "A Very Short History of Black Women and Food" to essays on the legacies of Toni Cade, Audre Lorde, and June Jordan. The collection's final section, "Talking," includes interviews, a commencement address---"Black Graduation"---and the essay "Africa and the World." Elizabeth Alexander received a B.A. from Yale University, an M.A. from Boston University, and a Ph.D. in English from the University of Pennsylvania. She has published four books of poems: The Venus Hottentot (1990); Body of Life (1996); Antebellum Dream Book (2001); and, most recently, American Sublime (2005), which was one of three finalists for the Pulitzer Prize. Her play, Diva Studies, was produced at the Yale School of Drama. She is presently Professor of American and African American Studies at Yale University.
Blessed Elizabeth of the Trinity (Elizabeth Catez) is a mystic of our times, who entered Carmel in 1901 at the age of twenty-one, and died there five years later. Her biblical spirituality, based on the epistles of her "dear Saint Paul" and the mystery of the divine indwelling, has inspired countless Christians. This second of three volumes of her Complete Works contains all of Elizabeth's surviving letters from Carmel, along with 8 photos. In simple and tender language, writing to friends and family, Elizabeth returns again and again to the great themes of her spirituality: the indwelling Trinity, silence and solitude, living by love, becoming a "praise of glory" (laudem gloriae) by sharing in the dying and rising of Jesus Christ. Here too we find many of her best-known sayings, e.g., "I have found my heaven on earth, for heaven is God, and God is in my soul." In his introductions and careful notes, Father Conrad De Meester, O.C.D., explains the background of each of Elizabeth's letters from Carmel, most of which have never before appeared in English. Anne Englund Nash continues the style set in the first volume of the Complete Works, presenting a translation that reflects both the literary nuances and spirit of the original French texts.
Fame is notoriously fickle. Her methods are many and varied, and all do not receive a like treatment at her hands. The names of those who have done the most, by laborious and scientific pursuits, alike injurious to their health and happiness, to smooth the thorny paths of their fellow-creatures, are perhaps allowed to lapse into utter oblivion. While others, whose claim to immortality rests on a more slender base, are celebrated among their posterity. Lady Holland’s claim to renown rests upon the later years of her life. She is known to the readers of memoirs and historical biographies of her time as the domineering leader of the Whig circle; as a lady whose social talents and literary accomplishments drew to her house the wits, the politicians, and the cognoscenti of the day. She is known as the hostess who dared to give orders to such guests as Macaulay and Sydney Smith, and, what is more, expected and exacted implicit obedience. As yet, however, little has been written of her earlier years, and on these her Journal will throw much light. It is a record of the years of her unhappy marriage to Sir Godfrey Webster; and after her marriage with Lord Holland the narrative is continued with more or less regularity until 1814. The chief point which at once strikes home in reading the account of her younger days is an entire absence of any system of education, to use the words in their modern application. Everything she learnt was due to her own exertions. She did not receive the benefit of any course of early teaching to prepare her to meet on equal terms the brightest stars of a period which will compare favourably with any other in the annals of this country for genius and understanding. ‘My principles were of my own finding, both religious and moral, for I never was instructed in abstract or practical religion, and as soon as I could think at all chance directed my studies.... Happily for me, I devoured books, and a desire for information became my ruling passion.’ Her own words thus describe how she gained the general knowledge which was subsequently of such use to her. Lectures on geology, courses of chemistry with the savants whom she met on her travels, and hours of careful reading snatched whenever practicable, seem to have been the solace and the recreation of those early years of her married life. By her own efforts she thus became fitted, with the aid of undoubted beauty and a natural liveliness of disposition, to take her place in Whig society, into which her marriage with Lord Holland had thrown her. Without the same opportunities, her salon in later days succeeded and far surpassed in interest that presided over by the beautiful Georgiana, Duchess of Devonshire. Thus said Charles Greville: ‘Tho’ everybody who goes there finds something to abuse or to ridicule in the mistress of the house, or its ways, all continue to go. All like it more or less; and whenever, by the death of either, it shall come to an end, a vacuum will be made in society which nothing can supply. It is the house of all Europe; the world will suffer by the loss; and it may be said with truth that it will “eclipse the gaiety of nations.”’ But her sway over her associates was the rule of fear, not of love; and with age the imperiousness of her demeanour to her intimates grew more marked. Each one of her visitors was liable to become a target for the venom of her wit or the sharpness of her tongue.
Presidential Nomination, the Judiciary Committee, Proper Scope of Questioning of Nominees, Senate Consideration, Cloture, and the Use of the Filibuster
Presidential Nomination, the Judiciary Committee, Proper Scope of Questioning of Nominees, Senate Consideration, Cloture, and the Use of the Filibuster
This volume explores the Supreme Court Justice appointment process--from Presidential announcement, Judiciary Committee investigation, confirmation hearings, vote, and report to the Senate, through Senate debate and vote on the nomination.
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