Resurrecting a forgotten chapter in transatlantic history, James G. Cusick tells how, just before the United States went to war against Great Britain in 1812, an ill-advised invasion of a Spanish colony became a stage on which the young republic clumsily acted out its imperial ambitions and racial fears. With the halfhearted backing of President James Madison and Secretary of State James Monroe, a party of Georgians invaded East Florida, confident that partisans there would help them swiftly wrest the colony away from Spain. The raid was a strategic and political disaster. Few sympathizers materialized, official U.S. support dissolved, and an extended guerrilla war ensued. This was the "other war of 1812," or the Patriot War. Cusick, a lively storyteller as well as a meticulous scholar, conveys the savagery of the borderlands conflict that pitted American adventurers and anti-Spanish partisans against Spanish loyalists and their allies, who included Seminole Indians and escaped slaves. At the same time, Cusick looks at the American motivations behind the invasion, including apprehensions about Florida's growing population of unregulated blacks and geopolitical intrigues involving Spain, Britain, and France.
Music/Ideology is a response to the question: Must the practice of music analysis and music theory always reinscribe the ideology of aesthetic autonomy? And, if not, under what circumstances does it reinscribe that ideology? The responses to these questions should appeal not only to music and cultural theorists, but also to a larger audience engaged in critical theory. These essays serve as an introduction to the broad array of issues arising from approaches that represent the full spectrum, from music-theoretical to marxist and feminist issues. Such questions are of vital importance, and not only to those who are engaged in establishing a connection among music theory, music analysis, and aesthetic ideology. Music/Ideology presents today's most interesting critical thinkers in postmodern theory and music theory, introducing an interdisciplinary approach and covering a wide range of subjects - both by implication and explication.
The Maya Tropical Forest, which occupies the lowlands of southern Mexico, Guatemala, and Belize, is the closest rainforest to the United States and one of the most popular tourist destinations in the Western Hemisphere. It has been home to the Maya peoples for nearly four millennia, starting around 1800 BC. Ancient cities in the rainforest such as Palenque, Yaxchilan, Tikal, and Caracol draw thousands of tourists and scholars seeking to learn more about the prehistoric Maya. Their contemporary descendants, the modern Maya, utilize the forest's natural resources in village life and international trade, while striving to protect their homeland from deforestation and environmental degradation. Writing for both visitors and conservationists, James Nations tells the fascinating story of how ancient and modern Maya peoples have used and guarded the rich natural resources of the Maya Tropical Forest. He opens with a natural history that profiles the forest's significant animals and plants. Nations then describes the Maya peoples, biological preserves, and major archaeological sites in Mexico, Guatemala, and Belize. Drawing on more than twenty-five years of conservation work in the Maya Tropical Forest, Nations tells first-hand stories of the creation of national parks and other protected areas to safeguard the region's natural resources and archaeological heritage. He concludes with an expert assessment of the forest's future in which he calls for expanded archaeological tourism to create an ecologically sustainable economic base for the region.
Despite its apparent isolation as an older region of the country, the Southeast provided a vital connecting link between the Black self-emancipation that occurred during the American Revolution and the growth of the Underground Railroad in the final years of the antebellum period. From the beginning of the revolutionary war to the eve of the First Seminole War in 1817, hundreds and eventually several thousand Africans and African Americans in Georgia, and to a lesser extent South Carolina, crossed the borders and boundaries that separated the Lowcountry from the British and Spanish in coastal Florida and from the Seminole and Creek people in the vast interior of the Southeast. Even in times of peace, there remained a steady flow of individuals moving south and southwest, reflecting the aspirations of a captive people. A Southern Underground Railroad constitutes a powerful counter-narrative in American history, a tale of how enslaved men and women found freedom and human dignity not in Jefferson’s “Empire of Liberty” but outside the expanding boundaries of the United States. It is a potent reminder of the strength of Black resistance in the post-revolutionary South and the ability of this community to influence the balance of power in a contested region. Paul M. Pressly’s research shows that their movement across borders was an integral part of the sustained struggle for dominance in the Southeast not only among the Great Powers but also among the many different racial, ethnic, and religious groups that inhabited the region and contended for control.
Composer John Kander and lyricist Fred Ebb collaborated for more than forty years, longer than any such partnership in Broadway history. Together they wrote over twenty musicals. Their two most successful works, Cabaret and Chicago, had critically acclaimed Broadway revivals and were made into Oscar-winning films. This book, the first study of Kander and Ebb, examines their artistic accomplishments as individuals and as a team. Drawing on personal papers and on numerous interviews, James Leve analyzes the unique nature of this collaboration. Leve discusses their contribution to the concept musical; he examines some of their most popular works including Cabaret, Chicago, and Kiss of the Spider Woman; and he reassesses their flops as well as their incomplete and abandoned projects. Filled with fascinating information, the book is a resource for students of musical theater and lovers of Kander and Ebbs songs and shows.
Between September 2006 and December 2008, Simon Bikindi stood trial at the International Criminal Tribunal for Rwanda, accused of inciting genocide with his songs. In the early 1990s, Bikindi had been one of Rwanda's most well-known and popular figures - the country's minister for culture and its most famous and respected singer. But by the end of 1994, his songs had quite literally soundtracked a genocide. Acoustic Jurisprudence is the first detailed study of the trial that followed. It is also the first work of contemporary legal scholarship to address the many relations between law and sound, which are of much broader importance but which this trial very conspicuously raises. One half of the book addresses the Tribunal's 'sonic imagination'. How did the Tribunal conceive of Bikindi's songs for the purposes of judgment? How did it understand the role of radio and other media in their transmission? And with what consequences for Bikindi? The other half of the book is addressed to how such concerns played out in court. Bikindi's was a 'musical trial', as one judge pithily observed. Audio and audio-visual recordings of his songs were played regularly throughout. Witnesses, including Bikindi himself, frequently sang, both of their own accord and at the request of the Tribunal. Indeed, Bikindi even sang his final statement. All the while, judges, barristers, and witnesses alike spoke into microphones and listened through headphones. As a result, the Bikindi case offers an ideal opportunity to explore what this book calls the 'judicial soundscape'. Through the lens of the Bikindi trial, the book's most important innovation is to open up the field of sound to jurisprudential inquiry. Ultimately, it is an argument for a specifically acoustic jurisprudence.
These essays illuminate the changing nature of text-music relationships from the time of Petrarch to Guarini and, in music, from the madrigals of Giovanni da Cascia to those of Gesualdo da Venosa. Haar traces a line of development from the stylized rhetoric of Trecento song through the popularizing trends of Quattrocento music and on to the union of verbal and musical cadence that marked the high Renaissance in sixteenth-century Italian music. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1986.
Religious change is at its core a material as much as a spiritual process. Beliefs related to intangible spirits, ghosts, or gods were enacted through material relationships between people, places, and objects. The archaeology of mission sites from Tanna and Erromango islands, southern Vanuatu (formerly the New Hebrides), offer an informative case study for understanding the material dimensions of religious change. One of the primary ways that cultural difference was thrown into relief in the Presbyterian New Hebrides missions was in the realm of objects. Christian Protestant missionaries believed that religious conversion had to be accompanied by changes in the material conditions of everyday life. Results of field archaeology and museum research on Tanna and Erromango, southern Vanuatu, show that the process of material transformation was not unidirectional. Just as Melanesian people changed religious beliefs and integrated some imported objects into everyday life, missionaries integrated local elements into their daily lives. Attempts to produce ‘civilised Christian natives’, or to change some elements of native life relating purely to ‘religion’ but not others, resulted instead in a proliferation of ‘hybrid’ forms. This is visible in the continuity of a variety of traditional practices subsumed under the umbrella term ‘kastom’ through to the present alongside Christianity. Melanesians didn’t become Christian, Christianity became Melanesian. The material basis of religious change was integral to this process.
Resurrecting a forgotten chapter in transatlantic history, James G. Cusick tells how, just before the United States went to war against Great Britain in 1812, an ill-advised invasion of a Spanish colony became a stage on which the young republic clumsily acted out its imperial ambitions and racial fears. With the halfhearted backing of President James Madison and Secretary of State James Monroe, a party of Georgians invaded East Florida, confident that partisans there would help them swiftly wrest the colony away from Spain. The raid was a strategic and political disaster. Few sympathizers materialized, official U.S. support dissolved, and an extended guerrilla war ensued. This was the "other war of 1812," or the Patriot War. Cusick, a lively storyteller as well as a meticulous scholar, conveys the savagery of the borderlands conflict that pitted American adventurers and anti-Spanish partisans against Spanish loyalists and their allies, who included Seminole Indians and escaped slaves. At the same time, Cusick looks at the American motivations behind the invasion, including apprehensions about Florida's growing population of unregulated blacks and geopolitical intrigues involving Spain, Britain, and France.
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