In Black Suffering, James Henry Harris explores the nexus of injustices, privations, and pains that contribute to the daily suffering seen and felt in the lives of Black folks. This suffering is so normalized in American life that it often goes unnoticed, unseen, and even--more often--purposely ignored. The reality of Black suffering is both omnipresent and complicated--both a reaction to and a result of the reality of white supremacy, its psychological and historical legacy, and its many insidious and fractured expressions within contemporary culture. Because Black suffering is so wholly disregarded, it must be named, discussed, and analyzed. Black Suffering articulates suffering as an everyday reality of Black life. Harris names suffering's many manifestations, both in history and in the present moment, and provides a unique portrait of the ways Black suffering has been understood by others. Drawing on decades of personal experience as a pastor, theologian, and educator, Harris gives voice to suffering's practical impact on church leaders as they seek to forge a path forward to address this huge and troubling issue. Black Suffering is both a mixtape and a call to consciousness, a work that identifies Black suffering, shines a light on the insidious normalization of the phenomenon, and begins a larger conversation about correcting the historical weight of suffering carried by Black people. The book combines elements of memoir, philosophy, historical analysis, literary criticism, sermonic discourse, and even creative nonfiction to present a "remix" of the suffering experienced daily by Black people.
In Black Suffering, James Henry Harris explores the nexus of injustices, privations, and pains that contribute to the daily suffering seen and felt in the lives of Black folks. This suffering is so normalized in American life that it often goes unnoticed, unseen, and even--more often--purposely ignored. The reality of Black suffering is both omnipresent and complicated--both a reaction to and a result of the reality of white supremacy, its psychological and historical legacy, and its many insidious and fractured expressions within contemporary culture. Because Black suffering is so wholly disregarded, it must be named, discussed, and analyzed.Black Suffering articulates suffering as an everyday reality of Black life. Harris names suffering's many manifestations, both in history and in the present moment, and provides a unique portrait of the ways Black suffering has been understood by others. Drawing on decades of personal experience as a pastor, theologian, and educator, Harris gives voice to suffering's practical impact on church leaders as they seek to forge a path forward to address this huge and troubling issue. Black Suffering is both a mixtape and a call to consciousness, a work that identifies Black suffering, shines a light on the insidious normalization of the phenomenon, and begins a larger conversation about correcting the historical weight of suffering carried by Black people.The book combines elements of memoir, philosophy, historical analysis, literary criticism, sermonic discourse, and even creative nonfiction to present a remix of the suffering experienced daily by Black people.
Focusing on pastoral and lay leadership in the African-American church, this books deals with internal and external issues - such as the tendency towards bifurcated mentality and practices, and the social issue of race and affirmative action.
James Harris advocates the salient features of liberation preaching, especially as exemplified in black-church settings. For all preachers who take seriously the church's role as a catalyst of social and spiritual transformation.
No Longer Bound is about the intersection of reading comprehension and interpretation that leads to the development of a powerful and transformative sermon. Reading facilitates the interpretive process, which is the essence of any sermon. The sermon is an interpretation of an interpretation and as such presents itself as a new gospel message. The ability to write and preach a sermon is an exercise in freedom. The book is grounded in a narrative theological form that begins with the author's experience and filters that experience through the lens of hermeneutic philosophy and theology. Reading and preaching constitute the thread that runs throughout the book. The book suggests that the sermon is the philosophic theology of Black practical religion inasmuch as the Black church is central to religion and culture. This is a fresh and new understanding of homiletics, philosophical theology, and interpretation theory that is intended to produce better preachers and more powerful and life-changing sermons by all who endeavor to preach.
A taut analysis of black liberation theology, connecting scholarship to practical congregational ministry. The chapters of this book focus on liberation and evangelism, the urban community, and black theology as well as church administration, worship, education, and self-esteem.
Preaching mediates the word of God into a cultural matrix. And no American preaching has done so more effectively and powerfully than African American preaching, claims noted homiletician James Harris. Known for its rhetorical strength, social-justice orientation, and dead-on connection to the community's lived experience, black preaching is here analyzed and proposed as a model for all preaching. Harris grounds black preaching in the self-understanding of the historic black church and its most prominent preachers, from Martin Luther King Jr. to Samuel Proctor. Harris also explores the hermeneutical and aesthetic dimensions of preaching, especially at the intersection of sacred text and the broader culture. He then lays out the specific distinguishing characteristics of black preaching, including verbal cadence and rhythm, use of gestures, and, most thoroughly, the narrative model of the sermon. His last chapter, ''Preaching Plainly,'' provides specific instructions on how to put the sermon together employing this model.
In late summer 1923, legal hangings in Texas came to an end, and the electric chair replaced the gallows. Of 520 convicted capital offenders sentenced to die between 1923 and 1972, 361 were actually executed, thus maintaining Texas’ traditional reputation as a staunch supporter of capital punishment. This book is the single most comprehensive examination to date of capital punishment in any one state, drawing on data for legal executions from 1819 to 1990. The authors show persuasively how slavery and the racially biased practice of lynching in Texas led to the institutionalization and public approval of executions skewed according to race, class, and gender, and they also track long-term changes in public opinion up to the present. The stories of the condemned are masterfully interwoven with fact and interpretation to provide compelling reading for scholars of law, criminal justice, race relations, history, and sociology, as well as partisans on both sides of the debate.
A taut analysis of black liberation theology, connecting scholarship to practical congregational ministry. The chapters of this book focus on liberation and evangelism, the urban community, and black theology as well as church administration, worship, education, and self-esteem.
Historical Dictionary of Contemporary American Theater. Second Edition covers theatrical practice and practitioners as well as the dramatic literature of the United States of America from 1930 to the present. The 90 years covered by this volume features the triumph of Broadway as the center of American drama from 1930 to the early 1960s through a Golden Age exemplified by the plays of Eugene O’Neill, Elmer Rice, Thornton Wilder, Lillian Hellman, Tennessee Williams, Arthur Miller, William Inge, Lorraine Hansberry, and Edward Albee, among others. The impact of the previous modernist era contributed greatly to this period of prodigious creativity on American stages. This volume will continue through an exploration of the decline of Broadway as the center of U.S. theater in the 1960s and the evolution of regional theaters, as well as fringe and university theaters that spawned a second Golden Age at the millennium that produced another – and significantly more diverse – generation of significant dramatists including such figures as Sam Shepard, David Mamet, Maria Irené Fornes, Beth Henley, Terrence McNally, Tony Kushner, Paula Vogel, Lynn Nottage, Suzan-Lori Parks, Sarah Ruhl, and numerous others. The impact of the Great Depression and World War II profoundly influenced the development of the American stage, as did the conformist 1950s and the revolutionary 1960s on in to the complex times in which we currently live. Historical Dictionary of the Contemporary American Theater, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 1.000 cross-referenced entries on plays, playwrights, directors, designers, actors, critics, producers, theaters, and terminology. This book is an excellent resource for students, researchers, and anyone wanting to know more about American theater.
James Dobbins'(b. 1740, Ireland) story begins in Augusta Co., Va. James and Elizabeth (Stephenson) Dobbins spent their formative years, were married, and began their family. Their sons, Robert Boyd and John, were b. 1783 &'85. The family migrated to Abbeville & Pendleton, SC. James & Elizabeth had seven children. Four daughters and their husbands were: Mary w/John H. Morris (emigrated to Franklin Co., TN), Elizabeth w/George H. Hillhouse (emig. to Giles Co. & Lawrence Co., TN), Sarah w/Hugh F. Callaham (emig. to St. Clair Co., Ala.), Jane w/George Liddell (emig. to Noxubee Co. & Winston Co., MS). Their last-born, James, Jr., b. 1790, died young at home. They & their spouses' families were Scotch-Irish settlers in backcountry of SC. Ten families representing two generations were pioneers and products of history, geography, and culture of frontiers in SC. Six children migrated west, north, & south to new frontiers. Grandchildren of James & Elizabeth became the third Dobbins generation at farther frontiers.
THE STORY: Growing up in an impoverished family in the Bronx, Moss Hart dreamed of being part of the glamorous world of the theatre. Forced to drop out of school at age thirteen, Hart’s famous memoir Act One is a classic Hortatio Alger story that plots Hart’s unlikely collaboration with the legendary playwright George S. Kaufman. Tony Award-winning writer and director James Lapine has adapted Act One for the stage, creating a funny, heartbreaking, and suspenseful play that celebrates the making of a playwright and his play Once in a Lifetime. ACT ONE offers great fun to a director to utilize over fifty roles, which can be played by a cast as few as twelve, and in a production that can be done as simply or elaborately as desired.
This is one of the most important baseball books to be published in a long time, taking a comprehensive look at black participation in the national pastime from 1858 through 1900. It provides team rosters and team histories, player biographies, a list of umpires and games they officiated and information on team managers and team secretaries. Well known organizations like the Washington's Mutuals, Philadelphia Pythians, Chicago Uniques, St. Louis Black Stockings, Cuban Giants and Chicago Unions are documented, as well as lesser known teams like the Wilmington Mutuals, Newton Black Stockings, San Francisco Enterprise, Dallas Black Stockings, Galveston Flyaways, Louisville Brotherhoods and Helena Pastimes. Player biographies trace their connections between teams across the country. Essays frame the biographies, discussing the social and cultural events that shaped black baseball. Waiters and barbers formed the earliest organized clubs and developed local, regional and national circuits. Some players belonged to both white and colored clubs, and some umpires officiated colored, white and interracial matches. High schools nurtured young players and transformed them into powerhouse teams, like Cincinnati's Vigilant Base Ball Club. A special essay covers visual representations of black baseball and the artists who created them, including colored artists of color who were also baseballists.
A places character is found within its people, and the people from in and around Monroe, Louisiana have had plenty to say during the past 100 years. In The Monroeians, author Dr. James O. McHenry presents a comprehensive collection of the life stories of the Monroe areas Black citizens, creating a wide-ranging and stimulating study of the people who occupied the region during some of the most tumultuous times in American history. Detailed and formal, these oral southern histories of Black citizens of the Monroe and northeast Louisiana region provide accounts of their life stories and portray their experiences in various aspects, such as living in the segregated south, childhood and family history, work, education, religion, relationships, and movement from one place to another. The stories also include some analyses of the subjects character and intimate details about their encounters with events. The biographies tell a lot about an ethnic people in a general time and place, spanning more than 100 years. The stories included in The Monroeians inspire, encourage, challenge, and give hope. These people helped to cause major changes because they overcame obstacles, took risks, and inadvertently set examples of love, uplift, scholarship, and perseverance.
Before Mark Twain became a national celebrity with his best-selling The Innocents Abroad, he was just another struggling writer perfecting his craft-but already "playin' hell" with the world. In the first book in more than fifty years to examine the initial phase of Samuel Clemens's writing career, James Caron draws on contemporary scholarship and his own careful readings to offer a fresh and comprehensive perspective on those early years-and to challenge many long-standing views of Mark Twain's place in the tradition of American humor. Tracing the arc of Clemens's career from self-described "unsanctified newspaper reporter" to national author between 1862 and 1867, Caron reexamines the early and largely neglected writings-especially the travel letters from Hawaii and the letters chronicling Clemens's trip from California to New York City. Caron connects those sets of letters with comic materials Clemens had already published, drawing on all known items from this first phase of his career-even the virtually forgotten pieces from the San Francisco Morning Call in 1864-to reveal how Mark Twain's humor was shaped by the sociocultural context and how it catered to his audience's sensibilities while unpredictably transgressing its standards. Caron reveals how Sam Clemens's contemporaries, notably Charles Webb, provided important comic models, and he shows how Clemens not only adjusted to but also challenged the guidelines of the newspapers and magazines for which he wrote, evolving as a comic writer who transmuted personal circumstances into literary art. Plumbing Mark Twain's cultural significance, Caron draws on anthropological insights from Victor Turner and others to compare the performative aspects of Clemens's early work to the role of ritual clowns in traditional societies Brimming with fresh insights into such benchmarks as "Our Fellow Savages of the Sandwich Islands" and "Jim Smiley and His Jumping Frog," this book is a gracefully written work that reflects both patient research and considered judgment to chart the development of an iconic American talent. Mark Twain, Unsanctified Newspaper Reporter should be required reading for all serious scholars of his work, as well as for anyone interested in the interplay between artistic creativity and the literary marketplace.
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