In Native Recognition, Joanna Hearne persuasively argues for the central role of Indigenous image-making in the history of American cinema. Across the twentieth and into the twenty-first centuries, Indigenous peoples have been involved in cinema as performers, directors, writers, consultants, crews, and audiences, yet both the specificity and range of this Native participation have often been obscured by the on-screen, larger-than-life images of Indians in the Western. Not only have Indigenous images mattered to the Western, but Westerns have also mattered to Indigenous filmmakers as they subvert mass culture images of supposedly "vanishing" Indians, repurposing the commodity forms of Hollywood films to envision Native intergenerational continuity. Through their interventions in forms of seeing and being seen in public culture, Native filmmakers have effectively marshaled the power of visual media to take part in national discussions of social justice and political sovereignty for North American Indigenous peoples. Native Recognition brings together a wide range of little-known productions, from the silent films of James Young Deer, to recovered prints of the 1928 Ramona and the 1972 House Made of Dawn, to the experimental and feature films of Victor Masayesva and Chris Eyre. Using international archival research and close visual analysis, Hearne expands our understanding of the complexity of Native presence in cinema both on screen and through the circuits of film production and consumption.
Smoke Signals is a historical milestone in Native American filmmaking. Released in 1998 and based on a short-story collection by Sherman Alexie, it was the first wide-release feature film written, directed, coproduced, and acted by Native Americans. The most popular Native American film of all time, Smoke Signals is also an innovative work of cinematic storytelling that demands sustained critical attention in its own right. Embedded in Smoke Signals’s universal story of familial loss and renewal are uniquely Indigenous perspectives about political sovereignty, Hollywood’s long history of misrepresentation, and the rise of Indigenous cinema across the twentieth and twenty-first centuries. Joanna Hearne’s work foregrounds the voices of the filmmakers and performers—in interviews with Alexie and director Chris Eyre, among others—to explore the film’s audiovisual and narrative strategies for speaking to multiple audiences. In particular, Hearne examines the filmmakers’ appropriation of mainstream American popular culture forms to tell a Native story. Focusing in turn on the production and reception of the film and issues of performance, authenticity, social justice, and environmental history within the film’s text and context, this in-depth introduction and analysis expands our understanding and deepens our enjoyment of a Native cinema landmark.
In Native Recognition, Joanna Hearne persuasively argues for the central role of Indigenous image-making in the history of American cinema. Across the twentieth and into the twenty-first centuries, Indigenous peoples have been involved in cinema as performers, directors, writers, consultants, crews, and audiences, yet both the specificity and range of this Native participation have often been obscured by the on-screen, larger-than-life images of Indians in the Western. Not only have Indigenous images mattered to the Western, but Westerns have also mattered to Indigenous filmmakers as they subvert mass culture images of supposedly "vanishing" Indians, repurposing the commodity forms of Hollywood films to envision Native intergenerational continuity. Through their interventions in forms of seeing and being seen in public culture, Native filmmakers have effectively marshaled the power of visual media to take part in national discussions of social justice and political sovereignty for North American Indigenous peoples. Native Recognition brings together a wide range of little-known productions, from the silent films of James Young Deer, to recovered prints of the 1928 Ramona and the 1972 House Made of Dawn, to the experimental and feature films of Victor Masayesva and Chris Eyre. Using international archival research and close visual analysis, Hearne expands our understanding of the complexity of Native presence in cinema both on screen and through the circuits of film production and consumption.
What is the literary absurd? What are its key textual features? How can it be analysed? How do different readers respond to absurdist literature?Taking the theories and methodologies of stylistics as its underlying analytical framework, Reading the Absurd tackles each of these questions. Selected key works in English literature are examined in depth to reveal significant aspects of absurd style. Its analytical approach combines stylistic inquiry with a cognitive perspective on language, literature and reading which sheds new light on the human experience of literary reading.By exploring the literary absurd as a linguistic and experiential phenomena, while at the same time reflecting upon its essential historical and cultural situation, Joanna Gavins brings a new perspective to the absurd aesthetic.
This volume is a collection of essays, which exemplify the range and diversity of work currently being undertaken on the regional landscapes of the British Bronze Age and the progress which has been made in both theoretical and interpretive debate. Together these papers reflect the vibrancy of current research and promote a closer marriage of landscape, site and material culture studies. CONTENTS: Settlement in Scotland during the Second Millennium BC (P Ashmore) ; Place and Space in the Cambridgeshire Bronze Age (T Malim) ; Exploring Bronze Age Norfolk: Longham and Bittering (T Ashwin) ; Ritual Activity at the Foot of the Gog Magog Hills, Cambridge (M Hinman) ; The Bronze Age of Manchester Airport: Runway 2 (D Garner) ; Place and Memory in Bronze Age Wessex (D Field) ; Bronze Age Agricultural Intensification in the Thames Valley and Estuary (D Yates) ; The 'Community of Builders': The Barleycroft Post Alignments (C Evans and M Knight) ; 'Breaking New Ground': Land Tenure and Fieldstone Clearance during the Bronze Age (R Johnston) ; Tenure and Territoriality in the British Bronze Age: A Question of Varying Social and Geographical Scales (W Kitchen) ; A Later Bronze Age Landscape on the Avon Levels: Settlement: Settlement, Shelters and Saltmarsh at Cabot Park (M Locock) ; Reading Business Park: The Results of Phases 1 and 2 (A Brossler) ; Leaving Home in the Cornish Bronze Age: Insights into Planned Abandonment Processes (J A Nowakowski) ; Body Metaphors and Technologies of Transformation in the English Middle and Late Bronze Age (J Bruck) ; A Time and a Place for Bronze (M Barber) ; Firstly, Let's get Rid of Ritual (C Pendleton) ; Mining and Prospection for Metals in Early Bronze Age Britain - Making Claims within the Archaeological Landscape (S Timberlake) ; The Times, They are a Changin': Experiencing Continuity and Development in the Early Bronze Age Funerary Rituals of Southwestern Britain (M A Owoc) ; Round Barrows in a Circular World: Monumentalising Landscapes in Early Bronze Age Wessex (A Watson) ; Enduring Images? Image Production and Memory in Earlier Bronze Age Scotland (A Jones) ; Afterward: Back to the Bronze Age
This book explores Native American literary responses to biomedical discourses and biomedicalization processes as they circulate in social and cultural contexts. Native American communities resist reductivism of biomedicine that excludes Indigenous (and non-Western) epistemologies and instead draw attention to how illness, healing, treatment, and genetic research are socially constructed and dependent on inherently racialist thinking. This volume highlights how interventions into the hegemony of biomedicine are vigorously addressed in Native American literature. The book covers tuberculosis and diabetes epidemics, the emergence of Native American DNA, discoveries in biotechnology, and the problematics of a biomedical model of psychiatry. The book analyzes work by Louise Erdrich, Sherman Alexie, LeAnne Howe, Linda Hogan, Heid E. Erdrich, Elissa Washuta and Frances Washburn. The book will appeal to scholars of Native American and Indigenous Studies, as well as to others with an interest in literature and medicine.
An examination of ethical challenges that technology presents to the allegedly sacrosanct idea of the human and a proposal for a new ethics of life rooted in the philosophy of alterity. Bioethical dilemmas—including those over genetic screening, compulsory vaccination, and abortion—have been the subject of ongoing debates in the media, among the public, and in professional and academic communities. But the paramount bioethical issue in an age of digital technology and new media, Joanna Zylinska argues, is the transformation of the very notion of life. In this provocative book, Zylinska examines many of the ethical challenges that technology poses to the allegedly sacrosanct idea of the human. In doing so, she goes beyond the traditional understanding of bioethics as a matter for moral philosophy and medicine to propose a new “ethics of life” rooted in the relationship between the human and the nonhuman (both animals and machines) that new technology prompts us to develop. After a detailed discussion of the classical theoretical perspectives on bioethics, Zylinska describes three cases of “bioethics in action,” through which the concepts of “the human,” “animal,” and “life” are being redefined: the reconfiguration of bodily identity by plastic surgery in a TV makeover show; the reduction of the body to two-dimensional genetic code; and the use of biological material in such examples of “bioart” as Eduardo Kac's infamous fluorescent green bunny. Zylinska addresses ethics from the interdisciplinary perspective of media and cultural studies, drawing on the writings of thinkers from Agamben and Foucault to Haraway and Hayles. Taking theoretical inspiration in particular from the philosophy of alterity as developed by Jacques Derrida, Emmanuel Levinas, and Bernard Stiegler, Zylinska makes the case for a new nonsystemic, nonhierarchical bioethics that encompasses the kinship of humans, animals, and machines.
The Social Context of Technology explores non-ferrous metalworking in Britain and Ireland during the Bronze and Iron Ages (c. 2500 BC to 1st century AD). Bronze-working dominates the evidence, though the crafting of other non-ferrous metals – including gold, silver, tin and lead – is also considered. Metalwork has long played a central role in accounts of European later prehistory. Metals were important for making functional tools, and elaborate decorated objects that were symbols of prestige. Metalwork could be treated in special or ritualised ways, by being accumulated in large hoards or placed in rivers or bogs. But who made these objects? Prehistoric smiths have been portrayed by some as prosaic technicians, and by others as mystical figures akin to magicians. They have been seen both as independent, travelling ‘entrepreneurs’, and as the dependents of elite patrons. Hitherto, these competing models have not been tested through a comprehensive assessment of the archaeological evidence for metalworking. This volume fills that gap, with analysis focused on metalworking tools and waste, such as crucibles, moulds, casting debris and smithing implements. The find contexts of these objects are examined, both to identify places where metalworking occurred, and to investigate the cultural practices behind the deposition of metalworking debris. The key questions are: what was the social context of this craft, and what was its ideological significance? How did this vary regionally and change over time? As well as elucidating a key aspect of later prehistoric life in Britain and Ireland, this important examination by leading scholars contributes to broader debates on material culture and the social role of craft.
“In this rich and resonant study, Joanna Newman recounts the little-known story of this Jewish exodus to the British West Indies...”—Times Higher Education In the years leading up to the Second World War, increasingly desperate European Jews looked to far-flung destinations such as Barbados, Trinidad, and Jamaica in search of refuge from the horrors of Hitler’s Europe. Nearly the New World tells the extraordinary story of Jewish refugees who overcame persecution and sought safety in the West Indies from the 1930s through the end of the war. At the same time, it gives an unsparing account of the xenophobia and bureaucratic infighting that nearly prevented their rescue—and that helped to seal the fate of countless other European Jews for whom escape was never an option. From the introduction: This book is called Nearly the New World because for most refugees who found sanctuary, it was nearly, but not quite, the New World that they had hoped for. The British West Indies were a way station, a temporary destination that allowed them entry when the United States, much of South and Central America, the United Kingdom and Palestine had all become closed. For a small number, it became their home. This is the first comprehensive study of modern Jewish emigration to the British West Indies. It reveals how the histories of the Caribbean, of refugees, and of the Holocaust connect through the potential and actual involvement of the British West Indies as a refuge during the 1930s and the Second World War.
Known in his day as the man who built the Town Hall, Abel Heywood was a leading Manchester publisher who entertained royalty at his home and twice became Mayor of Manchester. Yet before he found success his life was one of poverty and hardship, marked by a prison term in his pursuit of a free press. A campaigner for votes for all and social reform, Heywood attempted to enter Parliament twice, but his working-class origins and radical ideas proved an insurmountable obstacle. As councillor, alderman and mayor, he worked passionately and tirelessly to build the road, railway and tram systems, develop education, improve the provision of hospitals, museums and libraries, better the living conditions of the poor, and make Manchester a great city. Going beyond the experiences of one man, this book explores the wider political, cultural and class context of the Victorian city. It is an honest tale of rags to riches that will appeal to all who wish to discover more about the dramatic history of industrial Manchester and its people.
Fear — the word, itself, conjures the appropriate response. With a dark cacophony of associations like fright, dread, horror, panic, alarm, anxiety, and terror, fear is universally understood as one of the most basic and powerful of human emotions, obtaining a nearly palpable and overwhelming substance in today's world. In this groundbreaking book, acclaimed historian and prize–winning author Joanna Bourke covers the landscape of fear over the past two hundred years: From the nineteenth century dread of being buried alive — a subject dear to the heart of Edgar Allen Poe — to the current worry over being able to die when one chooses; from the diagnoses of phobias and anxieties produced by psychotherapists and lovingly catalogued, to the role of popular culture and media in inciting panic and dread; from the horrors of the nuclear age to the fear of twenty–first century terrorism, Fear tells the story of anguish in modern times. A blend of social and cultural history with psychology, philosophy, and popular science, this astonishing book — exhaustively researched and beautifully written — offers strikingly original insights into the mind and worldview of the "long twentieth century" from one of the most brilliant scholars of our time.
The Bronze Age is frequently framed in social evolutionary terms. Viewed as the period which saw the emergence of social differentiation, the development of long-distance trade, and the intensification of agricultural production, it is seen as the precursor and origin-point for significant aspects of the modern world. This book presents a very different image of Bronze Age Britain and Ireland. Drawing on the wealth of material from recent excavations, as well as a long history of research, it explores the impact of the post-Enlightenment 'othering' of the non-human on our understanding of Bronze Age society. There is much to suggest that the conceptual boundary between the active human subject and the passive world of objects, so familiar from our own cultural context, was not drawn in this categorical way in the Bronze Age; the self was constructed in relational rather than individualistic terms, and aspects of the non-human world such as pots, houses, and mountains were considered animate entities with their own spirit or soul. In a series of thematic chapters on the human body, artefacts, settlements, and landscapes, this book considers the character of Bronze Age personhood, the relationship between individual and society, and ideas around agency and social power. The treatment and deposition of things such as querns, axes, and human remains provides insights into the meanings and values ascribed to objects and places, and the ways in which such items acted as social agents in the Bronze Age world.
Smoke Signals is a historical milestone in Native American filmmaking. Released in 1998 and based on a short-story collection by Sherman Alexie, it was the first wide-release feature film written, directed, coproduced, and acted by Native Americans. The most popular Native American film of all time, Smoke Signals is also an innovative work of cinematic storytelling that demands sustained critical attention in its own right. Embedded in Smoke Signals’s universal story of familial loss and renewal are uniquely Indigenous perspectives about political sovereignty, Hollywood’s long history of misrepresentation, and the rise of Indigenous cinema across the twentieth and twenty-first centuries. Joanna Hearne’s work foregrounds the voices of the filmmakers and performers—in interviews with Alexie and director Chris Eyre, among others—to explore the film’s audiovisual and narrative strategies for speaking to multiple audiences. In particular, Hearne examines the filmmakers’ appropriation of mainstream American popular culture forms to tell a Native story. Focusing in turn on the production and reception of the film and issues of performance, authenticity, social justice, and environmental history within the film’s text and context, this in-depth introduction and analysis expands our understanding and deepens our enjoyment of a Native cinema landmark.
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