This book interrogates white responses to black-led movements for racial justice. It is a philosophical self-reflection on the ways in which ‘white’ reactions to Black Lives Matter stand in the way of the movement’s important work. It probes reactions which often prevent white people from according to black activists the full range of human emotion and expression, including joy, anger, mourning, and political action. Johanna C. Luttrell encourages different conceptions of empathy and impartiality specific to social movements for racial justice, and addresses objections to identity politics.
In 1932, Josef Meier, a native of Luenen, Germany, brought a small company of actors to the United States to tour with a passion play. It was performed in German, destined for a limited engagement in German theaters, churches, and German-speaking communities. Political and economic conditions in Germany were already deteriorating during this time, and Meier determined to remain in America, to found a permanent home for the play. He translated the play into English, hiring American actors to replace the German-speaking cast. As he booked tours across the United States, Meier continued to seek a suitable permanent outdoor location for his production, mentioning his quest to the public in interviews across the nation. En route to the West Coast, Meier presented the Passion Play in Sioux Falls, the only town of size within South Dakota at that time. A group of businessmen from the Black Hills attended and asked Meier to examine possible sites in their area. He chose a spectacular natural location in Spearfish, and in 1939, an amphitheater was constructed and became the home of the renamed Black Hills Passion Play of America.
A debut novel about a family losing grip of its legacy: a majestic house on the cliffs of Ireland. The Campbells have lived happily at Dulough -- an idyllic, rambling estate isolated on the Irish seaside -- for generations. But upkeep has drained the family coffers, and so John Campbell must be bold: to keep Dulough, he will open its doors to the public as a museum. He and his wife, daughter, and son will move from the luxury of the big house to a dank, small caretaker's cottage. The upheaval strains the already tenuous threads that bind the family and, when a tragic accident befalls them, long-simmering resentments and unanswered yearnings surface. As each character is given a turn to speak, their voices tell a complicated, fascinating story about what happens when the upstairs becomes the downstairs, and what legacy is left when family secrets are revealed.
This collection of short stories are lifelines based on a series of people, places and things that Johanna Black encountered as she leisurely strolled through life
Seminar paper from the year 2018 in the subject English Language and Literature Studies - Literature, grade: 1,0, University of Duisburg-Essen (Department of Anglophone Studies, British and Postcolonial Studies), course: Indigenous Australian Literature and Culture, language: English, abstract: Philip McLaren is a descendant of the Kamilaroi people from the Warrumbungle Mountains in New South Wales, Australia. This is the region where his first novel 'Sweet Water – Stolen Land', a confronting tale about the first encounter of indigenous Australian people with white settlers and colonial invaders, published in 1993, is set. The focus of this term paper lies on the character of Ginny of the Kamilaroi people. Her character actually is semi-historical. The whole novel itself is indeed fictional in most parts but includes historical events that are incorporated into the fictional plot. Ginny Griffin did actually exist, she was McLaren’s great-great-grandmother and became leader and spokesperson for the Aboriginal people of Coonabarabran. The depiction of her character in the novel is both striking and interesting to analyse as it on the one hand gives a representative presentation of (female) indigenous Australian experiences under the burden of colonization because of the biographical background it is created on. On the other hand, Ginny’s character illustrates the processes and consequences of colonial and imperial rules imposed on indigenous people(s) (of the Australian continent) from the very beginning of the acquisition of the English language, as it is discussed in chapter 1, over the colonial domination and torture that in Ginny’s case is even a doubled form of colonization, which will be examined in chapter 2, to the forming of a new transitional form of culture and way of living and the reversal of colonial constraints when Ginny starts to use the colonial system’s own means against the oppressors of her people, which will be investigated in chapter 3. The goal of this analysis is to show that the character of Ginny Griffin is designed according to the notion of hybridity and could therefore be interpreted as a representation of the creation process of a new transcultural form on the basis of colonial influences and indigenous Australian way(s) of living clashing within the contact zone; more precisely: Ginny depicts the process of hybridization in the colonial history of Australia in terms of emancipation and a postcolonial, resistant and challenging, ‘talking back’ of the periphery to the centre .
Now together for the first time, Johanna Lindsey's two classic Christmas tales, long beloved by her fans, available with a beautiful keepsake Christmas ornament! The Present: The love story that began the Mallory dynasty. Miracles have been known to happen in this season of peace and giving and love, as this dramatic story of a mysterious exotic gypsy that became the bride of a duke shows. Home for the Holidays: A treasured gift of love, tenderness, and ecstasy unbound. An enchanting story of a young impoverished gentlewoman and the mysterious gentleman whose heart is melted by her beauty.
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