The Paradigm Shift: A One Hundred Day Journey By: Michelle Griffin-Carter There are moments in everyone's life where they have a spiritual awakening, a transformation within the mind, body, and soul. The Paradigm Shift is the documentation of a hundred-day journey of transformation, self-discovery, and spiritual enlightenment. Michelle Griffin-Carter takes you into her one-hundred-day journal and reflects on the world around her to show how desperately we need change.
This book was inspired by my youngest daughter, Ivy Rayne. While walking into her room, I saw Ivy busy pulling things apart and building them back together again. I said, "Whatcha doin', Ivy Rayne?" Ivy looked up at me with her bright eyes and said, "Oh, nothing, just being Ivy." I laughed and immediately went to my laptop and began typing. Ivy is always doing something that prompts your curiosity. This story is centered around Ivy and the adventures she shares with her big sister Madi and her two best friends Max and Brody. When faced with a problem or challenge, Ivy is fast at work finding the solution. When asked the question "Whatcha doin', Ivy Rayne?" the response is always the same, "Oh, nothing, just being Ivy." Join Ivy, her sister Madi and her two best friends as they work together in "Whatcha doin', Ivy Rayne?" The Window.
In Skin Acts, Michelle Ann Stephens explores the work of four iconic twentieth-century black male performers—Bert Williams, Paul Robeson, Harry Belafonte, and Bob Marley—to reveal how racial and sexual difference is both marked by and experienced in the skin. She situates each figure within his cultural moment, examining his performance in the context of contemporary race relations and visual regimes. Drawing on Lacanian psychoanalysis and performance theory, Stephens contends that while black skin is subject to what Frantz Fanon called the epidermalizing and hardening effects of the gaze, it is in the flesh that other—intersubjective, pre-discursive, and sensuous—forms of knowing take place between artist and audience. Analyzing a wide range of visual, musical, and textual sources, Stephens shows that black subjectivity and performativity are structured by the tension between skin and flesh, sight and touch, difference and sameness.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.