One hundred members of NatChat, an electronic mail discussion group concerned with Native American issues, responded to the recent Disney release Pocahontas by calling on parents to boycott the movie, citing its historical inaccuracies and saying that "Disney has let us down in a cruel, irresponsible manner." Their anger was rooted in the fact that, although Disney had claimed that the film's portrayal of American Indians would be "authentic," the Pocahontas story the movie told was really white cultural myth. The actual histories of the characters were replaced by mythic narratives depicting the crucial moments when aid was given to the white settlers. As reconstructed, the story serves to reassert for whites their right to be here, easing any lingering guilt about the displacement of the native inhabitants. To understand current imagery, it is essential to understand the history of its making, and these essays mesh to create a powerful, interconnected account of image creation over the past 150 years. The contributors, who represent a range of disciplines and specialties, reveal the distortions and fabrications white culture has imposed on significant historical and current events, as represented by treasured artifacts such as photographic images taken of Sitting Bull following his surrender, the national monument at the battlefield of Little Bighorn, nineteenth-century advertising, the television phenomenon Northern Exposure, and the film Dances with Wolves. Well illustrated, this volume demonstrates the complacency of white culture in its representation of its troubled relationship with American Indians.
A visually rich sourcebook featuring eclectic artwork (from the late-nineteenth century to today) inspired and informed by the mystical, esoteric and occult.
In October 1967, early in the Nigerian Civil War, government troops entered Asaba in pursuit of the retreating Biafran army, slaughtering thousands of civilians and leaving the town in ruins. News of the atrocity was suppressed by the Nigerian government, with the complicity of Britain, and its significance in the subsequent progress of that conflict was misunderstood. Drawing on archival sources on both sides of the Atlantic and interviews with survivors of the killing, pillaging and rape, as well as with high-ranking Nigerian military and political leaders, S. Elizabeth Bird and Fraser M. Ottanelli offer an interdisciplinary reconstruction of the history of the Asaba Massacre, redefining it as a pivotal point in the history of the war. Through this, they also explore the long afterlife of trauma, the reconstruction of memory and how it intersects with justice, and the task of reconciliation in a nation where a legacy of ethnic suspicion continues to reverberate.
Millions of people read weekly supermarket tabloids. Yet little serious effort has been made to understand why so many Americans make a valued place for these papers in their lives. Instead, the tabloids are dismissed as the epitome of "trash"--sensational, gossipy, stereotyped, ephemeral. Libraries shun them. As the papers are "trashed" by critics, so by extension are their largely working-class readers, who are viewed as unworthy of consideration. This book, the first full-length analysis of the tabloids within their historical and cultural contexts, examines the interplay among tabloid writer, text, and audience. Drawing on anthropology, communications, folklore, and literary theory, Elizabeth Bird argues that tabloids are successful because they build on and feed existing narrative traditions, much as folklore does. Men and women, to judge from letters and interviews, read the tabloids from different perspectives. And while people buy the papers for various reasons, readers tend to be alienated from some aspects of the dominant culture. The tabloids are popular precisely for the reasons they are despised: formulaic yet titillating, they celebrate excess and ordinariness at the same time. After beckoning readers into a world where life is dangerous and exciting, the tabloids soothe them with assurances that, be it ever so humble, there is no place like home. Thus, while readers are active, playful consumers, we cannot assume that the papers offer a real opportunity to resist cultural subordination.
The author and illustrator, of What if...ZOMBIES Were Nice, is releasing each book as a chapter ultimately building toward a grand finale. The books are written for the youth using adolescent grunge language and humor. Short politics and actual science experiments are the nucleus within the pages of each book. Chocolate and Oranges is the first chapter of What ifZOMBIES Were Nice. In this chapter you will find that The Great Panic Po of 2020 was something no one was ever prepared for. Zombies that didn't turn into a big black puddle of goop were taken to a secret location, by the military, where the trials of modification took place. Many years passed, and the secret decision for 'reintegration' occurred. The first zombie family released, into living society was placed in Texas, where a freaky friendship developed between a zombie boy and two bored eccentric children. As the trio's bond gets stronger, they make simple discoveries about themselves and learn more about The Great Panic Po of 2020. Stink, rot, and science string them together as they manage to find a formula that might keep their friend from falling apart!
The Audience in Everyday Life argues that a media audience cannot be studied in front of the television alone--their interaction with media does not simply end when the set is turned off. Instead, we must study the daily lives of audiences to find the undercurrents of media influence in everyday life. Bird provides a host of useful tools and methods for scholars and students interested in the ways media is consumed in everyday life.
This beautiful, fully illustrated book presents a compendium of artworks throughout history which have been inspired by myth, fantasy and the unreal. Artists have explored imaginary worlds and fantastical creatures for centuries, expressing the unreal and impossible, the mystical and mythical, via the medium of paint. But what draws them to the imaginary, the uncharted and the unknown? Is it merely an escape from reality? Or are they seeking a greater understanding of the human experience, or perhaps the very meaning of life itself? With myriad styles and methods of expression, what links artists through the ages? And how have these visual flights of fancy and imagination changed over the course of time? The Art of Fantasy is a visual sourcebook of all that is fantastical – from fine art to illustration, and from surrealists and symbolists to the creatives working in undefined territories. While the artists in our history books (Blake, Goya, Dali, Magritte, Ernst) first brought fantasy art to the galleries, it was the twentieth century artists who brought it to the masses. It is in this book that, for the first time, they are united and equally weighted, presenting a mesmerising and thoughtful curation of the best fantasy artwork out there. This is an inspiring collection for fans of myth, magic, fantasy and art history.
The People Are King traces the transformation of Andean communities under Inca and Spanish rule. The sixteenth century Spanish resettlement policy, known as Reducción was pivotal to this transformation. Modeled on the Spanish ideal of República (self-government within planned towns) and shared sovereignty with their monarch, Spaniards in the Viceroyalty of Peru forced Andeans into resettlement towns. Andeans turned the tables on forced resettlement by making the towns their own, and the center of their social, political, and religious lives. Andeans made a coherent life for themselves in a complex process of ethnogenesis that blended preconquest ways of life (the ayllu) with the imposed institutions of town life and Christian religious practices. Within these towns, Andeans claimed the right to self-government, and increasingly regarded their native lords, the caciques, as tyrants. A series of microhistorical accounts in these repúblicas reveals that Andeans believed that commoner people, collectively called the común, could rule themselves. With both Andean and Spanish antecedents, this political philosophy of radical democracy was key to the Great Rebellion of the late eighteenth-century. Rather than focusing on well-known leaders such as Tupac Amaru, the book demonstrates through commoner rebels' holographic letters that it was commoner Andean people who made the late eighteenth-century a revolutionary moment by asserting their rights to self-government. In the final chapter the book follows the commoner-lead towns of the Andes from the era of independence into the present day of the Plurinational State of Bolivia. Ayllu, Reducción, ethnogenesis, Peru, Bolivia, cacique, Tupac Amaru, comunero, revolution, microhistory"--
In 1961, Rosina 'Rose' Martin married John Umelo, a young Nigerian she met on a London Tube station platform, eventually moving to Nigeria with him and their children. As Rose taught Classics in Enugu, they found themselves caught up in Nigeria's Civil War, which followed the 1967 secession of Eastern Nigeria--now named Biafra. The family fled to John's ancestral village, then moved from place to place as the war closed in. When it ended in 1970, up to 2 million had died, most from starvation. Rose ('worse off than some, better off than many') had kept notes, capturing the reality of living in Biafra--from excitement in the beginning to despair towards the end. Immediately after the war, Rose turned her notes into a narrative that described the ingenious ways Biafrans made do, still hoping for victory while their territory shrank and children starved by the thousand. Now anthropologist S. Elizabeth Bird contextualizes Rose's story, providing background on the progress of the war and international reaction to it. Edited and annotated, Rose's vivid account of life as a Biafran 'Nigerwife' offers a fresh, new look at hope and survival through a brutal war.
My journey encapsulates a three year mystery that began in Edinburgh, Scotland in October 2006 in which I was led by a variety of mysterious historical symbols to learn about the life and challenges of Lady Mary Hay in Cruden Bay, Scotland, who was the 14th Countess of Errol during the years of 1711-1758. Mary Hay was the Senior Great Officer, Royal Office of Scotland and Chief of the King's Household in Scotland. She succeeded to the title in 1717 when she became Lady Hay and Baroness of Stain, 23rd Chief of the Hays (since 1171) and Mac Garaidh Mhar (a Celtic title). In 1727 she nominated John Duke of Roxburgh, to act as Her Deputy and walk in the procession for the coronation of George II. In 1745 she raised an army of Buchan men who stood for "Bonnie Prince Charlie"-Prince Charles Edward Stuart. She was close to sixty years of age at the time. At this time, Mary was a practicing Episcopalian and as this faith was persecuted by the Hanoverians she fitted out a grain store as a place of worship. This was known in Cruden Bay as `Countess Mary's Girnal'. It was burnt to the ground in 1746 by English Dragoons. She succeeded her brother, Charles Hay, and was succeeded by grandnephew Lord James Boyd Kilmarnock, the grandson of her late sister Margaret.
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Epic...Spellbinding...Thrilling Love Story Extraordinaire! Can ghosts die twice? Apparently so! Washington, D.C. psychic to the powerful elites headstrong, vulnerable Maureen McAlister flees a contemporary, shattered life into the ghostly, loving arms of Confederate soldier Major Clayton Fontaine Douglas, her former husband and one-true-soulmate. He is the only man she loves and trusts. Clayton, an unrepentant Rebel and a proud, brave officer in General Robert E. Lee's Army of Northern Virginia, is now a ghost stuck in time in her inherited Gettysburg, Pennsylvania estate. He is furious at God for the loss of his Country and her. He is dying again because of her. Once more she must try to save him, change his fate and rewrite karma. How? Time travel to 1863, persuade him to avoid Pickett's Charge during the Battle of Gettysburg, prevent his untimely death at the hands of his personal, implacable enemy and live with him again at Wildrose Hill, their beautiful home near Shepherdstown, West Virginia. It is a second chance for Maureen and Clayton, another test of their true, eternal, soulmate love. Fail and Clayton is doomed. Succeed and they are together forever. She is beyond scared. What if she fails him...again?
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