Samoan Art and Artists is a wide-ranging survey of both the traditional and contemporary arts of Samoa. The author has drawn on an extensive research base to present a contemporary and accessible picture of a vibrant culture. The book has a broad sweep, covering all facets of the Samoan arts, including canoe and house building, siapo (tapa) weaving, tattooing, oratory, adornment, all forms of performance art, the visual arts, and literature. An important feature of the book is the inclusion of profiles of living practitioners, both from Samoa and the large Samoan communities in other Pacific countries."--Publisher description.
Refocusing Ethnographic Museums through Oceanic Lenses offers a collaborative ethnographic investigation of Indigenous museum practices in three Pacific museums located at the corners of the so-called Polynesian triangle: Bernice Pauahi Bishop Museum, Hawai‘i; Museum of New Zealand Te Papa Tongarewa; and Museo Antropológico Padre Sebastián Englert, Rapa Nui. Since their inception, ethnographic museums have influenced academic and public imaginations of other cultural-geographic regions, and the often resulting Euro-Americentric projection of anthropological imaginations has come under intense pressure, as seen in recent debates and conflicts around the Humboldt Forum in Berlin, Germany. At the same time, (post)colonial renegotiations in former European and American colonies have initiated dramatic changes to anthropological approaches through Indigenous museum practices. This book shapes a dialogue between Euro-Americentric myopia and Oceanic perspectives by offering historically informed, ethnographic insights into Indigenous museum practices grounded in Indigenous epistemologies, ontologies, and cosmologies. In doing so, it employs Oceanic lenses that help to reframe Pacific collections in, and the production of public understandings through, ethnographic museums in Europe and the Americas. By offering insights into Indigenous museologies across Oceania, the coauthors seek to recalibrate ethnographic museums, collections, and practices through Indigenous Oceanic approaches and perspectives. This, in turn, should assist any museum scholar and professional in rethinking and redoing their respective institutional settings, intellectual frameworks, and museum processes when dealing with Oceanic affairs; and, more broadly, in doing the “epistemic work” needed to confront “coloniality,” not only as a political problem or ethical obligation, but “as an epistemology, as a politics of knowledge.” A noteworthy feature is the book’s layered coauthorship and multi-vocality, drawing on a collaborative approach that has put the (widespread) philosophical commitment to dialogical inquiry into (seldom) practice by systematically co-constituting ethnographic knowledge. Further, the book shapes an “ethnographic kaleidoscope,” proposing the metaphor of the kaleidoscope as a way of encouraging fluid ethnographic engagements to avoid the impulse to solidify and enclose differences, and remain open to changing ethnographic meanings, positions, performances, and relationships. The coauthors collaboratively mobilize Oceanic eyes, bodies, and sovereignties, thus enacting an ethnographic kaleidoscopic process and effect aimed at refocusing ethnographic museums through Oceanic lenses.
Strictly Samoan celebrates Samoan history and culture. The catalogue features an essay and photos from the Alexander Turnbull [Library] Photographic Archives of New Zealand that chronicle the Mau movement for Samoan independence; an essay and images of Samoan ie-toga (fine mats); contemporary Aiga (family) portraits of Australian Samoan families taken by photgrapher Greg Semu"--Provided by publisher.
Refocusing Ethnographic Museums through Oceanic Lenses offers a collaborative ethnographic investigation of Indigenous museum practices in three Pacific museums located at the corners of the so-called Polynesian triangle: Bernice Pauahi Bishop Museum, Hawai'i; Museum of New Zealand Te Papa Tongarewa; and Museo Antropológico Padre Sebastián Englert, Rapa Nui.Since their inception, ethnographic museums have influenced academic and public imaginations of other cultural-geographic regions and as a result, Euro-Americentric projection of anthropological imaginations has come under intense pressure. At the same time, (post)colonial renegotiations in former European and American colonies have initiated dramatic changes to anthropological approaches through Indigenous museum practices.This book shapes a dialogue between Euro-Americentric myopia and Oceanic perspectives by offering historically informed, ethnographic insights into Indigenous museum practices grounded in Indigenous epistemologies, ontologies and cosmologies. In doing so, the book employs Oceanic lenses that help to reframe Pacific collections in, and the production of public understandings through, ethnographic museums in Europe and the Americas. Following this line of reasoning, Refocusing Ethnographic Museums through Oceanic Lenses sets out to offer insights into Indigenous museologies across Oceania to recalibrate ethnographic museums, collections and practices through Indigenous Oceanic approaches and perspectives. This, in turn, should assist any museum scholar and professional in rethinking and redoing their respective institutional settings, intellectual frameworks and museum processes when dealing with Oceanic affairs; and, more broadly, in doing the 'epistemic work' needed to confront 'coloniality', not only as a political problem or ethical obligation but 'as an epistemology, as a politics of knowledge"--Provided by publisher.
The pages of this book are filled with beautiful photographs taken mostly in the midwest, accompanied by poetry and quotations, all of which come from the heart and mind of Sean Redenbaugh. Enjoy.
Through unrestricted access to Mark Eitzel himself, former band members, associates and friends, Sean Body has built up a portrait of an artist tortured by his own demons, yet redeemed by the aching beauty of his songs."Wish The World Away is an insightful quote-drenched post-mortem on a band who recorded a slew of unbearably moving records before getting chewed up by the music biz machine."-Uncut Magazine
Fascinating . . . O'Driscoll's research is impressive' Ben Macintyre, The Times _____ The story behind the hit movie Baltimore, starring Imogen Poots. The astonishing story of the English heiress who devoted her life to the IRA. She grew up in a Chelsea townhouse and on a Devon estate. She was presented to the Queen at Buckingham Palace as a debutante in 1958. She trained at Oxford as an academic economist and had a love affair with a female professor (who was on the rebound from Iris Murdoch). At thirty, she commenced giving her inheritance away to the poor. In 1972, the deadliest year of the Northern Irish Troubles, she travelled to Ireland and joined the IRA. Sean O'Driscoll's Heiress, Rebel, Vigilante, Bomber tells the astonishing story of Rose Dugdale, who went on to become a committed terrorist, participating in a major art heist and a bombing raid on a police and army barracks; who kept a pregnancy secret for nine months in prison and gave birth there; and who ended up at the heart of the IRA's bomb-making operation during its deadly final spasms in the 1990s. Heiress, Rebel, Vigilante, Bomber is both the page-turning biography of a remarkable woman and a groundbreaking account of the inner workings of a terrorist organization. _____ 'It would be hard to overstate how good this book is . . . a fantastic read' Sunday Independent 'Superb . . . an even-handed and thrilling gallop through [Dugdale's] improbable life' Daily Telegraph 'Excellent' Michael McDowell, Irish Times 'Possibly the most extraordinary book you'll read this year' Irish Examiner 'Jaw-dropping' Joe Duffy 'Well-researched' Irish Times
There is no more powerful symbol in American political life than the presidency, and the image of presidential power has had no less profound an impact on American fiction. A Pinnacle of Feeling is the first book to examine twentieth-century literature's deep fascination with the modern presidency and with the ideas about the relationship between state power and democracy that underwrote the rise of presidential authority. Sean McCann challenges prevailing critical interpretations through revelatory new readings of major writers, including Richard Wright, Gertrude Stein, Henry Roth, Zora Neale Hurston, Saul Bellow, Ralph Ellison, Norman Mailer, Don Delillo, and Philip Roth. He argues that these writers not only represented or satirized presidents, but echoed political thinkers who cast the chief executive as the agent of the sovereign will of the American people. They viewed the president as ideally a national redeemer, and they took that ideal as a model and rival for their own work. A Pinnacle of Feeling illuminates the fundamental concern with democratic sovereignty that informs the most innovative literary works of the twentieth century, and shows how these works helped redefine and elevate the role of executive power in American culture.
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