Visions of Belonging explores how beloved and still-remembered family stories—A Tree Grows in Brooklyn, I Remember Mama, Gentleman's Agreement, Death of a Salesman, Marty, and A Raisin in the Sun—entered the popular imagination and shaped collective dreams in the postwar years and into the 1950s. These stories helped define widely shared conceptions of who counted as representative Americans and who could be recognized as belonging. The book listens in as white and black authors and directors, readers and viewers reveal divergent, emotionally textured, and politically charged social visions. Their diverse perspectives provide a point of entry into an extraordinary time when the possibilities for social transformation seemed boundless. But changes were also fiercely contested, especially as the war's culture of unity receded in the resurgence of cold war anticommunism, and demands for racial equality were met with intensifying white resistance. Judith E. Smith traces the cultural trajectory of these family stories, as they circulated widely in bestselling paperbacks, hit movies, and popular drama on stage, radio, and television. Visions of Belonging provides unusually close access to a vibrant conversation among white and black Americans about the boundaries between public life and family matters and the meanings of race and ethnicity. Would the new appearance of white working class ethnic characters expand Americans'understanding of democracy? Would these stories challenge the color line? How could these stories simultaneously show that black families belonged to the larger "family" of the nation while also representing the forms of danger and discriminations that excluded them from full citizenship? In the 1940s, war-driven challenges to racial and ethnic borderlines encouraged hesitant trespass against older notions of "normal." But by the end of the 1950s, the cold war cultural atmosphere discouraged probing of racial and social inequality and ultimately turned family stories into a comforting retreat from politics. The book crosses disciplinary boundaries, suggesting a novel method for cultural history by probing the social history of literary, dramatic, and cinematic texts. Smith's innovative use of archival research sets authorial intent next to audience reception to show how both contribute to shaping the contested meanings of American belonging.
visions of belonging
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The interplay between art objects and the shaping of loyalties and identities in a formative phase of American culture is explored in this volume that offers a new interpretation of turn-of-the-century American art and its vision of the distinctive New England landscape and identity.
Moving away from territorially-bound narratives toward a more kinetic conceptualization of identity, this book represents the first analysis of the politics of American identity within the fiction and memoirs of Isabel Allende. Craig offers a radical transformation of societal frameworks through revised notions of place, temporality, and space.
In this original and lucid account of how Spanish painters of the 16th and 17th centuries dealt with mystic visions in their art, and of how they attempted to "represent the unrepresentable", Victor Stoichita aims to establish a theory of visionary imagery in Western art in general, and one for the Spanish Counter-Reformation in particular. He reveals how the spirituality of the Counter-Reformation was characterized by a rediscovery of the role of the imagination in the exercise of faith. This had important consequences for painters such as Velazquez, Zurbaran and El Greco, leading to the development of ingenious solutions for visual depictions of mystical experience. This was to crystallize into an overtly meditative and didactic pictorial language. That Spanish painting is both cerebral and passionate is due to the particular historical forces which shaped it. Stoichita's account will be of crucial interest not just to scholars of Spanish art but to anyone interested in how art responds to ideological pressures.
Liberty and freedom: Americans agree that these values are fundamental to our nation, but what do they mean? How have their meanings changed through time? In this new volume of cultural history, David Hackett Fischer shows how these varying ideas form an intertwined strand that runs through the core of American life. Fischer examines liberty and freedom not as philosophical or political abstractions, but as folkways and popular beliefs deeply embedded in American culture. Tocqueville called them "habits of the heart." From the earliest colonies, Americans have shared ideals of liberty and freedom, but with very different meanings. Like DNA these ideas have transformed and recombined in each generation. The book arose from Fischer's discovery that the words themselves had differing origins: the Latinate "liberty" implied separation and independence. The root meaning of "freedom" (akin to "friend") connoted attachment: the rights of belonging in a community of freepeople. The tension between the two senses has been a source of conflict and creativity throughout American history. Liberty & Freedom studies the folk history of those ideas through more than 400 visions, images, and symbols. It begins with the American Revolution, and explores the meaning of New England's Liberty Tree, Pennsylvania's Liberty Bells, Carolina's Liberty Crescent, and "Don't Tread on Me" rattlesnakes. In the new republic, the search for a common American symbol gave new meaning to Yankee Doodle, Uncle Sam, Miss Liberty, and many other icons. In the Civil War, Americans divided over liberty and freedom. Afterward, new universal visions were invented by people who had formerly been excluded from a free society--African Americans, American Indians, and immigrants. The twentieth century saw liberty and freedom tested by enemies and contested at home, yet it brought the greatest outpouring of new visions, from Franklin Roosevelt's Four Freedoms to Martin Luther King's "dream" to Janis Joplin's "nothin' left to lose." Illustrated in full color with a rich variety of images, Liberty and Freedom is, literally, an eye-opening work of history--stimulating, large-spirited, and ultimately, inspiring.
Despite its centrality to the political life of India and Pakistan, the few reliable works of history that have appeared on Kashmir insist ahistorically on the existence of a unique Kashmir cultural identity. This text questions the notion of any transcendent cultural uniqueness and Kashmiriyat.
American Night, the final volume of an unprecedented trilogy, brings Alan Wald's multigenerational history of Communist writers to a poignant climax. Using new research to explore the intimate lives of novelists, poets, and critics during the Cold War, Wald reveals a radical community longing for the rebirth of the social vision of the 1930s and struggling with a loss of moral certainty as the Communist worldview was being called into question. The resulting literature, Wald shows, is a haunting record of fracture and struggle linked by common structures of feeling, ones more suggestive of the "negative dialectics" of Theodor Adorno than the traditional social realism of the Left. Establishing new points of contact among Kenneth Fearing, Ann Petry, Alexander Saxton, Richard Wright, Jo Sinclair, Thomas McGrath, and Carlos Bulosan, Wald argues that these writers were in dialogue with psychoanalysis, existentialism, and postwar modernism, often generating moods of piercing emotional acuity and cosmic dissent. He also recounts the contributions of lesser known cultural workers, with a unique accent on gays and lesbians, secular Jews, and people of color. The vexing ambiguities of an era Wald labels "late antifascism" serve to frame an impressive collective biography.
|Book Title||: True Interpretation of All the Chief Texts and Mysterious Sayings and Visions Opened of the Whole Book of the Revelation of St John|
|Author||: Lodowick Muggleton|
|Release Date||: 1746|
|Available Language||: English, Spanish, And French|
This book was shortlisted for the ESSE Junior Scholars book award for Cultural Studies in English, 2012 Since its inception cinema has served as a powerful medium that both articulates and intervenes in visions of identity. The experiences of British colonialism in Ireland and India are marked by many commonalities, not least in terms of colonial and indigenous imaginings of the relationships between colony or former colony and imperial metropolis. Cinematic representations of Ireland and India display several parallels in their expressions and contestations of visions of Empire and national identity. This book offers a critical approach to the study of Ireland's colonial and postcolonial heritage through a comparative exploration of such filmic visions, yielding insights into the operations of colonial, nationalist and postcolonial discourse. Drawing on postcolonial and cultural theory and employing Bakhtin's concept of dialogism, the author engages in close readings of a broad range of metropolitan and indigenous films spanning an approximately fifty-year period, exploring the complex relationships between cinema, colonialism, nationalism and postcolonialism and examining their role in the (re)construction of Irish and Indian identities.