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Hip Hop on Film - Kimberley Monteyne - Bog - University Press of Mississippi - Plusbog.dk

Hip Hop on Film - Kimberley Monteyne - Bog - University Press of Mississippi - Plusbog.dk

A reclamation and interpretation of a once-dismissed aspect of American film historyEarly hip hop film musicals have either been expunged from cinema history or excoriated in brief passages by critics and other writers. Hip Hop on Film reclaims and reexamines productions such as Breakin'' (1984), Beat Street (1984), and Krush Groove (1985) in order to illuminate Hollywood''s fascinating efforts to incorporate this nascent urban culture into conventional narrative forms. Such films presented musical conventions against the backdrop of graffiti-splattered trains and abandoned tenements in urban communities of color, setting the stage for radical social and political transformations. Hip hop musicals are also part of the broader history of teen cinema, and films such as Charlie Ahearn''s Wild Style (1983) are here examined alongside other contemporary youth-oriented productions. As suburban teen films banished parents and children to the margins of narrative action, hip hop musicals, by contrast, presented inclusive and unconventional filial groupings that included all members of the neighborhood. These alternative social configurations directly referenced specific urban social problems, which affected the stability of inner city families following diminished governmental assistance in communities of color during the 1980s.Breakdancing, a central element of hip hop musicals, is also reconsidered. It gained widespread acclaim at the same time that these films entered the theaters, but the nation''s newly discovered dance form was embattled--caught between a multitude of institutional entities such as the ballet academy, advertising culture, and dance publications that vied to control its meaning, particularly in relation to delineations of gender. As street-trained breakers were enticed to join the world of professional ballet, this newly forged relationship was recast by dance promoters as a way to invigorate and "remasculinize" European dance, while young women simultaneously critiqued conventional masculinities through an appropriation of breakdance. These multiple and volatile histories influenced the first wave of hip hop films, and even structured the sleeper hit Flashdance. This forgotten, ignored, and maligned cinema is not only an important aspect of hip hop history, but is also central to the histories of teen film, the postclassical musical, and even institutional dance. Kimberley Monteyne places these films within the wider context of their cultural antecedents and reconsiders the genre''s influence.Kimberley Monteyne, Vancouver, British Columbia, Canada, is currently teaching at the University of British Columbia and has also taught at New York University and the Chelsea College of Art (UK). Her work has appeared in Youth Culture in Global Cinema.

DKK 858.00
1

Hip Hop on Film - Kimberley Monteyne - Bog - University Press of Mississippi - Plusbog.dk

Hip Hop on Film - Kimberley Monteyne - Bog - University Press of Mississippi - Plusbog.dk

A reclamation and interpretation of a once-dismissed aspect of American film historyEarly hip hop film musicals have either been expunged from cinema history or excoriated in brief passages by critics and other writers. Hip Hop on Film reclaims and reexamines productions such as Breakin'' (1984), Beat Street (1984), and Krush Groove (1985) in order to illuminate Hollywood''s fascinating efforts to incorporate this nascent urban culture into conventional narrative forms. Such films presented musical conventions against the backdrop of graffiti-splattered trains and abandoned tenements in urban communities of color, setting the stage for radical social and political transformations. Hip hop musicals are also part of the broader history of teen cinema, and films such as Charlie Ahearn''s Wild Style (1983) are here examined alongside other contemporary youth-oriented productions. As suburban teen films banished parents and children to the margins of narrative action, hip hop musicals, by contrast, presented inclusive and unconventional filial groupings that included all members of the neighborhood. These alternative social configurations directly referenced specific urban social problems, which affected the stability of inner city families following diminished governmental assistance in communities of color during the 1980s.Breakdancing, a central element of hip hop musicals, is also reconsidered. It gained widespread acclaim at the same time that these films entered the theaters, but the nation''s newly discovered dance form was embattled--caught between a multitude of institutional entities such as the ballet academy, advertising culture, and dance publications that vied to control its meaning, particularly in relation to delineations of gender. As street-trained breakers were enticed to join the world of professional ballet, this newly forged relationship was recast by dance promoters as a way to invigorate and "remasculinize" European dance, while young women simultaneously critiqued conventional masculinities through an appropriation of breakdance. These multiple and volatile histories influenced the first wave of hip hop films, and even structured the sleeper hit Flashdance. This forgotten, ignored, and maligned cinema is not only an important aspect of hip hop history, but is also central to the histories of teen film, the postclassical musical, and even institutional dance. Kimberley Monteyne places these films within the wider context of their cultural antecedents and reconsiders the genre''s influence.Kimberley Monteyne, Vancouver, British Columbia, Canada, is currently teaching at the University of British Columbia and has also taught at New York University and the Chelsea College of Art (UK). Her work has appeared in Youth Culture in Global Cinema.

DKK 312.00
1

Let the World Listen Right - Ali Colleen Neff - Bog - University Press of Mississippi - Plusbog.dk

Let the World Listen Right - Ali Colleen Neff - Bog - University Press of Mississippi - Plusbog.dk

A study of grass roots musical creation happening in the cradle of the bluesIn the Mississippi Delta, creativity, community, and a rich expressive culture persist despite widespread poverty. Over five years of extensive work in the region, author Ali Colleen Neff collected a wealth of materials that demonstrate a vibrant musical scene.Let the World Listen Right draws from classic studies of the blues as well as extensive ethnographic work to document the "changing same" of Delta music making. From the neighborhood juke joints of the contemporary Delta to the international hip-hop stage, this study traces the musical networks that join the region''s African American communities to both traditional forms and new global styles.The book features the words and describes performances of contemporary artists, including blues musicians, gospel singers, radio and club DJs, barroom toast-tellers, preachers, poets, and a spectrum of Delta hip-hop artists. Contemporary Delta hip-hop artists Jerome "TopNotch the Villain" Williams, Kimyata "Yata" Dear, and DA F.A.M. have contributed freestyle poetry, extensive interview materials, and their own commentaries. The book focuses particularly on the biography of TopNotch, whose hip-hop poetics emerge from a lifetime of schoolyard dozens and training in the gospel church.Formerly a music writer for the San Francisco Bay Guardian, the SF Weekly, and the East Bay Express, among others, Ali Colleen Neff is currently an instructor at the University of North Carolina at Chapel Hill.

DKK 303.00
1

East Meets Black - Chong Chon Smith - Bog - University Press of Mississippi - Plusbog.dk

East Meets Black - Chong Chon Smith - Bog - University Press of Mississippi - Plusbog.dk

East Meets Black examines the making and remaking of race and masculinity through the racialization of Asian and black men, confronting this important white stratagem to secure class and racial privilege, wealth, and status in the post–civil rights era. Indeed Asian and black men in neoliberal America are cast by white supremacy as oppositional. Through this opposition in the US racial hierarchy, Chong Chon-Smith argues that Asian and black men are positioned along binaries brain/body, diligent/lazy, nerd/criminal, culture/ genetics, student/convict, and technocrat/athlete—in what he terms “racial magnetism.” Via this concept, East Meets Black traces the national conversations that oppose black and Asian masculinities, but also the Afro-Asian counterpoints in literature, film, popular sport, hip-hop music, performance arts, and internet subcultures. Chon-Smith highlights the spectacle and performance of baseball players such as Ichiro Suzuki within global multiculturalism and the racially coded controversy between Yao Ming and Shaquille O’Neal in transnational basketball. Further, he assesses the prominence of martial arts buddy films such as Romeo Must Die and Rush Hour that produce Afro-Asian solidarity in mainstream Hollywood cinema. Finally, Chon-Smith explores how the Afro-Asian cultural fusions in hip-hop open up possibilities for the creation of alternative subcultures, to disrupt myths of black pathology and the Asian model minority. In this first interdisciplinary book on Asian and black masculinities in literature and popular culture, Chon-Smith explores the inspiring, contradictory, hostile, resonant, and unarticulated ways in which the formation of Asian and black racial masculinity has affected contemporary America.

DKK 369.00
1

Raised Up Down Yonder - Angela Mcmillan Howell - Bog - University Press of Mississippi - Plusbog.dk

Raised Up Down Yonder - Angela Mcmillan Howell - Bog - University Press of Mississippi - Plusbog.dk

Raised Up Down Yonder attempts to shift focus away from why black youth are ""problematic"" to explore what their daily lives actually entail. Howell travels to the small community of Hamilton, Alabama, to investigate what it is like for a young black person to grow up in the contemporary rural South. What she finds is that the young people of Hamilton are neither idly passing their time in a stereotypically languid setting nor are they being corrupted by hip-hop culture and the perils of the urban North, as many pundits suggest. Rather, they are dynamic and diverse young people making their way through the structures that define the twenty-first-century South. Told through the poignant stories of several high school students, Raised Up Down Yonder reveals a group that is often rendered invisible in society. Blended families, football sagas, crunk music, expanding social networks, and a nearby segregated prom are just a few of the fascinating juxtapositions.

DKK 307.00
1

Raised Up Down Yonder - Angela Mcmillan Howell - Bog - University Press of Mississippi - Plusbog.dk

Raised Up Down Yonder - Angela Mcmillan Howell - Bog - University Press of Mississippi - Plusbog.dk

Raised Up Down Yonder attempts to shift focus away from why black youth are ""problematic"" to explore what their daily lives actually entail. Howell travels to the small community of Hamilton, Alabama, to investigate what it is like for a young black person to grow up in the contemporary rural South. What she finds is that the young people of Hamilton are neither idly passing their time in a stereotypically languid setting, nor are they being corrupted by hip hop culture and the perils of the urban North, as many pundits suggest. Rather, they are dynamic and diverse young people making their way through the structures that define the twenty-first-century South. Told through the poignant stories of several high school students, Raised Up Down Yonder reveals a group that is often rendered invisible in society. Blended families, football sagas, crunk music, expanding social networks, and a nearby segregated prom are just a few of the fascinating juxtapositions. Howell uses personal biography, historical accounts, sociolinguistic analysis, and community narratives to illustrate persistent racism, class divisions, and resistance in a new context. She addresses contemporary issues, such as moral panics regarding the future of youth in America and educational policies that may be well meaning but are ultimately misguided.

DKK 518.00
1

Soul in Seoul - Crystal S. Anderson - Bog - University Press of Mississippi - Plusbog.dk

Soul in Seoul - Crystal S. Anderson - Bog - University Press of Mississippi - Plusbog.dk

K-pop (Korean popular music) reigns as one of the most popular music genres in the world today, a phenomenon that appeals to listeners of all ages and nationalities. In Soul in Seoul: African American Popular Music and K-pop, Crystal S. Anderson examines the most important and often overlooked aspect of K-pop: the music itself. She demonstrates how contemporary K-pop references and incorporates musical and performative elements of African American popular music culture as well as the ways that fans outside of Korea understand these references. K-pop emerged in the 1990s with immediate global aspirations, combining musical elements from Korean and foreign cultures, particularly rhythm and blues genres of black American popular music. Korean solo artists and groups borrow from and cite instrumentation and vocals of R&B genres, especially hip hop. They also enhance the R&B tradition by utilizing Korean musical strategies. These musical citational practices are deemed authentic by global fans who function as part of K-pop's music press and promotional apparatus. K-pop artists also cite elements of African American performance in Korean music videos. These disrupt stereotyped representations of Asian and African American performers. Through this process K-pop has arguably become a branch of a global R&B tradition. Anderson argues that Korean pop groups participate in that tradition through cultural work that enacts a global form of crossover and by maintaining forms of authenticity that cannot be faked, and furthermore propel the R&B tradition beyond the black-white binary.

DKK 312.00
1

Exploring American Folk Music - Kip Lornell - Bog - University Press of Mississippi - Plusbog.dk

Exploring American Folk Music - Kip Lornell - Bog - University Press of Mississippi - Plusbog.dk

Exploring American Folk Music: Ethnic, Grassroots, and Regional Traditions in the United States reflects the fascinating diversity of regional and grassroots music in the United States. The book covers the diverse strains of American folk music--Latin, Native American, African, French-Canadian, British, and Cajun--and offers a chronology of the development of folk music in the United States. The book is divided into discrete chapters covering topics as seemingly disparate as sacred harp singing, conjunto music, the folk revival, blues, and ballad singing. It is among the few textbooks in American music that recognizes the importance and contributions of Native Americans as well as those who live, sing, and perform music along our borderlands, from the French-speaking citizens in northern Vermont to the extensive Hispanic population living north of the Rio Grande River, recognizing and reflecting the increasing importance of the varied Latino traditions that have informed our folk music since the founding of the United States. Another chapter includes detailed information about the roots of hip-hop, and this updated edition of the book features a new chapter on urban folk music, exploring traditions in our cities, with a case study focusing on Washington, D.C. Exploring American Folk Music also introduces you to such important figures in American music as Bob Wills, Lydia Mendoza, Bob Dylan, and Muddy Waters, who helped shape what America sounds like in the twenty-first century. It also features new sections at the end of each chapter with up-to-date recommendations for "Suggested Listening," "Suggested Reading," and "Suggested Viewing."

DKK 312.00
1

The Amazing Jimmi Mayes - Jimmi Mayes - Bog - University Press of Mississippi - Plusbog.dk

The Amazing Jimmi Mayes - Jimmi Mayes - Bog - University Press of Mississippi - Plusbog.dk

Association of Recorded Sound Collections Awards for ExcellenceBest Research in Recorded Blues, Hip-Hop, Rhythm & Blues - Certificate of Merit (2014) For more than fifty years, Chicago drummer Jimmi Mayes served as a sideman behind some of the greatest musicians and musical groups in history. He began his career playing the blues in the juke joints of Mississippi, sharpened his trade under the mentorship of drum legends Sam Lay and Fred Below in the steamy nightclubs of south Chicago, and hit it big in New York City behind such music legends as Tommy Hunt from the Flamingos, Marvin Gaye, and James Brown. Mayes played his drums behind blues giants Little Walter Jacobs, Jimmy Reed, Robert Junior Lockwood, Earl Hooker, Junior Wells, Pinetop Perkins, and Willie "Big Eyes" Smith. He lived for a while with Motown sensation Martha Reeves and her family and traveled with the Shirelles and the Motown Review. Jimi Hendrix was one of Mayes's best friends, and they traveled together with Joey Dee and the Starliters in the mid-1960s. Mayes lived through racial segregation, the civil rights movement of the 1960s, the integration of rock bands, and the emergence of Motown. He personally experienced the sexual and moral revolutions of the sixties, was robbed of his musical royalties, and survived a musical drought. He's been a pimp and a drug pusher--and lived to tell the tale when so many musicians have not. This sideman to the stars witnessed music history from the best seat in the house--behind the drum set.

DKK 263.00
1

Soul in Seoul - Crystal S. Anderson - Bog - University Press of Mississippi - Plusbog.dk

Soul in Seoul - Crystal S. Anderson - Bog - University Press of Mississippi - Plusbog.dk

K-pop (Korean popular music) reigns as one of the most popular music genres in the world today, a phenomenon that appeals to listeners of all ages and nationalities. In Soul in Seoul: African American Popular Music and K-pop, Crystal S. Anderson examines the most important and often overlooked aspect of K-pop: the music itself. She demonstrates how contemporary K-pop references and incorporates musical and performative elements of African American popular music culture as well as the ways that fans outside of Korea understand these references. K-pop emerged in the 1990s with immediate global aspirations, combining musical elements from Korean and foreign cultures, particularly rhythm and blues genres of black American popular music. Korean solo artists and groups borrow from and cite instrumentation and vocals of R&B genres, especially hip hop. They also enhance the R&B tradition by utilizing Korean musical strategies. These musical citational practices are deemed authentic by global fans who function as part of K-pop's music press and promotional apparatus. K-pop artists also cite elements of African American performance in Korean music videos. These disrupt stereotyped representations of Asian and African American performers. Through this process K-pop has arguably become a branch of a global R&B tradition. Anderson argues that Korean pop groups participate in that tradition through cultural work that enacts a global form of crossover and by maintaining forms of authenticity that cannot be faked, and furthermore propel the R&B tradition beyond the black-white binary.

DKK 1029.00
1

Scattered Musics - - Bog - University Press of Mississippi - Plusbog.dk

Scattered Musics - - Bog - University Press of Mississippi - Plusbog.dk

Contributions by Nilanjana Bhattacharjya, Benjamin Burkhart, Ivy Chevers, Martha I. Chew Sánchez, Athena Elafros, William García-Medina, Sara Goek, David Henderson, Eyvind Kang, Junko Oba, Juan David Rubio Restrepo, and Gareth Dylan Smith In Scattered Musics, editors Martha I. Chew Sánchez and David Henderson, along with a range of authors from a variety of scholarly backgrounds, consider the musics that diaspora and migrant populations are inspired to create, how musics and musicians travel, and how they change in transit. The authors cover a lot of ground: cumbia in Mexico, música sertaneja in Japan, hip-hop in Canada, Irish music in the US and the UK, reggae and dancehall in Germany, and more. Diasporic groups transform the musical expressions of their home countries as well as those in their host communities. The studies collected here show how these transformations are ways of grappling with ever-changing patterns of movement. Different diasporas hold their homelands in different regards. Some communities try to re-create home away from home in musical performances, while others use music to critique and redefine their senses of home. Through music, people seek to reconstruct and refine collective memory and a collective sense of place. The essays in this volume--by sociologists, historians, ethnomusicologists, and others--explore these questions in ways that are theoretically sophisticated yet readable, making evident the complexities of musical and social phenomena in diaspora and migrant populations. As the opening paragraph of the introduction to the volume observes, "What remains when people have been scattered apart is a strong urge to gather together, to collect." At few times in our lives has that ever been more apparent than right now.

DKK 312.00
1

Post-Soul Satire - - Bog - University Press of Mississippi - Plusbog.dk

Post-Soul Satire - - Bog - University Press of Mississippi - Plusbog.dk

From 30 Americans to Angry White Boy , from Bamboozled to The Boondocks , from Chappelle''s Show to The Colored Museum , this collection of twenty-one essays takes an interdisciplinary look at the flowering of satire and its influence in defining new roles in black identity. As a mode of expression for a generation of writers, comedians, cartoonists, musicians, filmmakers, and visual/conceptual artists, satire enables collective questioning of many of the fundamental presumptions about black identity in the wake of the civil rights movement. Whether taking place in popular and controversial television shows, in a provocative series of short internet films, in prize-winning novels and plays, in comic strips, or in conceptual hip-hop albums, this satirical impulse has found a receptive audience both within and outside the black community. Such works have been variously called "post-black," "post-soul," and examples of a "New Black Aesthetic." Whatever the label, this collection bears witness to a noteworthy shift regarding the ways in which African American satirists feel constrained by conventional obligations when treating issues of racial identity, historical memory, and material representation of blackness. Among the artists examined in this collection are Paul Beatty, Dave Chappelle, Trey Ellis, Percival Everett, Donald Glover (a.k.a. Childish Gambino), Spike Lee, Aaron McGruder, Lynn Nottage, ZZ Packer, Suzan Lori-Parks, Mickalene Thomas, Touré, Kara Walker, and George C. Wolfe. The essays intentionally seek out interconnections among various forms of artistic expression. Contributors look at the ways in which contemporary African American satire engages in a broad ranging critique that exposes fraudulent, outdated, absurd, or otherwise damaging mindsets and behaviors both within and outside the African American community.

DKK 312.00
1

Scattered Musics - - Bog - University Press of Mississippi - Plusbog.dk

Scattered Musics - - Bog - University Press of Mississippi - Plusbog.dk

Contributions by Nilanjana Bhattacharjya, Benjamin Burkhart, Ivy Chevers, Martha I. Chew Sánchez, Athena Elafros, William García-Medina, Sara Goek, David Henderson, Eyvind Kang, Junko Oba, Juan David Rubio Restrepo, and Gareth Dylan Smith In Scattered Musics, editors Martha I. Chew Sánchez and David Henderson, along with a range of authors from a variety of scholarly backgrounds, consider the musics that diaspora and migrant populations are inspired to create, how musics and musicians travel, and how they change in transit. The authors cover a lot of ground: cumbia in Mexico, música sertaneja in Japan, hip-hop in Canada, Irish music in the US and the UK, reggae and dancehall in Germany, and more. Diasporic groups transform the musical expressions of their home countries as well as those in their host communities. The studies collected here show how these transformations are ways of grappling with ever-changing patterns of movement. Different diasporas hold their homelands in different regards. Some communities try to re-create home away from home in musical performances, while others use music to critique and redefine their senses of home. Through music, people seek to reconstruct and refine collective memory and a collective sense of place. The essays in this volume--by sociologists, historians, ethnomusicologists, and others--explore these questions in ways that are theoretically sophisticated yet readable, making evident the complexities of musical and social phenomena in diaspora and migrant populations. As the opening paragraph of the introduction to the volume observes, "What remains when people have been scattered apart is a strong urge to gather together, to collect." At few times in our lives has that ever been more apparent than right now.

DKK 1147.00
1

John Waters - - Bog - University Press of Mississippi - Plusbog.dk

John Waters - - Bog - University Press of Mississippi - Plusbog.dk

As a film director, artist, and personality, John Waters (b. 1946) has worked at the forefront of American cinema for nearly forty years. Waters began making films in his hometown of Baltimore in 1964. His first shorts such as Hag in a Black Leather Jacket and Mondo Trasho demonstrated an innate talent at capturing the hideous and crude and elevating it to art. His cast of actors, the Dreamlanders, were featured in every subsequent film. The Dreamlanders would include his diva and partner-in-film, Divine, who would go on to star in Waters''s most familiar works.Waters broke through to national acclaim with his "trash trio," Pink Flamingos (1972), Female Trouble (1974), and Desperate Living (1977). These films showcased poor taste, obscene cinema, and transformative approaches to politics, gender, and art. The films cemented Waters''s status as a cult favorite and continue to play at college campuses and art house theaters to this day.Waters soon entered the mainstream with Polyester, the first movie filmed in a revolutionary new process: smell-o-vision. The film starred Divine as an unhappy housewife who romances a former teen idol played by Tab Hunter. Waters''s commercial breakthrough, Hairspray (1988) told the story of Baltimore''s televised sock-hop program, The Corny Collins Show, and how one brave girl (Ricki Lake) used her platform as a dancer to end segregation in her town. Waters would continue to write and direct films that pleased the mainstream but also showcased his unique approach to filmmaking. These would include Cry-Baby, Serial Mom, and Pecker. His recent work, such as A Dirty Shame, has veered toward his earlier obsessions with trash and obscenity. As a visual artist, he was given a retrospective at the New Museum of Contemporary Art in 2004 and shown at galleries around the world.

DKK 276.00
1

Conversations with Nalo Hopkinson - - Bog - University Press of Mississippi - Plusbog.dk

Conversations with Nalo Hopkinson - - Bog - University Press of Mississippi - Plusbog.dk

A key figure in contemporary speculative fiction, Jamaican-born Canadian Nalo Hopkinson (b. 1960) is the first Black queer woman as well as the youngest person to be named a "Grand Master" of Science Fiction. Her Caribbean-inspired narratives-- Brown Girl in the Ring , Midnight Robber , The Salt Roads , The New Moon''s Arms , The Chaos , and Sister Mine --project complex futures and complex identities for people of color in terms of race, sex, and gender. Hopkinson has always had a vested interest in expanding racial and ethnic diversity in all facets of speculative fiction from its writers to its readers, and this desire is reflected in her award-winning anthologies. Her work best represents the current and ongoing colored wave of science fiction in the twenty-first century. In twenty-one interviews ranging from 1999 until 2021, Conversations with Nalo Hopkinson reveals a writer of fierce intelligence and humor in love with ideas and concerned with issues of identity. She provides powerful insights on code-switching, race, Afrofuturism, queer identities, sexuality, Caribbean folklore, and postcolonial science fictions, among other things. As a result, the conversations presented here very much demonstrate the uniqueness of her mind and her influence as a writer.

DKK 939.00
1

Conversations with Nalo Hopkinson - - Bog - University Press of Mississippi - Plusbog.dk

Conversations with Nalo Hopkinson - - Bog - University Press of Mississippi - Plusbog.dk

A key figure in contemporary speculative fiction, Jamaican-born Canadian Nalo Hopkinson (b. 1960) is the first Black queer woman as well as the youngest person to be named a "Grand Master" of Science Fiction. Her Caribbean-inspired narratives-- Brown Girl in the Ring , Midnight Robber , The Salt Roads , The New Moon''s Arms , The Chaos , and Sister Mine --project complex futures and complex identities for people of color in terms of race, sex, and gender. Hopkinson has always had a vested interest in expanding racial and ethnic diversity in all facets of speculative fiction from its writers to its readers, and this desire is reflected in her award-winning anthologies. Her work best represents the current and ongoing colored wave of science fiction in the twenty-first century. In twenty-one interviews ranging from 1999 until 2021, Conversations with Nalo Hopkinson reveals a writer of fierce intelligence and humor in love with ideas and concerned with issues of identity. She provides powerful insights on code-switching, race, Afrofuturism, queer identities, sexuality, Caribbean folklore, and postcolonial science fictions, among other things. As a result, the conversations presented here very much demonstrate the uniqueness of her mind and her influence as a writer.

DKK 231.00
1

Post-Soul Satire - - Bog - University Press of Mississippi - Plusbog.dk

Post-Soul Satire - - Bog - University Press of Mississippi - Plusbog.dk

A COLLECTION THAT EXPLORES THE ROLE OF CURRENT SATIRE IN SHAPING WHAT IT MEANS TO BE BLACKFrom 30 Americans to Angry White Boy, from Bamboozled to The Boondocks, from Chappelle''s Show to The Colored Museum, this collection of twenty-one essays takes an interdisciplinary look at the flowering of satire and its influence in defining new roles in black identity. As a mode of expression for a generation of writers, comedians, cartoonists, musicians, filmmakers, and visual/conceptual artists, satire enables collective questioning of many of the fundamental presumptions about black identity in the wake of the civil rights movement. Whether taking place in popular and controversial television shows, in a provocative series of short internet films, in prize-winning novels and plays, in comic strips, or in conceptual hip-hop albums, this satirical impulse has found a receptive audience both within and outside the black community.Such works have been variously called "post-black," "post-soul," and examples of a "New Black Aesthetic." Whatever the label, this collection bears witness to a noteworthy shift regarding the ways in which African American satirists feel constrained by conventional obligations when treating issues of racial identity, historical memory, and material representation of blackness.Among the artists examined in this collection are Paul Beatty, Dave Chappelle, Trey Ellis, Percival Everett, Donald Glover (a.k.a. Childish Gambino), Spike Lee, Aaron McGruder, Lynn Nottage, ZZ Packer, Suzan Lori-Parks, Mickalene Thomas, Touré, Kara Walker, and George C. Wolfe. The essays intentionally seek out interconnections among various forms of artistic expression. Contributors look at the ways in which contemporary African American satire engages in a broad-ranging critique that exposes fraudulent, outdated, absurd, or otherwise damaging mindsets and behaviors both within and outside the African American community.Essays by Bertram D. Ashe, Thomas R. Britt, Darryl Dickson-Carr, James J. Donahue, Michael B. Gillespie, Gillian Johns, Luvena Kopp, Jennifer Larson, Cameron Leader-Picone, Brandon Manning, Marvin McAllister, Danielle Fuentes Morgan, Derek Conrad Murray, Kinohi Nishikawa, Keenan Norris, Christian Schmidt, Linda Furgerson Selzer, Terrence T. Tucker, Sam Vásquez, Aimee ZygmonskiDEREK C. MAUS, Potsdam, New York, is associate professor of English at SUNY Potsdam. He is the author of Unvarnishing Reality: Subversive Russian and American Cold War Satire and coeditor of Finding a Way Home: A Critical Assessment of Walter Mosley''s Fiction (published by University Press of Mississippi). JAMES J. DONAHUE, Potsdam, New York, is associate professor of English at SUNY Potsdam.

DKK 858.00
1

Professional Wrestling - Sharon Mazer - Bog - University Press of Mississippi - Plusbog.dk

Professional Wrestling - Sharon Mazer - Bog - University Press of Mississippi - Plusbog.dk

Professional wrestling is one of the most popular performance practices in the United States and around the world, drawing millions of spectators to live events and televised broadcasts. The displays of violence, simulated and actual, may be the obvious appeal, but that is just the beginning. Fans debate performance choices with as much energy as they argue about their favorite wrestlers. The ongoing scenarios and presentations of manly and not-so-manly characters--from the flamboyantly feminine to the hypermasculine--simultaneously celebrate and critique, parody and affirm the American dream and the masculine ideal. Sharon Mazer looks at the world of professional wrestling from a fan's-eye-view high in the stands and from ringside in the wrestlers' gym. She investigates how performances are constructed and sold to spectators, both on a local level and in the "big leagues" of the WWF/E. She shares a close-up view of a group of wrestlers as they work out, get their faces pushed to the mat as part of their initiation into the fraternity of the ring, and dream of stardom. In later chapters, Mazer explores professional wrestling's carnivalesque presentation of masculinities ranging from the cute to the brute, as well as the way in which the performances of women wrestlers often enter into the realm of pornographic. Finally, she explores the question of the "real" and the "fake" as the fans themselves confront it. First published in 1998, this new edition of Professional Wrestling: Sport and Spectacle both preserves the original's snapshot of the wrestling scene of the 1980s and 1990s and features an up-to-date perspective on the current state of play.

DKK 858.00
1

Faulkner and History - - Bog - University Press of Mississippi - Plusbog.dk

Faulkner and History - - Bog - University Press of Mississippi - Plusbog.dk

Contributions by W. Fitzhugh Brundage, Jordan Burke, Rebecca Bennett Clark, James C. Cobb, Anna Creadick, Colin Dayan, Wai Chee Dimock, Sarah E. Gardner, Hannah Godwin, Brooks E. Hefner, Andrew B. Leiter, Sean McCann, Conor Picken, Natalie J. Ring, Calvin Schermerhorn, and Jay Watson William Faulkner remains a historian's writer. A distinguished roster of historians have referenced Faulkner in their published work. They are drawn to him as a fellow historian, a shaper of narrative reflections on the meaning of the past; as a historiographer, a theorist, and dramatist of the fraught enterprise of doing history; and as a historical figure himself, especially following his mid-century emergence as a public intellectual after winning the Nobel Prize for Literature. This volume brings together historians and literary scholars to explore the many facets of Faulkner's relationship to history: the historical contexts of his novels and stories; his explorations of the historiographic imagination; his engagement with historical figures from both the regional and national past; his influence on professional historians; his pursuit of alternate modes of temporal awareness; and the histories of print culture that shaped the production, reception, and criticism of Faulkner's work. Contributors draw on the history of development in the Mississippi Valley, the construction of Confederate memory, the history and curriculum of Harvard University, twentieth-century debates over police brutality and temperance reform, the history of modern childhood, and the literary histories of anti-slavery writing and pulp fiction to illuminate Faulkner's work. Others in the collection explore the meaning of Faulkner's fiction for such professional historians as C. Vann Woodward and Albert Bushnell Hart. In these ways and more, Faulkner and History offers fresh insights into one of the most persistent and long-recognized elements of the Mississippian's artistic vision.

DKK 312.00
1