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Senin, 30 Maret 2015

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First published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

Sales Rank: #107158 in Books
Brand: Routledge
Published on: 1998-10-17
Original language: English
Number of items: 1
Dimensions: 8.90" h x .54" w x 6.10" l, .82 pounds
Binding: Paperback
238 pages

Features

Great product!

From Library Journal
Christ (Odyssey with the Goddess, LJ 3/1/95) manages to combine heart and intellect in her latest work, melding personal experience with goddess studies and her scholarship. She discusses who the goddess is, what her history is, why there is resistance to her, and what she means. Christ is sensitive to different meanings of the goddess?e.g., transcendent, immanent, nature personified, and indwelling presence?and shares her own perceptions, informed and changed by recent experiences living in Greece. Christ finds the goddess especially in life-giving and life-affirming processes integral to existence. The final chapter of her work articulates an ethos focused on affirmation of beauty, life, and love rather than on patriarchal domination, power, and violence. Highly recommended both for those who do not know goddess religion and for those who do.?Carolyn M. Craft, Longwood Coll., Farmville, Va.
Copyright 1997 Reed Business Information, Inc.

From Booklist
One of feminist spirituality's founding mothers here offers a thealogy--a way of understanding the diverse, often divergent ways in which modern women use the image of the goddess. Feminist thealogy, Christ argues, typically begins from experience, rather than moving from theory to practice. It is connected with an awareness of life's complex interconnectedness; thus, feminist spirituality is typically ecologically centered. It encounters resistance from patriarchal systems that discourage heterodox religious visions. This could be a dry summary of the tenets of an important emerging faith, but in Christ's hands, it is a charged testimonial to the power of the feminine divine in her own life. Like most of Christ's work, it weaves autobiography, anthropology, comparative religion, and history into a seamless garment of impassioned thought. Patricia Monaghan

Review
"Christ manages to combine heart and intellect in her latest work....Highly recommended for both those who do not know goddess religion and for those who do."
-"Library Journal
"One of feminist spirituality's founding mothers here offers a the"alogy....It is a charged testimonial to the power of the feminine divine in her own life."
-"Booklist
"For those seeking to explore or deepen their understanding of feminist spirituality, Carol P. Christ in her newest book, offers an erudite yet heartfelt exploration of the history, nature, and meaning of the Goddess. In doing so she proviides a rich, well researched, and well reasoned Thea-logy."
-New Visions, Spring 99
"If you have a following of readers looking for goddess information, this is a sure bet."
-"Feminist Bookstore News

Most helpful customer reviews

25 of 27 people found the following review helpful.
Loving Goddess with mind as well as magic
By Peter M. Schogol
One wonders just what book it is that the reader from Massachusetts read. I've read REBIRTH OF THE GODDESS twice and I wouldn't have recognized it from the review.
The chief value of the book for me is its thealogy. Many of us who engage and are engaged by the Sacred as female have come to Her from Christianity and Judaism rather than through New Age or neo-pagan movements. We have been seeking a way of understanding our affectional experience of Goddess in ways that are logically honest and intellectually defensible. We are not all given to the practice of magic, nor unequivocally believe in reincarnation, nor require the presence of a male god. Carol Christ clearly has come up through the mainstream of Western theology, is conversant with its contemporary developments (process thought particularly) and applies them coherently and effectively, and she has left this reader with a way of understanding Goddess that is empowering, uplifting, and above all sane.
Perhaps as a male I come to REBIRTH OF THE GODDESS with different needs and expectations than the reader from Massachusetts. But I'm gambling that there are other readers, women as well as men, who will find in this book the approach they need to enjoy and discuss their spirituality and bring it into the open marketplace of contemporary ideas.

0 of 0 people found the following review helpful.
Thought Provoking Read
By Aleah
This is the first book I've read on the topic of female spirituality and the history of the Goddess in it's many forms. While I do not believe in a creator or creatress, I do believe there is a feminine power that has been crushed and tamped down.

I really enjoyed the first half of the book. The second half I felt strayed away from the topic a bit. It felt more that Christ was inserting her own opinions about what should or should not happen or be observed.

However, Christ informed the reader that the thealogy would be based on her own experiences and opinions. Thus, I expected this shift and it didn't detract from the overall tone of the book.

I am impressed over all with this book, and it has been extremely thought provoking for me.

5 of 5 people found the following review helpful.
A NOTED "THEA-LOGIAN" INTERPRETS MODERN GODDESS SPIRITUALITY
By Steven H Propp
Carol Patrice Christ (born 1945) is a teacher (Columbia University, Harvard Divinity School, Pomona College, San Jose State, and the California Institute of Integral Studies), director of the Ariadne Institute, and author/editor of books such as Laughter of Aphrodite: Reflections on a journey to the goddess, Diving Deep and Surfacing, Womanspirit Rising: A Feminist Reader in Religion, Weaving the Visions: New Patterns in Feminist Spirituality, etc. She reportedly resides on the isle of Lesbos, legendary home of the poet Sappho.

She wrote in the Preface to this 1997 book, "(the book) provides a clear understanding of the radical implications of the Goddess for cultural transformation and a way of explaining their worldview to others... it offers a challenging new interpretation of human history and culture... (and) challenges theologians and historians of religion to reformulate foundational theories about the nature of divinity and the origins of religion."

She admits early on that "our scholarship is passionate, is interested, is aimed at transforming the world we have inherited." (Pg. 34) Acknowledging that she is a "white, middle class, heterosexual woman of a certain age, background, and experience... I do not claim that the thealogy I write is universal or definitive." (Pg. 39)

She observes pointedly, "As we learn about ancient Goddess religions and cultures, we begin to understand that we do not have to live as we do today": where the domination and control of women, the earth, and other people are taken for granted, and warfare is perpetual. (Pg. 69)

While admitting that Goddess rituals have "no set form" (pg. 29), she states that "the Goddess is also a personal presence, a power that I invoke in prayer and ritual. When I speak the name of the Goddess, I believe I come into a relationship with a power who cares about my life and the fate of the world." (Pg. 104)

This book is a wonderful, detailed, and thought-provoking explanation of one very spiritually-influential woman's interpretation of the role of the "Goddess" in contemporary spirituality.

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Minggu, 29 Maret 2015

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First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

Sales Rank: #672282 in Books
Published on: 1999-12-18
Released on: 2000-01-20
Original language: English
Number of items: 1
Dimensions: 9.00" h x .75" w x 6.00" l, 1.16 pounds
Binding: Paperback
328 pages

Review
"Makes a solid and exciting contribution....The essays are fresh and exploratory....The range of topics is exciting."
-Alice Pitt, York University

About the Author
is Assistant Professor in Language Education at the University of Georgia.Wanda Pillowis Assistant Professor in the Department of Education Policy Studies at the University of Illinois.

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Sales Rank: #2619753 in Books
Published on: 2000-12
Original language: English
Number of items: 1
Binding: Hardcover

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As the pressures of globalization are crushing local traditions, millions of uprooted people are buying into a new American salvation product. This fundamentalist Christianity, a fusion of American popular religion and politics, is one of the most significant cultural influences exported from the United States. With illuminating case studies based on extensive field research, Exporting the American Gospel demonstrates how Christian fundamentalism has taken hold in many nations in Africa, Latin America and Asia.

Sales Rank: #2683775 in Books
Published on: 1996-08-01
Original language: English
Number of items: 1
Dimensions: 9.02" h x .81" w x 5.98" l, 1.05 pounds
Binding: Paperback
344 pages

Review
"[The authors] have made their case with welcome reability and an impressive . . . grasp of both the religious and economic dimensions involved
...a new kind of Christian fundamentalism...is spreading across the globe, the authors first look at its theological origins and permutations in the USA where it combined and simplified many elements already present in 19th and 20th century conservative Protestantism.."
-" NT General, (1, '97)
"The authors offer an impressive amount of information about the real or apparent connections between the global spread of such "fundamentalism" and the expansion of U.S. influence within the social and political conditions created by economic developments in the post-Marxist era."
-"Interpretation, April 1998

From the Back Cover
One of the most significant cultural influences exported from the United States, this fusion of popular religion and politics supports new capitalist and patriarchal structures and a global culture of consumption and consumer gratification. Engaging in spiritual warfare with their global competitors - Islam, socialism, feminism, secular humanism, and Catholicism - the new fundamentalists are helping to reconfigure the role of the United States in the 'new world order.'

About the Author
Susan Rose is Associate Professor of Sociology at Dickinson College; Paul Gifford is Professor of the Study of Religions at the School of Oriental and African Studies at the University of London; and Steve Brouwer is author of Conquest and Capitalism.

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Rabu, 25 Maret 2015

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Sales Rank: #2832673 in Books
Published on: 2006-03-02
Released on: 2006-03-30
Original language: English
Number of items: 1
Dimensions: 9.02" h x .56" w x 5.98" l, .90 pounds
Binding: Paperback
248 pages

Review
"Maurrasse brings the magic of storytelling to his careful analysis of the paradox of urban development: revitalized homes and businesses but continued economic disenfranchisement of long-term residents."
-Professor Lawrence Aber, New York University
"Urbanists, Harlem residents, and really anyone who loves cities but fears the consequences of unplanned economic growth will admire Maurrasse's ability to combine street conversations with Harlem citizens, exciting social science theory, history, policy analysis and even a poetic eye to the conflicting forces that together comprise the changing landscape of Harlem. This book doesn't deceive with facile solutions to gentrification and race relations; it plows right through to the core of the challenge."
-Professor Andrew Hahn, Brandeis University, Heller School for Management and Social Policy

About the Author
David Maurrasse is the founder, President & CEO of Marga Incorporated, a consulting firm, and an Associate Research Scholar at Columbia University's School of International and Public Affairs. David is the author of Beyond the Campus: How Colleges and Universities Form Partnerships with Their Communities, and has held positions at Yale University and the Rockefeller Foundation

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Selasa, 24 Maret 2015

* Download Children on the Streets of the Americas: Globalization, Homelessness and Education in the United States, Brazil, and CubaFrom Routledge

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First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

Sales Rank: #2536342 in Books
Published on: 2000-01-26
Released on: 2000-02-10
Original language: English
Number of items: 1
Dimensions: 9.00" h x .69" w x 6.00" l, 1.10 pounds
Binding: Paperback
304 pages

Review
"In her Foreword, Marian Wright Edelman, founder of the Children's Defense Fund, promotes this book as one that "shows us the face of homelessness in Brazil, Cuba, and the United States." Mickelson's book certainly does that, while offering the reader comparative analysis of education for the least priviledged children in the context of globalization. The book will be most appreciated by students of the social foundations of education and by sociologists of education who are looking to connect the education of children with larger scale social processes.."
-Contemporary Sociology, May 2001

About the Author
Roslyn Arlin Mickelson is Professor of Women's Studies at the University of North Carolina, Charlotte. She is a Visiting Scholar in the Graduate School of Education at Stanford University in fall 1999.

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2 of 2 people found the following review helpful.
Fantastic and I work with Street Kids
By Megan Deperro
I work with Brazilian Street Kids ages 5-15 along with extreme at risk kids in the US. This book really comes in handy.

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Minggu, 22 Maret 2015

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In Genetic Dilemmas and the Child's Right to an Open Future, Davis examines perplexing medical cases as a means to discussion of ethical dilemmas raised by the availability of new reproductive technologies.

Sales Rank: #8254774 in Books
Published on: 2000-12-07
Original language: English
Number of items: 1
Dimensions: .69" h x 6.26" w x 9.36" l,
Binding: Hardcover
224 pages

Review
Dena Davis offers an engaging, informative and provocative argument in Genetic Dilemmas. Her primary accomplishment is to draw much-needed attention to the interests of the child in reproductive decision-making...she has succeeded admirably..
–Mary Terrell White, Medical Humanities Review

People now face a dizzying array of choices about reproduction-from sex selection to cloning, from prenatal screening to genetic enhancement. In this engaging and path-breaking book, Dena Davis intelligently and compassionately explores the often-ignored impact of these choices on the children that are created and the society in which they will be raised..
–Lori Andrews, Professor of Law, Chicago-Kent College of Law

A thoughtful, timely and comprehensive look at genetics in the modern era by a recognized scholar of both their legal and humanistic implications. An excellent read!.
–R. Alta Charo, Professor of Law and Medical Ethics, University of Wisconsin- Madison.

Dena Davis has been the most consistent and important voice insisting that we take seriously the concept of each child's right to an open future, and what respecting that right would mean for new technologies in genetics and reproduction. This engaging new book is the work of a thoughtful and humane scholar, and deserves a broad readership..
–Thomas H. Murray, President of The Hastings Center

About the Author
Dena S. Davis is a professor at Cleveland-Marshall College of Law at Cleveland State University, and the 2000-2001 SmithKline Beecham Fellow in Genetics and the Law at the Center for the Study of Law, Science and Technology at Arizona State University.

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## PDF Download Encyclopedia of the Blues, 2 Volume SetFrom Routledge

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This comprehensive two-volume set brings together all aspects of the blues from performers and musical styles to record labels and cultural issues, including regional evolution and history. Organized in an accessible A-to-Z format, the Encyclopedia of the Blues is an essential reference resource for information on this unique American music genre.

For a full list of entries, contributors, and more, visit the Encyclopedia of the Blues website.

Sales Rank: #4155816 in Books
Published on: 2005-10-28
Original language: English
Number of items: 2
Dimensions: 11.38" h x 2.88" w x 8.64" l, 8.38 pounds
Binding: Hardcover
1440 pages

From Booklist
This encyclopedia is devoted to covering the blues as a musical form while also exploring its historical and cultural foundations. The 2,100 entries, written by 140 scholars and musicians, are arranged alphabetically and range in length from brief definitions (a couple of sentences) to long, analytical articles (5,000 words). Access is aided by both an alphabetical and a thematic list of entries as well as a comprehensive subject, people, and song-title index. There is also some cross-referencing between related entries. Although the text is occasionally supplemented with black-and-white photographs, the aesthetic appeal would have been greater with more pictures, particularly given the large number of biographical entries.

The majority of entries are indeed biographical, covering performers, historians, songwriters, and label owners. Coverage is also heavily weighted toward record labels ( Irma, Matchbox). Other, less-represented areas of coverage include musical styles, forms, techniques, and instruments ( Field hollers, Funk, Scales); specific regions ( Africa, Chicago); the historiography of the blues ( Libraries, Periodicals); cultural aspects of the blues ( Racial issues and the blues, Women and the blues); business aspects ( Chitlin Circuit, Marketing); and individual songs (" Mustang Sally, " " Stormy Monday"). Each entry ends with a bibliography of further reading, and each biographical entry also has a discography. In the case of major musicians, a list of selected recordings and reissues is also included. References rely heavily on a short list of "frequently cited sources" that wisely includes the All Music Guide to the Blues (Backbeat, 2003) and Robert Santelli's The Big Book of Blues: A Biographical Encyclopedia (Penguin, 1993).

Libraries with access to the above-referenced blues titles or the Grove Music Online database already offer basic coverage for mainstream questions about the blues, but this encyclopedia clearly fills a gap by offering multifaceted coverage in one place. The blues, when treated as an encyclopedic subject, often gets lumped together with jazz, folk, or gospel; it is rare to see it stand on its own. This encyclopedia is more comprehensive than the last attempt at a solely blues encyclopedia, the same-titled Encyclopedia of the Blues (University of Arkansas, 1997). Recommended for all music libraries and all libraries supporting blues scholars. Susan Gardner
Copyright © American Library Association. All rights reserved

Review

'An impressive list of contributors ... Besides being rich with biographical entries, this Encyclopedia also includes entries for important record labels, instruments, styles, geographic regions, aspects of the business, and additional topics that have been lacking in other encyclopedic efforts ... This is a valuable addition to the reference shelf of blues literature ... Highly recommended.' - Choice

'This two-volume A-to-Z set effectively categorizes the history of the blues. A great benefit is that the book features blues artists from all time periods, and the number of obscure blues artists listed in remarkable. Essential for any library collecting the history of the blues.' -- Library Journal

'In this two-volume Encyclopedia, Komara provides about 2100 entries, both brief and extensive, on the blues, its history, culture, roots, contemporary styles, artists, historians, songwriters, record labels, forms, characteristics, instruments, songs, regions, historiography, music business, and related forms. Discographies and bibliographiesfor each entry are included, as well as a thematic list of entries and an index in each volume.' --Reference & Research Book News

"A great deal of useful material is enclosed within the two sets of covers. It spreads a broader and deeper net than the late Sheldon Harris’s Blues Who’s Who (1979), going beyond individual musicians, and it includes broader headings such as regions/states; musical styles and techniques; instruments; points of cultural interest; historiography; record labels; related art forms; specific 'major' songs. These longer entries are quite good, well-researched and well-written, worth knowing about and using." --Peter B. Lowry, Western Folklore, volume 68, nos. 2-3 (2009)

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6 of 6 people found the following review helpful.
Where was the fact-checking?
By Joseph Scott
I paid a low price for this encyclopedia. The general level of scholarship in it is okay to poor (although a fraction of the articles are good): no contributor seems to have been fact-checking anyone else, and I don't know how the typical user of the volumes would know which "facts" in the entries to believe and which not to. Here are 30 examples of inaccuracies:

"BLUES," we have 12-bar versions of "Frankie And Johnny" from the 1870s (writes Edward Komara, the encyclopedia's editor): no, we don't. Accurate remarks about "Frankie" from a different writer (John Garst) are in the "FRANKIE AND JOHNNY" entry of this same encyclopedia.
"BLUES," "The earliest titled 'blues' sheet music publications" were "Memphis Blues" and "Dallas Blues": no, examples from before "Memphis Blues" include "I Got The Blues" by A. Maggio, "The Blues (But I'm Too Blamed Mean To Cry)" by Smith and Brymn, and "Baby Seals Blues" by F. Seals. "Baby Seals Blues" has routinely been identified as an earlier publication than "Memphis Blues" for decades by competent writers, such as Sam Charters in his popular book about blues published 55 years ago. (The similar section in the "PIANO" entry here is also inaccurate. Meanwhile the "ST. LOUIS BLUES" entry does know about Maggio's "I Got The Blues.")
"TOBA," Ma Rainey learned blues in childhood in Georgia: according to Ma Rainey, no.
"TEXAS," "It's not just another Texas brag to say the first... blues musician to play electric guitar was T-Bone Walker": yes it is. Walker's wife recalled that Walker began playing electric guitar in about 1940, which fits with Walker's recollection that the first person he heard play electric guitar was Les Paul, who was playing electric guitar on the radio in 1939. Walker first recorded on electric in 1942, which was, for instance, three years after Bill Broonzy was playing electric on hits by John Lee Williamson.
"GUITAR," the first "bluesy electric solo" was by Floyd Smith on Andy Kirk's "Floyd's Guitar Blues" in 1939: no, e.g. Peetie Wheatstraw's "Truckin' Through Traffic" from 1938 has a bluesy electric solo.
"BLUES," "The earliest blues sound recording by an African American is 'Crazy Blues' sung by Mamie Smith": no, e.g. Wilbur Sweatman was so popular as of 1919 when he recorded "Kansas City Blues" that the magazine _The Judge_ used the term "Sweatmania" in its record reviews section on 10/18/19; the Ciro's Club band recorded a vocal version of "St. Louis Blues" well before 1920; Bert Williams, so popular that he shipped an estimated 300,000 records total in 1919 and 1,000,000 in 1920, recorded "Lonesome Alimony Blues" before "Crazy Blues"; and W.C. Handy began recording 12-bar blues in 1917.
"MEMPHIS BLUES" "is not actually a blues at all": of course it is, it has two strains that are 12-bar and one that isn't; it's a blues just like everyone calls the partly 12-bar "Crazy Blues" and "St. Louis Blues" blues songs.
"BABY PLEASE DON'T GO...," the "Alabama Bound" song family grew out of a 1925 popular song publication: no, that song family existed long before 1925. E.g. the famous collector of black folk songs Newman White collected it as a folk song in about 1916, pianist Blind Boone copyrighted a piece including it before that, the elderly black folk singer Alf Valentine claimed in 1939 that he'd known it for over 40 years, "Doc" Souchon recalled hearing a variant by about 1907, Robert Hoffman published a version of it (as "I'm Alabama Bound") in 1909, etc. etc.
"FORMS": no, there is no good reason to refer to "What Is It That Tastes Like Gravy" or "They're Red Hot" as a blues piece. Pieces likes that were known as rags.
"PIANO," Blind Boone published his "Rag Medleys" ("Strains From The Alleys" and "Strains From Flat Branch") in "the 1890s": no, later.
"SAXOPHONE," the saxophone "was introduced to blues by the recordings of" performers such as Mamie Smith and Ma Rainey: no, e.g. Wheeler Wadsworth was recording and writing blues as of 1918, Wilbur Sweatman recorded "Joe Turner Blues" backed by five saxophones in 1917, the Six Brown Brothers' "Bull Frog Blues" opened with 12-bar in 1916, etc.
"THIS TRAIN...," Ray Charles' "I Got A Woman" and Little Walter's "My Babe" have the same chord progression: not even close to the same progression.
"LEWIS, FURRY" was "really" born in 1893, because he said he was: he sometimes said that, but he was born in 1899.
"SINGING," "rural blues musicians did not record until 1925-1926": no, Ed Andrews and Johnny Watson recorded in 1924, for instance.
"CARELESS LOVE": the comments about how hard it is to trace "Careless Love" back before 1911 and 1921 are inaccurate; e.g., it was collected from Mississippi whites by R.J. Slay in 1909; J.E. Webster told Vance Randolph he first heard it in about 1880; Wooden Joe Nicholas reported that Buddy Bolden, who stopped playing in 1907, played it; John Joseph recalled that he first heard it in about 1906; Ed Garland said he was playing it in about 1910. (Not that it's a blues song anyway. Malcolm Douglas reports that it goes back to the British songs "The Sprig Of Thyme" and "Died For Love.")
"ARMSTRONG, LOUIS": no, as of about 1940, Louis Armstrong was not more widely known than Benny Goodman.
"BLUES," "Only a handful of the first-generation bluesmen made records": actually, many, many, many musicians who were born before 1895 recorded blues, such as Charlie Patton, Peg Leg Howell, Leadbelly, Rich Amerson, Frank Stokes, Bo Carter, Gus Cannon, John Hurt, Luke Jordan, Bob Pratcher, Simmie Dooley, L.V. Thomas, William Moore, Sam Collins, Andrew Baxter, Cow Cow Davenport, John Bray, Son Sims, Marshall Owens, Gress Barnett, Will Ezell, Homer Robertson, Ned Frazier, Robert Cooksey, James Fields, J.D. Suggs, Jimmie Strothers, Jim Jackson, Clyde Church, Freddie Spruell, Hervey Duerson, Arthur Armstrong, James Baker, Allen Shaw, and many dozens of others.
"PATTON, CHARLEY" "was the first Mississippi blues performer to commit a significant body of music to recordings": Jim Jackson and Gus Cannon, who were born in Mississippi and were playing together in Mississippi as of about 1912, both started cranking out their substantial recorded outputs before Patton started cranking out his.
"BANDS," W.C. Handy heard the guitarist in Tutwiler in "1900": no, Handy's autobiography suggests that it was in about 1904, after he settled down in Mississippi for a while in "1903." (Handy recalled, decades after the fact, that he next moved to Tennessee in "1905," but 1906 or 1907 is likely.)
"BLUES," "[T]he process of adopting a preexisting melody in twelve measures and substituting the words... is the practical beginning of the blues...": we don't know that that's true. One of the two black folk songs that Howard Odum collected before 1909 with "blues" in the lyrics was not in 12-bar form, it was in 8-bar form, a popular form then in folk music of blacks (and whites). The variant of "Poor Boy Long Ways From Home" that Emmet Kennedy had heard by about 1905 in Louisiana was in 16-bar AAAB form.
"DOMINO, FATS" was second only to Elvis Presley as a late '50s rock and roll star: The Everly Brothers had the #11 and the #19 in the 1957 year-end pop charts in Billboard with "Bye Bye Love" and "Wake Up Little Susie" and the #13 in 1958 with "Bird Dog"; Fats' highest placing in those charts was #25 for "I'm In Love Again" in 1956.
"RAILROADS," "Railroad Bill" "first appeared in 1909": no, that would be a reference to the lyrics from 1909 that E.C. Perrow published, but Howard Odum also collected the song before 1909. Back in the 1920s, Dorothy Scarborough noticed in her book about black folk music that the lyrics in "Railroad Bill" about "Trying to act big like Cuba and Spain" pointed to roughly 1898 (the Spanish-American War). "The negro Morris Slater, alias 'Railroad Bill,' robber, murderer and desperado, was shot and killed at Atmore Saturday night at 8:50 p. m., by J. L. McGowan." -- Montevello [Alabama] _News_, Mar. 12, 1896.
"RECORDING," Ford Dabney and Wilbur Sweatman "focused on pop tunes of the day": no, actually these pioneers who recorded before Mamie Smith both emphasized blues and jazz relative to typical bands of their time.
"ROCK 'N' ROLL," Elvis Presley's "That's Alright Mama" is "considered to be the first rockabilly song": by people who haven't bothered to listen to "Rompin' And Stompin'" by Curtis Gordon or "Gonna Roll And Rock" by "Lucky" Joe Almond And His Hillbilly Rockers, for instance. The person who did more than anyone else to popularize "hillbilly" (country) music mixed together with black rock and roll -- i.e., the mixture that was given the name rockabilly -- was Bill Haley, who began making recordings in the style in 1951 (although Hardrock Gunter had made one rockabilly recording, "Birmingham Bounce," in early 1950 for the Bama label before Haley got interested in black rock and roll).
"ROCK 'N' ROLL," before rock and roll "there was little that could be considered as music for teenagers": creative nonsense. Years before _Singin' In The Rain_ in 1952, young Donald O'Connor's job was cranking out movie musicals for young people, a la '60s Elvis (_What's Cookin'_, _Give Out Sisters_, _Get Hep To Love_, _Are You With It_, etc.) It's famous that Frankie Sinatra had a massive "bobbysoxers" following as of 1943. (That's why the petite 17-year-old Marcy McGuire was hired to play his typical fan in his movie _Higher And Higher_.) Benny Goodman, who at heart was a jazz purist, publicly said in the '40s that he had a male singer with his band because the kids seemed to like him. Louis Jordan recorded "The Green Grass Grows All Around." "This is the teen age," wrote _Life_ on 12/11/44.
"BIG THREE TRIO," "one could argue that the [Big Three Trio] conjures the aesthetics of the prewar blues sound more than the postwar sound": not plausibly, because they were emulating the Charles Brown with Johnny Moore/King Cole Trio sound, which was not a prewar sound. "I Feel Like Steppin' Out" was typical of their output; they were about as bluesy in general as the Five Red Caps. The fact that one bandmember later wrote good songs recorded by the likes of Howlin' Wolf doesn't somehow change that.
"SEE THAT MY GRAVE IS KEPT CLEAN," the use of AAAB lyrics "confirm[s] a pre-blues origin": no. E.g., black guitarist John Bray said he wrote a particular song with AAAB in the 1910s, and the 1910s are not "pre-blues."
"LITTLE RICHARD" "helped craft the transition of R&B to rock and roll in the mid-1950s": no, because when e.g. Bill Haley got interested in black rock and roll, the rock and roll he got interested in was earlier music like "Rock The Joint" by Chris Powell, "Jump And Shout" by Erline "Rock And Roll" Harris (as she was already being called in print in 1949), "Rock That Boogie" by Jimmy Smith, "Rock And Roll" by Bill Moore, "Rockin' All Day" by Jimmy McCracklin, "Boogie At Midnight" by Roy Brown, "Man Eater" by Jay McNeely, and "All She Wants To Do Is Rock" by Wynonie Harris, whereas Little Richard began recording in late 1951.
"SMITH, BESSIE," Ma Rainey's work was "deeply rooted in the traditional country blues": no, it wasn't; her work was similar to Bessie's.
"BASIE, COUNT" "led 'the Band That Plays the Blues'": no, the "Band That Plays The Blues" was the heavily promoted nickname of the Woody Herman orchestra. The source of the author's error seems to be the same error being made in the 1992 book _The Rolling Stone Illustrated History Of Rock & Roll_.

This two-volume set easily could have been only one volume if it had been edited properly (what does a paragraph about the etymology of the word "Alabama" have to do with blues, for instance, and how much does the fact that the Monkees recorded a Coasters song have to do with blues?), and if all the margins, including between articles, hadn't been so big (also, dividing everything into two columns, as here, is an old trick to make the text seem longer). But then it couldn't have sold for as much to libraries. Inclusion of artists is random; e.g., the minor saxophonist Preston Love, who was proud he'd ever been in Count Basie's band, gets an entry, whereas Lester Young, who Basie was proud had ever been in his band, does not. Lengths of entries is also random: Sonny Terry's entry is less than a quarter page, and the Bohee brothers, Canadian banjoists born before 1860 who are not known to have ever taken any interest in blues music, get a whole page.

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Jumat, 20 Maret 2015

^ PDF Ebook Excitable Speech: A Politics of the Performative, by Judith Butler

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With the same intellectual courage with which she addressed issues of gender, Judith Butler turns her attention to speech and conduct in contemporary political life, looking at several efforts to target speech as conduct that has become subject to political debate and regulation. Reviewing hate speech regulations, anti-pornography arguments, and recent controversies about gay self-declaration in the military, Judith Butler asks whether and how language acts in each of these cultural sites.

Sales Rank: #390098 in Books
Published on: 1997-03-09
Released on: 1997-04-03
Original language: English
Number of items: 1
Dimensions: 9.00" h x .46" w x 6.00" l, .60 pounds
Binding: Paperback
200 pages

Review
"...this book offers a challenging analysis of the free speech debates and points to an "unanticipated political future for deconstructive thinking"... Butler makes a compelling case that our laws- and our lives- are determined by conceptual frameworks... By rethinking the contexts of verbal conduct, this book, too, is sure to have an effect." -- Lambda Book Report

About the Author
Judith Butler is Chancellor's Professor at the University of California, Berkeley. Her previous books include Gender Trouble (Routledge, 1990), and Bodies That Matter (Routledge, 1993).

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22 of 24 people found the following review helpful.
Butler and Agency
By Chicagoblue
Butler is a difficult author to understand, particularly if you don't have a background in theories of performativity. I recommend reading JL Austin's How to Do Things with Words and Derrida's Limited, Inc either before or alongside this book. She also draws heavily from Foucault and Althusser.
Excitable Speech is powerful for its account of how subjects are formed through the address of hate speech and how, through this very address, the conditions for the subject's agency are enabled.
A previous reviewer pointed out that for Butler "the subject can only exhibit agency in and through language" and that agency in Butler's account emerges ex nihilio. This is a misunderstanding of both Butler and poststructural theories of agency in general. For Butler, agency is not produced by an autonomous actor; nor is it contained to language.
Drawing from Derrida and Bourdieu, Butler's point is that agency arises from social iterability and the fact that every re-iteration opens the potential for change and subversion. Such iteration, however, is part of the structure of signification broadly conceived (not simply language) and is not the conscious effort of an individual agent. Thus, Butler points to the effect of the body and how bodies are implicated in acts of speech and iteration.
In this text Butler is perhaps at her most cogent and most optimistic reach. I would recommend picking this up for anyone serious about theories of performativity.

24 of 29 people found the following review helpful.
When words injure, what do we do?
By A Customer
An insightful and thoroughly researched study of the social, political, and legal ramification of not only hate speech but discourse concerning the lingusitics of hate. Butler questions the contemporary practices of the adjudication of speech which seeks to define what is correct speech and what is proscribable under law. If words are legally indistinguishable from conduct, then, Butler asks, is law not complicit in the wounds that words cause? Challenging reading

25 of 32 people found the following review helpful.
Butler's most "grounded" work
By A Customer
Butler does a good job grounding speech act theory in political and legal issues, particularly racist and homophobic "hate speech." She takes Derrida's theory of iterability and shows how repetition of discourse in new contexts can be a means of resistance. For Butler, this is very applied and I liked it much better than Gender trouble.

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Selasa, 17 Maret 2015

!! Download Ebook The Crusades: Islamic Perspectives, by Carole Hillenbrand

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With breathtaking command of medieval Muslim sources as well as the vast literature on medieval European and Muslim culture, Carole Hillenbrand has produced a book that shows not only how the Crusades were perceived by the Muslims, but how the Crusades affected the Muslim world - militarily, culturally, and psychologically.

Sales Rank: #828870 in Books
Brand: Brand: Routledge
Published on: 2000-08-25
Original language: English
Number of items: 1
Dimensions: 1.41" h x 7.48" w x 9.69" l, 3.80 pounds
Binding: Paperback
96 pages

Features

Used Book in Good Condition

Review
a valuable work of serious scholarly synthesis... Heavily annotated and lavishly illustrated, The Crusades is a most welcome book... The Crusades is a major contributor to the goal of a more holistic overview of the crusades. More than a textbook, it certainly can be used as one. Historians and teachers of the medieval eastern Mediterranean now have an extremely useful resource at their fingertips; it unfolds the complexity of the Muslim opposition to the Crusades, and presents a careful introduction to many aspects of Muslim history... Hillenbrand's book takes major strides toward unpacking and revealing what contemporary eyes may have seen. -- MESA Bulletin
[T]he author aims at providing an 'outline for future research' as well as engaging students and the general public Themes covered extend beyond mere chronology to topics in theology, warfare, art and literature, popular and material culture. -- Middle East Journal
A remarkable contribution to the history of relations between east and west. -- Anne-Marie Eddé
Ground-breaking work. -- Jonathan Riley-Smith
A landmark. -- London Review of Books
Hillenbrand's The Crusades: Islamic Perspectives offers specialist and nonspecialist readers a wonderful starting point for all future studies of Muslim and Arab responses to the Crusades. Hillenbrand has succeeded very well in writing a rather comprehensive compilation of primary and secondary sources without sacrificing academic rigor or remaining too general. -- Albert Hernández, Iliff School of Theology,Journal of the American Academy of Religion

About the Author
Carole Hillenbrand is Reader in Arabic and Islamic Studies at the University of Edinburgh.

Most helpful customer reviews

14 of 17 people found the following review helpful.
great but overpriced
By Jonathan B. Couser
Hillenbrand did a fantastic job writing this book. It is easily the most detailed, nuanced, and evenhanded treatment about the Crusades from the Islamic perspective available. The only drawback is that it is extensively illustrated, with images on nearly every page, and few of the images have any direct relationship to the text. Hillenbrand herself states that most of the illustrations were included simply to give readers a feel for the visual character of medieval Islam. This is a sensible goal, but surely could have been achieved with less. I suspect that it is because of the printing costs of so many unnecessary pictures that the cover price for the paperback is over $70 and the hardcover a whopping $250. The publishers should seriously consider issuing a second edition with 90% of the illustrations removed and a cover price around $25-35 for the paperback. Then this book could receive the wide readership it deserves.

9 of 13 people found the following review helpful.
A Wonderful Resource
By Tess
I have only skimmed the surface of this book, yet am very impressed. The bibliography alone is a treasure for anyone studying the Crusades. It's arranged so that the translated chronicles are used to illustrate points in the narrative. The index is detailed and useful, while the narrative itself is easy to read and divided into subsections within the chapters (for example: Old Frankish Women, Marriage, Medicine etc.) A welcome addition to Crusades scholarship, especially for students/readers who cannot read the originals.

17 of 20 people found the following review helpful.
Hillenbrand's The Crsuades: Islamic Perspectives
By A Customer
This book is an excellent review of the most up-to-date knowledge we have about contemporary Islamic persepctives on the "Wars of the Cross." The author carefully sets our her purpose in writing this work, which includes both Muslim sources for the major figures and events, as well as Muslim perceptions of the Crusaders and how the Crusades have influenced Middle Eastern history. Anyone wishing to learn fully about this time period must read this work.

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