The Knickerbocker


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The Knickerbocker


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Refiguring Revolutions


Book Description

Refiguring Revolutions presents an original and interdisciplinary reassessment of the cultural and political history of England from 1649 to 1789. Bypassing conventional chronologies and traditional notions of disciplinary divides, editors Kevin Sharpe and Steven Zwicker frame a set of new agendas for, and suggest new approaches to, the study of seventeenth- and eighteenth-century England. Customary periodization by dynasty and century obscures the aesthetic and cultural histories that were enacted between and even by the English Civil Wars and the French Revolution. The authors of the essays in this volume set about returning aesthetics to the center of the master narrative of politics. They focus on topics and moments that illuminate the connection between aesthetic issues of a private or public nature and political culture. Politics between the Puritan Revolution and the Romantic Revolution, these authors argue, was a set of social and aesthetic practices, a narrative of presentations, exchanges, and performances as much as it was a story of monarchies and ministries. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1998.




Lyrics of a Rap Revolutionary


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The power is in the mic, and the power has been unleashed in clubs, arenas, stadiums, stages, and parks all over the planet. MC's are able to connect with its audience in a way that the music alone cannot. Hip Hop, via the MC, has undoubtedly become the voice of a new generation. Much attention has been paid to the staggering impact hip hop music and culture has had on the greater American and world cultures; its influence on fashion, television, advertising, and the attitudes of the world’s youth. However, not nearly as much attention has been paid to the social and political impact that the art form and its artists have had. Lyrics of a Rap Revolutionary is designed to transcend rap and venture into the realm of offering commentary and analysis into some of the deeper aspects of life itself. As one of rap’s preeminent political and social groups of all time, front man Chuck D offers direct explanations and interpretations of what his lyrics are about as a tool to help set minds free in this "hustle and flow and get rich or die tryin times." Chuck D — consistently ranked as one of the greatest rappers of all time — will provide insight in the creation of Hip-Hop iconic albums 1988’s “It Takes a Nation of Millions to Hold Us Back” and 1990’s “Fear of a Black Planet”, both recognized among the greatest politically charged albums of all time featuring rap classics such as "Fight the Power," "Don’t Believe The Hype," "Can’t Truss It," and "Welcome to the Terrordome." As Chuck D explains, "We must remain mindful that there’s a road to freedom, and resist the embarrassingly popular trend that ignorance and a ghetto mentality, which is cast upon us, is our only food for thought or food for non-thought. As MC's we must become more responsible and revolutionary in our approach, because we have young people around the globe listening to our every word and watching our every step." Lyrics of a Rap Revolutionary: Times, Rhymes & Mind of Chuck D will clarify, in a way similar to when a person rereads a book ten years after originally reading it, and allow for a deeper understanding and further insight into the thoughts behind classic and controversial Public Enemy lyrics. Admirers proclaimed him the Bob Dylan or Bob Marley of rap. -- Los Angeles Times One of the most politically and socially conscious artists of any generation? -- Spike Lee Chuck D is the greatest voice in Hip Hop history as far as social commentary and rhymes for the upliftment of Black people. Chuck D is in a league of his own. -- Kool Moe Dee




Who Killed American Poetry?


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Throughout the 19th century, American poetry was a profoundly populist literary form. It circulated in New England magazines and Southern newspapers; it was read aloud in taverns, homes, and schools across the country. Antebellum reviewers envisioned poetry as the touchstone democratic genre, and their Civil War–era counterparts celebrated its motivating power, singing poems on battlefields. Following the war, however, as criticism grew more professionalized and American literature emerged as an academic subject, reviewers increasingly elevated difficult, dispassionate writing and elite readers over their supposedly common counterparts, thereby separating “authentic” poetry for intellectuals from “popular” poetry for everyone else.\ Conceptually and methodologically unique among studies of 19th-century American poetry, Who Killed American Poetry? not only charts changing attitudes toward American poetry, but also applies these ideas to the work of representative individual poets. Closely analyzing hundreds of reviews and critical essays, Karen L. Kilcup tracks the century’s developing aesthetic standards and highlights the different criteria reviewers used to assess poetry based on poets’ class, gender, ethnicity, and location. She shows that, as early as the 1820s, critics began to marginalize some kinds of emotional American poetry, a shift many scholars have attributed primarily to the late-century emergence of affectively restrained modernist ideals. Mapping this literary critical history enables us to more readily apprehend poetry’s status in American culture—both in the past and present—and encourages us to scrutinize the standards of academic criticism that underwrite contemporary aesthetics and continue to constrain poetry’s appeal. Who American Killed Poetry? enlarges our understanding of American culture over the past two hundred years and will interest scholars in literary studies, historical poetics, American studies, gender studies, canon criticism, genre studies, the history of criticism, and affect studies. It will also appeal to poetry readers and those who enjoy reading about American cultural history.




Riot and Revelry in Early America


Book Description

Riot and revelry have been mainstays of English and European history writing for more than a generation, but they have had a more checkered influence on American scholarship. Despite considerable attention from "new left" historians during the 1970s and early 1980s, and more recently from cultural and "public sphere" historians in the mid-1990s, the idea of America as a colony and nation deeply infused with a culture of public performance has not been widely demonstrated the way it has been in Britain, France, and Italy. In this important volume, leading American historians demonstrate that early America was in fact an integral part of a broader transatlantic tradition of popular disturbance and celebration. The first half of the collection focuses on "rough music" and "skimmington"--forms of protest whereby communities publicly regulated the moral order. The second half considers the use of parades and public celebrations to create national unity and overcome divisions in the young republic. Contributors include Roger D. Abrahams, Susan Branson, Thomas J. Humphrey, Susan E. Klepp, Brendan McConville, William D. Piersen, Steven J. Stewart, and Len Travers. Together the essays in this volume offer the best introduction to the full range of protest and celebration in America from the Revolution to the Civil War.







Ancient Songs


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The Hanging Tree


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A history of mentalities, emotions, and attitudes rather than of policies and ideas, it analyses responses to the scaffold at all social levels: among the crowds which gathered to watch executions; among 'polite' commentators from Boswell and Byron on to Fry, Thackeray, and Dickens; and among the judges, home secretary, and monarch who decided who should hang and who should be reprieved. Drawing on letters, diaries, ballads, broadsides, and images, as well as on poignant appeals for mercy which historians until now have barely explored, the book surveys changing attitudes to death and suffering, 'sensibility' and 'sympathy', and demonstrates that the long retreat from public hanging owed less to the growth of a humane sensibility than to the development of new methods of punishment and law enforcement, and to polite classes' deepening squeamishness and fear of the scaffold crowd.