Описание: The Fellowship Church explores the evolution of the American religious left through a case study of the African American intellectual and theologian Howard Thurman, and the physical embodiment of his thought: The Church for the Fellowship of All Peoples. The Fellowship Church, which Thurman co-founded in San Francisco in 1944, was the nation's first interracial, intercultural, and interfaith church. Amidst the growing nationalism of the World War II era and the heightened suspicion of racial and cultural "others," the Fellowship Church successfully established a pluralistic community based on the idea that "if people can come together in worship, over time would emerge a unity that would be stronger than socially imposed barriers." Rooted in the belief that social change was inextricably connected to internal, psychological transformation and the personal realization of the human community, it was an early expression of Christian nonviolent activism within the long Civil Rights Movement. The Fellowship Church was a product of evolving twentieth-century ideas and a reflection of the shifting mid-century American public consciousness. This book examines a broad scope of modern themes including the philosophy of pragmatism; mysticism and Christian liberalism; racism and imperialism; cosmopolitanism and pluralism; war and pacifism; and nonviolence. Not only does it expand on our understanding of twentieth-century American intellectual history and the origins of the Civil Rights Movement, it offers an exciting look into ways people have initiated grassroots activism during times when government has failed to protect its citizens' civil liberties, safety, and overall wellbeing through judicial safeguards.
Автор: Crouch Barry A., Brice Donaly E. Название: The Governor`s Hounds: The Texas State Police, 1870-1873 ISBN: 0292747705 ISBN-13(EAN): 9780292747708 Издательство: Wiley EDC Рейтинг: Цена: 3945.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание:
In the tumultuous years following the Civil War, violence and lawlessness plagued the state of Texas, often overwhelming the ability of local law enforcement to maintain order. In response, Reconstruction-era governor Edmund J. Davis created a statewide police force that could be mobilized whenever and wherever local authorities were unable or unwilling to control lawlessness. During its three years (1870–1873) of existence, however, the Texas State Police was reviled as an arm of the Radical Republican party and widely condemned for being oppressive, arrogant, staffed with criminals and African Americans, and expensive to maintain, as well as for enforcing the new and unpopular laws that protected the rights of freed slaves.
Drawing extensively on the wealth of previously untouched records in the Texas State Archives, as well as other contemporary sources, Barry A. Crouch and Donaly E. Brice here offer the first major objective assessment of the Texas State Police and its role in maintaining law and order in Reconstruction Texas. Examining the activities of the force throughout its tenure and across the state, the authors find that the Texas State Police actually did much to solve the problem of violence in a largely lawless state. While acknowledging that much of the criticism the agency received was merited, the authors make a convincing case that the state police performed many of the same duties that the Texas Rangers later assumed and fulfilled the same need for a mobile, statewide law enforcement agency.
Автор: Thurman Howard Название: The Luminous Darkness ISBN: 0944350070 ISBN-13(EAN): 9780944350072 Издательство: Неизвестно Цена: 2391.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
In Singing Like Germans, Kira Thurman tells the sweeping story of Black musicians in German-speaking Europe over more than a century. Thurman brings to life the incredible musical interactions and transnational collaborations between people of African descent and white Germans and Austrians. Through this compelling history, she explores the ways in which people reinforced or challenged racial identities in the concert hall.
Throughout the nineteenth and twentieth centuries, audiences assumed that the categories of Blackness and Germanness were mutually exclusive. Yet upon attending a performance of German music by a Black musician, many listeners were surprised to discover that German identity was not a biological marker but something that could be learned, performed, and mastered. While Germans and Austrians located their national identity in music, championing composers such as Bach, Beethoven, and Brahms as national heroes, the performance of these works by Black musicians complicated their understanding of who had the right to play them. Audiences wavered between seeing these musicians as the rightful heirs of Austro-German musical culture and dangerous outsiders to it.
Thurman explores the tension between the supposedly transcendental powers of classical music and the global conversations that developed about who could perform it. An interdisciplinary and transatlantic history, Singing Like Germans suggests that listening to music is not a passive experience, but an active process where racial and gendered categories are constantly made and unmade.
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