Описание: " . . . remarkable . . . " —Foreign Affairs " . . . illuminates the workings of institutionalized racism through the correspondence of three South African women in the 1940s and '50s." —Feminist Bookstore News "The history of a place and time is made vivid by the combination of the rich personal record of the letters and the theoretically framed analytic discussion. The result is new insight into the history of black education in South Africa, and a revealing study of the dynamics of women's relations under colonialism across the lines of race, age and power." —Susan Greenstein, The Women's Review of Books "A riveting and revealing book—one in which few of the characters wear hats that are spotlessly white." —Third World Resources "This rich collection of letters deserves its own reading, as do Shula Marks's bracketing essays. They are invaluable for clarifying the myriad ramifications that the letters raise for African women." —International Journal of African Historical Studies " . . . powerful and perceptive. . . .speak[s] eloquently to a Western audience that is poised to deal with the political and personal lives of South African women in an intimate holistic fashion." —Belles Lettres The roots of modern Apartheid are exposed through the painful and revealing correspondence of three very different South African women—two black and one "liberal" white—from 1949 to 1951. Although the letters speak for themselves, the editor has written an introduction and epilogue which tell of the tragic ending to this riveting story.
The Political Poetess challenges familiar accounts of the figure of the nineteenth-century Poetess, offering new readings of Poetess performance and criticism. In performing the Poetry of Woman, the mythic Poetess has long staked her claims as a creature of "separate spheres"--one exempt from emerging readings of nineteenth-century women's political poetics. Turning such assumptions on their heads, Tricia Lootens models a nineteenth-century domestic or private sphere whose imaginary, apolitical heart is also the heart of nation and empire, and, as revisionist histories increasingly attest, is traumatized and haunted by histories of slavery. Setting aside late Victorian attempts to forget the unfulfilled, sentimental promises of early antislavery victories, The Political Poetess restores Poetess performances like Julia Ward Howe's "Battle Hymn of the Republic" and Emma Lazarus's "The New Colossus" to view--and with them, the vitality of the Black Poetess within African-American public life.
Crossing boundaries of nation, period, and discipline to "connect the dots" of Poetess performance, Lootens demonstrates how new histories and ways of reading position poetic texts by Felicia Dorothea Hemans, Elizabeth Barrett Browning, Dinah Mulock Craik, George Eliot, and Frances E. W. Harper as convergence points for larger engagements ranging from Germaine de Stael to G.W.F. Hegel, Virginia Woolf, Elizabeth Bishop, Alice Walker, and beyond.
Описание: In The Journey to Separate but Equal: Madame Decuir's Quest for Racial Justice in the Reconstruction Era, Jack Beermann tells the story of how, in Hall v. Decuir, the post-Civil War US Supreme Court took its first step toward perpetuating the subjugation of the non-White population of the United States by actively preventing a Southern state from prohibiting segregation on a riverboat in the coasting trade on the Mississippi River. The Journey to Separate but Equal offers the first complete exploration of Hall v. Decuir, with an in-depth look at the case's record; the lives of the parties, lawyers, and judges; and the case's social context in 1870s Louisiana. The book centers around the remarkable story of Madame Josephine Decuir and the lawsuit she pursued because she had been illegally barred from the cabin reserved for White women on the Governor Allen riverboat.The drama of Madame Decuir's fight against segregation's denial of her dignity as a human and particularly as a woman enriches our understanding of the Reconstruction era, especially in Louisiana, including political and legal changes that occurred during that time and the plight of people of color who were freed from slavery but denied their dignity and rights as American citizens. Hall v. Decuir spanned the pivotal period of 1872-1878, during which White segregationist Democrats 'redeemed' the South from Republican control. The Supreme Court's ruling in Hall overturned the application of an 1869 Louisiana statute prohibiting racial segregation in Madame Decuir's case because of the status of the Mississippi River as a mode of interstate commerce. The decision represents a crucial precedent that established the legal groundwork for the entrenchment of Jim Crow in the law of the United States, leading directly to the Court's adoption of "separate but equal" in Plessy v. Ferguson.
The Political Poetess challenges familiar accounts of the figure of the nineteenth-century Poetess, offering new readings of Poetess performance and criticism. In performing the Poetry of Woman, the mythic Poetess has long staked her claims as a creature of "separate spheres"-one exempt from emerging readings of nineteenth-century women's political poetics. Turning such assumptions on their heads, Tricia Lootens models a nineteenth-century domestic or private sphere whose imaginary, apolitical heart is also the heart of nation and empire, and, as revisionist histories increasingly attest, is traumatized and haunted by histories of slavery. Setting aside late Victorian attempts to forget the unfulfilled, sentimental promises of early antislavery victories, The Political Poetess restores Poetess performances like Julia Ward Howe's "Battle Hymn of the Republic" and Emma Lazarus's "The New Colossus" to view-and with them, the vitality of the Black Poetess within African-American public life.
Crossing boundaries of nation, period, and discipline to "connect the dots" of Poetess performance, Lootens demonstrates how new histories and ways of reading position poetic texts by Felicia Dorothea Hemans, Elizabeth Barrett Browning, Dinah Mulock Craik, George Eliot, and Frances E. W. Harper as convergence points for larger engagements ranging from Germaine de Sta l to G.W.F. Hegel, Virginia Woolf, Elizabeth Bishop, Alice Walker, and beyond.
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