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|Lovalerie King||Indiana University Press||ePub|
L. H. STALLINGS
For the nigger, it niggereth everyday.
Afro-German identity emerged as a relational concept where the construction of race/blackness and identity are constituted through a sense of community and relation both to those positioned in similar ways, as well as to the discourses and categories of racial difference and identity through which this process of positioning is enacted. Black German identity is thus the product and process of importing individual, social, and cultural meanings to blackness as a strategic form of self-definition and identification.
Blackness. Even as historians and critics have attempted to articulate the historical beginning of blackness, as well as the modernity of it, who can say when or where this phenomenon of blackness, a force akin to the start of a world religion rather than the beginning of a racial identity, will end. Though in vastly different contexts, scholar Tina Campt and Charles Schwa—a minor but important character from Paul Beatty's novel Slumberland—provide insights as to how American and German black identity might be conceptualized, while also privileging the experience of being black over the debates that race is a false social construct. The question as to whether there is, in fact, an end to blackness is one of the major considerations of this essay, which examines how contemporary African American literary and cultural theories have grappled with and continue to grapple with this question. Through a close reading of Paul Beatty's Slumberland, and through an engagement with scholars' focus on periodizing African American literary and cultural traditions, I explore how black literary production and blackness itself resists moves to mark it. I suggest that critics must form new conceptualizations of time and space in order to change the trajectory of future discourses about race and racial identity. Standard, western, or straight time may be useful for charting the representations or performances of blackness, but they have often failed to fully delineate the experience of being black. In Slumberland, Beatty proposes that rhythmless constructs of time can never represent indeterminate blackness. Further, as he diagrams this blackness as the funkiest break beat1 in the world, his novel implores people of the African Diaspora to form complex identities that elide restrictions of time and space imposed on black bodies and communities by tradition, nation, and modernity.See All Chapters
|Julie Murray||Big Buddy Books|
|Kirk McElhearn||TidBITS Publishing, Inc.||ePub|
You’ve ripped and bought music and videos, and you’ve tagged your files. And, you’ve subscribed to a growing collection of podcasts. Now you need to choose the right way to view your ever-growing media library so you can find what you want to listen to easily.
In this chapter, I’ll show you various ways to arrange iTunes to display your media files, which is the first step to getting access to your ever-growing media library.
How Can I View My Files in iTunes?
What Are Those Buttons in the Middle of the Navigation Bar?
How Can I View My Music Library?
How Do the Podcast Library Views Work?
How Do I Show Columns in List Views?
What Can I Do with Contextual Menus?
Although it’s not that important how iTunes looks from an aesthetic point of view—you’re not looking at it to see pretty images—the way you display your files can make a difference in how you find and choose media to play. iTunes offers a number of view options that let you see your files in different ways. Some people may want to use a single view option for all their content, but others may want to vary the display for each library, or even for different playlists.See All Chapters
|Carol A. Grund||Pauline Books and Media||ePub|
Anna Mei had hoped the weather would have cleared up by now, so she and Emily could go outside. But it was still raining, which meant she was stuck in Aunt Karen’s living room for a while longer, doing whatever her cousin wanted. So far that included playing three different board games, doing four puzzles, and building a castle out of hundreds of little blocks.
Now they were reading Emily’s favorite book, all about the adventures of red fish and blue fish. At age six she could read some of the words on her own. The rest she’d probably just memorized after hearing them so many times. Either way, after she insisted on reading it approximately thirty-seven times, Anna Mei couldn’t take it anymore.
“Let’s do something else for a while,” she suggested. “How about picking out a movie for us watch?” A movie wouldn’t require much effort, and would kill another hour, besides.
“I know!” Emily said. “Let’s play dress up!”
She went down the hall and disappeared into her room. A minute later she was back, lugging a pile of clothes and some stuffed animals.See All Chapters
|Leigh E Schmidt||Indiana University Press||ePub|
The teachings of Jesus can be best brought to our people by appealing to our mind and intellect in addition to our heart. Their usefulness and reasonableness should be demonstrated along with their power.
—Chengting T. Wang, 1921
The missionary press itself reveals a profound ferment, a passion to justify faith by works.
—Lewis S. Gannett, 1926
In May 1919 John Dewey arrived in China for what he imagined would be a brief visit. Chinese scholars eagerly anticipating the arrival of the great pragmatist philosopher met him at the docks. Dewey intended to stay for two months and wound up staying over two years, during which time attendance at his lectures regularly was in the thousands. Some enthusiasts followed him from city to city; others read the translated texts of his talks published in hundreds of daily newspapers and literary journals. His lectures on educational philosophy, democracy, and the experiential approach to the acquisition of knowledge all were of keen interest to Chinese intellectuals engaged in a cultural reform effort known alternately as the Chinese Renaissance, the New Thought Movement, or the New Culture Movement.1 The initiative had begun several years earlier among scholars at Peking University who believed that overhauling Chinese society's cultural foundations might be the means to erecting a vital modern state. Though the ideas it encompassed were diverse, the movement put its greatest emphasis on rational inquiry as the means of liberating the Chinese people, struggling under unstable rule since the 1911 overthrow of the Ch'ing (Qing) dynasty.2 New Culture founding member Chen Tu-Hsiu (Chen Duxiu) declared science and democracy the keystones of reform and saw them as related: people who were educated to use the scientific method in the pursuit of knowledge would be freed from submission to tradition and empowered to develop and sustain democratic institutions. Scientific inquiry, applied to human relationships as well as to the physical world, thus assumed a central role in the movement. One manifesto declared, “We believe that politics, ethics, science, the arts, religion, and education all should meet practical needs in the achievement of progress for present and future social life…. We believe that it is requisite for the progress of our present society to uphold natural science and pragmatic philosophy and to abolish superstition and fantasy.”3 This was not the pursuit of knowledge for knowledge's sake: it was aimed always at invigorating a fractured, weakly governed, economically distressed Chinese state.4See All Chapters
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