Results for: “Social Science”
|Kathryn A. Rhine||Indiana University Press||ePub|
Conclusion: Evidence and Substance
There is substance in the gathering
of bodies battered by this disease.
There is evidence in the quiet promise
we make to be here again next week.
There is substance in the sweet taste
of coconut water, the scent of morning.
There is evidence in the songs a slim man
sings, healing as the balm of warmed oil.
There is substance in the expletives shattering
our peace, the tears, the lament, the fear.
There is evidence in the hum of recognition,
the comfort of hands held tightly.
There is substance in the streets walked
to tell people to hope for tomorrow.
Kwame Dawes, Faith
Throughout this book, I have documented the centrality of hope in HIV-positive women’s narratives of their lives: for health and wellbeing; for love, marriage, and children; for education, work, and economic prosperity; and for security and longevity. Through an ethnographic lens, I have located these dreams in women’s lived realities. Their aspirations for the future surface in scenes of youthful trysts and romantic encounters; in marriage celebrations and fearful wedding nights; in violent encounters with abusive husbands and futile pleas for help from family members; in hidden pregnancies and joyous presentations of baby pictures; in elaborate beauty regimens and conspicuous displays of generosity to relatives, neighbors, and researchers; in successful entrepreneurial businesses and uncompensated, arduous household labor. These women’s steadfast faith – in God, in the virtue of family, in a meaningful life, in a cure for their disease – grounds these hopes as they face formidable daily struggles. Amid the changes ushered in by global initiatives centered on increasing access to HIV treatment and medical services in Nigeria, theirs is a story of continuity.See All Chapters
It is a truism of African cinema that one cannot productively discuss the films that make up the field without keeping in mind the social and economic conditions under which they are made. Fifty years after the first feature film to be written, produced, and directed by an African, and with this cinematic tradition becoming as globally important an art form as African literature and the Afropop component of world music, economic, political, and cultural factors continue to be central to its full understanding. It is therefore not surprising that, across three generations, issues of political and cultural identity are a main topical preoccupation of African filmmakers. For various reasons younger, often foreign-based filmmakers have sharply reacted in their work against the biases of their predecessors who came from a background of anticolonial activism, thus showing the limitations of earlier practices. However, sociopolitical situations in contemporary African countries, as well as the larger economic order in the world, are so crucial to most forms of cultural production that they cannot be totally ignored. As a result, filmmakers have developed a more complex treatment of sociopolitical issues. Emphasis has shifted in their works from a simple notion of rejection as a way of asserting identity to the understanding that identity usually results from a number of different factors. They have begun to experiment with forms and genres, drawing on music, dance, youth culture, fashion, and sundry expressive forms and reflecting greater awareness of cinematic traditions from different parts of the world.See All Chapters
|Shimon Redlich||Indiana University Press||ePub|
|M.J. Maher||Karnac Books||ePub|
In Part Four I reflect on the process I went through while working on my research Can psychotherapy penetrate beyond skin colour? I chose the design of a bamboo because it is an appropriate symbol for me, capturing how I perceive myself and my personal development.
The bamboo was commonly seen as an outdoor plant—for example, Phylostachys nigra, the black hardy bamboo that can survive bitter winters, symbolizing my determination through various life struggles. This bamboo has become a popular indoor plant, representing my tranfer from my homeland and my struggle to establish myself in a country that can be challenging because of its racial hostility.
Like the bamboo, sometimes I get cut, but I do not die: I send out a new shoot in a different direction, beating the odds to flourish. When obstacles are placed in my way I see them as challenges to my creativity, and the curly branch demonstrates how I go around them, creating a unique design that draws attention and admiration to my spirit. Although I carry the scars of my struggles I still remain elegant, because I have no space for bitterness.See All Chapters
|Henry Glassie||Indiana University Press||ePub|
Ornament creates an exciting tension within architectural experience when the inside and outside are treated differently. Ellen Cutler whitewashes the exterior of her house in Ballymenone. The whitewash confirms the unity of the building and separates it cleanly from its natural surround of muddy lanes and grassy fields. On its exterior, her house is solid and singular, artful in its massing and its unrelieved whiteness. Step over the threshold. The brightness of the whitewash continues in the buffed and polished surfaces of the things she calls ornaments: the brass candlesticks and enameled dogs on the mantel, the pictures and plates on the walls. But similarities are swept away by differences. The hard, plain unity of the exterior yields to the softness of textiles, to a busy, glittery dance of little things, to a rainbow of color and a happy cacophony of pattern.
The walls of her kitchen darken from smoke nearly as often as the walls outside darken in the wet weather. Nearly as often as she whitewashes the exterior, she papers the kitchen, covering its walls with running, repetitive patterns of medallions. Mud tracked in by the damned old men, when they come from the fields for their tea, causes her to scrub the floor every day. So it will shine, she covers the floor with a smooth sheet of linoleum that brings another pattern to her kitchen. And more patterns come on the strips of cloth that cover the tables, curtain the openings, and run along the shelves of the mantel and dresser.See All Chapters