Choice Magazine Outstanding Academic Book?? "John Shields's book is a provocative challenge to the venerable Adamic myth so exhaustively deployed in examinations of early American literature and in American studies. Moreover, The American Aeneas builds wonderfully on Shields's considerable work on Phillis Wheatley. "?--American Literature?? "The American Aeneas should be of interest to classicists and American studies scholars alike." ?--The New England Quarterly?? John Shields exposes a significant cultural blindness within American consciousness. Noting the biblical character Adam as an archetype who has long dominated ideas of what it means to be American, Shields argues that an equally important component of our nation's cultural identity--a secular one deriving from the classical tradition--has been seriously neglected.??Shields shows how Adam and Aeneas--Vergil's hero of the Aeneid-- in crossing over to American from Europe, dynamically intermingled in the thought of the earliest American writers. Shields argues that uncovering and acknowledging the classical roots of our culture can allay the American fear of "pastlessness" that the long-standing emphasis on the Adamic myth has generated. John C. Shields is the editor of The Collected Works of Phillis Wheatley and the author of The American Aeneas: Classical Origins of the American Self, which won a Choice Outstanding Academic Book award and an honorable mention in the Harry Levin Prize competition, sponsored by the American Comparative Literature Association.

A Companion to Public Art is the only scholarly volume to examine the main issues, theories, and practices of public art on a comprehensive scale. Edited by two distinguished scholars with contributions from art historians, critics, curators, and art administrators, as well as artists themselves Includes 19 essays in four sections: tradition, site, audience, and critical frameworks Covers important topics in the field, including valorizing victims, public art in urban landscapes and on university campuses, the role of digital technologies, jury selection committees, and the intersection of public art and mass media Contains “artist’s philosophy” essays, which address larger questions about an artist’s body of work and the field of public art, by Julian Bonder, eteam (Hajoe Moderegger and Franziska Lamprecht), John Craig Freeman, Antony Gormley, Suzanne Lacy, Caleb Neelon, Tatzu Nishi, Greg Sholette, and Alan Sonfist.

Exploring gender, race, nation and narration, this groundbreaking study isolates how mainstream cinema works to bestow value upon certain lives and specific socio-cultural identities in a hierarchical and partisan way. Dedicated to the popular, to the pol

The American popular hero has deeply bipolar origins: Depending on prevailing attitudes about the use or abuse of authority, American heroes may be rooted in the traditions of the Roman conquerors of The Aeneid or of the biblical underdog warriors and prophets. This book reviews the history of American popular culture and its heroes from the Revolutionary War and pre-Civil War "women's literature" to the dime novel tales of Jesse James and Buffalo Bill. "Hinge-heroes" like The Virginian and the Rider's of the Purple Sage paved the way for John Wayne's and Humphrey Bogart's champions of civilization, while Jimmy Stewart's scrappy rebels fought soulless bankers and cynical politicians. The 1960s and 1970s saw a wave of new renegades--the doctors of MASH and the rebel alliance of Star Wars--but early 21st Century terrorism called for the grit of world weary cops and the super-heroism of Wonder Woman and Black Panther to make the world safe.

Memorials to Shattered Myths: Vietnam to 9/11 traces the evolution and consequences of a new hybrid paradigm, which grants a heroic status to victims of national tragedies, and by extension to their families, thereby creating a class of privileged participants in the permanent memorial process. Harriet F. Senie suggests that instead the victims' families be able to determine the nature of an interim memorial, one that addresses their needs in the critical time between the murder of their loved ones and the completion of the permanent memorial. She also observes that the memorials discussed herein are inadvertently based on strategies of diversion and denial that direct our attention away from actual events, and reframe tragedy as secular or religious triumph. In doing so, they camouflage history, and seen as an aggregate, they define a nation of victims, exactly the concept they and their accompanying celebratory narratives were apparently created to obscure.

The first African American to publish a book on any subject, poet Phillis Wheatley (1753?-1784) has long been denigrated by literary critics who refused to believe that a black woman could produce such dense, intellectual work. In recent decades, however, Wheatley's work has come under new scrutiny as the literature of the eighteenth century and the impact of African American literature have been reconceived. Fourteen prominent Wheatley scholars consider her work from a variety of angles, affirming her rise into the first rank of American writers. --from publisher description.

Communicating in the Third Space aims to clarify Homi K. Bhabha’s theory of the third space of enunciation by reconstructing its philosophical, sociological, geographical, and political meaning with attention to the special advantages and ambiguities that arise as it is applied in practical--as well as theoretical--contexts. The idea of "third space" conceives the encounter of two distinct and unequal social groups as taking place in a special third space of enunciation where culture is disseminated and displaced from the interacting groups, making way for the invention of a hybrid identity, whereby these two groups conceive themselves to partake in a common identity relating to shared space and common dialogue. The essays collected in Communicating in the Third Space--including a preface by Bhabha himself--brilliantly introduce readers to this exciting topic in Cultural and Post-Colonial theory and offers insightful elaboration and critique of the meaning and relevance of life in the "third space." With a preface by Homi K. Bhabha.

In Film Blackness Michael Boyce Gillespie shifts the ways we think about black film, treating it not as a category, a genre, or strictly a representation of the black experience but as a visual negotiation between film as art and the discursivity of race. Gillespie challenges expectations that black film can or should represent the reality of black life or provide answers to social problems. Instead, he frames black film alongside literature, music, art, photography, and new media, treating it as an interdisciplinary form that enacts black visual and expressive culture. Gillespie discusses the racial grotesque in Ralph Bakshi's Coonskin (1975), black performativity in Wendell B. Harris Jr.'s Chameleon Street (1989), blackness and noir in Bill Duke's Deep Cover (1992), and how place and desire impact blackness in Barry Jenkins's Medicine for Melancholy (2008). Considering how each film represents a distinct conception of the relationship between race and cinema, Gillespie recasts the idea of black film and poses new paradigms for genre, narrative, aesthetics, historiography, and intertextuality.

Christianity took root in the Americas during the early modern period when a historically unprecedented migration brought European clergy, religious seekers, and explorers to the New World. Protestant and Catholic settlers undertook the arduous journey for a variety of motivations. Some fled corrupt theocracies and sought to reclaim ancient principles and Christian ideals in a remote unsettled territory. Others intended to glorify their home nations and churches by bringing new lands and subjects under the rule of their kings. Many imagined the indigenous peoples they encountered as "savages" awaiting the salvific force of Christ. Whether by overtly challenging European religious authority and traditions or by adapting to unforeseen hardship and resistance, these envoys reshaped faith, liturgy, and ecclesiology and fundamentally transformed the practice and theology of Christianity. Religious Transformations in the Early Modern Americas explores the impact of colonial encounters in the Atlantic world on the history of Christianity. Essays from across disciplines examine religious history from a spatial perspective, tracing geographical movements and population dispersals as they were shaped by the millennial designs and evangelizing impulses of European empires. At the same time, religion provides a provocative lens through which to view patterns of social restriction, exclusion, and tension, as well as those of acculturation, accommodation, and resistance in a comparative colonial context. Through nuanced attention to the particularities of faith, especially Anglo-Protestant settlements in North America and the Ibero-Catholic missions in Latin America, Religious Transformations in the Early Modern Americas illuminates the complexity and variety of the colonial world as it transformed a range of Christian beliefs. Contributors: Ralph Bauer, David A. Boruchoff, Matt Cohen, Sir John Elliot, Carmen Fernández-Salvador, Júnia Ferreira Furtado, Sandra M. Gustafson, David D. Hall, Stephanie Kirk, Asunción Lavrin, Sarah Rivett, Teresa Toulouse.