Leaving the Pigeonhole; a Personal Revolution is a comprehensive guide to self transformation in the work place. The book offers an innovative approach to the questions that consume many white collar workers such as:'¢ Why do I always end up working for someone that treats me badly?'¢ How can I change the way that people perceive me?'¢ What separates the winners from the losers?'¢ How can I under a personal revolution?If any of these apply to you, you will certainly benefit from Leaving the Pigeonhole's change model and will learn to apply it to any realm of your life, which you may want to change.

Revolution and the Word is the classic study of the co-emergence of the U.S. nation and the new literary genre of the novel. The book remains the foundational study of reading, writing, and publishing in the new republic and provides a unique glimpse of the culture of early America. By looking at everything from publishers' account books to marginalia scrawled in eighteenth-century books to the novels themselves, Revolution and the Word provides an engaging social history of early American readership that is also informed by the most insightful aspects of literary theory. With a backward glance at the culture wars and prognostications for what lies ahead, the comprehensive introduction of this expanded edition reframes Revolution and the Word for a new generation of scholars. It revisits topics of dissent in the early national period, the status of the Constitution as a document designed to quell the still-burning passions of the American Revolution, and the role played by the novel in publicizing and articulating complex desires not addressed at the Constitutional Convention. Cathy N. Davidson provides readers with a survey and critique of the controversial and productive thought in cultural, social, and political theory as it has evolved during the last twenty years. This astute and learned assessment of recent developments in literary and historical scholarship, colonial and postcolonial studies, race theory, gender and sexuality theory, class studies, cultural studies, and history of the book will make Revolution and the Word as urgent for this generation as it was for its original readers in 1986.

The study of the impact of Black Power Movement (BPM) activists and organizations in the 1960s through ʼ70s has largely been confined to their role as proponents of social change; but they were also theorists of the change they sought. In The Revolution Will Not Be Theorized Errol A. Henderson explains this theoretical contribution and places it within a broader social theory of black revolution in the United States dating back to nineteenth-century black intellectuals. These include black nationalists, feminists, and anti-imperialists; activists and artists of the Harlem Renaissance; and early Cold War–era black revolutionists. The book first elaborates W. E. B. Du Bois's thesis of the "General Strike" during the Civil War, Alain Locke's thesis relating black culture to political and economic change, Harold Cruse's work on black cultural revolution, and Malcolm X's advocacy of black cultural and political revolution in the United States. Henderson then critically examines BPM revolutionists' theorizing regarding cultural and political revolution and the relationship between them in order to realize their revolutionary objectives. Focused more on importing theory from third world contexts that were dramatically different from the United States, BPM revolutionists largely ignored the theoretical template for black revolution most salient to their case, which undermined their ability to theorize a successful black revolution in the United States. This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)—a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries—and the generous support of The Pennsylvania State University. Learn more at the TOME website, available at: openmonographs.org, and access the book online at http://muse.jhu.edu/book/67098. It is also available through the SUNY Open Access Repository at http://hdl.handle.net/20.500.12648/1704.

How the creative use of pop music in film—think Saturday Night Fever or Apocalypse Now—has shaped and shifted music history since the 1960s Quick: What movie do you think of when you hear “The Sounds of Silence”? Better yet, what song comes to mind when you think of The Graduate? The link between film and song endures as more than a memory, Nate Patrin suggests with this wide-ranging and energetic book. It is, in fact, a sort of cultural symbiosis that has mutually influenced movies and pop music, a phenomenon Patrin tracks through the past fifty years, revealing the power of music in movies to move the needle in popular culture. Rock ’n’ roll, reggae, R&B, jazz, techno, and hip-hop: each had its moment—or many—as music deployed in movies emerged as a form of interpretive commentary, making way for the legitimization of pop and rock music as art forms worthy of serious consideration. These commentaries run the gamut from comedic irony to cheap-thrills excitement to deeply felt drama, all of which Patrin examines in pairings such as American Graffiti and “Do You Want to Dance?”; Saturday Night Fever and “Disco Inferno”; Apocalypse Now and “The End”; Wayne’s World and “Bohemian Rhapsody”; and Jackie Brown and “Didn't I Blow Your Mind This Time?”. What gives power to these individual moments, and how have they shaped and shifted music history, recasting source material or even stirring wider interest in previously niche pop genres? As Patrin surveys the scene—musical and cinematic—across the decades, expanding into the deeper origins, wider connections, and echoed histories that come into play, The Needle and the Lens offers a new way of seeing, and hearing, these iconic soundtrack moments.

This is a book about the meaning of time, what it is, when it has started, how it flows and where to. It examines the consequences of Einstein's theory of relativity and offers startling suggestions about what recent research may reveal.

Revolution and the Word offers a unique perspective on the origins of American fiction, looking not only at the early novels themselves but at the people who produced them, sold them, and read them. It shows how, in the aftermath of the American Revolution, the novel found a special place among the least privileged citizens of the new republic. As Cathy N. Davidson explains, early American novels--most of them now long forgotten--were a primary means by which those who bought and read them, especially women and the lower classes, moved into the higher levels of literacy required by a democracy. This very fact, Davidson shows, also made these people less amenable to the control of the gentry who, naturally enough, derided fiction as a potentially subversive genre. Combining rigorous historical methods with the newest insights of literacy theory, Davidson brilliantly reconstructs the complex interplay of politics, ideology, economics, and other social forces that governed the way novels were written, published, distributed, and understood. Davidson also shows, in almost tactile detail, how many Americans lived during the Constitutional era. She depicts the life of the traveling book peddler, the harsh lot of the printer, the shortcomings of early American schools, the ambiguous politics of novelists like Brackenridge and Tyler, and the lost lives of ordinary women like Tabitha Tenney and Patty Rogers. Drawing on a vast body of material--the novels themselves as well as reviews, inscriptions in cherished books, letters and diaries, and many other records--Davidson presents the genesis of American literature in its fullest possible context.

This book describes the living-room artifacts, clothing styles, and intellectual proclivities of American classes from top to bottom.