Redrawing the Historical Past examines how multiethnic graphic novels portray and revise U.S. history. This is the first collection to focus exclusively on the interplay of history and memory in multiethnic graphic novels. Such interplay enables a new understanding of the past. The twelve essays explore Mat Johnson and Warren Pleece's Incognegro, Gene Luen Yang's Boxers and Saints, GB Tran's Vietnamerica, Scott McCloud's The New Adventures of Abraham Lincoln, Art Spiegelman's post-Maus work, and G. Neri and Randy DuBurke's Yummy: The Last Days of a Southside Shorty, among many others. The collection represents an original body of criticism about recently published works that have received scant scholarly attention. The chapters confront issues of history and memory in contemporary multiethnic graphic novels, employing diverse methodologies and approaches while adhering to three main guidelines. First, using a global lens, contributors reconsider the concept of history and how it is manifest in their chosen texts. Second, contributors consider the ways in which graphic novels, as a distinct genre, can formally renovate or intervene in notions of the historical past. Third, contributors take seriously the possibilities and limitations of these historical revisions with regard to envisioning new, different, or even more positive versions of both the present and future. As a whole, the volume demonstrates that graphic novelists use the open and flexible space of the graphic narrative page--in which readers can move not only forward but also backward, upward, downward, and in several other directions--to present history as an open realm of struggle that is continually being revised. Contributors: Frederick Luis Aldama, Julie Buckner Armstrong, Katharine Capshaw, Monica Chiu, Jennifer Glaser, Taylor Hagood, Caroline Kyungah Hong, Angela Lafien, Catherine H. Nguyen, Jeffrey Santa Ana, and Jorge Santos.

Redrawing the Historical Past examines how multiethnic graphic novels portray and revise U.S. history. This is the first collection to focus exclusively on the interplay of history and memory in multiethnic graphic novels. Such interplay enables a new understanding of the past. The twelve essays explore Mat Johnson and Warren Pleece’s Incognegro, Gene Luen Yang’s Boxers and Saints, GB Tran’s Vietnamerica, Scott McCloud’s The New Adventures of Abraham Lincoln, Art Spiegelman’s post-Maus work, and G. Neri and Randy DuBurke’s Yummy: The Last Days of a Southside Shorty, among many others. The collection represents an original body of criticism about recently published works that have received scant scholarly attention. The chapters confront issues of history and memory in contemporary multiethnic graphic novels, employing diverse methodologies and approaches while adhering to three main guidelines. First, using a global lens, contributors reconsider the concept of history and how it is manifest in their chosen texts. Second, contributors consider the ways in which graphic novels, as a distinct genre, can formally renovate or intervene in notions of the historical past. Third, contributors take seriously the possibilities and limitations of these historical revisions with regard to envisioning new, different, or even more positive versions of both the present and future. As a whole, the volume demonstrates that graphic novelists use the open and flexible space of the graphic narrative page—in which readers can move not only forward but also backward, upward, downward, and in several other directions—to present history as an open realm of struggle that is continually being revised. Contributors: Frederick Luis Aldama, Julie Buckner Armstrong, Katharine Capshaw, Monica Chiu, Jennifer Glaser, Taylor Hagood, Caroline Kyungah Hong, Angela Lafien, Catherine H. Nguyen, Jeffrey Santa Ana, and Jorge Santos.

After World War II, some 12 million Germans, 3 million Poles and Ukrainians, and tens of thousands of Hungarians were expelled from their homes and forced to migrate to their supposed countries of origin. Using freshly available materials from Polish, Ukrainian, Russian, Czechoslovak, German, British, and American archives, the contributors to this book provide a sweeping, detailed account of the turmoil caused by the huge wave of forced migration during the nascent Cold War. The book also documents the deep and lasting political, social, and economic consequences of this traumatic time, raising difficult questions about the effect of forced migration on postwar reconstruction, the rise of Communism, and the growing tensions between Western Europe and the Eastern bloc. Those interested in European Cold-War history will find this book indispensable for understanding the profound--but hitherto little known--upheavals caused by the massive ethnic cleansing that took place from 1944 to 1948.

Contributions by Lawrence Abrams, Dorian L. Alexander, Max Bledstein, Peter Cullen Bryan, Stephen Connor, Matthew J. Costello, Martin Flanagan, Michael Fuchs, Michael Goodrum, Bridget Keown, Kaleb Knoblach, Christina M. Knopf, Martin Lund, Jordan Newton, Stefan Rabitsch, Maryanne Rhett, and Philip Smith History has always been a matter of arranging evidence into a narrative, but the public debate over the meanings we attach to a given history can seem particularly acute in our current age. Like all artistic mediums, comics possess the power to mold history into shapes that serve its prospective audience and creator both. It makes sense, then, that history, no stranger to the creation of hagiographies, particularly in the service of nationalism and other political ideologies, is so easily summoned to the panelled page. Comics, like statues, museums, and other vehicles for historical narrative, make both monsters and heroes of men while fueling combative beliefs in personal versions of United States history. Drawing the Past, Volume 1: Comics and the Historical Imagination in the United States, the first book in a two-volume series, provides a map of current approaches to comics and their engagement with historical representation. The first section of the book on history and form explores the existence, shape, and influence of comics as a medium. The second section concerns the question of trauma, understood both as individual traumas that can shape the relationship between the narrator and object, and historical traumas that invite a reassessment of existing social, economic, and cultural assumptions. The final section on mythic histories delves into ways in which comics add to the mythology of the US. Together, both volumes bring together a range of different approaches to diverse material and feature remarkable scholars from all over the world.

An attempt has been made to arrange the pamphlets reprinted in this volume in a chronological/argumentative sequence. The grammar, punctuation, and spelling of the originals have been kept; however, occasionally, where the spelling in the original might arouse serious question in the mind of the reader, the conventional symbol sic has been placed after the word. For permission to reprint these pamphlets I wish to thank the American Philosophical Society; The Historical Society of Pennsylvania; The Huntington Library, San Marino, Califor The Library Company of Philadelphia; and The New nia; York Public Library. I am particularly grateful for the generous help given me by the staffs of the American Philosophical Society and The Historical Society of Pennsylvania; I es pecially wish to thank Mr. Nicholas Biddle Wainwright, Re search Librarian of the latter Society, for prompt aid from a far distance in a number of trying circumstances. For permission to quote from Mr. Brooke Hindle's "The March of the Paxton Men," thanks are due to Mr. Lawrence W. Turner, editor of the William and Mary Quarter!J. TABLE OF CONTENTS Preface VII Introduction I A Narrative of the Late Massacres, in Lancaster County, of a Number of Indians, Friends of this Province, By Persons unknown. 55 Copy of a Letter From Charles Read, Esq: To The Hon: John Ladd, Esq: And his Associates, Justices of the Peace for the County of Gloucester. 77 The Cloven-Foot discovered.

The Sykes-Picot Agreement was one of the defining moments in the history of the modern Middle East. Yet its co-creator, Sir Mark Sykes, had far more involvement in British Middle East strategy during World War I than the Agreement for which he is now most remembered. Between 1915 and 1916, Sykes was Lord Kitchener's agent at home and abroad, operating out of the War Office until the war secretary's death at sea in 1916. Following that, from 1916 to 1919 he worked at the Imperial War Cabinet, the War Cabinet Secretariat and, finally, as an advisor to the Foreign Office. The full extent of Sykes's work and influence has previously not been told. Moreover, the general impression given of him is at variance with the facts. Sykes led the negotiations with the Zionist leadership in the formulation of the Balfour Declaration, which he helped to write, and promoted their cause to achieve what he sought for a pro-British post-war Middle East peace settlement, although he was not himself a Zionist. Likewise, despite claims he championed the Arab cause, there is little proof of this other than general rhetoric mainly for public consumption. On the contrary, there is much evidence he routinely exhibited a complete lack of empathy with the Arabs. In this book, Michael Berdine examines the life of this impulsive and headstrong young British aristocrat who helped formulate many of Britain's policies in the Middle East that are responsible for much of the instability that has affected the region ever since.

Shao-yun Yang challenges assumptions that the cultural and socioeconomic watershed of the Tang-Song transition (800–1127 CE) was marked by a xenophobic or nationalist hardening of ethnocultural boundaries in response to growing foreign threats. In that period, reinterpretations of Chineseness and its supposed antithesis, “barbarism,” were not straightforward products of political change but had their own developmental logic based in two interrelated intellectual shifts among the literati elite: the emergence of Confucian ideological and intellectual orthodoxy and the rise of neo-Confucian (daoxue) philosophy. New discourses emphasized the fluidity of the Chinese-barbarian dichotomy, subverting the centrality of cultural or ritual practices to Chinese identity and redefining the essence of Chinese civilization and its purported superiority. The key issues at stake concerned the acceptability of intellectual pluralism in a Chinese society and the importance of Confucian moral values to the integrity and continuity of the Chinese state. Through close reading of the contexts and changing geopolitical realities in which new interpretations of identity emerged, this intellectual history engages with ongoing debates over relevance of the concepts of culture, nation, and ethnicity to premodern China.

Redrawing the Lines was first published in 1989. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. Since 1970 literary theory has experienced a period of rich interaction with both Anglo-American analytic and Continental philosophy, particularly deconstruction. Yet these two philosophical schools have regarded each other with hostility, if at all, as in the 1977 exchange between John Searle and Jacques Derrida over the work of J. L. Austin. Since then, the two philosophical traditions have begun to interact as each has influenced literary theory, and some suggest that they are not diametrically opposed. Redrawing the Lines,the first book to focus on that interaction, brings together ten essays by key figures who have worked to connect literary theory and philosophy and to reassess the relationship between analytic and Continental philosophy. The editor's introduction establishes the debate's historical context, and his annotated bibliography directs the interested reader to virtually everything written on this issue. The contributors: Reed Way Dasenbrock, Henry Staten, Michael Fischer, Charles Altieri, Richard Shusterman, Samuel C. Wheeler III, Jules David Law, Steven Winspur, Christopher Norris, Richard Rorty, and Anthony J. Cascardi. Reed Way Dasenbrock is associate professor of English at New Mexico State University. He is the author of The Literary Vorticism of Ezra Pound and Wyndham Lewis: Toward the Condition of Painting.

From Kehinde Wiley to W.E.B. Du Bois, from Nubia to Cuba, Willie Doherty's terror in ancient landscapes to the violence of institutional Neo-Gothic, Reagan's AIDS policies to Beowulf fanfiction, this richly diverse volume brings together art historians and literature scholars to articulate a more inclusive, intersectional medieval studies. It will be of interest to students working on the diaspora and migration, white settler colonialism and pogroms, Indigenous studies and decolonial methodology, slavery, genocide, and culturecide. The authors confront the often disturbing legacies of medieval studies and its current failures to own up to those, and also analyze fascist, nationalist, colonialist, anti-Semitic, and other ideologies to which the medieval has been and is yoked, collectively formulating concrete ethical choices and aims for future research and teaching.In the face of rising global fascism and related ideological mobilizations, contemporary and past, and of cultural heritage and history as weapons of symbolic and physical oppression, this volume's chapters on Byzantium, Medieval Nubia, Old English, Hebrew, Old French, Occitan, and American and European medievalisms examine how educational institutions, museums, universities, and individuals are shaped by ethics and various ideologies in research, collecting, and teaching.