On the campaign trail, Barack Obama faced a difficult task—rallying African American voters while resisting his opponents’ attempts to frame him as “too black” to govern the nation as a whole. Obama’s solution was to employ what Toni Morrison calls “race-specific, race-free language,” avoiding open discussions of racial issues while using terms and references that carried a specific cultural resonance for African American voters. Stephanie Li argues that American politicians and writers are using a new kind of language to speak about race. Challenging the notion that we have moved into a “post-racial” era, she suggests that we are in an uneasy moment where American public discourse demands that race be seen, but not heard. Analyzing contemporary political speech with nuanced readings of works by such authors as Toni Morrison, Jhumpa Lahiri, and Colson Whitehead, Li investigates how Americans of color have negotiated these tensions, inventing new ways to signal racial affiliations without violating taboos against open discussions of race.

This book is a backpack manifesto. It tells the story of a realist painter at a time when realism was not in vogue. If you know Clark Hulings (1922-2011), this book presents him anew, highlighting the beauty of his paintings and the thought and empathy behind them. If you’re new to Hulings, this book introduces you to a working artist whose subject was work—agricultural, village, and market work—daily life in ancient places grappling with modernity in unique ways. For artists, this book will invigorate your practice as it discusses the education and process of a painter whose effort and work ethic took him to the summit of realist technique. For the art historian, this book secures Hulings’s place in the continuum of European and American realism as portrait painter, illustrator, and fine artist, and in light of key aspects of modernism that he adapted to his art.

The Signifying Monkey is the first book of literary criticism to trace the roots of contemporary Black literature to Afro-American folklore and to the traditions of African languages. As the author examines the ancient poetry of the Ifa Oracle (found in Nigeria, Benin, Brazil, Cuba, and Haiti), he uncovers the origins of a sacred system of divination, brought to America by black slaves who felt it to be the very "heart-beat" of their souls. Gates demonstrates how a heroic and popular character called the Signifying Monkey emerged from this divination and came to pervade Afro-American culture. In providing masterful readings of literary works by Alice Walker, Zora Neale Hurston, Ralph Ellison, Jean Toomer, Richard Wright, and Ishmael Reed--and in defining how the works of these authors "signify upon" each other--the author delivers a powerful and ground-breaking work of critical theory. Many previously unpublished tales about the Monkey, as well as those already published, are collected in a detailed appendix.

The history of the epic-ranging from the heroic narratives of cultural origin found in Homer and Virgil to the tumultuous theological and political conflicts depicted by Dante or Milton-is nearly as old as literature itself. But the epic is also made and remade by its present, adapted to the pressures and formal necessities of its particular cultural moment. Examining modernist poetry's epic turn in the years between the two World Wars, C.D. Blanton's ambitious study charts the inversion of what Ezra Pound called "a poem including history" into a fractured and hollowed form, a "negated epic" that struggles not only to acknowledge the distant past but also to conceive its immediate present. Compelled to register the force of a larger historical totality it cannot directly represent, the negated epic reorients the function of poetic language, trading expression or signification for concrete but often buried reference, remaking the poem as an instrument of dialectical reason in the process. Epic Negation turns first to T. S. Eliot, productively pairing The Waste Land with The Criterion, the literary review it announced in 1922, to argue that Eliot's journal systematically realizes the editorial and critical method through which modernism's epochal poem sought to think its moment whole, developing a totalizing account of interwar culture. Dividing the epic's critical function from its style, The Criterion not only includes history differently, but also formulates an intricately dialectical account of the crisis facing bourgeois society, formed in the image of a Marxism it opposes. World War II's approach serves to organize the second half of Blanton's study, as he traces the dislocated formal effects of a serial epic gone underground. In the tense elegies and pastorals of W. H. Auden and Louis MacNeice, lyric forms cryptically divulge the determining force of unmentionable but universal events, dividing experience against consciousness, what can be said in a poem from what cannot. And, finally, with H.D.'s Trilogy-written under bombardment in a terse exchange with Freud's famous rewriting of biblical history in Moses and Monotheism--the poetic image itself lapses, consigning epic to the silent historical force of the unconscious. Uniquely conceived and deftly executed, Epic Negation transforms our understanding of modernist poetics and the concept of epic more broadly.

Socrates' greatest philosophical contribution was to have initiated the search for definitions. In Definition in Greek Philosophy his views on definition are examined, together with those of his successors, including Plato, Aristotle, the Stoics, Galen, the Sceptics and Plotinus. Although definition was a major pre-occupation for many Greek philosophers, it has rarely been treated as a separate topic in its own right in recent years. This volume, which contains fourteen new essays by leading scholars, aims to reawaken interest in a number of central and relatively unexplored issues concerning definition. These issues are briefly set out in the Introduction, which also seeks to point out scholarly and philosophical questions which merit further study.

Who is God? The variety of images of God tends to overwhelm us in the present age. Is 'God' a fiction of human construction, or a reality that makes claims upon how we practice 'faith in God'? How does this quest for an understanding of 'God' illumine who 'we' are?God in Postliberal Perspective presents an introduction to the doctrine and concept of God in contemporary philosophy and theology, exploring how some theologians and philosophers dare to speak of God as 'real' in our sceptical, pluralistic, and interfaith age. Robert Cathey tours the 'house of realism' as constructed by postliberal Christians (David Burrell, William Placher, Bruce Marshall), in conversation with living communities of faith and critical work in philosophy and theology, and develops a distinctive argument about the relation of realism and non-realism in constructing the doctrine of God in postliberal theology.Offering a reading of postliberal theology which is open to critical discussion with other types of theology, philosophy, and faith traditions, this book proposes a model of theological reflection that may be extended to the reality-claims of a wide range of doctrines and concepts.