Discusses blues, jazz, and rap as music and poetry

Emotions have emerged as a topic of interest across the disciplines, yet studies and findings on emotions tend to fall into two camps: body versus brain, nature versus nurture. Emotions as Bio-cultural Processes offers a unique collaboration across the biological/social divide—from psychology and neuroscience to cultural anthropology and sociology—as 15 noted researchers develop a common language, theoretical basis, and methodology for examining this most sociocognitive aspect of our lives. Starting with our evolutionary past and continuing into our modern world of social classes and norms, these multidisciplinary perspectives reveal the complex interplay of biological, social, cultural, and personal factors at work in emotions, with particular emphasis on the nuances involved in pride and shame. A sampling of the topics: (1) The roles of the brain in emotional processing. (2) Emotional development milestones in childhood. (3) Social feeling rules and the experience of loss. (4) Emotions as commodities? The management of feelings and the self-help industry. (5) Honor and dishonor: societal and gender manifestations of pride and shame. (6) Emotion regulation and youth culture. (7) Pride and shame in the classroom. A volume of such wide and integrative scope as Emotions as Bio-cultural Processes should attract a large cohort of readers on both sides of the debate, among them emotion researchers, social and developmental psychologists, sociologists, social anthropologists, and others who analyze the links between humans that on the one hand differentiate us as individuals but on the other hand tie us to our socio-cultural worlds.

Introduction -- The World Around Us : Against Musical Common Sense -- The Empire Samples Back : Raga, Dub, and Fortress Europe -- Loss of Innocence : Found Sounds before and after 9/11 -- Re-Imagining Westphalia : Electroacoustic Reminders -- 'His Master's Voice' and (R)evolutionary Signifyin' -- Conclusion.

Political scientists and political theorists have long been interested in social and political performance. Theatre and performance researchers have often focused on the political dimensions of the live arts. Yet the interdisciplinary nature of this labor has typically been assumed rather than rigorously explored. Further, it is crucial to bring the concepts of theatre and performance deployed by other disciplines such as psychology, law, political anthropology, sociology among others into a wider, as well as deeper, interdisciplinary engagement. Embodying and fostering that engagement is at the heart of this new handbook. The Handbook brings together leading scholars in the fields of Politics and Performance to map out the evolving interdisciplinary engagement. The authors--drawn from a wide range of disciplines--investigate the relationship between politics and performance to show that certain features of political transactions shared by performances are fundamental to both disciplines, and that they also share, to a large extent, a common communicational base and language. The volume is organized into seven thematic sections: the interdisciplinary theory of politics and performance; performativity and theatricality (protest, regulation, resistance, change, authority); identities (race, gender, sexuality, class, citizenship, indigeneity); sites (states, borders, markets, law, religion); scripts (accountability, authority and legitimacy, security, ceremony, sustainability); body, voice, and gesture (representation, leadership, participation, rhetoric, disruption); and affect (media, care, love empathy, comedy, populism, memory).

What did rap music and hip hop culture inherit from the spirituals, classic blues, ragtime, classic jazz, and bebop? What did rap music and hip hop culture inherit from the Black Women’s Club Movement, New Negro Movement, Harlem Renaissance, Hipster Movement, and Black Muslim Movement? How did black popular music and black popular culture between 1900 and the 1950s influence white youth culture, especially the Lost Generation and the Beat Generation, in ways that mirror rap music and hip hop culture’s influence on contemporary white youth music, culture, and politics? In Hip Hop’s Amnesia award-winning author, spoken-word artist, and multi-instrumentalist Reiland Rabaka answers these questions by rescuing and reclaiming the often-overlooked early twentieth century origins and evolution of rap music and hip hop culture. Hip Hop’s Amnesia is a study about aesthetics and politics, music and social movements, as well as the ways in which African Americans’ unique history and culture has consistently led them to create musics that have served as the soundtracks for their socio-political aspirations and frustrations, their socio-political organizations and nationally-networked movements. The musics of the major African American social and political movements of the 1950s, 1960s, and 1970s were based and ultimately built on earlier forms of “African American movement music.” Therefore, in order to really and truly understand rap music and hip hop culture we must critically examine both classical African American musics and the classical African American movements that these musics served as soundtracks for. This book is primarily preoccupied with the ways in which post-enslavement black popular music and black popular culture frequently served as a soundtrack for and reflected the grassroots politics of post-enslavement African American social and political movements. Where many Hip Hop Studies scholars have made clever allusions to the ways that rap music and hip hop culture are connected to and seem to innovatively evolve earlier forms of black popular music and black popular culture, Hip Hop’s Amnesia moves beyond anecdotes and witty allusions and earnestly endeavors a full-fledged critical examination and archive-informed re-evaluation of “hip hop’s inheritance” from the major African American musics and movements of the first half of the twentieth century: classic blues, ragtime, classic jazz, swing, bebop, the Black Women’s Club Movement, the New Negro Movement, the Harlem Renaissance, the Bebop Movement, the Hipster Movement, and the Black Muslim Movement.

Most of the contributions to Translating Shakespeare for the Twenty-First Century evolve from a practical commitment to the translation of Shakespearean drama and at the same time reveal a sophisticated awareness of recent developments in literary criticism, Shakespeare studies, and the relatively new field of Translation studies. All the essays are sensitive to the criticism to which notions of the original as well as distinctions between the creative and the derivative have been subjected in recent years. Consequently, they endeavour to retrieve translation from its otherwise subordinate status, and advance it as a model for all writing, which is construed, inevitably, as a rewriting. This volume offers a wide range of responses to the theme of Shakespeare and translation as well as Shakespeare in translation. Diversity is ensured both by the authors' varied academic and cultural backgrounds, and by the different critical standpoints from which they approach their themes - from semiotics to theatre studies, and from gender studies to readings firmly rooted in the practice of translation. Translating Shakespeare for the Twenty-First Century is divided into two complementary sections. The first part deals with the broader insights to be gained from a multilingual and multicultural framework. The second part focuses on Shakespearean translation into the specific language and the culture of Portugal.

What would it be like to know that you are indeed immortal, that your physical body is but the outward form taken by your own eternal inner form or soul body? What would it be like to dissolve the bodily boundaries that seem to separate you from the souls of others, learning to feel your soul in their body and their soul in yours? What would it be like to see and feel your partner as the embodiment of a god or goddess, and to experience the bliss of 'soul body sex' - an intensely sensual intimacy and intercourse with their divine soul body? The New Yoga is a yoga of the soul body - that body with which we can intimately sense, feel and touch others - independently of physical contact. The New Yoga is also 'Tantra Reborn', giving rebirth to the tantric tradition known as Kashmir Shaivism through a wholly new understanding of its sexual symbolism and of 'tantric sex' - seen not merely as a heightening or spiritual elevation of bodily sex, but as an expression of the sublime sensuality and divine sexuality of the soul and its body. 'Tantra Reborn' explains in detail the anatomy, nature and powers of the soul body, its relation to gender and sexuality, to tantric initiation and to the traditional tantric symbolism of 'Shiva-Shakti' and 'Kundalini'. It also offers a practical guide to experiencing the bliss of soul body intercourse through new and original forms of tantric pair and partner meditation.

"Creative Spirituality is a fascinating, brilliant, and suggestive book, to be read and appreciated both for its spiritual insights and for the author's astute observations on artistic creativity and spiritual practice. Robert Wuthnow explores the intimate engagements of art and spirituality in their common quests for meaning. This volume represents a substantial contribution to the growing literature on art and religion in the United States and an intelligent appeal to the artist and the truth-seeker in each of us."--Sally M. Promey is author of Painting Religion in Public and coauthor of The Visual Culture of American Religions "Wuthnow's careful listening to the voices of working artists speaking of their work, and his analysis of the rich variety of their experiences, show the universally human, transforming power of creativity. Creative practice reveals itself here as a primary spiritual practice. While some of these artists follow a traditional religious path and make fascinating connections between their working experience and their religious faith others speak directly of spirituality as a discovering of the power of Spirit. Whether religious or not, their voices are witness to the holy power of human creativity and to the mystery in which it leads."--Reverend Donald Schell, St. Gregory of Nyssa Episcopal Church, San Francisco "Robert Wuthnow has written a brilliant, insightful exploration of how contemporary artists struggle to express their deepest spiritual yearnings. At a time when the notion of spirituality seems inchoate, artists, writers and musicians can often eloquently articulate the mysterious otherness of our lives. Especially powerful are the personal testimonials which reveal the empowerment of transcendence over alienation and disbelief."--Marci Whitney-Schenck, Publisher and Editor, Christianity and the Arts "Here one finds wonderful stories about artists and of the creative spirituality arising out of their work. Wuthnow goes beyond telling us simply that these are people living at the edges of our culture, suggesting that they are spiritual models for our time--people who cultivate spiritual depth through sustained practice, or doing something that is fresh, expressive, and worthwhile. The book addresses the serious, many-sided aspects of their search--indeed, of our search--for 'moments of transcendence' today."--Wade Clark Roof, J. F. Rowny Professor of Religion and Society, University of California at Santa Barbara and author of Spiritual Marketplace

Considers the contributions and contemporary significance of Alan Watts.

This is the first collection of essays to take a pan-European perspective in the study of hip-hop. How has it traveled to Europe? How has it developed in the various cultural contexts? How does it reference the American cultures of origin? The book's 21 authors and artists provide a comprehensive overview of hip-hop cultures in Europe, from the fringes to the centers. They address hip-hop in a variety of contexts, such as class, ethnicity, gender, history, pedagogy, performance, and (post-) communism. (Series: Transnational and Transatlantic American Studies - Vol. 13)