Author: Dustin Friedman Late Victorian aesthetes were dedicated to the belief that an artwork's value derived solely from its beauty, rather than any moral or utilitarian purpose. Works by these queer artists have rarely been taken seriously as contributions to the theories of sexuality or aesthetics. But in Before Queer Theory, Dustin Friedman argues that aestheticism deploys its art for art's sake rhetoric to establish a nascent sense of sexual identity and community. Friedman makes the case for a claim rarely articulated in either Victorian or modern culture: that intellectually, creatively, and ethically, being queer can be an advantage not in spite but because of social hostility toward nonnormative desires. Showing how aesthetesamong them Walter Pater, Oscar Wilde, Vernon Lee, and Michael Fieldharnessed the force that Georg Wilhelm Friedrich Hegel called the negative, Friedman reveals how becoming self-aware of one's sexuality through art can be both liberating and affirming of humanity's capacity for subjective autonomy. Challenging one of the central precepts of modern queer theorythe notion that the heroic subject of Enlightenment thought is merely an effect of discourse and powerFriedman develops a new framework for understanding the relationship between desire and self-determination. He also articulates an innovative, queer notion of subjective autonomy that encourages reflecting critically on one's historical moment and envisioning new modes of seeing, thinking, and living that expand the boundaries of social and intellectual structures. Before Queer Theory is an audacious reimagining that will appeal to scholars with interests in Victorian studies, queer theory, gender and sexuality studies, and art history.

Author: By Sally McKee From 1211 until its loss to the Ottomans in 1669, the Greek island we know as Crete was the Venetian colony of Candia. Ruled by a paid civil service fully accountable to the Venetian Senate, Candia was distinct from nearly every other colony of the medieval period for the unprecedented degree to which the colonial power was involved in its governance. Yet, for Sally McKee, the importance of the Cretan colony only begins with the anomalous manner of the Venetian state's rule. Uncommon Dominion tells the story of Venetian Crete, the home of two recognizably distinct ethnic communities, the Latins and the Greeks. The application of Venetian law to the colony made it possible for the colonial power to create and maintain a fiction of ethnic distinctness. The Greeks were subordinate to the Latins economically, politically, and juridically, yet within a century of Venetian colonization, the ethnic differences between Latin and Greek Cretans in daily material life were significantly blurred. Members of the groups intermarried, many of them learned each other's language, and some even chose to worship by the rites of the other's church. Holding up ample evidence of acculturation and miscegenation by the colony's inhabitants, McKee uncovers the colonial forces that promoted the persistence of ethnic labeling despite the lack of any clear demarcation between the two predominant communities. As McKee argues, the concept of ethnic identity was largely determined by gender, religion, and social status, especially by the Latin and Greek elites in their complex and frequently antagonistic social relationships.Drawing expertly from notarial and court records, as well as legislative and literary sources, Uncommon Dominion offers a unique study of ethnicity in the medieval and early modern periods. Students and scholars in medieval, colonial, and postcolonial studies will find much of use in studying this remarkable colonial experiment.

Author: William C. Hine Since its founding in 1896, South Carolina State University has provided vocational, undergraduate, and graduate education for generations of African Americans. Now the states flagship historically black university, it achieved this recognition after decades of struggling against poverty, inadequate infrastructure and funding, and social and cultural isolation. In South Carolina State University: A Black Land-Grant College in Jim Crow America, William C. Hine examines South Carolina States complicated start, its slow and long-overdue transition to a degree-granting university, and its significant role in advancing civil rights in the state and country. A product of the states separate but equal legislation, South Carolina State University was a hallmark of Jim Crow South Carolina. Black and white students were indeed provided separate colleges, but the institutions were in no way equal. When established, South Carolina State emphasized vocational and agricultural subjects as well as teacher training for black students while the University of South Carolina offered white students a broad range of higher-level academic and professional course work leading to a bachelors degree. Through the middle decades of the twentieth century, South Carolina State was an incubator for much of the civil rights activity in the state. The tragic Orangeburg massacre on February 8, 1968, occurred on its campus and resulted in the deaths of three students and the wounding of twenty-eight others. Using the university as a lens, Hine examines the states history of race relations, poverty and progress, and the politics of higher education for whites and blacks from the Reconstruction era into the twenty-first century. Hines work showcases what the institution has achieved as well as what was required for the school to achieve the parity it was once promised. This fascinating account is replete with revealing anecdotes, more than sixty photographs and illustrations, and a cast of famous figures including Benjamin R. Tillman, Coleman Blease, Benjamin E. Mays, Marian Birnie Wilkinson, Mary McLeod Bethune, Modjeska Simkins, Strom Thurmond, Essie Mae Washington Williams, James F. Byrnes, John Foster Dulles, James E. Clyburn, and Willie Jeffries.

Author: Claude Calame The Poetics of Eros in Ancient Greece offers the first comprehensive inquiry into the deity of sexual love, a power that permeated daily Greek life. Avoiding Foucault's philosophical paradigm of dominance/submission, Claude Calame uses an anthropological and linguistic approach to re-create indigenous categories of erotic love. He maintains that Eros, the joyful companion of Aphrodite, was a divine figure around which poets constructed a physiology of desire that functioned in specific ways within a network of social relations. Calame begins by showing how poetry and iconography gave a rich variety of expression to the concept of Eros, then delivers a history of the deity's roles within social and political institutions, and concludes with a discussion of an Eros-centered metaphysics. Calame's treatment of archaic and classical Greek institutions reveals Eros at work in initiation rites and celebrations, educational practices, the Dionysiac theater of tragedy and comedy, and in real and imagined spatial settings. For men, Eros functioned particularly in the symposium and the gymnasium, places where men and boys interacted and where future citizens were educated. The household was the setting where girls, brides, and adult wives learned their erotic roles--as such it provides the context for understanding female rites of passage and the problematics of sexuality in conjugal relations. Through analyses of both Greek language and practices, Calame offers a fresh, subtle reading of relations between individuals as well as a quick-paced and fascinating overview of Eros in Greek society at large.