Author: John Stoltenberg File Type: pdf Since its original publication in 1989, Refusing to be a Man has been acclaimed as a classic and widely cited in gender studies literature. In 13 eloquent essays, Stoltenberg articulates the first fully argued liberation theory for men that will also liberate women. He argues that male sexual identity is entirely a political and ethical construction whose advantages grow out of injustice. His thesis is, however, ultimately one of hope - that precisely because masculinity is so constructed, it is possible to refuse it, to act against it and to change. A new introduction by the author discusses the roots of his work in the American civil rights and radical feminist movements and distinguishes it from the anti-feminist philosophies underlying the recent tide of reactionary mens movements.From Publishers WeeklyCo-founder of Men Against Pornography, Stoltenberg considers himself a radical feminist. These 13 searching essays reflect his belief that male sexuality is an artificial, social-political construct, inextricably linked to widely held assumptions of mens natural superiority over women, reported PW. 1990 Reed Business Information, Inc. From Library JournalIn this collection of 13 essays, radical feminist Stoltenberg speaks openly and explicitly on male sexual identity and its interrelation with rape, war, abortion , homophobia, pornography, and injustice. His premise is that male sexual identity is a political and ethical construction connected to male supremacy. Based mostly on speeches delivered at colleges, community organizations, and regional and national conferences, his essays exhort individuals, especially men, to learn a new ethic and to examine their acts in view of the consequences for others. This book will enlighten, please, and anger readers.- Jeris Cassel, Rutgers Univ. Lib., New Brunswick, N.J. 1989 Reed Business Information, Inc.

Author: Mark P. McNicholas File Type: pdf Across eighteenth-century China a wide range of common people forged government documents or pretended to be officials or other agents of the state. This examination of case records and law codes traces the legal meanings and social and political contexts of small-time swindles that were punished as grave political transgressions. **

Author: Richard Taruskin File Type: pdf This new collection views Russian music through the Greek triad ofthe Good, the True, and the Beautiful to investigatehow the idea of nation embeds itself in the public discourse about music and other arts with results at times invigorating, at times corrupting. In our divided, postCold War, and now post911 world, Russian music, formerly a quiet corner on the margins of musicology, has become a site of noisy contention. Richard Taruskin assesses the political and cultural stakes that attach to it in the era of Pussy Riot and renewed international tensions, before turning to individual cases from the nineteenth century to the present. Much ofthe volume is devoted to the resolutely cosmopolitan but inveterately Russian Igor Stravinsky, one of the major forces in the music of the twentieth century and subject of particular interest to composers and music theorists all over the world. Taruskin here revisits him for the first time since the 1990s, when everything changed for Russia and its cultural products. Other essays are devoted to the cultural and social policies of the Soviet Union and their effect on the music produced there as those policies swung away from Communist internationalism to traditional Russian nationalism to the musicians of the Russian postrevolutionary diaspora andto the tension between the compelling artistic quality of works such as Stravinskys Sacre du Printemps or Prokofieffs Zdravitsa and the antihumanistic or totalitarian messages they convey. Russian Music at Home and Abroad addresses these concerns in a personal and critical way, characteristically demonstrating Taruskins authority and ability tobring living history out of the shadows. **From the Inside Flap In surveying the continent of Russian music, Richard Taruskin has breathtakingly altered its scholarly appearance, displaying its arc in space as if through a telescope and its textures as if through a microscope. His new book casts a resolute and penetrating eye on contemporary Russia and the processes now underway there, which are shaping a new awareness of music within the cultural traditions that are at the heart of Russian spiritual life.LiudmilaKoynatskaya,Saint PetersburgConservatory Taruskins book does not read like a book by the other on our music, although his view from the outside often radically alters our perspective. Nor is it just a matter of the authors sincere sympathy, which shows through even the most ironic passages, but rather that Taruskin is waging an all-out fight for an approach to Russian music that no longer defines it primarily in terms of alterity or exceptionalism, but seeks to consider it, both from within and from without, as part of a single Western cultural sphere.Olga Manulkina,Saint PetersburgConservatory In the preface to his new book, Professor Taruskin promises the reader a responsibly academic rather than a loose journalistic performance. And yet the author, having long since made a home for himself amid the vast expanse of Russian music, is innately incapable of speaking or writing about it as a dispassionate observer. This wonderful world, as he calls it, is his own. Taruskin treats octatonicism and other specialized matters with the same intensity as he does the vicissitudes of Chaikovskys private life. His eye is keen and ardently engaged, and the reader is constantly reminded of the Russian criticism of the nineteenth century, and especially of Vladimir Vasilyevich Stasov, the godfather of the Mighty Kuchka, a fiery tribune, a polemical journalist, and an academic scholar all in one.Svetlana Savenko,Moscow State Tchaikovsky Conservatory Professor Taruskinregards the phenomenon of Russian music the way Joseph Brodsky regarded Pushkin, as a sort of lens into which has gone the past and out of which has come the future. Armed with penetrating words, having set his historical sights with care and X-rayed the major players of the nineteenth and twentieth centuries, the author offers us a fresh look at our national art and the behavior of the key figures in the history of Russian music.Lidia Ader,Senior Researcher, Saint Petersburg State Museum of Theatre and Music About the Author Richard Taruskinis the Class of 1955 Professor of Music emeritus at the University of California, Berkeley, where he taught from 1987 to 2014, after twenty-six years at Columbia University (man and boy). He is the author ofStravinsky and the Russian Traditions,On Russian Music, Defining Russia Musically, and the six-volume Oxford History of Western Music.

Author: Gary B. Nash File Type: pdf The most profound crisis of conscience for white Americans at the end of the eighteenth century became their most tragic failure. Race and Revolution is a trenchant study of the revolutionary generations early efforts to right the apparent contradiction of slavery and of their ultimate compromises that not only left the institution intact but provided it with the protection of a vastly strengthened government after 1788.Reversing the conventional view that blames slavery on the Souths social and economic structures, Nash stresses the role of the northern states in the failure to abolish slavery. It was northern racism and hypocrisy as much as southern intransigence that buttressed the peculiar institution. Nash also shows how economic and cultural factors intertwined to result not in an apparently judicious decision of the new American nation but rather its most significant lost opportunity.Race and Revolution describes the free black communitys response to this failure of the revolutions promise, its vigorous and articulate pleas for justice, and the communitys successes in building its own African-American institutions within the hostile environment of early nineteenth-century America.Included with the text of Race and Revolution are nineteen rare and crucial documentsletters, pamphlets, sermons, and speecheswhich provide evidence for Nashs controversial and persuasive claims. From the words of Anthony Benezet and Luther Martin to those of Absalom Jones and Caesar Sarter, readers may judge the historical record for themselves.In reality, argues Nash, the American Revolution represents the largest slave uprising in our history. Race and Revolution is the compelling story of that failed quest for the promise of freedom.