Author: Ruth Benedict File Type: pdf Originally published 1934

Author: J. K. Elliott File Type: pdf Early Christians built on the stories of Jesus birth found in the New Testament. Their later accounts, many of them found nowadays among collections of non-canonical (apocryphal) texts, are important and interesting. They give insights into the growth of Christian theology, especially concerning the role and status of Mary, and also the way in which the earliest stories were elaborated and interpreted in popular folk religion. A range of the earliest accounts is presented here in fresh translations it includes some rare Irish material. The texts are arranged in small units and synoptically, in order to permit readers to compare texts and to see the differences and similarities between them. J.K. Elliott has selected and arranged the texts, and he provides an introductory chapter to the genre. He also includes a full and helpful bibliography to benefit readers who may wish to pursue this comparative study more deeply.

Author: Christina Hutchins File Type: pdf Again and again in Christina Hutchinss exquisite Tender the Maker, poems startle us into awareness of the overlooked, the nearly always invisible (such as a librarys unused dictionary), and the marvelous, those aspects of life that come under the rubric of mystery, in all senses of the word. Hutchins combines a pitch-perfect and precise lyricism with a postmodern sensibility of languages materiality. Cynthia Hogue, judge for the 2015 May Swenson Poetry Award An elegantly crafted, dense work that invites readers to travel on spiritual, philosophical, and historical journeys. Kirkus Reviews The May Swenson Poetry Award is an annual competition named for May Swenson, one of Americas most provocative and vital writers. During her long career, Swenson was loved and praised by writers from virtually every school of American poetry. She left a legacy of fifty years of writing when she died in 1989. She is buried in her hometown of Logan, Utah. **

Author: Sieglinde Lemke File Type: pdf This book explores a rich cultural hybridity at the heart of transatlantic modernism. Focusing on cubism, jazz, and Josephine Bakers performance in the Danse Sauvage, Sieglinde Lemke uncovers a crucial history of white and black intercultural exchange, a phenomenon until now greatly obscured by a cloak of whiteness. Considering artists and critics such as Picasso, Alain Locke, Nancy Cunard, and Paul Whiteman, in addition to Baker, Lemke documents a potent cultural dialectic in which black artistic expression fertilized white modernism, just as white art forms helped shape the black modernism of Harlem and Paris. Coining the term primitivist modernism to designate the multicultural heritage of this centurys artistic production, Lemke reveals the generative and germinating black cultural Other in the arts. She examines this neglected dimension in full, fascinating detail, blending literary theory, social history, and cultural analysis to document modernisms complex absorption of African culture and art. She details numerous ways in which African and African American forms (visual styles, musical idioms, black dialects) and fantasies (Bakers costume and dance, say) permeated high and mass culture on both sides of the Atlantic. So-called primitive art and high modernism savage rhythms and European music hall culture European and African American expressions in jazz European primitivism and the racial awakenings of African American culture paired and freshly examined by Lemke, these subjects stand revealed in their true interrelatedness. Insisting on modernisms two-way cultural flow, Lemke demonstrates not only that white modernism owes much of its symbolic capital to the black Other, but that black modernism built itself in part on white Euro-American models. Through superbly nuanced readings of individual texts and images (fifteen striking examples of which are reproduced in this handsome volume), Lemke reforms our understanding of modernism. She shows us, in clear, invigorating fashion, that transatlantic modernism in both its high and popular modes was significantly more diverse than commonly supposed. Students and scholars of modernism, African American studies, and cultural studies, and those with interests in twentieth-century art, dance, music, or literature, will find this book richly rewarding. **