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In Imprisoned in a Luminous Glare, Leigh Raiford argues that over the past one hundred years activists in the black freedom struggle have used photographic imagery both to gain political recognition and to develop a different visual vocabulary about black lives. Raiford analyzes why activists chose photography over other media, explores the doubts some individuals had about the strategies, and shows how photography became an increasingly effective, if complex, tool in representing black political interests. Offering readings of the use of photography in the antilynching movement, the civil rights movement, and the black power movement, Raiford focuses on key transformations in technology, society, and politics to understand the evolution of photography's deployment in capturing white oppression, black resistance, and African American life. By putting photography at the center of the long African American freedom struggle, Raiford also explores how the recirculation of these indelible images in political campaigns and art exhibits both adds to and complicates our memory of the events.

Two small books of vivid drawings--one filled with images by the Southern Cheyenne warrior-artist Howling Wolf and the other with images by Zotom, a Kiowa man--came to the Southwest Museum of the American Indian, now part of the Autry National Center, in December 1986. The books were gifts from Leonora Curtin Paloheimo, and had been commissioned directly from the artists in 1877 by Paloheimo's grandmother, Eva Scott Muse Fényes (1849-1930). At the time Fényes commissioned the books, Zotom and Howling Wolf were imprisoned at Fort Marion in Saint Augustine, Florida. Like some of the other Southern Plains Indian prisoners held there between mid-1875 and mid-1878, the two men created many drawings for diverse reasons. Some of the prisoners' books of drawings, including the two that Fényes collected, were sold to people who visited the sixteenth-century Spanish fort.After Eva Scott Fényes's death, the books went to her daughter, Leonora Muse Curtin (1879-1972), and subsequently they were passed to Leonora Curtin Paloheimo (1903-1999). More than one hundred years after their creation, the books became part of the Southwest Museum's collections. Unlike most of the museum's other holdings of Native American art, these two books originated with a commission by Fényes, a young woman who continued as a patron of the arts for the remainder of her life.The study of what has become known as Plains Indian ledger art--because the artists frequently used accountants' ledger books as sources of paper--and of Fort Marion drawings in particular, has burgeoned in the last forty years. Joyce Szabo's examination of the two drawing books by Zotom and Howling Wolf encompasses their origins and the issues surrounding their commission as well as what the images say about their creators and their collector. Szabo augments the complete reproduction of each page with detail photographs of the drawings.

In Imprisoned in a Luminous Glare, Leigh Raiford argues that over the past one hundred years activists in the black freedom struggle have used photographic imagery both to gain political recognition and to develop a different visual vocabulary about black lives. Raiford analyzes why activists chose photography over other media, explores the doubts some individuals had about the strategies, and shows how photography became an increasingly effective, if complex, tool in representing black political interests. Offering readings of the use of photography in the antilynching movement, the civil rights movement, and the black power movement, Raiford focuses on key transformations in technology, society, and politics to understand the evolution of photography's deployment in capturing white oppression, black resistance, and African American life. By putting photography at the center of the long African American freedom struggle, Raiford also explores how the recirculation of these indelible images in political campaigns and art exhibits both adds to and complicates our memory of the events.

In Imprisoned in a Luminous Glare, Leigh Raiford argues that over the past one hundred years activists in the black freedom struggle have used photographic imagery both to gain political recognition and to develop a different visual vocabulary about black lives. Raiford analyzes why activists chose photography over other media, explores the doubts some individuals had about the strategies, and shows how photography became an increasingly effective, if complex, tool in representing black political interests. Offering readings of the use of photography in the antilynching movement, the civil rights movement, and the black power movement, Raiford focuses on key transformations in technology, society, and politics to understand the evolution of photography's deployment in capturing white oppression, black resistance, and African American life. By putting photography at the center of the long African American freedom struggle, Raiford also explores how the recirculation of these indelible images in political campaigns and art exhibits both adds to and complicates our memory of the events.

Presents the inspiring story of deaf-blind Laura Bridgman's troubling, tumultuous relationship with the director of Boston's Perkins Institution for the Blind, who rode Laura's outstanding achievements to his own fame but who could not cope with the intense, demanding adult she became.

Unread book in perfect condition.

Two small books of vivid drawings--one filled with images by the Southern Cheyenne warrior-artist Howling Wolf and the other with images by Zotom, a Kiowa man--came to the Southwest Museum of the American Indian, now part of the Autry National Center, in December 1986. The books were gifts from Leonora Curtin Paloheimo, and had been commissioned directly from the artists in 1877 by Paloheimo's grandmother, Eva Scott Muse Fényes (1849-1930). At the time Fényes commissioned the books, Zotom and Howling Wolf were imprisoned at Fort Marion in Saint Augustine, Florida. Like some of the other Southern Plains Indian prisoners held there between mid-1875 and mid-1878, the two men created many drawings for diverse reasons. Some of the prisoners' books of drawings, including the two that Fényes collected, were sold to people who visited the sixteenth-century Spanish fort.After Eva Scott Fényes's death, the books went to her daughter, Leonora Muse Curtin (1879-1972), and subsequently they were passed to Leonora Curtin Paloheimo (1903-1999). More than one hundred years after their creation, the books became part of the Southwest Museum's collections. Unlike most of the museum's other holdings of Native American art, these two books originated with a commission by Fényes, a young woman who continued as a patron of the arts for the remainder of her life.The study of what has become known as Plains Indian ledger art--because the artists frequently used accountants' ledger books as sources of paper--and of Fort Marion drawings in particular, has burgeoned in the last forty years. Joyce Szabo's examination of the two drawing books by Zotom and Howling Wolf encompasses their origins and the issues surrounding their commission as well as what the images say about their creators and their collector. Szabo augments the complete reproduction of each page with detail photographs of the drawings.

These essays, by writer-activists incarcerated because of their political beliefs and acts, offer some controversial and thought-provoking theories of contemporary social change and liberation movements.

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This book is a festschrift for Sydney Klein, an eminent British Psychoanalyst whose work on such topics as children, groups, psychosomatic illness, delinquent perversions, manic states, and autistic phenomena is known worldwide. His thinking reflects the work of Melanie Klein and Wilfred Bion, as well as that of other eminent writers, such as Frances Tustin. In this volume, clinicians from a wide range of backgrounds reflect on the debt they owe to his work, and in particular on the idea of analysis as a means for understanding and transforming psychic pain. The papers cover a wide range of topics, from theoretical papers to detailed clinical discussions. Edna O'Shaughnessy discusses the anal organization of the instincts, Michael Feldman writes on projective identification, Leslie Sohn on the envious superego, Anne Alvarez on work with borderline children, and Mauro Maura on autism. In these and the other contributions, readers will find a depth of experience and clarity of thought reflecting amply Sydney Klein's contribution to psychoanalysis. This book is invaluable for anyone concerned with the state of psychoanalysis today.

In Imprisoned in English, Anna Wierzbicka argues that in the present English-dominated world, millions of people - including academics, lawyers, diplomats, and writers - can become "prisoners of English", unable to think outside English. In particular, social sciences and the humanities are now increasingly locked in a conceptual framework grounded in English. To most scholars in these fields, treating English as a default language seems a natural thing to do.The book's approach is interdisciplinary, and its themes range over areas of central interest to anthropology, psychology, and sociology, among others. The linguistic material is drawn from languages of America, Australia, the Pacific, South-East Asia and Europe. Wierzbicka argues that it is time for human sciences to take advantage of English as a global lingua franca while at the same time transcending the limitations of the historically-shaped conceptual vocabulary of English. And she shows how this can be done.

This book is a festschrift for Sydney Klein, an eminent British Psychoanalyst whose work on such topics as children, groups, psychosomatic illness, delinquent perversions, manic states, and autistic phenomena is known worldwide. His thinking reflects the work of Melanie Klein and Wilfred Bion, as well as that of other eminent writers, such as Frances Tustin. In this volume, clinicians from a wide range of backgrounds reflect on the debt they owe to his work, and in particular on the idea of analysis as a means for understanding and transforming psychic pain. The papers cover a wide range of topics, from theoretical papers to detailed clinical discussions. Edna O'Shaughnessy discusses the anal organization of the instincts, Michael Feldman writes on projective identification, Leslie Sohn on the envious superego, Anne Alvarez on work with borderline children, and Mauro Maura on autism. In these and the other contributions, readers will find a depth of experience and clarity of thought reflecting amply Sydney Klein's contribution to psychoanalysis. This book is invaluable for anyone concerned with the state of psychoanalysis today.

In Imprisoned in English, Anna Wierzbicka argues that in the present English-dominated world, millions of people - including academics, lawyers, diplomats, and writers - can become "prisoners of English", unable to think outside English. In particular, social sciences and the humanities are now increasingly locked in a conceptual framework grounded in English. To most scholars in these fields, treating English as a default language seems a natural thing to do.The book's approach is interdisciplinary, and its themes range over areas of central interest to anthropology, psychology, and sociology, among others. The linguistic material is drawn from languages of America, Australia, the Pacific, South-East Asia and Europe. Wierzbicka argues that it is time for human sciences to take advantage of English as a global lingua franca while at the same time transcending the limitations of the historically-shaped conceptual vocabulary of English. And she shows how this can be done.

Distributed by the University of Nebraska Press for the University of Idaho PressImprisoned in Paradise exposes the United States’s little-known World War II rendition of Japanese Latin Americans, including men kidnapped from their homes in Peru, Panama, and Mexico and interned at the Kooskia Camp in Idaho. Unlike Japanese Americans who have received an official apology and redress from the U.S. government, the Japanese Latin Americans are still waiting to obtain justice for the violation of their human rights. Here, finally, is their story.

In 1837, Samuel Gridley Howe, the ambitious director of Boston's Perkins Institution for the Blind, heard about Laura Bridgman, a bright deaf-blind seven-year-old, the daughter of New Hampshire farmers. He resolved to dazzle the world by rescuing her from the "darkness and silence of the tomb." And indeed, thanks to Howe and an extraordinary group of female teachers, Laura learned to finger-spell, to read raised letters, and to write legibly and even eloquently.Philosophers, poets, educators, theologians, and early psychologists hailed Laura as a moral inspiration and a living laboratory for the most controversial ideas of the day. She quickly became a major tourist attraction, and many influential writers and reformers—Carlyle, Dickens, and Hawthorne among them—visited her or wrote about her. But as the Civil War loomed and her girlish appeal faded, the public began to lose interest. By the time Laura died in 1889, she had been wholly eclipsed by Helen Keller.The Imprisoned Guest recovers Laura Bridgman's forgotten life, placing it in the context of nineteenth-century American social, intellectual, and cultural history. Her troubling, tumultuous relationship with Howe, who rode her achievements to his own fame but could not cope with the intense, demanding adult she became, sheds light on the contradictory attitudes of a reform era in which we can find some precursors to our own.

These essays, by writer-activists incarcerated because of their political beliefs and acts, offer some controversial and thought-provoking theories of contemporary social change and liberation movements.

Unread book in perfect condition.

More than two million people are currently imprisoned in the United States, and the nation’s incarceration rate is now the highest in the world. The dramatic rise and consolidation of America’s prison system has devastated lives and communities. But it has also transformed prisons into primary sites of radical political discourse and resistance as they have become home to a growing number of writers, activists, poets, educators, and other intellectuals who offer radical critiques of American society both within and beyond the prison walls. In Forced Passages, Dylan Rodríguez argues that the cultural production of such imprisoned intellectuals as Mumia Abu-Jamal, Angela Davis, Leonard Peltier, George Jackson, José Solis Jordan, Ramsey Muniz, Viet Mike Ngo, and Marilyn Buck should be understood as a social and intellectual movement in and of itself, unique in context and substance. Rodríguez engages with a wide range of texts, including correspondence, memoirs, essays, poetry, communiqués, visual art, and legal writing, drawing on published works by widely recognized figures and by individuals outside the public’s field of political vision or concern. Throughout, Rodríguez focuses on the conditions under which imprisoned intellectuals live and work, and he explores how incarceration shapes the ways in which insurgent knowledge is created, disseminated, and received. More than a series of close readings of prison literature, Forced Passages identifies and traces the discrete lineage of radical prison thought since the 1970s, one formed by the logic of state violence and by the endemic racism of the criminal justice system. Dylan Rodríguez is assistant professor of ethnic studies at the University of California, Riverside.

Through the author’s experiences, investigations and discussions with artists, art therapists and inmates from around the world, Art and Art Therapy with the Imprisoned: Re-Creating Identity comprehensively explores the efficacy, methods, and outcomes of art and art therapy within correctional settings. The text begins with a theoretical and historical overview of art in prisons as a precursor to exploring the benefits of art therapy, followed by a deeper exploration of art therapy as a primary focus for wellness and mental health inside penitentiaries. Relying on several theoretical perspectives, results of empirical research studies, and case vignettes and illustrations gleaned from over 25 years of clinical and programmatic experience, this book argues why art therapy is so beneficial within prisons. This comprehensive guide is essential reading for professionals in the field, as well as students of sociology, criminology, art theory, art therapy, and psychology who wish to explore the benefits of art therapy with inmate populations.