We are rising as a people : Frances Harper\u27s radical views on class and racial equality in Sketches of Southern Life

This article deals with the radical views of Frances Harper on class and racial equality in her poetry book Sketches of Southern Life. As a black woman, Harper would have been sensitive to charges that she was less genteel than her middle-class audiences, and, in a radical response, she sought to dismantle the class structure upon which discrimination against African Americans rests. In her impressive sequence of poems, Sketches of Southern Life, she promotes political solidarity among freedmen and the grass-roots workings of democracy. Sketches retells the history of reconstruction from the perspective of a freedwoman, Aunt Chloe, but refrains from dialect, thus rejecting stereotyped black voices. In so doing, the poetry book enacts the social elevation for African Americans its author espoused, and it also answers contemporary critics who take an apologetic tone toward the recovery of poets like Harper, who, despite their political importance and artistic contributions, have been deemed artistically inadequate. In reading the book, readers must acknowledge that Harper was a poet who employed the vocabulary of her age. Nevertheless, the book strikes into new territory, moving beyond dialect, liberating her characters from class-based restraints, and overturning the hierarchies of gender and race. Poetry served a political agenda for racial equality that was shared by her contemporaries and prefigured the theories of black social elevation addressed by, among others, W. E. B. DuBois, Anna Julia Cooper, and Ida Barnett-Wells. More radically than her contemporaries. Harper saw literature as a means to transcend differences of class and gender and to encourage all her people to rise

Allusion, Echo, and Literary Influence in Emily Dickinson

Emily Dickinson teases the reader with literary allusions and echoes. Reading her poems and letters with sensitivity to ways that they evoke other literary works, sometimes overtly, sometimes in subtle and barely discernible ways, enables us to appreciate her ongoing dialogue with other writers and her creative reworking of their words. Critics have tended to focus on direct quotation, rather than images, sounds, or rhythmical patterns, in gauging literary influence on Dickinson, and perhaps for that reason, they have overlooked allusiveness in her poems that might be more properly termed echo. Drawing on the theory of echo developed by John Hollander, I argue that Dickinson employed allusion and echo—references to the images, sounds, or even cadences of other literary works—to write in an innovative, generative way. Inspired by the personal history of John Keats and his themes of mortality and fame, Dickinson subtly evokes many key images, themes, and sounds from his poems as a way to engage critically with her literary precursor. In contrast, she alludes directly to Shakespeare in her letters, connecting with her correspondents through references to his plays and creating an alternate model of literary fame

At the Roots of the Mountains: Ancient Influences on the Appalachian Sound

Explore the Scotch-Irish origins of Appalachian Music, as well earlier influences from sacred music and the Book of Psalms. This opening presentation will explore the Scotch-Irish origins of Appalachian music, as well earlier influences from sacred music and the Book of Psalms. The program will begin with an original composition, “Irish Whiskey,” that is a modern take on the Celtic lament. This will lead into a discussion of the Scotch-Irish origins of Appalachian Music. When Scottish and Irish immigrants came to America en masse as a result of the Potato Famine in the mid-nineteenth century they brought along with them their own culture, religion, and songbooks. Many of these immigrants would come to inhabit the region known today as “Appalachia,” and thus the sound of Appalachian music finds its direct ancestry in the Celtic tradition. The Celtic tradition itself borrows heavily from the sacred music of the Catholic Church, in particular the Psalms of David. This tradition will be discussed and then exemplified by an original composition entitled “Jerusalem”. (“Jerusalem” is available for free download as part of my EP “Cities” at www.jasonleeguthrie.bandcamp.com. “Irish Whiskey” is not yet recorded.

Reflections & Undercurrents Exhibition Catalogue

Catalogue for the Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900 - 1940 exhibition at the Thomas J. Walsh Art Gallery, January 23 - April 4, 2014.https://digitalcommons.fairfield.edu/roth-ephemera/1006/thumbnail.jp

In the Wake of the Butterfly: James McNeill Whistler and His Circle in Venice Catalogue

Catalogue for In the Wake of the Butterfly: James McNeill Whistler and His Circle in Venice at the Bellarmine Museum of Art, January 23 - April 4, 2014.https://digitalcommons.fairfield.edu/wakeofbutterfly-ephemera/1006/thumbnail.jp

Conflicto en Crimea: discurso político en los medios de comunicación

Al ingresar en un conflicto internacional, cualquier gobierno democrático necesita contar con el apoyo de su población. Para lograrlo, debe legitimar sus posiciones por medio de un discurso coherente y ordenado en los medios de comunicación. El conflicto en la región de Crimea no es la excepción: tanto Rusia como Estados Unidos –junto a las potencias occidentales y Ucrania- utilizaron los mass media para justificar sus acciones y poner a la opinión pública internacional de su lado. El objetivo del presente trabajo será analizar cómo los gobiernos de Vladimir Putin y de Barack Obama intentan legitimar su posición en este conflicto a través de los medios de comunicación gráficos.Instituto de Relaciones Internacionales (IRI

El Califato mediático después de al Baghdadi: balances y proyecciones

En junio de 2014, el autodenominado Estado Islámico (ISIS) irrumpía en la escena mediática occidental. Un predicador, Abu Bakr al Baghdadi, se dirigía al mundo con un discurso desde una mezquita en Mosul (Irak) y adelantaba su misión de revivir el sueño de un gran Califato que se extendiera hasta Europa. A partir de ese momento, la organización –que ya venía creciendo tras desmembrarse de la facción del Al Qaeda iraquí– cobró relevancia internacional. En los últimos siete años, una compleja coalición de Estados y actores no estales se abocaron a hacerlo retroceder. Aunque lograron disminuir su control territorial, hay un aspecto en el que ISIS continúa victorioso: la batalla de las narrativas. A través de un aparato comunicacional ordenado, ha sabido mantenerse vivo a pesar de sus altibajos. El presente trabajo tiene como objetivo analizar las condiciones sociales, políticas y económicas, en clave de tres procesos históricos, que permitieron la creación de ISIS y, posteriormente, indagar sobre el aspecto comunicativo de su estrategia para, finalmente, aterrizar algunas proyecciones del futuro de la organización.Instituto de Relaciones Internacionale