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The emergence into pop culture of quaint and simple Ozarks Mountaineers-through the writings of Vance Randolph, Wayman Hogue, Charles Morrow Wilson, and others-was a comfort and fascination to many Americans in the early twentieth century. Disillusioned with the modernity they felt had contributed to the Great Depression, middle-class Americans admired the Ozarkers' apparently simple way of life, which they saw as an alternative to an increasingly urban and industrial America. Catherine S. Barker's 1941 book Yesterday Today: Life in the Ozarks sought to illuminate another side of these "remnants of eighteenth-century life and culture": poverty and despair. Drawing on her encounters and experiences as a federal social worker in the backwoods of the Ozarks in the 1930s, Barker described the mountaineers as "lovable and pathetic and needy and self-satisfied and valiant," declaring that the virtuous and independent people of the hills deserved a better way and a more abundant life. Barker was also convinced that there were just as many contemptible facets of life in the Ozarks that needed to be replaced as there were virtues that needed to be preserved. This reprinting of Yesterday Today-edited and introduced by historian J. Blake Perkins-situates this account among the Great Depression-era chronicles of the Ozarks.
During the 1970s a wave of 'counter-culture' people moved into rural communities in many parts of Australia. This study focuses in particular on the town of Kuranda in North Queensland and the relationship between the settlers and the local Aboriginal population, concentrating on a number of linked social dramas that portrayed the use of both public and private space. Through their public performances and in their everyday spatial encounters, these people resisted the bureaucratic state but, in the process, they also contributed to the cultivation and propagation of state effects.
Rosita Henry is an Associate Professor of Anthropology and a Fellow of the Cairns Institute, James Cook University, Australia. She is coeditor of The Challenge of Indigenous Peoples: Spectacle or Politics? (2011) and author of numerous articles on the political anthropology of place and performance.
Engaging with discussions surrounding the culture of disease, Disrupting Breast Cancer Narratives explores politically insistent narratives of illness. Resisting the optimism of pink ribbon culture, these stories use anger as a starting place to reframe cancer as a collective rather than an individual problem. Disrupting Breast Cancer Narratives discusses the ways emotion, gender, and sexuality, in relation to breast cancer diagnosis and treatment, all become complicated, relational, and questioning. Providing theoretically informed close-readings of breast cancer narratives, this study explores how disruption functions both personally and politically. Highlighting a number of contributors in the field of health and gender studies including Barbara Ehrenreich, Kathlyn Conway, Audre Lorde, and Teva Harrison, this work takes into account documentary film, television, and social media as popular mediums used to explore stories of disease.
Do we really understand what it means to be 'alternative'? In contemporary society, alternative music scenes such as heavy metal, goth and punk have spread around the world; and alternative fashions and embodiment practices are now adopted by footballers and fashion models. Alternativity delineates those spaces, scenes, sub-cultures, objects and practices in modern society that are actively designed to be counter or resistive to mainstream popular culture.However, there is a lack of understanding of the challenges faced by those who embrace alternative lifestyles and what it means to be alternative in globalised society. What 'alternative' looks like is explored in these titles, providing unique home for research that will expand our understanding of sub-cultures, scenes and practices defined as alternative. Titles included in this set: Childbirth and Parenting in Horror Texts:The Marginalized and the Monstrous; The Evolution of Goth Culture:The Origins and Deeds of the New Goths; Popular Music in Contemporary Bulgaria:At the Crossroads; Revolutionary Nostalgia:Retromania, Neo-Burlesque, and Consumer Culture; Subcultures, Bodies and Spaces:Essays on Alternativity and Marginalization; The Use and Abuse of Music:Criminal Records;
It's not just a phase.... The rise of interest in heavy metal academically reflects the growth of the genre as a normal or contested part of everyday lives around the globe. Heavy metal has evolved to be seen as a cultural product and with the arrival into academia of post-graduate and post-doctoral scholars who have grown up with heavy metal as a normal or contested part of their everyday lives has also come an increase in studies into the genre, it's influence, it's misconceptions and it's challenges. Capitalising on the growth of metal music studies, this series, the first of its kind focussing on heavy metal, provides a space to explore metal's position in society, and its meaning and purpose in people's lives. Titles in this set include: Gender Inequality in Metal Music Production; Heavy Metal Youth Identities:Researching the Musical Empowerment of Youth Transitions and Psychosocial Wellbeing; Australian Metal Music:Identities, Scenes, and Cultures; Medievalism and Metal Music Studies:Throwing Down the Gauntlet;
Nostalgia, they say, is not what it used to be. Once a witticism, this statement about the past has come to pass. Nostalgia really isn't what it used to be. Less than a generation ago, it was regarded as reactionary, as regressive, as reprehensible. Now, it is considered conducive to health, wealth, and human wellbeing. It is something that helps sell products and move merchandise, an underexploited critical resource with emancipatory potential. Nowhere is this transformation better illustrated than in the neo-burlesque community, whose members not only embrace the art-form's golden age, and happily acquire heritage goods and vintage services, but turn their nostalgic leanings to emancipatory effect. They are retro revolutionaries, feather boa-wearing insurgents who find women's liberation in sequins and stilettos. This book shines a spotlight on weapons-grade nostalgia, indicating how it is integral to insurrections throughout history, be they political, technological, or cultural. It reveals, through a combination of empirical ethnographic research and revolutionary literary criticism, the part nostalgia plays in a subversive consumer collective that uses fans, fishnets, and frivolity to fight for the right to party against patriarchy and find a fourth-wave form of female emancipation that foregoes old-school feminist fault-finding for good old-fashioned fun, fun, fun.
The origins and deeds of the old Goths were constructed by Roman historians in fear of the Goth as a barbarian outsider; at the same time, the Goths were themselves the heroic subject of their own histories, constructed by their supporters as stories of their mythical origin and the deeds that led them to be rulers of their own kingdoms in post-Roman Late Antiquity. Who the old Goths were, their origins and their deeds, was a product of history, historiography and myth-making. In this book, Spracklen and Spracklen use the idea of collective memory to explore the controversies and boundary-making surrounding the genesis and progression of the modern gothic alternative culture. Spracklen and Spracklen argue that goth as sub-culture in the eighties was initially counter cultural, political and driven by a musical identity that emerged from punk. However, as goth music globalised and became another form of pop and rock music, goth in the nineties retreated into an alternative sub-culture based primarily on style and a sense of transgression and profanity. By this century goth became the focus of teenage rebellions, moral panics and growing commodification of counter-cultural resistance, so that by the goth has effectively become another fashion choice in the late-modern hyper-real shopping malls, devoid generally of resistance and politics. Goth, like punk, is in danger of being co-opted altogether by capitalism. This book suggests that the only way for goth culture to survive is if it becomes transgressive and radical again.
Metal music has long nurtured an obsession with visions of the Middle Ages, with countless album covers and lyric sheets populated by Vikings, knights, wizards, and castles. Medievalism and Metal Music Studies: Throwing down the Gauntlet addresses this fascination with all things medieval, exploring how metal musicians and fans find inspiration both in authentically medieval materials and neomedievalist depictions of the period in literature, cinema, and other media. Within metal music, the medieval takes on multiple, and even contradictory meanings, becoming at once a cipher of difference and grotesque alterity while simultaneously being imagined as a simpler, more authentic time, as opposed to the complexities and stresses of modernity. In this fashion, the medieval period becomes both a source for artistic creativity and a vector for countercultural social and political critique. The contributors in this book hail from a wide range of fields including medieval history, music performance, musicology, media studies, and literature, and computer linguistics, bringing a variety of critical perspectives to bear on the topic. Engaging in analyses of cover art, liner notes, lyrics, and musical style, the contributors investigate issues of research methodologies, crucial concerns over identity and nationalism, and the recontextualisation of historical materials, all aimed at critically examining how and why medievalism has permeated heavy metal music and culture. Hearken to our tales!
Alternativity delineates those spaces, scenes, club-cultures, objects and practices in modern society that are considered to be actively designed to be counter or resistive to mainstream popular culture. The idea of the alternative in popular culture became mainstream with the rise of the counter culture in 1960s America (though there were earlier forms of alternative cultures in America and other Western countries). Alternativity is associated with marginalization, both actively pursued by individuals, and imposed on individuals and sub-cultures, and was originally represented and constructed through acts of transgression, and through shared sub-cultural capital. This edited collection maps the landscape of alternativity and marginalization, providing new theory and methods in a currently under-theorized area, setting out the issues, questions, concerns and directions of this area of study. It demonstrates the theoretical richness and empirical diversity of the interdisciplinary field it encompasses, and is deliberately feminist in its approach and its composition, with a majority of the contributors being women. Divided into three sub-sections, focused on sub-cultures, bodies and spaces, contributors explore this exciting new terrain, both through critiques of theory and new theoretical developments, and case studies of alternativity and marginalization in practice and in performance, expanding our understanding of the alternative, the liminal and the transgressive.
With a strong, distinctive voice, Roberta Price recalls the years she spent in the Huerfano (""Orphan"") Valley when it was a petrie dish of countercultural experiments. Documenting her story with photos as well as words, and placing it in the larger context of the times, she describes her participation in the antiwar movement, the advent of the women's movement, and her encounters with such icons as Ken Kesey, Gary Snyder, Abbie Hoffman, Stewart Brand, Allen Ginsburg, and Baba Ram Dass.
Kate Nicholls left England to raise her five children in Botswana: an experience that would change each of their lives. Living on a shoestring in a lion conservation camp, Kate home-schools her family while they also learn at first hand about the individual lives of wild lions. Their deep attachment to these magnificent animals is palpable. The setting is exotic but it is also precarious. When the author is subjected to a brutal attack by three men, it threatens to destroy her and her family: post-traumatic stress turns a good mother into a woman who is fragmented and out of control. In this powerfully written, raw and often warmly funny memoir, we witness the devastation of living with a mother whose resilience is almost broken, and how familial structures shift as the children mature and roles change. Under the CamelthornTree addresses head-on the many issues surrounding motherhood, education, independence, and the natural world; and highlights the long-lasting effect of gender violence on secondary victims. Above all, it is an inspiring account of family love, and a powerful beacon of hope for life after trauma.
A "Walden "for the 21st century, the true story of a man who has
radically reinvented "the good life"
"The Man Who Quit Money "is an account of how one man learned to live, sanely and happily, without earning, receiving, or spending a single cent. Suelo doesn't pay taxes, or accept food stamps or welfare. He lives in caves in the Utah canyonlands, forages wild foods and gourmet discards. He no longer even carries an I.D. Yet he manages to amply fulfill not only the basic human needs-for shelter, food, and warmth-but, to an enviable degree, the universal desires for companionship, purpose, and spiritual engagement. In retracing the surprising path and guiding philosophy that led Suelo into this way of life, Sundeen raises provocative and riveting questions about our relationships with money and the decisions we all make, by default or by design--about how we live and how we might live better.
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