Journal of American Studies最新文献

BrANCH's Harriet Tubman essay prize seeks to reward the best undergraduate essay or research project by Black, Asian, or other minority ethnic students based in the UK. The prize is generously cosponsored by the Royal Historical Society.

Around the world, Indigenous people are preparing for futures of climate uncertainty and resource shortages. Indigenous communities are looking to the past and seeking guidance from their traditions – diverse systems of knowledge that change over time – so that they and future generations might nurture connections to the “deep time” of geological and human histories. In this essay we examine how the Wangan and Jagalingou Family Council in Australia and the Agua Caliente Band of Cahuilla Indians in the United States have taken long-term views on ecological sustainability and sovereignty. We focus on these two Indigenous communities on opposite sides of the Pacific Ocean because they are among the highest-profile battles over ancient groundwater in the past decade. Set against a backdrop of global settler state interference and exploitative economic practices, both cases reveal how the concept of kinscapes – or a shared sense of relatedness to interconnected ecosystems, histories, and places (or nodes) of belonging – can sharpen our understanding of environmental stewardship and its importance to Indigenous sovereignty. Whereas mining corporations and settler governments continue to make decisions with short- to medium-term objectives in mind, Wangan and Jagalingou and Agua Caliente leaders have used legal battles over groundwater to underscore their spiritual and physical connectedness with local environments. Like Indigenous communities around the world, the Wangan and Jagalingou Family Council and the Agua Caliente Band of Cahuilla Indians are making ontological choices by asserting their sovereignty through environmental stewardship.

Recent research on the far right has remained surprisingly silent on the question of capitalism. This article takes another approach. It suggests that we must understand the far right emerging out of the economic: out of the dynamics of capitalism itself. It does so through an intellectual portrait of the financial journalist Peter Brimelow, one of the most influential proponents of far-right nativist politics and a self-described “godfather of the Alt Right.” It follows his passage from financial journalist to anti-immigrant firebrand through his encounters with neoliberal luminaries Peter Bauer, Julian Simon, and Milton Friedman. Rather than for an ethnostate, I argue Brimelow is best seen as making the case for an “ethno-economy,” with immigration determined by a racialized hierarchy of human capital.

From the early 1960s to the early 1990s, a range of concerns about “brainwashing” in youth reeducation programs obfuscated professional and political discourse, influencing key outcomes that shaped the development of the troubled-teen industry in the United States. The most significant historical developments related to this controversy involved three different youth programs. In response to accusations of “brainwashing,” program executives created elaborate counterarguments and public-relations campaigns. Instead of working to address inherent risks associated with therapeutic reeducation, the brainwashing label obscured the potential for harm and enabled an unethical teen program industry.

Thomas D. Rice's Otello Burlesque represents the first full performance to link Shakespearean burlesque with blackface minstrelsy on the early American stages. This disturbing milestone has its origins in a pressing need, on Rice's part, to expand the range of his signature persona, the “original Jim Crow.” Rice developed his script during an extended hiatus, following a successful tour of England. Although it generally is regarded as a loose adaptation of Maurice Dowling's 1834 Othello Travestie, I argue that Rice took care to blend Dowling with Shakespeare. This combination recasts Jim Crow as a grotesque persona, which disrupts Shakespearean burlesque as much as it does blackface minstrelsy. Accordingly, the play dwells on Othello's anguish, but displaces that anguish in an atmosphere of chaos. In turning to performance history, I argue that the play was regarded as a momentary sensation, whose novelty wore off almost as quickly as it appeared. Subsequent revivals suggest that producers went to some trouble to maintain interest among audiences. In its treatment of racial difference as “fun,” Otello Burlesque draws attention to a culture of distraction, where the term is understood as civil conflict and as the momentary diversions that draw public attention away from it.