{"title":"Barbara Plotz, \"Fat on Film: Gender, Race and Body Size in Contemporary Hollywood Cinema\" (London: Bloomsbury, 2021), 282 pp.","authors":"A. Kraftzyk","doi":"10.33675/amst/2023/3/15","DOIUrl":"https://doi.org/10.33675/amst/2023/3/15","url":null,"abstract":"","PeriodicalId":80436,"journal":{"name":"Amerikastudien","volume":"114 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136202292","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Destin Jenkins and Justin Leroy, eds., \"Histories of Racial Capitalism\" (New York: Columbia UP, 2021), 288 pp.","authors":"A. Albrecht, H. Schoch","doi":"10.33675/amst/2023/3/13","DOIUrl":"https://doi.org/10.33675/amst/2023/3/13","url":null,"abstract":"","PeriodicalId":80436,"journal":{"name":"Amerikastudien","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136203726","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Miles Orvell, \"Empire of Ruins: American Culture, Photography, and the Spectacle of Destruction\" (New York: Oxford UP, 2021), 281 pp.","authors":"J. Birken","doi":"10.33675/amst/2023/3/9","DOIUrl":"https://doi.org/10.33675/amst/2023/3/9","url":null,"abstract":"","PeriodicalId":80436,"journal":{"name":"Amerikastudien","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136202043","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"List of Contributors","authors":"","doi":"10.33675/amst/2023/3/17","DOIUrl":"https://doi.org/10.33675/amst/2023/3/17","url":null,"abstract":"","PeriodicalId":80436,"journal":{"name":"Amerikastudien","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136203716","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Stefanie Schäfer, \"Yankee Yarns: Storytelling and the Invention of the National Body in Nineteenth-Century American Culture\" (Edinburgh: Edinburgh UP, 2021), 304 pp.","authors":"S.L. Brandt","doi":"10.33675/amst/2023/3/11","DOIUrl":"https://doi.org/10.33675/amst/2023/3/11","url":null,"abstract":"","PeriodicalId":80436,"journal":{"name":"Amerikastudien","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136202473","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Herminio Serna (1966-2018) was an incarcerated Chicano / Indigenous writer on San Quentin State Prison’s Death Row for twenty-one years, most of which were spent in solitary confinement. His sole volume of prose poems, "Whisperings from Death Row", appeared two years prior to his death from a drug overdose. Like nearly all incarcerated writers, Serna’s work has received no critical notice. Serna’s writing describes a hellish psychological landscape within death row. The first section of this paper introduces Serna briefly, then explores questions relating to dialogism in prison writing and the exclusion of incarcerated writers such as Serna from public dialogue. A second section discusses Serna’s “death-bound childhood” as a function of death-bound subjectivity created by social terror regimes. A third and final section analyzes the transformation of Serna’s cell into a psychological purgatory, filled with darkness and pain. The context of writing under prolonged state terror in the imposition of capital punishment generates imagery, content, and a death row style.
{"title":"Herminio Serna and Death Row Childhood","authors":"J. Lockard","doi":"10.33675/amst/2023/3/5","DOIUrl":"https://doi.org/10.33675/amst/2023/3/5","url":null,"abstract":"Herminio Serna (1966-2018) was an incarcerated Chicano / Indigenous writer on San Quentin State Prison’s Death Row for twenty-one years, most of which were spent in solitary confinement. His sole volume of prose poems, \"Whisperings from Death Row\", appeared two years prior to his death from a drug overdose. Like nearly all incarcerated writers, Serna’s work has received no critical notice. Serna’s writing describes a hellish psychological landscape within death row. The first section of this paper introduces Serna briefly, then explores questions relating to dialogism in prison writing and the exclusion of incarcerated writers such as Serna from public dialogue. A second section discusses Serna’s “death-bound childhood” as a function of death-bound subjectivity created by social terror regimes. A third and final section analyzes the transformation of Serna’s cell into a psychological purgatory, filled with darkness and pain. The context of writing under prolonged state terror in the imposition of capital punishment generates imagery, content, and a death row style.","PeriodicalId":80436,"journal":{"name":"Amerikastudien","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136202031","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Upscale travel to Europe has become a frequent status symbol in mainstream hip hop. Given their emphasis on money and pleasure, these travel accounts have been criticized for glossing over, and thus upholding, racial and economic hierarchies. Yet the very figure of the Black upscale traveler presents a challenge to these hierarchies. This article examines how rappers deploy the tropes of European travel to negotiate the complicated history of Black transatlantic mobility and assert a Black presence often missing from accounts (and imaginaries) of Americans in Europe. These rappers may fulfill stereotypes of individualist leisure tourism, but the impulse behind their work is revisionist. Drawing on works by Jay Z, Kanye West, Rick Ross, and Beyoncé, the article examines how this revisionist impulse plays out in the words, imagery, and iconography of American hip hop about Europe.
{"title":"Travel / Escape: Hip Hop’s Transatlantic Mobilities","authors":"T. Müller","doi":"10.33675/amst/2023/3/8","DOIUrl":"https://doi.org/10.33675/amst/2023/3/8","url":null,"abstract":"Upscale travel to Europe has become a frequent status symbol in mainstream hip hop. Given their emphasis on money and pleasure, these travel accounts have been criticized for glossing over, and thus upholding, racial and economic hierarchies. Yet the very figure of the Black upscale traveler presents a challenge to these hierarchies. This article examines how rappers deploy the tropes of European travel to negotiate the complicated history of Black transatlantic mobility and assert a Black presence often missing from accounts (and imaginaries) of Americans in Europe. These rappers may fulfill stereotypes of individualist leisure tourism, but the impulse behind their work is revisionist. Drawing on works by Jay Z, Kanye West, Rick Ross, and Beyoncé, the article examines how this revisionist impulse plays out in the words, imagery, and iconography of American hip hop about Europe.","PeriodicalId":80436,"journal":{"name":"Amerikastudien","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136203706","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
With her poetry volume "Whereas", Oglala Lakota poet Layli Long Soldier eloquently responds to the 2009 congressional apology to all American Indians. The poet / persona privileges her own perspective on the past and the present by positioning herself as more than a silent recipient of the congressional document. Emphasizing the interrelatedness of land and other spaces, individual positionalities, personal relations, and the impact of language(s) and acts involving physical movement, Long Soldier puts forth a poetological and political book of poems that can be read as producing decolonial knowledge. This essay elucidates how Long Soldier’s enunciatory strategies coherently extend from meaning-making punctuation marks and white spaces on an individual page to the poetry book’s structural units and its overall conceptualization. In "Whereas" as a whole, Long Soldier harnesses her poetic prowess to expose how the apology’s language perpetuates settler colonialism’s imperialist perspective as well as how her own stance as a bilingual, dual citizen provides necessary new ways of understanding and artistically enunciating history, the current moment, and projections of surviving in the future.
奥格拉拉·拉科塔诗人Layli Long Soldier以她的诗集《然而》有力地回应了2009年国会对所有印第安人的道歉。诗人/人物通过将自己定位为国会文件的沉默接受者而赋予了她对过去和现在的独特视角。《长兵》强调了土地和其他空间的相互关系、个体的位置、个人关系以及涉及身体运动的语言和行为的影响，提出了一本诗学和政治的诗集，可以作为非殖民化知识的产物来阅读。本文阐述了《长兵》的发音策略是如何从单个页面上的意义构成符号和空白连贯地延伸到诗集的结构单位和整体概念化的。在《然而》中，作为一个整体，长战士利用她的诗歌才能揭示了道歉的语言是如何使殖民主义的帝国主义观点永久化的，以及她自己作为双语、双重公民的立场是如何为理解和艺术地阐述历史、当前时刻和未来生存的预测提供了必要的新途径。
{"title":"Enunciation as Decolonial Knowledge: White-Hole Apologetics and Black-Mountain Grasses in Layli Long Soldier’s \"Whereas\" (2017)","authors":"N.W. Balestrini","doi":"10.33675/amst/2023/3/7","DOIUrl":"https://doi.org/10.33675/amst/2023/3/7","url":null,"abstract":"With her poetry volume \"Whereas\", Oglala Lakota poet Layli Long Soldier eloquently responds to the 2009 congressional apology to all American Indians. The poet / persona privileges her own perspective on the past and the present by positioning herself as more than a silent recipient of the congressional document. Emphasizing the interrelatedness of land and other spaces, individual positionalities, personal relations, and the impact of language(s) and acts involving physical movement, Long Soldier puts forth a poetological and political book of poems that can be read as producing decolonial knowledge. This essay elucidates how Long Soldier’s enunciatory strategies coherently extend from meaning-making punctuation marks and white spaces on an individual page to the poetry book’s structural units and its overall conceptualization. In \"Whereas\" as a whole, Long Soldier harnesses her poetic prowess to expose how the apology’s language perpetuates settler colonialism’s imperialist perspective as well as how her own stance as a bilingual, dual citizen provides necessary new ways of understanding and artistically enunciating history, the current moment, and projections of surviving in the future.","PeriodicalId":80436,"journal":{"name":"Amerikastudien","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136203725","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In her 2011 intermedial memoir, "Intimate: An American Family Photo Album," Paisley Rekdal plays the role of translator between normative Anglo-American and ethnic American identities, by including photographs of Native Americans in her “family photo album.” Weaving photographs taken by Edward S. Curtis, along with those taken by various ethnographers into her memoir, Rekdal orchestrates a dialog in which the images complement and argue against each other. Her three-pronged narrative (her familial narrative and the fictionally imagined narratives of Curtis and his Apsaroke guide Alexander Upshaw) creates a powerful intermedial interplay between words and images, highlighting questions of intimacy within family constructs. Focusing on the topics of miscegenation and assimilation within Native American communities and visible in photographs, Rekdal problematizes the larger question of “intimacy” using images to illustrate how colonialism has infiltrated the most intimate moments in the lives of ethnic Americans, including that of her own family, to assume control over conventions of racial identity. Rekdal uses an intermedial aesthetic to expose racism and discrimination, and to transgress boundaries that bifurcate diverse American identities.
在她2011年的中间回忆录《亲密:美国家庭相册》(Intimate: An American Family Photo Album)中，佩斯利·雷克达尔(Paisley Rekdal)在规范的英美身份和美国族裔身份之间扮演了翻译的角色，在她的“家庭相册”中收录了美国原住民的照片。瑞克达尔将爱德华·s·柯蒂斯(Edward S. Curtis)拍摄的照片，以及各种人种学家拍摄的照片编织进了她的回忆录，精心编排了一段对话，在对话中，这些照片相互补充，又相互对立。她的三管齐下的叙事(她的家庭叙事以及柯蒂斯和他的导游亚历山大·厄普肖的虚构叙事)在文字和图像之间创造了一种强大的中间相互作用，突出了家庭结构中的亲密问题。Rekdal关注的是印第安人社区内部和照片中可见的通婚和同化问题，她用图像来说明殖民主义如何渗透到美国人生活中最亲密的时刻，包括她自己的家庭，以控制种族身份的传统。Rekdal用一种中间的审美来揭露种族主义和歧视，并超越了分裂不同美国身份的界限。
{"title":"“Are you the translator?”: Intermedial Narratives in Paisley Rekdal’s \"Intimate: An American Family Photo Album\"","authors":"S. Weiner","doi":"10.33675/amst/2023/3/6","DOIUrl":"https://doi.org/10.33675/amst/2023/3/6","url":null,"abstract":"In her 2011 intermedial memoir, \"Intimate: An American Family Photo Album,\" Paisley Rekdal plays the role of translator between normative Anglo-American and ethnic American identities, by including photographs of Native Americans in her “family photo album.” Weaving photographs taken by Edward S. Curtis, along with those taken by various ethnographers into her memoir, Rekdal orchestrates a dialog in which the images complement and argue against each other. Her three-pronged narrative (her familial narrative and the fictionally imagined narratives of Curtis and his Apsaroke guide Alexander Upshaw) creates a powerful intermedial interplay between words and images, highlighting questions of intimacy within family constructs. Focusing on the topics of miscegenation and assimilation within Native American communities and visible in photographs, Rekdal problematizes the larger question of “intimacy” using images to illustrate how colonialism has infiltrated the most intimate moments in the lives of ethnic Americans, including that of her own family, to assume control over conventions of racial identity. Rekdal uses an intermedial aesthetic to expose racism and discrimination, and to transgress boundaries that bifurcate diverse American identities.","PeriodicalId":80436,"journal":{"name":"Amerikastudien","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136202020","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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