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God Mocks - Terry Lindvall - Bog - New York University Press - Plusbog.dk

God Mocks - Terry Lindvall - Bog - New York University Press - Plusbog.dk

Winner of the 2016 Religious Communication Association Book of the Year AwardIn God Mocks, Terry Lindvall ventures into the muddy and dangerous realm of religious satire, chronicling its evolution from the biblical wit and humor of the Hebrew prophets through the Roman Era and the Middle Ages all the way up to the present. He takes the reader on a journey through the work of Chaucer and his Canterbury Tales, Cervantes, Jonathan Swift, and Mark Twain, and ending with the mediated entertainment of modern wags like Stephen Colbert. Lindvall finds that there is a method to the madness of these mockers: true satire, he argues, is at its heart moral outrage expressed in laughter. But there are remarkable differences in how these religious satirists express their outrage.The changing costumes of religious satirists fit their times. The earthy coarse language of Martin Luther and Sir Thomas More during the carnival spirit of the late medieval period was refined with the enlightened wit of Alexander Pope. The sacrilege of Monty Python does not translate well to the ironic voices of Soren Kierkegaard. The religious satirist does not even need to be part of the community of faith. All he needs is an eye and ear for the folly and chicanery of religious poseurs. To follow the paths of the satirist, writes Lindvall, is to encounter the odd and peculiar treasures who are God’s mouthpieces. In God Mocks, he offers an engaging look at their religious use of humor toward moral ends.

DKK 296.00
1

Redface - Bethany Hughes - Bog - New York University Press - Plusbog.dk

Redface - Bethany Hughes - Bog - New York University Press - Plusbog.dk

Considers the character of the "Stage Indian" in American theater and its racial and political impact Redface unearths the history of the theatrical phenomenon of redface in nineteenth- and twentieth-century America. Like blackface, redface was used to racialize Indigenous peoples and nations, and even more crucially, exclude them from full citizenship in the United States. Arguing that redface is more than just the costumes or makeup an actor wears, Bethany Hughes contends that it is a collaborative, curatorial process through which artists and audiences make certain bodies legible as "Indian." By chronicling how performances and definitions of redface rely upon legibility and delineations of race that are culturally constructed and routinely shifting, this book offers an understanding of how redface works to naturalize a very particular version of history and, in doing so, mask its own performativity. Tracing the "Stage Indian" from its early nineteenth-century roots to its proliferation across theatrical entertainment forms and turn of the twenty-first century attempts to address its racist legacy, Redface uses case studies in law and civic life to understand its offstage impact. Hughes connects extensive scholarship on the "Indian" in American culture to the theatrical history of racial impersonation and critiques of settler colonialism, demonstrating redface's high stakes for Indigenous and non-Indigenous alike. Revealing the persistence of redface and the challenges of fixing it, Redface closes by offering readers an embodied rehearsal of what it would mean to read not for the "Indian" but for Indigenous theater and performance as it has always existed in the US.

DKK 246.00
1

Redface - Bethany Hughes - Bog - New York University Press - Plusbog.dk

Redface - Bethany Hughes - Bog - New York University Press - Plusbog.dk

Considers the character of the "Stage Indian" in American theater and its racial and political impact Redface unearths the history of the theatrical phenomenon of redface in nineteenth- and twentieth-century America. Like blackface, redface was used to racialize Indigenous peoples and nations, and even more crucially, exclude them from full citizenship in the United States. Arguing that redface is more than just the costumes or makeup an actor wears, Bethany Hughes contends that it is a collaborative, curatorial process through which artists and audiences make certain bodies legible as "Indian." By chronicling how performances and definitions of redface rely upon legibility and delineations of race that are culturally constructed and routinely shifting, this book offers an understanding of how redface works to naturalize a very particular version of history and, in doing so, mask its own performativity. Tracing the "Stage Indian" from its early nineteenth-century roots to its proliferation across theatrical entertainment forms and turn of the twenty-first century attempts to address its racist legacy, Redface uses case studies in law and civic life to understand its offstage impact. Hughes connects extensive scholarship on the "Indian" in American culture to the theatrical history of racial impersonation and critiques of settler colonialism, demonstrating redface's high stakes for Indigenous and non-Indigenous alike. Revealing the persistence of redface and the challenges of fixing it, Redface closes by offering readers an embodied rehearsal of what it would mean to read not for the "Indian" but for Indigenous theater and performance as it has always existed in the US.

DKK 777.00
1