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Full-Text Articles in American Literature
International Terrorism:Role ,Responsibility And Operation Of Media Channles, Ratnesh Dwivedi Mr
International Terrorism:Role ,Responsibility And Operation Of Media Channles, Ratnesh Dwivedi Mr
Ratnesh Dwivedi
"Terrorism" is a term that cannot be given a stable defintion. Or rather, it can, but to do so forstalls any attempt to examine the major feature of its relation to television in the contemporary world. As the central public arena for organising ways of picturing and talking about social and political life, TV plays a pivotal role in the contest between competing defintions, accounts and explanations of terrorism. Which term is used in any particular context is inextricably tied to judgemements about the legitimacy of the action in question and of the political system against which it is directed. …
Mamie Bradley's Unbearable Burden: Sexual And Aesthetic Politics In Bebe Moore Campbell's Your Blues Ain't Like Mine, Koritha Mitchell
Mamie Bradley's Unbearable Burden: Sexual And Aesthetic Politics In Bebe Moore Campbell's Your Blues Ain't Like Mine, Koritha Mitchell
Koritha Mitchell
This essay offers a reading of Bebe Moore Campbell's 1992 novel Your Blues Ain't Like Mine, which re-imagines the 1955 murder of Emmett Till and its aftermath. I argue that the novel is a tribute to Till and his mother, Mamie Bradley, but that it also illustrates the agony of being the survivor whose pain occasions such tributes. Through Delotha Todd, the character loosely based on Bradley, Campbell imagines the mother's burden to have been especially unbearable because so many strangers, including Campbell herself, claimed to share it. In the process of acknowledging the many facets Delotha's pain, Campbell …
Crooning On The Fault Lines: Theorizing Jazz And Pop Vocal Singing Discourse In The Rock Era, 1955-1978, Vincent L. Stephens
Crooning On The Fault Lines: Theorizing Jazz And Pop Vocal Singing Discourse In The Rock Era, 1955-1978, Vincent L. Stephens
Vincent L Stephens
The critical boundaries drawn between pop crooning and jazz singing are less discrete than commonly perceived by critics and historians. Commercial choices rather than clear-cut aesthetic differences have influenced classifications of non-improvisers like Tony Bennett and Peggy Lee as “jazz” singers, a category presumed to represent the ultimate in vocal interpretation. Comparatively, singers like Johnny Mathis and Barbra Streisand are aesthetically similar to prerock crooners (PRCs) but typically understood as pop singers and thus on a lower interpretive tier. This article interrogates the binary by examining the overlaps and divergences between PRCs whose recording careers (mostly) began during the big …