Alternative forms of curatorial and institutional work suitable to our novel conditions, when the relationship between physical and online work must be revised. In our current era of global pandemic and violent political upheaval, the question must be asked: What is our future and whose voices will announce it? These can only be situated voices, each with its own body and space, formed through dialogue within their own communities and in reaction and resistance to dominant discourses. Museum director, curator, and writer Zdenka Badovinac argues that these situated voices of people, artworks, and exhibitions, rooted in the local, can bring incisive, productive change. The call of these voices, in rethinking art, curation, and institutions, is the subject of this powerful essay.
A dashing young physician and devoted husband, father, and son, Olu Adebo looks at his sky and finds every inch of it lined with silver-until new ambitions drive him to New York City. In the midst of the hustle and bustle of residency training, a needlestick from a patient with AIDS places Adebo face-to-face with his past history with the virus. As his life begins to spin out of control, he succumbs to the strong attraction he feels for two best friends who do not appear to care about the symptoms he displays, symptoms he fears are due to the deadly virus. Adebo stands to lose everything that he has spent his entire life cultivating-his marriage, his children, and his very life. Adebo's devoted friends rally and try to save him from himself. Will their coordinated efforts be enough to pull him back from the precipice, or will the ploy of a deadly virus, the secrets kept from his wife, and the poisonous love of two women prove to be too powerful?
In this novel of intrigue and clashing cultures, Sarah faces danger from all sides--suspicious Union soldiers, angry rebel raiders and resentful runaway slaves.
As his plane touches down in Fort-de-France, Martinique, Mark Levine, thirty-five, single, professor of law at New York University, resident of the Manhattan's Upper West Side, modern orthodox Jew, semi-famous novelist, cynical judge of other people, malcontent, nonconformist, and closet drunk decides to kill his ex-fiancée's mother. He has ten days to plan it. Instead, on the accidental getaway with old pal Raphael Tahar Jerusalem police officer, buddy from university days past and obnoxious master of fornication Mark Levine meets 'Monica', an exquisite dancer who sports that Club Caribe tag. The mystical fog that wraps her inspires Mark to write his first fresh work in three years. On his final night at Club Caribe, she unexpectedly takes him to bed. He parts the club madly in love, but has not even learned her name. Writing begins back in New York, but forced by writer's block to Paris to complete the unfinished work, Mark Levine gets more than he bargained for. Mixed in a purloined manuscript of failed legal careers and literary hopes, contempt, discontent, alcoholism and the loneliness of unmet potential, moving from Caribbean getaways to New York's Upper West Side, to fashionable Paris to the desolate moonscape of ravaged Ramallah, filled with the author's witty and poignant insights into the journey to middle adulthood in late twentieth century America, The Tale of Mark Levine is Michael D. Lieberman at his very best.
As a part-time hospice volunteer, Eric Lindner provides “companion care” to dying strangers. They’re chatterboxes and recluses, religious and irreligious; battered by cancer, congestive heart failure, Alzheimer’s, old age. Some cling to life amazingly. Most pass as they expected. In telling his story, Lindner reveals the thoughts, fears, and lessons of those living the ends of their lives in the care of others, having exhausted their medical options or ceased treatment for their illnesses. In each chapter, Lindner not only reveals the lessons of lives explored in their final days, but zeroes in on how working for hospice can be incredibly fulfilling. As he’s not a doctor, nurse, or professional social worker, just a volunteer lending a hand, offering a respite for other care providers, his charges often reveal more, and in more detail, to him than they do to those with whom they spend the majority of their time. They impart what they feel are life lessons as they reflect on their own lives and the prospect of their last days. Lindner captures it all in his lively storytelling. Anyone who knows or loves someone working through end of life issues, living in hospice or other end of life facilities, or dealing with terminal or chronic illnesses, will find in these pages the wisdom of those who are working through their own end of life issues, tackling life’s big questions, and boiling them down into lessons for anyone as they age or face illness. And those who may feel compelled to volunteer to serve as companions will find motivation, inspiration, and encouragement. Rather than sink under the weight of depression, pity, or sorrow, Lindner celebrates the lives of those who choose to live even as they die.
As but one of my Heavenly Father's children, forgive me for asking this one simple question: If we as such truly believe our heavenly Creator loves us, why are we killing each other in one way or another?
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1954.
Representation and Design examines Old English poetry from the point of view of its interpretation, beginning with the assumption that Anglo-Saxon concepts of reading were probably very different from those that dominate our own literary culture. The book insists on the semantic interaction of representation and design, two aspects of Old English poetry that traditionally have been examined separately, and draws on Anglo-Saxon pictorial art as a model throughout. It disputes the conventional dichotomy that interpretation makes between content and form; redefines content as a particular mode of representation—a reflection of texts and ideologies; and recognizes form as complex and meaningful design so that the "two" no longer can be distinguished in the process of interpretation. The author examines a range of texts—Beowulf, The Wanderer, the Exeter Book riddles, manuscript illuminations, and the sculpture of the Ruthwell cross—in order to consider the place of the reader, the frame, and the past in Anglo-Saxon representation. Through this process, she traces a fluidity of signification and suggests that an Anglo-Saxon aesthetic would be both complex and enigmatic.
"Webb offers a carefully and creatively wrought phenomenology of sound, showing its relation to the proclamation of God's Word. His keen insights on the primordial nature of sound, speech, and hearing will force theologians to examine, once again, what it means to be a 'hearer of the Word.' Webb masterfully displays the intrinsic relationship between dynamic listening and speech--how intent hearing and confident proclamation are intimately conjoined. He has the rare gift of combining acute theological insight with a mellifluous, readable style. The nature of God's own Word here becomes clearer: vibrant and tensile, life-giving in tone and texture. Whether examining Jesus as the voice of the Father, the role of voice in innertrinitarian relations, or the relationship between voice and gender, Webb offers the kind of thought-provoking and highly creative reflections rarely found elsewhere. He has a creative and incisive theological mind." --Thomas Guarino, Seton Hall University "Being appreciative of Webb's earlier work on hyperbolic language in theology and preaching, I welcomed The Divine Voice. How risky to toss a spoken word into a room of silent readers and expect it to be heard! I was reprimanded, instructed, and moved by the sound of this book. Were I still in the seminary classroom, The Divine Voice would be required reading before one word was said about how to preach." --Fred B. Craddock, The Craddock Center "The Divine Voice is a book of academic theology worthy of the Psalmist who sang 'Day after day the word goes forth, night after night the story is told. Soundless the speech, voiceless the talk, yet the story is echoed throughout the world' (Ps 19:2-3). Stephen Webb is an 'acoustemological' theologian, for whom speech can be prayerful as silence, and silence as instructive as proclamation. When the sounds heard by faith reach Webb's ever-insightful and creative mind, only synthesia could result, and the result is a gift for us all." --Peter Ochs, University of Virginia
