The thirteen essays that comprise Global Noise explore the hip hop scenes of Europe, Anglophone and Francophone Canada, Japan and Australia within their social, cultural and ethnic contexts. Countering the prevailing colonialist view that global hip hop is an exotic and derivative outgrowth of an African-American-owned idiom subject to assessment in terms of American norms and standards, Global Noise shows how international hip hop scenes, like those in France and Australia, developed by first adopting then adapting US models and establishing an increasing hybridity of local linguistic and musical features. The essays reveal diasporic manifestations of international hip hop that are rarely acknowledged in the growing commentary on the genre in the US. In the voices of rappers from around the globe with divergent backgrounds of race, nationality, class and gender, the authors find a consistent rhetoric of opposition and resistance to institutional forms of repression and the construction of a cohesive, historically-based subculture capable of accommodating regional and national diversities.CONTRIBUTORS: Roger Chamberland, Ian Condry, David Hesmondhalgh, Claire Levy, Ian Maxwell, Caspar Melville, Sarah Morelli, Mark Pennay, André J.M. Prévos, Ted Swedenburg, Jacqueline Urla and Mir Wermuth.

This volume includes articles on mannerist furniture from a Northern Essex County, Massachusetts shop, the career and work of David Evans, early New York turned chairs, the Lisle desk-and-bookcase from Rhode Island, a Salem cabinetmakers' price book, two early eighteenth-century Schränke, as well as book reviews and bibliography.

The initial aim of the Danish archaeological campaigns in Bahrain was to look for settlements contemporary with the "Hundred Thousand Gravemounds". After the first few campaigns it was evident, however, that the island was such a rich archaeological field that investigation of all periods from the earliest flint-using culture to the later Islamic world was called for. Among the Islamic remains was an exceptionally fine collection of Early Islamic pottery and glass recovered from the rubbish which filled up a well at the Barbar site where a temple from around 2000BC was excavated. These remains are published in this volume along with finds from the Islamic settlement at the Qala'a mound, especially the Islamic Fortress.

Why has a nineteenth-century author with an elitist reputation proved so popular with directors as varied as William Wyler, François Truffaut, and James Ivory? A partial answer lies in the way many of Henry James's recurring themes still haunt us: the workings of power, the position of women in society, the complexities of sexuality and desire.Susan Griffin has assembled fifteen of the world's foremost authorities on Henry James to examine both the impact of James on film and the impact of film on James. Anthony Mazella traces the various adaptations of The Turn of the Screw, from novel to play to opera to film. Peggy McCormack examines the ways the personal lives of Peter Bogdanovich and then-girlfriend Cybill Shepherd influenced critical reaction to Daisy Miller (1974). Leland Person points out the consequences of casting Christopher Reeve -- then better known as Superman -- in The Bostonians (1984) during the conservative political context of the first Reagan presidency. Nancy Bentley defends Jane Campion's anachronistic reading of Portrait of a Lady (1996) as being more "authentic" than the more common period costume dramas. Dale Bauer observes James's influence on such films as Next Stop, Wonderland (1998) and Notting Hill (1999). Marc Bousquet explores the ways Wings of the Dove (1997) addresses the economic and cultural situations of Gen-X viewers. Other fascinating essays as well as a complete filmography and bibliography of work on James and film round out the collection.

From palace to village street to international stage, Korean dance is a vibrant and complex art comprised of many different forms. In Perspectives on Korean Dance, Judy Van Zile brings together the first comprehensive English language study of this multifaceted art. Van Zile's broad overview includes explanations of key terminology and iconography, as well as discussions of the Korean National Treasure system, the role of shamanic dances when they are performed outside of sacred or ritual contexts, and facets of the careers of Kim Ch'on-hung, a former court dancer, and Ch'oe Sung-hui, who toured the US in the late 1930s. A final chapter examines the role of Korean dance in Hawai'i, where it is an important and at times contested identity marker for residents of Korean ancestry. Explorations of specific dances and dancers illustrate how Korean dance functions in a variety of contexts as an expression of cultural identity. As Van Zile shows, the forms of Korean dance have been modified and reinvented through the process of cross cultural influence' through colonialism, governmental support and intervention, and community building among emigrants as they vie for legitimacy on the national and international stages. The book is lavishly illustrated with 42 color plates and includes a helpful glossary of Korean terms.

This new collection of essays surveys the history of dance in an innovative and wide-ranging fashion. Editors Dils and Albright address the current dearth of comprehensive teaching material in the dance history field through the creation of a multifaceted, non-linear, yet well-structured and comprehensive survey of select moments in the development of both American and World dance. This book is illustrated with over 50 photographs, and would make an ideal text for undergraduate classes in dance ethnography, criticism or appreciation, as well as dance history-particularly those with a cross-cultural, contemporary, or an American focus. The reader is organized into four thematic sections which allow for varied and individualized course use: Thinking about Dance History: Theories and Practices, World Dance Traditions, America Dancing, and Contemporary Dance: Global Contexts. The editors have structured the readings with the understanding that contemporary theory has thoroughly questioned the discursive construction of history and the resultant canonization of certain dances, texts and points of view. The historical readings are presented in a way that encourages thoughtful analysis and allows the opportunity for critical engagement with the text.

One of the more widely discussed and inventive exponents of contemporary British art, Sam Taylor-Wood has spent a decade creating film and photographic works that extend the boundaries of their media. She worked closely with Bruce Mau Design on this project to give unprecedented insight into the usually private or suppressed source images behind her work.

" For years fiddlers and folklorists have prized the old-time fiddle tunes from Kentucky. Many of the most outstanding country music artists hail from the state, including Bill Monroe, widely regarded as the founder of bluegrass music. Even Aaron Copland lifted, note-for-note, a Kentucky fiddler's performance of "Bonaparte's Retreat" for the "Hoedown" section of his ballet Rodeo. That tune and nearly 200 others are transcribed here, most for the first time. They are taken from recordings of Kentucky fiddlers, many of whom were born before 1900, practitioners of a style of playing now extremely rare. Jeff Todd Titon places the tunes in their historical context, provides biographical sketches of the performers, and offers suggestions for contemporary fiddlers who want to use the book for performance. A compact disc of recordings is also included.

Both as a dancer and a choreographer, José Limón electrified audiences from the1930s to the 1960s. With his striking looks and charismatic presence, he was American modern dance's first male star. Born in Culiacán, Mexico, in 1908, the eldest of twelve children, he came to the United States when he was seven. In 1928, after a year at UCLA as an art major, he left for New York. Here, he attended his first modern dance concert and discovered his destiny. He spent the 1930s with the Humphrey-Weidman group. Then, in the 1940s, after a stint in the army, and with Doris Humphrey as artistic advisor, he formed one of the outstanding modern dance companies of the postwar era. His greatest works -- The Moor's Pavane, La Malinche, The Traitor, A Choreographic Offering, There is a Time, Missa Brevis -- extolled a humanism that endeared them to audiences the world over. Although Limón died in 1972, all these dances remain in the Limón Dance Company's active repertory.This memoir was commissioned by Wesleyan University Press in the late 1960s. Left unfinished at the time of Limón's death, it stands on its own as a Joycean account of the coming of age of an unusually perceptive dance artist. Limón writes with eloquence of his Mexican childhood. And of the numerous figures he memorializes, from Martha Graham to José Covarrubias, none is more luminously evoked than Doris Humphrey, the "goddess," "nymph," and "caryatid" of his life. Sensitively edited by Lynn Garafola, the book includes a complete list of Limón's works, richly informative notes, rare photographs, and a detailed bibliography. This is the single most important book on Limón and a riveting memoir of modern dance during its golden age

A comprehensive insider's view of the world's fastest-growing winter sport and the energetic subculture it has spawned. It offers a holistic picture with action shots, behind-the-scenes reportage, hospital portraits and the latest graphic designs and illustrations. These images are infused with commentary, quotes and jargon from those who live for snowboarding - pitching iconic high-points alongside day-to-day minutiae, weather obsessions with the trappings of a professional rider's engagements.

This volume explores the immeasurable impact of Black subculture on British streets, dance floors, wardrobes and beauty parlours over the past three decades. It gives unique visual expression to the energy and innovation of a range of fashion trends and musical subcultures, including ragga, drum 'n' bass, house, and UK garage, through a wealth of unpublished images from legendary and contemporary photographers including Dennis Morris and David Swindells. Compiled by journalist and cultural commentator Ekow Eshun, with contributions from DJs Trevor Nelson and Norman Jay.

The new edition of this seminal work takes the story of the Production Code and motion picture censorship into the present, including the creation of the PG-13 and NC-17 ratings in the 1990s.

Reputed to have initiated the young British art movement, Hirst is considered the pre-eminent artist of his generation. This project brings together for the first time all his works in the collection of Charles Saatchi, his most prolific and proactive patron.

Once derided as senseless entertainment, movies have gradually assumed a place among the arts. Raymond Haberski's provocative and insightful book traces the trajectory of this evolution throughout the twentieth century, from nickelodeon amusements to the age of the financial blockbuster.Haberski begins by looking at the barriers to film's acceptance as an art form, including the Chicago Motion Picture Commission hearings of 1918--1920, one of the most revealing confrontations over the use of censorship in the motion picture industry. He then examines how movies overcame the stigma attached to popular entertainment through such watershed events as the creation of the Museum of Modern Art's Film Library in the 1920s.The arguments between Pauline Kael and Andrew Sarris's heralded a golden age of criticism, and Haberski focuses on the roles of Kael, Sarris, James Agee, Roger Ebert, and others, in the creation of "cinephilia." Described by Susan Sontag as "born of the conviction that cinema was an art unlike any other," this love of cinema centered on coffee houses, universities, art theaters, film festivals, and, of course, foreign films.The lively debates over the place of movies in American culture began to wane in the 1970s. Haberski places the blame on the loss of cultural authority and on the increasing irrelevance of the meaning of art. He concludes with a persuasive call for the re-emergence of a middle ground between art and entertainment, "something more complex, ambiguous, and vexing -- something worth thought."

Anni Albers (1899 - 1994) was one of the most influential textile designers of the 20th century. Born in Berlin, in 1922 she became a student at the Bauhaus in Weimar, where she met her husband, Josef Albers. From 1933 to 1949 Albers taught at Black Mountain College. The fifteen essays gathered here illustrate Anni Albers's concept of design as the pursuit of wholeness -- "the coalition of form answering practical needs and form answering aesthetic needs." This beautifully illustrated book addresses the artistic and practical concerns of modern design and considers the ever-changing role of the designer.Albers's work is in private collections and in those of leading museums both here and abroad. Among them are the Busch-Reisinger Museum at Harvard University, the Baltimore Museum of Art, the Museum Neue Sammlung in Munich, the Bauhaus Archiv in Berlin, and the Museum of Modern Art, Metropolitan Museum of Art, and the Cooper-Hewitt Museum in New York. Her previous books include On Weaving (1965) and On Designing (1961), both published by Wesleyan