Little Mexico was Dallas's earliest Mexican barrio. "Mexicanos" had lived in Dallas since the mid-19th century. The social displacement created by the Mexican Revolution of 1910, however, caused the emergence of a distinct and vibrant neighborhood on the edge of the city's downtown. This neighborhood consisted of modest homes, small businesses, churches, and schools, and further immigration from Mexico in the 1920s caused its population to boom. By the 1930s, Little Mexico's population had grown to over 15,000 people. The expanding city's construction projects, urban renewal plans, and land speculation by developers gradually began to dismantle Little Mexico. By the end of the 20th century, Little Mexico had all but disappeared, giving way to upscale high-rise residences and hotels, office towers of steel and glass, and the city's newest entertainment district. This book looks at Little Mexico's growth, zenith, demise, and its remarkable renaissance as a neighborhood.

Scholars of language ideology have encouraged us to reflect on and explore where social categories come from, how they have been reproduced, and whether and to what extent they are relevant to everyday interactional practices. Taking up on these issues, this book focuses on how ethnicity has been semiotically constructed, valued, and reproduced in Indonesia since Dutch colonial times, and how this category is drawn upon in everyday talk. In doing so, this book also seeks to engage with scholarship on superdiversity while highlighting some points of engagement with work on ideas about community. The book draws upon a broad range of scholarship on Indonesia, recordings of Indonesian television from the mid-1990s onwards, and recordings of the talk of Indonesian students living in Japan. It is argued that some of the main mechanisms for the reproduction and revaluation of ethnicity and its links with linguistic form include waves of technological innovations that bring people into contact (e.g. changes in transportation infrastructure, introduction of print media, television, radio, the internet, etc.), and the increasing use of one-to-many participation frameworks such as school classrooms and the mass media. In examining the talk of sojourning Indonesians the book goes on to explore how ideologies about ethnicity are used to establish and maintain convivial social relations while in Japan. Maintaining such relationships is not a trivial thing and it is argued that the pursuit of conviviality is an important practice because of its relationship with broader concerns about eking out a living.

MisReading America presents original research on and conversation about reading formations in American communities of color, using the phenomenon of the reading of scriptures-''scripturalizing''-as an analytical wedge. Scriptures here are understood as shorthand for complex social phenomena, practices, and dynamics. The authors take up scripturalizing as a window onto the self-understandings, politics, practices, and orientations of marginalized communities. These communities have in common the context that is the United States, with the challenges it holds for all regarding: pressure to conform to conventional-canonical forms of communication, representation, and embodiment (mimicry); opportunities to speak back to and confront and overturn conventionality (interruptions); and the need to experience ongoing meaningful and complex relationships (reorientation) to the centering politics, practices, and myths that define ''America.''

Choreographing Copyright provides a historical and cultural analysis of U.S.-based dance-makers' investment in intellectual property rights. Although federal copyright law in the U.S. did not recognize choreography as a protectable class prior to the 1976 Copyright Act, efforts to win copyright protection for dance began eight decades earlier. In a series of case studies stretching from the late nineteenth century to the early twenty-first, the book reconstructs those efforts and teases out their raced and gendered politics. Rather than chart a narrative of progress, the book shows how dancers working in a range of genres have embraced intellectual property rights as a means to both consolidate and contest racial and gendered power. A number of the artists featured in Choreographing Copyright are well-known white figures in the history of American dance, including modern dancers Loie Fuller, Hanya Holm, and Martha Graham, and ballet artists Agnes de Mille and George Balanchine. But the book also uncovers a host of marginalized figures - from the South Asian dancer Mohammed Ismail, to the African American pantomimist Johnny Hudgins, to the African American blues singer Alberta Hunter, to the white burlesque dancer Faith Dane - who were equally interested in positioning themselves as subjects rather than objects of property, as possessive individuals rather than exchangeable commodities. Choreographic copyright, the book argues, has been a site for the reinforcement of gendered white privilege as well as for challenges to it. Drawing on critical race and feminist theories and on cultural studies of copyright, Choreographing Copyright offers fresh insight into such issues as: the raced and gendered hierarchies that govern the theatrical marketplace, white women's historically contingent relationship to property rights, legacies of ownership of black bodies and appropriation of non-white labor, and the tension between dance's ephemerality and its reproducibility.

Audre Lorde was not only a famous poet; she was also one of the most important radical black feminists of the past century. Her writings and speeches grappled with an impressive broad list of topics, including sexuality, race, gender, class, disease, the arts, parenting, and resistance, and they have served as a transformative and important foundation for theorists and activists in considering questions of power and social justice. Lorde embraced difference, and at each turn she emphasized the importance of using it to build shared strength among marginalized communities.
I Am Your Sister is a collection of Lorde's non-fiction prose, written between 1976 and 1990, and it introduces new perspectives on the depth and range of Lorde's intellectual interests and her commitments to progressive social change. Presented here, for the first time in print, is a major body of Lorde's speeches and essays, along with the complete text of A Burst of Light and Lorde's landmark prose works Sister Outsider and The Cancer Journals. Together, these writings reveal Lorde's commitment to a radical course of thought and action, situating her works within the women's, gay and lesbian, and African American Civil Rights movements. They also place her within a continuum of black feminists, from Sojourner Truth, to Anna Julia Cooper, Amy Jacques Garvey, Lorraine Hansberry, and Patricia Hill Collins. I Am Your Sister concludes with personal reflections from Alice Walker, Gloria Joseph, Johnnetta Betsch Cole, Beverly Guy-Sheftall, and bell hooks on Lorde's political and social commitments and the indelibility of her writings for all who are committed to a more equitable society.

Intersectionality theory has emerged over the past thirty years as a way to think about the avenues by which inequalities (most often dealing with, but not limited to, race, gender, class and sexuality) are produced. Rather than seeing such categories as signaling distinct identities that can be adopted, imposed or rejected, intersectionality theory considers the logic by which each of these categories is socially constructed as well as how they operate within the diffusion of power relations. In other words, social and political power are conferred through categories of identity, and these identities bear vastly material effects. Rather than look at inequalities as a relationship between those at the center and those on the margins, intersectionality maps the relative ways in which identity politics create power. Though intersectionality theory has emerged as a highly influential school of thought in ethnic studies, gender studies, law, political science, sociology and psychology, no scholarship to date exists on the evolution of the theory. In the absence of a comprehensive intellectual history of the theory, it is often discussed in vague, ahistorical terms. And while scholars have called for greater specificity and attention to the historical foundations of intersectionality theory, their idea of the history to be included is generally limited to the particular currents in the United States. This book seeks to remedy the vagueness and murkiness attributed to intersectionality by attending to the historical, geographical, and cross-disciplinary myopia afflicting current intersectionality scholarship. This comprehensive intellectual history is an agenda-setting work for the theory.

Placed within the context of the past decade's war on terror and emergent and countervailing Latino rights movement, Reform without Justice addresses the issue of state violence against migrants in the United States. It questions why it is that, despite its success in mobilizing millions, the Latino immigrant rights movement has not been able to effectively secure sustainable social justice victories for itself or more successfully defend the human rights of migrants. Gonzales argues that the contemporary Latino rights movement faces a dynamic form of political power that he terms "anti-migrant hegemony". This anti-migrant hegemony, found in sites of power from Congress, to think tanks, talk shows and the prison system, is a force through which a rhetorically race neutral and common sense public policy discourse, consistent with the rules of post-civil rights racism, is deployed to criminalize migrants. Critically, large sectors of "pro-immigrant" groups, including the Hispanic Congressional Caucus and the National Council of La Raza, have conceded to coercive immigration enforcement measures such as a militarized border wall and the expansion of immigration policing in local communities in exchange for so-called Comprehensive Immigration Reform. Gonzales says that it is precisely when immigration reformers actively adopt the discourse and policies of the leading anti-immigrant forces that the power of anti-migrant hegemony can best be observed.

Mini-set E: Sociology & Anthropology re-issues 10 volumes originally published between 1931 and 1995 and covers topics such as japanese whaling, marriage in japan, and the japanese health care system. For institutional purchases for e-book sets please contact [email protected] (customers in the UK, Europe and Rest of World)

Mini-set A:History re-issues 10 volumes originally published between 1902 and 1984 and examines the legacy of British control in Persia and the origins of the conflict between Iran & Iraq. For institutional purchases for e-book sets please contact [email protected] (customers in the UK, Europe and Rest of World)

Mini-set D:Politics and Sociology re-issues 13 volumes originally published between 1977 and 1991. It discusses the revolution in Iran and what that has meant for the wider region of the Persian Gulf in terms of stability and relations with other countries, as well as issues of poverty in Iran and the position of minorities. For institutional purchases for e-book sets please contact [email protected] (customers in the UK, Europe and Rest of World)

Mini-set D: Politics re-issues works originally published between 1920 & 1987 and examines the government, political system and foreign policy of Japan during the twentieth century.

The era of official color-blindness in Latin America has come to an end. For the first time in decades, nearly every state in Latin America now asks their citizens to identify their race or ethnicity on the national census. Most observers approvingly highlight the historic novelty of these reforms, but National Colors shows that official racial classification of citizens has a long history in Latin America. Through a comprehensive analysis of the politics and practice of official ethnoracial classification in the censuses of nineteen Latin American states across nearly two centuries, this book explains why most Latin American states classified their citizens by race on early national censuses, why they stopped the practice of official racial classification around mid-twentieth century, and why they reintroduced ethnoracial classification on national censuses at the dawn of the twenty-first century. Beyond domestic political struggles, the analysis reveals that the ways that Latin American states classified their populations from the mid-nineteenth century onward responded to changes in international criteria for how to construct a modern nation and promote national development. As prevailing international understandings of what made a political and cultural community a modern nation changed, so too did the ways that Latin American census officials depicted diversity within national populations. The way census officials described populations in official statistics, in turn, shaped how policymakers viewed national populations and informed their prescriptions for national development-with consequences that still reverberate in contemporary political struggles for recognition, rights, and redress for ethnoracially marginalized populations in today's Latin America. "While Loveman is not the only scholar paying attention to governmental census taking, this book stands out for its theoretical depth, the remarkable mastery of historical context and agency, and its long-term historical breath. Loveman shows that rather than reflecting domestic politics or specific demographic configurations, Latin American states collected data on the kind of racial or ethnic categories that they thought would help document, to a global audience of other states, their efforts and achievements in becoming modern nations."-Andreas Wimmer, Hughes-Rogers Professor of Sociology, Princeton University

Show Boat: Performing Race in an American Musical tells the full story of the making and remaking of the most important musical in Broadway history. Drawing on exhaustive archival research and including much new information from early draft scripts and scores, this book reveals how Oscar Hammerstein II and Jerome Kern created Show Boat in the crucible of the Jazz Age to fit the talents of the show's original 1927 cast. After showing how major figures such as Paul Robeson and Helen Morgan defined the content of the show, the book goes on to detail how Show Boat was altered by later directors, choreographers, and performers up to the end of the twentieth century. All the major New York productions are covered, as are five important London productions and four Hollywood versions.
Again and again, the story of Show Boat circles back to the power of performers to remake the show, winning appreciative audiences for over seven decades. Unlike most Broadway musicals, Show Boat put black and white performers side by side. This book is the first to take Show Boat's innovative interracial cast as the defining feature of the show. From its beginnings, Show Boat juxtaposed the talents of black and white performers and mixed the conventions of white-cast operetta and the black-cast musical. Bringing black and white onto the same stage--revealing the mixed-race roots of musical comedy--Show Boat stimulated creative artists and performers to renegotiate the color line as expressed in the American musical. This tremendous longevity allowed Show Boat to enter a creative dialogue with the full span of Broadway history. Show Boat's voyage through the twentieth century offers a vantage point on more than just the Broadway musical. It tells a complex tale of interracial encounter performed in popular music and dance on the national stage during a century of profound transformations.

Riad El-Taher arrived in England to study engineering just in time to hear Tony Benn railing against Anthony Eden's 1956 Suez policy. He was rarely far from politics thereafter. When the UN imposed crippling sanctions on his native land, he took Tam Dalyell, George Galloway and ex-BBC reporter, Tim Llewellyn, to Iraq to see their effect. At Dalyell's suggestion he formed a widely supported organisation to campaign for a reversal of this policy; after the Second Gulf War this redirected its fire at the occupation. He made enemies too, and believed he landed in Wandsworth jail as a result. Dalyell, who considered Riad to be motivated by `an un-self-seeking desire to protect the well-being of people in Iraq,' called his treatment `a process of nasty, political vengeance.' Neither a Ba'athist, nor an emigre oppositionist, Riad's patriotic voice is arguably unique and deserves to be heard. Though polemical, and posing uncomfortable questions, this is also the story of a remarkably varied life and the wide range of people encountered in it, not least among them Saddam Hussein.

Every weekday, the wildly popular Tom Joyner Morning Show reaches more than eight million radio listeners. The show offers broadly progressive political talk, adult-oriented soul music, humor, advice, and celebrity gossip for largely older, largely working-class black audience. But it's not just an old-school show: it's an activist political forum and a key site reflecting on popular aesthetics. It focuses on issues affecting African Americans today, from the denigration of hard-working single mothers, to employment discrimination and sexual abuse, to the racism and violence endemic to the U.S. criminal justice system, to international tragedies. In Black Radio/Black Resistance, author Micaela di Leonardo dives deep into the Tom Joyner Morning Show's 25 year history inside larger U.S. broadcast history. From its rise in the Clinton era and its responses to key events-9/11, Hurricane Katrina, President Obama's elections and presidency, police murders of unarmed black Americans and the rise of Black Lives Matter, and Donald Trump's ascendancy-it has broadcast the varied, defiant, and darkly comic voices of its anchors, guests, and audience members. di Leonardo also investigates the new synergistic set of cross-medium ties and political connections that have affected print, broadcast, and online reporting and commentary in antiracist directions. This new multiracial progressive public sphere has extraordinary potential for shaping America's future. Thus Black Radio/Black Resistance does far more than simply shed light on a major counterpublic institution unjustly ignored for reasons of color, class, generation, and medium. It demonstrates an alternative understanding of the shifting black public sphere in the digital age. Like the show itself, Black Radio/Black Resistance is politically progressive, music-drenched, and blisteringly funny.

The Russian Empire is usually thought of as an expansive continental realm, consisting of contiguous territories. The existence of Russian America challenges this image. The Russian Empire claimed territory and people in North America between 1741 and 1867 but not until 1799 was this colonial activity was organized and coordinated under a single entity-the Russian-American Company, a monopolistic charter company analogous to the West European-based colonial companies of the time. When the ships of Russia's first circumnavigation voyage arrived on the shores of Russian America in 1804, a clash of arms between the Russians and the Tlingit Indians ensued, and a new Russian fortpost was established at Sitka. Russian America was effectively transformed from a remote extension of Russia's Siberian frontier penetrated mainly by Siberianized Russians into an ostensibly modern overseas colony operated by Europeanized Russians. This book examines how Russians conceived and practiced the colonial rule that resulted from this transformation. Under the rule of the Russian-American Company, the colony was governed on different terms from the rest of the empire, a hybrid of elements carried over from Siberia and those imported from rival colonial systems. This approach was particularly evident in Russian strategies to convert the indigenous peoples of Russian America into loyal subjects of the Russian Empire. The first comprehensive history bringing together the history of Russia, the history of colonialism, and the history of contact between native peoples and Europeans on the American frontier, this work is invaluable for understanding the history of Alaska before its sale to the United States.

Tracing Tangueros offers an inside view of Argentine tango music in the context of the growth and development of the art form's instrumental and stylistic innovations. Rather than perpetuating the glamorous worldwide conceptions that often only reflect the tango that left Argentina nearly 100 years ago, authors Kacey Link and Kristin Wendland trace tango's historical and stylistic musical trajectory in Argentina, beginning with the guardia nueva's crystallization of the genre in the 1920s, moving through tango's Golden Age (1925-1955), and culminating with the "Music of Buenos Aires" today. Through the transmission, discussion, examination, and analysis of primary sources currently unavailable outside of Argentina, including scores, manuals of style, archival audio/video recordings, and live video footage of performances and demonstrations, Link and Wendland frame and define Argentine tango music as a distinct expression possessing its own musical legacy and characteristic musical elements. Beginning by establishing a broad framework of the tango art form, the book proceeds to move through twelve in-depth profiles of representative tangueros (tango musicians) within the genre's historical and stylistic trajectory. Through this focused examination of tangueros and their music, Link and Wendland show how the dynamic Argentine tango grows from one tanguero linked to another, and how the composition techniques and performance practices of each generation are informed by that of the past.

She is Cuba: A Genealogy of the Mulata Body traces the history of the Cuban mulata and her association with hips, sensuality and popular dance. It examines how the mulata choreographs her racialised identity through her hips and enacts an embodied theory called hip(g)nosis. By focusing on her living and dancing body in order to flesh out the process of identity formation, this book makes a claim for how subaltern bodies negotiate a cultural identity that continues to mark their bodies on a daily basis. Combining literary and personal narratives with historical and theoretical accounts of Cuban popular dance history, religiosity and culture, this work investigates the power of embodied exchanges: bodies watching, looking, touching and dancing with one another. It sets up a genealogy of how the representations and venerations of the dancing mulata continue to circulate and participate in the volatile political and social economy of contemporary Cuba.

The book speaks to antiquity of black African people as well as the, the backward condition in which black people find themselves today. The book also speaks to the progress black people made during the early years of the 20th century.

"It is a rare thing for me to stand with a book, explicitly about race and equity, that is written by a white person. Why? Because it is a rare thing to encounter a white person who has followed the lead of people of color into their own transformation so deeply that I trust the message coming from their white body. Idelette McVicker has done the work."--Lisa Sharon Harper (from the foreword) As a white Afrikaner woman growing up in South Africa during apartheid, Idelette McVicker was steeped in a community and a church that reinforced racism and shielded her from seeing her neighbors' oppression. But a series of circumstances led her to begin questioning everything she thought was true about her identity, her country, and her faith. Recovering Racists shares McVicker's journey over thirty years and across three continents to shatter the lies of white supremacy embedded deep within her soul. She helps us realize that grappling with the legacy of white supremacy and recovering from racism is lifelong work that requires both inner transformation and societal change. It is for those of us who have hit rock bottom in the human story of race, says McVicker. We must acknowledge our internalized racism, repent of our complicity, and learn new ways of being human. This book invites us on the long, slow journey of healing the past, making things right, changing old stories, and becoming human together. As we work for the liberation of everyone, we also find liberation for ourselves. Each chapter ends with discussion questions.

Ends of Assimilation compares sociological and Chicano/a (Mexican American) literary representations of assimilation. It argues that while Chicano/a literary works engage assimilation in complex, often contradictory ways, they manifest an underlying conviction in literature's productive power. At the same time, Chicano/a literature demonstrates assimilation sociology's inattention to its status as a representational discourse. As twentieth-century sociologists employ the term, assimilation reinscribes as fact the fiction of a unitary national culture, ignores the interlinking of race and gender in cultural formation, and valorizes upward economic mobility as a politically neutral index of success. The study unfolds chronologically, describing how the historical formation of Chicano/a literature confronts the specter of assimilation discourse. It tracks how the figurative, rhetorical, and lyrical power of Chicano/a literary works compels us to compare literary discourse with the self-authorizing empiricism of assimilation sociology. It also challenges presumptions of authenticity on the part of Chicano/a cultural nationalist works, arguing that Chicano/a literature must reckon with cultural dynamism and develop models of relational authenticity to counter essentialist discourses. The book advances these arguments through sustained close readings of canonical and noncanonical figures and gives an account of various moments in the history and institutional development of Chicano/a literature, such as the rise and fall of Quinto Sol Publications, asserting that Chicano/a writers, editors, and publishers have self-consciously sought to acquire and redistribute literary cultural capital.