Rethinking Sage Philosophy: Interdisciplinary Perspectives on and beyond H. Odera Oruka discusses a variety of aspects of Henry Odera Oruka's sage philosophy project, rethinking it with a view to current demands and recent debates in scholarship across several disciplines. Edited by Kai Kresse and Oriare Nyarwath, the collection engages perspectives and interests from within and beyond African philosophy and African studies, including especially anthropology, literature, postcolonial critique, and decolonial scholarship. The chapters focus on: studies of women sages; sage philosophy in relation to oral literature; an Acholi poem on 'being human' in context; takes on aesthetics and gender in Maasai thought; a comparative discussion of Oruka's and Gramsci's approaches to the relevance of philosophy in society; a critical review of method; a comparative discussion dedicated to the project of decolonization, with a South African case study; and a conceptual reconsideration of Oruka's understanding of sages, presenting the 'pragmatic sage' as typical of the late phase of the sage philosophy project.

In her own private ways, Emily Dickinson participated in the popular entertainments of her time. On her piano, she performed popular musical numbers, many from the tradition of minstrelsy, and at theaters, she listened to famous musicians, including Jenny Lind and, likely, the Hutchinson Family Singers. In reading the Atlantic Monthly, the Springfield Republican, and Harper's, she kept up with the roiling conflicts over slavery and took in current fiction and verse. And, she enjoyed the occasional excursion to the traveling circus and appreciated the attractions of the dime museum. Whatever her aspirations were regarding participation in a public arena, the rich world of popular culture offered Dickinson a view of both the political and social struggles of her time and the amusements of her contemporaries."Theatricals of Day" explores how popular culture and entertainments are seen, heard, and felt in Dickinson's writing. In accessible prose, Sandra Runzo proposes that the presence of popular entertainment in Dickinson's life and work opens our eyes to new dimensions of the poems, illuminating the ways in which the poet was attentive to strife and conflict, to amusement, and to play.