According to the Oral History Association, the term oral history refers to "a method of recording and preserving oral testimony" which results in a verbal document that is "made available in different forms to other users, researchers, and the public." Ordinarily such an academic process would seem to be far removed from legal challenges. Unfortunately this is not the case. While the field has not become a legal minefield, given its tremendous growth and increasing focus on contemporary topics, more legal troubles could well lie ahead if sound procedures are not put in place and periodically revisited. A Guide to Oral History and the Law is the definitive resource for all oral history practitioners. In clear, accessible language it thoroughly explains all of the major legal issues including legal release agreements, the protection of restricted interviews, the privacy torts (including defamation), copyright, the impact of the Internet, and the role of Institutional Review Boards (IRBs). The author accomplishes this by examining the most relevant court cases and citing examples of policies and procedures that oral history programs have used to avoid legal difficulties. Neuenschwander's central focus throughout the book is on prevention rather than litigation. He underscores this approach by strongly emphasizing how close adherence to the Oral History Association's Principles and Best Practices provides the best foundation for developing sound legal policies. The book also provides more than a dozen sample legal release agreements that are applicable to a wide variety of situations. This volume is an essential one for all oral historians regardless of their interviewing focus.

Writing the Rebellion presents a cultural history of loyalist writing in early America. There has been a spate of related works recently, but Philip Gould's narrative offers a completely different view of the loyalist/patriot contentions than appears in any of these accounts. By focusing on the literary projections of the loyalist cause, Gould dissolves the old legend that loyalists were more British than American, and patriots the embodiment of a new sensibility drawn from their American situation and upbringing. He shows that both sides claimed to be heritors of British civil discourse, Old World learning, and the genius of English culture. The first half of Writing Rebellion deals with the ways "political disputation spilled into arguments about style, form, and aesthetics, as though these subjects could secure (or ruin) the very status of political authorship." Chapters in this section illustrate how loyalists attack patriot rhetoric by invoking British satires of an inflated Whig style by Alexander Pope and Jonathan Swift. Another chapter turns to Loyalist critiques of Congressional language and especially the Continental Association, which was responsible for radical and increasingly violent measures against the Loyalists. The second half of Gould's book looks at satiric adaptations of the ancient ballad tradition to see what happens when patriots and loyalists interpret and adapt the same text (or texts) for distinctive yet related purposes. The last two chapters look at the Loyalist response to Thomas Paine's Common Sense and the ways the concept of the author became defined in early America. Throughout the manuscript, Gould acknowledges the purchase English literary culture continued to have in revolutionary America, even among revolutionaries.

The story of Victoria Falls Safari Lodge, one of the world's best-loved hotels, is also the tale of a region rich in cultural and natural history.

As the lodge celebrates its 30th anniversary we tell the story of the hotel, the people and the region - a chronicle of a journey 180 million years in the making.

Why put Abraham Lincoln, the sometime corporate lawyer and American President, in dialogue with Karl Marx, the intellectual revolutionary? On the surface, they would appear to share few interests. Yet, though Lincoln and Marx never met one another, both had an abiding interest in the most important issue of the nineteenth-century Atlantic world-the condition of labor in a capitalist world, one that linked slave labor in the American south to England's (and continental Europe's) dark satanic mills. Each sought solutions-Lincoln through a polity that supported free men, free soil, and free labor; Marx by organizing the working class to resist capitalist exploitation. While both men espoused emancipation for American slaves, here their agreements ended. Lincoln thought that the free labor society of the American North provided great opportunities for free men missing from the American South, a kind of "farm ladder" that gave every man the ability to become a landowner. Marx thought such "free land" a chimera and (with information from German-American correspondents), was certain that the American future lay in the proletarianized cities. Abraham Lincoln and Karl Marx in Dialogue intersperses short selections from the two writers from their voluminous works, opening with an introduction that puts the ideas of the two men in the broad context of nineteenth-century thought and politics. The volume excerpts Lincoln's and Marx's views on slavery (they both opposed it for different reasons), the Civil War (Marx claimed the war concerned slavery and should have as its goal abolition; Lincoln insisted that his goal was just the defeat of the Confederacy), and the opportunities American free men had to gain land and economic independence. Through this volume, readers will gain a firmer understanding of nineteenth-century labor relations throughout the Atlantic world: slavery and free labor; the interconnections between slave-made cotton and the exploitation of English proletarians; and the global impact of the American Civil War.

The greatest gift we can give to our children, and the future South Africa, is our own healing.

South Africa may have moved beyond apartheid, but not beyond racial polarisation. Virtually every problem we face in this country is touched by our legacy of systemic racism and the psychological trauma it has caused to people of all races.

Racial healing is not a new, woke, talk shop. It is also not a ‘how-to guide’ for do-gooders. On the contrary, racial healing requires diverse people of all ages to embrace the unique and challenging complexity of racial diversity and to forge a human bridge between multiple opposing truths that can peacefully co-exist.

Only a sober admission of this complexity can help us to heal from the open, festering wound of ongoing racism which has left South Africa with the unenviable distinction of being the most unequal country in the world. A wound not necessarily unique to South Africa, but indeed also the reason behind the violent conflict seen around the world.

Ian Fuhr and co-author Nina de Klerk have created a powerful examination of the deep-rooted causes of continuing racial polarisation in South Africa and suggest a road map for the journey towards racial healing. The book is enhanced by influential collaborators who share their authentic and often emotive perspectives on racial healing.

The Human Bridge is an ambitious but achievable vision of the future. If people are willing to familiarise themselves with each other’s life experiences, own up to their own fears and racial biases, and engage in authentic dialogue, South Africans may once again become an example to the rest of the world.

WITH ESSAYS FROM: Bonang Mohale; Carin Dean; Jonathan Jansen; Leon Wessels; Loretta Feris; Lukhanyo Calata; Max du Preez; Mbali Baduza; Padhma Moodley; Roelf Meyer and Sylvester Chauke.

Orwell's personal account of his experiences and observations in the Spanish Civil War.

Since the late nineteenth century, fears that marriage is in crisis have reverberated around the world. Domestic Tensions, National Anxieties explores this phenomenon, asking why people of various races, classes, and nations frequently seem to be fretting about marriage. Each of the twelve chapters analyzes a specific time and place during which proclamations of marriage crisis have dominated public discourse, whether in 1920s India, mid-century France, or present-day Iran. While each nation has had its own reasons for escalating anxieties over marriage and the family, common themes emerge in how people have understood and debated crises in marriage. Collectively, the chapters reveal how diverse individuals have deployed the institution of marriage to talk not only about intimate relationships, but also to understand the nation, its problems, and various socioeconomic and political transformations. The volume reveals critical insights and showcases original research across interdisciplinary and national boundaries, making a groundbreaking contribution to current scholarship on marriage, family, nationalism, gender, and the law.

The Other Civil War offers historian and activist Howard Zinn's view of the social and civil background of the American Civil War--a view that is rarely provided in standard historical texts. Drawn from his New York Times bestseller A People's History of the United States, this set of essays recounts the history of American labor, free and not free, in the years leading up to and during the Civil War. He offers an alternative yet necessary account of that terrible nation-defining epoch.

In 1794, two years before Tennessee became a state, the legislature of the Southwest Territory chartered Blount College in Knoxville as one of the first three colleges established west of the Appalachian Mountains. In 1807, the school changed its name to East Tennessee College. The school relocated to a 40-acre tract, known today as the Hill, in 1828 and was renamed East Tennessee University in 1840. The Civil War literally shut down the university. Students and faculty were recruited to serve on battlefields, and troops used campus facilities as hospitals and barracks. In 1869, East Tennessee University became the states land-grant institution under the auspices of the 1862 Morrill Act. In 1879, the state legislature changed the name of the institution to the University of Tennessee. By the early 20th century, the university admitted women, hosted teacher institutes, and constructed new buildings. Since that time, the University of Tennessee has established campuses and programs across the state. Today, in addition to a rich sports tradition, the University of Tennessee provides Tennesseans with unparalleled opportunities.

The present edition of The Book of Fallacies is the first that follows Bentham's own structure for the work, and includes a great deal of material, both in terms of the fallacies themselves and the illustrative matter, that previous versions of the work have omitted. The fallacies that concerned Bentham were not logical errors of the sort identified by Aristotle, or commonplace misunderstandings of matters of fact, but arguments deployed in political debate, in particular in the British Parliament, in order to prevent reform. Bentham not only identified, described, and criticized the fallacious arguments in question, which were all characterized by their irrelevancy, but explained the sinister interests that led politicians to employ them and their supporters to accept them. By exposing these political fallacies, Bentham hoped to prevent their employment in future, and thereby to place political debate on its only proper ground, namely considerations drawn from the principle of utility.

Routes and Realms explores the ways in which Muslims expressed attachment to land from the ninth through the eleventh centuries, the earliest period of intensive written production in Arabic. In this groundbreaking first book, Zayde Antrim develops a "discourse of place," a framework for approaching formal texts devoted to the representation of territory across genres. The discourse of place included such varied works as topographical histories, literary anthologies, religious treatises, world geographies, poetry, travel literature, and maps.
By closely reading and analyzing these works, Antrim argues that their authors imagined plots of land primarily as homes, cities, and regions and associated them with a range of claims to religious and political authority. She contends that these are evidence of the powerful ways in which the geographical imagination was tapped to declare loyalty and invoke belonging in the early Islamic world, reinforcing the importance of the earliest regional mapping tradition in the Islamic world.
Routes and Realms challenges a widespread tendency to underestimate the importance of territory and to over-emphasize the importance of religion and family to notions of community and belonging among Muslims and Arabs, both in the past and today.

Though the distance between opera and popular music seems immense today, a century ago opera was an integral part of American popular music culture, and familiarity with opera was still a part of American "cultural literacy." During the Ragtime era, hundreds of humorous Tin Pan Alley songs centered on operatic subjects-either directly quoting operas or alluding to operatic characters and vocal stars of the time. These songs brilliantly captured the moment when popular music in America transitioned away from its European operatic heritage, and when the distinction between low- and high-brow "popular" musical forms was free to develop, with all its attendant cultural snobbery and rebellion.
Author Larry Hamberlin guides us through this large but oft-forgotten repertoire of operatic novelties, and brings to life the rich humor and keen social criticism of the era. In the early twentieth-century, when new social forces were undermining the view that our European heritage was intrinsically superior to our native vernacular culture, opera-that great inheritance from our European forebearers-functioned in popular discourse as a signifier for elite culture. Tin Pan Opera shows that these operatic novelty songs availed this connection to a humorous and critical end. Combining traditional, European operatic melodies with the new and American rhythmic verve of ragtime, these songs painted vivid images of immigrant Americans, liberated women, and upwardly striving African Americans, striking emblems of the profound transformations that shook the United States at the beginning of the American century.

In Spectacular Men, Sarah E. Chinn investigates how working class white men looked to the early American theatre for examples of ideal manhood. Theatre-going was the primary source of entertainment for working people of the early Republic and the Jacksonian period, and plays implicitly and explicitly addressed the risks and rewards of citizenship. Ranging from representations of the heroes of the American Revolution to images of doomed Indians to plays about ancient Rome, Chinn unearths dozens of plays rarely read by critics. Spectacular Men places the theatre at the center of the self-creation of working white men, as voters, as workers, and as Americans.

In 1856, a teenage girl led 40000 to their deaths in the Eastern Cape.

When Treive Nicholas arrived in the 1980s to teach, he was captivated by the Wild Coast. Researching its history, he explores the Cattle Killing of 1856-1857. Was Nongqawuse a deceiver or a liberation leader?

Treive's quest spans continents, from South Africa to England, ending with a shocking revelation closer to home than expected.

Fashion History: A Global View proposes a new perspective on fashion history. Arguing that fashion has occurred in cultures beyond the West throughout history, this groundbreaking book explores the geographic places and historical spaces that have been largely neglected by contemporary fashion studies, bringing them together for the first time. Reversing the dominant narrative that privileges Western Europe in the history of dress, Welters and Lillethun adopt a cross-cultural approach to explore a vast array of cultures around the globe. They explore key issues affecting fashion systems, ranging from innovation, production and consumption to identity formation and the effects of colonization. Case studies include the cross-cultural trade of silk textiles in Central Asia, the indigenous dress of the Americas and of Hawai'i, the cosmetics of the Tang Dynasty in China, and stylistic innovation in sub-Saharan Africa. Examining the new lessons that can be deciphered from archaeological findings and theoretical advancements, the book shows that fashion history should be understood as a global phenomenon, originating well before and beyond the fourteenth century European court, which is continually, and erroneously, cited as fashion's birthplace. Providing a fresh framework for fashion history scholarship, Fashion History: A Global View will inspire inclusive dress narratives for students and scholars of fashion, anthropology, and cultural studies.

Among the voyages of exploration and surveying in the late 18th century, that of Alejandro Malaspina best represents the high ideals and scientific interests of the Enlightenment. Italian-born, Malaspina entered the Spanish navy in 1774. In September 1788 he and fellow-officer Jose Bustamante submitted a plan to the Ministry of Marine for a voyage of survey and inspection to Spanish territories in the Americas and Philippines. The expedition was to produce hydrographic charts for the use of Spanish merchantmen and warships and to report on the political, economic and defensive state of Spain's overseas possessions. The plan was approved and in July 1789 Malaspina and Bustamante sailed from CA!diz in the purpose-built corvettes, Descubierta and Atrevida. On board the vessels were scientists and artists and an array of the latest surveying and astronomical instruments. The voyage lasted more than five years. On his return Malaspina was promoted Brigadier de la Real Armada, and began work on an account of the voyage in seven volumes to dwarf the narratives of his predecessors in the Pacific such as Cook and Bougainville. Among much else, it would contain sweeping recommendations for reform in the governance of Spain's overseas empire. But Malaspina became involved in political intrigue. In November 1795 he was arrested, stripped of his rank and sentenced to life imprisonment. Although released in 1803, Malaspina spent the last seven years of his life in obscure retirement in Italy. He never resumed work on the great edition, and his journal was not published in Spain until 1885. Only in recent years has a multi-volume edition appeared under the auspices of the Museo Naval, Madrid, that does justice to the achievements of what for long was a forgotten voyage. This first volume of a series of three contains Malaspina's diario or journal from 31 July 1789 to 14 December 1790, newly translated into English, with substantial introduction and commentary. Among the places visited and described are Montevideo, Puerto Deseado, Port Egmont, Puerto San Carlos, ValparaA so, Callao, Guayaquil and PanamA!. Other texts include Malaspina's introduction to his intended edition, and his correspondence with the Minister of the Marine before and during the voyage.

Conventional wisdom holds that the US Army in Vietnam, thrust into an unconventional war where occupying terrain was a meaningless measure of success, depended on body counts as its sole measure of military progress. In No Sure Victory, Army officer and historian Gregory Daddis looks far deeper into the Army's techniques for measuring military success and presents a much more complicated-and disturbing-account of the American misadventure in Indochina.
Daddis shows how the US Army, which confronted an unfamiliar enemy and an even more unfamiliar form of warfare, adopted a massive, and eventually unmanageable, system of measurements and formulas to track the progress of military operations that ranged from pacification efforts to search-and-destroy missions. The Army's monthly "Measurement of Progress" reports covered innumerable aspects of the fighting in Vietnam-force ratios, Vietcong/North Vietnamese Army incidents, tactical air sorties, weapons losses, security of base areas and roads, population control, area control, and hamlet defenses. Concentrating more on data collection and less on data analysis, these indiscriminate attempts to gauge success may actually have hindered the army's ability to evaluate the true outcome of the fight at hand--a roadblock that Daddis believes significantly contributed to the many failures that American forces suffered in Vietnam.
Filled with incisive analysis and rich historical detail, No Sure Victory is not only a valuable case study in unconventional warfare, but a cautionary tale that offers important perspectives on how to measure performance in current and future armed conflict. Given America's ongoing counterinsurgency efforts in Iraq and Afghanistan, No Sure Victory provides valuable historical perspective on how to measure--and mismeasure--military success.

The Panama Canal is a world-famous site central to the global economy, but the social, cultural, and political history of the country along this waterway is little known outside its borders. In Musica Tipica, author Sean Bellaviti sheds light on a key element of Panamanian culture, namely the story of cumbia or, as Panamanians frequently call it, "musica tipica," a form of music that enjoys unparalleled popularity throughout Panama. Through extensive archival and ethnographic research, Bellaviti reconstructs a twentieth-century social history that illuminates the crucial role music has played in the formation of national identities in Latin America. Focusing, in particular, on the relationship between cumbia and the rise of populist Panamanian nationalism in the context of U.S. imperialism, Bellaviti argues that this hybrid musical form, which forges links between the urban and rural as well as the modern and traditional, has been essential to the development of a sense of nationhood among Panamanians. With their approaches to musical fusion and their carefully curated performance identities, cumbia musicians have straddled some of the most pronounced schisms in Panamanian society.

On April 14, 1861, following the surrender of Fort Sumter, Washington was "put into the condition of a siege," declared Abraham Lincoln. Located sixty miles south of the Mason-Dixon Line, the nation's capital was surrounded by the slave states of Maryland and Virginia. With no fortifications and only a handful of trained soldiers, Washington was an ideal target for the Confederacy. The South echoed with cries of "On to Washington " and Jefferson Davis's wife sent out cards inviting her friends to a reception at the White House on May 1.
Lincoln issued an emergency proclamation on April 15, calling for 75,000 troops to suppress the rebellion and protect the capital. One question now transfixed the nation: whose forces would reach Washington first-Northern defenders or Southern attackers?
For 12 days, the city's fate hung in the balance. Washington was entirely isolated from the North-without trains, telegraph, or mail. Sandbags were stacked around major landmarks, and the unfinished Capitol was transformed into a barracks, with volunteer troops camping out in the House and Senate chambers. Meanwhile, Maryland secessionists blocked the passage of Union reinforcements trying to reach Washington, and a rumored force of 20,000 Confederate soldiers lay in wait just across the Potomac River.
Drawing on firsthand accounts, The Siege of Washington tells this story from the perspective of leading officials, residents trapped inside the city, Confederates plotting to seize it, and Union troops racing to save it, capturing with brilliance and immediacy the precarious first days of the Civil War.

This volume demonstrates the recent direction of cultural history, as it is now being practiced in both history and musicology, to grasp the realms of human experience, understanding and meaning-how they are constructed, negotiated and communicated on both an individual and a social level. Just as historians in their quest to understand the construction and transmission of meaning, musicologists are turning to new inquiries into cultural representations and their social dynamics, while remaining aware of music's distinctive "register" of representation as an abstract language and a performing art. As the case studies analyzed by musicologists and historians in this volume attest, both fields are not only posing similar questions but attempting to study music itself together with the relevant framing factors and contexts that imbued it with meaning. They are seeking to do so within a factually accurate yet theoretically sophisticated interpretation that combines the insights into language and semiotics characteristic of "the new cultural history" and "new musicology" of the 1980s and '90s with more recent sociological theories and their perspective on how symbols function within the larger field of social power. The volume illuminates how musicologists and historians are practicing the new cultural history of music, employing similar rubrics and specifically those emerging from the recent synthesis of theoretical perspectives on language, symbols, meanings, and their social as well as political dynamics. These include questions of cultural identity and its expression, or its constructions, representations and exchanges, into which music provides a significant mode of access. The scholars who work in these areas are concerned with those cultural sites of the construction or attempted control of identity, as well as its interrogation through active agency on a social and on an individual level, which embraces subjectivity in its relation to the larger cultural unit. Here we may see attempts on the part of both historians and musicologists to engage with the new ways of perceiving the articulation of music, ideology, and politics opened up by figures such as Foucault, Bourdieu, Elias, Habermas and others. Their study of meanings and symbols is thus both relational and contextual as they strive to unlock the idioms not only of social and political power, but of the strategies of contestation or of refusal. Other scholars represented in this volume are particularly interested in cultural practice, collective memory, transmission and evaluation as it is forged and then negotiated, here influenced by figures such as de Certeau, Corbin, Chartier and Nora. Hence a part of this collection is devoted to cultural experience, practice and appropriations, grouping together those cultural arenas in which music both illuminates and is further illuminated by a study of uses, collective practices, modes of inscription, and of evaluation or reception. The contributors here, both historians and musicologists, are apprised of all the dimensions that may affect the construction of signification, including specific material inscriptions as well as the symbolic potential of the artistic language. Hence here we see a concern, characteristic of "the new cultural history," with how the forms assumed by texts may become an essential element in the creation of their meaning since different groups encounter, "possess," and experience a work in various ways, and within the context of substantially different aural and visual cultures.

Brace yourself for a thrilling journey into the heart of black life and culture through the philosophy of Hibirism, masterminded by Donald Mokgale and Ernest Nkomotje.

Hibirism ● (noun): Derived from the social greeting ‘hibiri’, made famous by the South African song Sister Bethina (a hit by musician Mgarimbe in 2006), Hibirism adds depth and meaning to the salutation and signifier ‘hibiri’. The goal is to explain some of the underlying reasons behind our actions and uncover profound insights within the experiences of black life. Ultimately, Hibirism transforms an empty signifier into a noun, referring to a specific philosophy or set of ideas that elevate social situations and challenge existing norms.

This book contains humorous anecdotes, thought-provoking ideas, witty banter, and profound observations on black life, showcasing Hibirism at play. The book also shows how Hibirism can be used as a tool for creative problem-solving as it probes deeper into conventions to unearth insights like no other framework.

Among many captivating topics, they embark on a quest to discover the perfect vetkoek (igwinya), draw parallels between the arrangement of atoms and four-four masihlalisane (a seating arrangement in local taxis), offer a deep dive into the Amapiano movement, and even share the tale of Bobby, a beloved township dog known to survive on nothing but a diet of pap and H2O.

If you are an individual or a business aiming to deepen your understanding and build a more meaningful connection with the black world, Introducing Hibirism is for you.

Join the movement. Hibiri …

When George S. Halas was asked to rebuild the Staley Company's football club in Decatur, Illinois in 1920, nobody could have imagined that his efforts would forever change Sunday afternoons in America. Halas helped found the National Football League, and with it the Chicago Bears, the most storied franchise in the league's history. From the Galloping Ghost, to the Monsters of the Midway, to that indomitable "46" defense -- the "Grabowskis" as their coach named them -- Bears teams and players have made such an impact on the city of big shoulders that Chicago will be forever known as a "Bears town."

From the US Capitol to the Lincoln Memorial and the 9/11 Memorial Museum, classical forms and ideas have been central to an American nationalist aesthetic. Beginning with an understanding of this centrality of the classical tradition to the construction of American national identity and the projection of American power, Empire of Ruin describes a mode of black classicism that has been integral to the larger critique of American politics, aesthetics, and historiography that African American cultural production has more generally advanced. While the classical tradition has provided a repository of ideas and images that have allowed white American elites to conceive of the nation as an ideal Republic and the vanguard of the idea of civilization, African American writers, artists, and activists have characterized this dominant mode of classical appropriation as emblematic of a national commitment to an economy of enslavement and a geopolitical project of empire. If the dominant forms of American classicism and monumental culture have asserted the ascendancy of what Thomas Jefferson called an "empire for liberty," for African American writers and artists it has suggested that the nation is nothing exceptional, but rather another iteration of what the radical abolitionist Henry Highland Garnet identified as an "empire of slavery," inexorably devolving into an "empire of ruin."

Dit is 1713. VOC-admiraal Johannes van Steelant bring sy ryklik belaaide retoervloot via die Kaapse diensstasie terug na Nederland uit Batavia. Saam op die vlagskip, sy vyf jong kinders. Op die oop see raak hulle een-een siek. Hete koors, maagpyn, swere – die gevreesde pokke.

Op 12 Februarie gaan die gesin, nou almal gesond, aan land in Tafelbaai. Hul skeepsklere word gewas in die VOC se slawelosie. Enkele maande later is byna die helfte van die Kaapse bevolking dood aan pokke.

In Retoervloot bring VOC-kenner Dan Sleigh dié gegewe, en die verbysterende werkinge van die VOC-retoervlootstelsel, lewend voor die oog. Aan die hand van Van Steelant se nuut-ontdekte skeepsjoernaal, met die agtergrondinkleding wat ’n meesterlike geskiedkundige soos Sleigh kan bied, staan die leser op die dek van vlagskip Sandenburg – ’n magtige skip van ’n roemryke organisasie, dog uitgelewer aan die woedende oseaan. Verder is Retoervloot ’n gedenksteen vir Kaapstad se grootste ramp tot op hede