The 1960s saw the nexus of the revolution in popular music by a post-war generation amid demographic upheavals and seismic shifts in technology. Over the past two decades, musicians associated with this period have produced a large amount of important autobiographical writing. This book situates these works -- in the forms of formal autobiographies and memoirs, auto-fiction, songs, and self-fashioned museum exhibitions -- within the context of the recent expansion of interest in autobiography, disability, and celebrity studies. It argues that these writings express anxiety over musical originality and authenticity, and seeks to dispel their writers' celebrity status and particularly the association with a lack of seriousness. These works often constitute a meditation on the nature of postmodern fame within a celebrity-obsessed culture, and paradoxically they aim to regain the private self in a public forum.

This book examines the range of the colonial imaginary in Eliot's works, from the domestic and regional to ancient and speculative colonialisms. It challenges monolithic, hegemonic views of George Eliot - whose novelistic career paralleled the creation of British India - and also dismissals of the postcolonial as ahistorical. It uncovers often-overlooked colonized figures in the novels. It also investigates Victorian Islamophobia in light of Eliot's impatience with ignorance, intolerance, and xenophobia as well as her interrogation of the make-believe of endings. Drawing on a range of sources from Eugene Bodichon's Algerian anthropological texts, the Persian journals of John Martyn, and postmodern re-engagements, Postcolonial George Eliot has implications for an understanding of the globalization of English, the decolonization of disciplinarity and periodization, and the roots of present-day conflict in the wider Mediterranean world.

Woodstock University addresses the educational interface of 1969's iconic Woodstock Festival, as a number of its attendees and performers would later become academics 'with a touch of gray,' and it also considers the role of music in Woodstock's legacy as the embodiment of 1960s countercultural idealism, escapism, and activism. A self-mythologizing event, as indicated by congratulatory stage announcements, Woodstock made a real-time claim for its own historic importance. Elevated by its remarkable (and in some cases doctored) audio, celluloid, and oral history afterlives, Woodstock would enhance the aura of rock star celebrity, and in the process expose the counterculture as a cash cow and weaponize the machinery of corporate rock. The essays in this collection are the participant observations of performers and attendees of Woodstock and related festivals, and also the reflections of cultural historians on aspects of the festival, its representation, and its ambiguous legacy. The chapters in this book were originally published as a special issue of the journal Popular Music and Society.

Addressing a neglected dimension in postcolonial scholarship, Oliver Lovesey examines the figure of the postcolonial intellectual as repeatedly evoked by the fabled troika of Said, Spivak, and Bhabha and by members of the pan-African diaspora such as Cabral, Fanon, and James. Lovesey's primary focus is NgA (c)gAE (c) wa Thiong'o, one of the greatest writers of post-independence Africa. NgA (c)gAE (c) continues to be a vibrant cultural agitator and innovator who, in contrast to many other public intellectuals, has participated directly in grassroots cultural renewal, enduring imprisonment and exile as a consequence of his engagement in political action. Lovesey's comprehensive study concentrates on NgA (c)gAE (c)'s non-fictional prose writings, including his largely overlooked early journalism and his most recent autobiographical and theoretical work. He offers a postcolonial critique that acknowledges NgA (c)gAE (c)'s complex position as a virtual spokesperson for the oppressed and global conscience who now speaks from a location of privilege. NgA (c)gAE (c)'s writings, Lovesey shows, display a seemingly paradoxical consistency in their concerns over nearly five decades at the same time that there have been enormous transformations in his ideology and a shift in his focus from Africa's holocaust to Africa's renaissance. Lovesey argues that NgA (c)gAE (c)'s view of the intellectual has shifted from an alienated, nearly neocolonial stance to a position that allows him to celebrate intellectual activism and a return to the model of the oral vernacular intellectual even as he challenges other global intellectuals. Tracing the development of this notion of the postcolonial intellectual, Lovesey argues for NgA (c)gAE (c)'s rightful position as a major postcolonial theorist who helped establish postcolonial studies.

The writers of these novels were involved in various types of activism, using approaches ranging from conservative amelioration to radical militancy. Their works employ a broad variety of genres from the novel of manners, sensation, education and vocation, to allegory, romance and lesbian fiction.

The writers of these novels were involved in various types of activism, using approaches ranging from conservative amelioration to radical militancy. Their works employ a broad variety of genres from the novel of manners, sensation, education and vocation, to allegory, romance and lesbian fiction.

The writers of these novels were involved in various types of activism, using approaches ranging from conservative amelioration to radical militancy. Their works employ a broad variety of genres from the novel of manners, sensation, education and vocation, to allegory, romance and lesbian fiction.

The writers of these novels were involved in various types of activism, using approaches ranging from conservative amelioration to radical militancy. Their works employ a broad variety of genres from the novel of manners, sensation, education and vocation, to allegory, romance and lesbian fiction.

Popular Music and the Postcolonial addresses the often-overlooked relationship between the fields of popular music and postcolonial studies, and it has implications for ethnomusicology, cultural and literary studies, history, sociology, and political economy. Popular music in its many forms exploded in popularity, following developments in sound technology and shifting population demographics, in the 1960s, the era of radical agitation against empires in the global south but also within the very heart of Europe. Popular music aided in fostering and documenting such resistance to violent oppression and in liberating the hearts and minds of the colonized. This collection offers a timely intervention in this field, showing popular music's role in defining or undermining certain colonial and postcolonial nations, in expanding and complicating the domain of postcolonial theorists-including the "founder" of postcolonial studies Edward Said-and in decolonizing the ears of its diverse, sometimes antagonistic, audiences. This book was originally published as a special issue of Popular Music and Society.

Addressing a neglected dimension in postcolonial scholarship, Oliver Lovesey examines the figure of the postcolonial intellectual as repeatedly evoked by the fabled troika of Said, Spivak, and Bhabha and by members of the pan-African diaspora such as Cabral, Fanon, and James. Lovesey's primary focus is NgA (c)gAE (c) wa Thiong'o, one of the greatest writers of post-independence Africa. NgA (c)gAE (c) continues to be a vibrant cultural agitator and innovator who, in contrast to many other public intellectuals, has participated directly in grassroots cultural renewal, enduring imprisonment and exile as a consequence of his engagement in political action. Lovesey's comprehensive study concentrates on NgA (c)gAE (c)'s non-fictional prose writings, including his largely overlooked early journalism and his most recent autobiographical and theoretical work. He offers a postcolonial critique that acknowledges NgA (c)gAE (c)'s complex position as a virtual spokesperson for the oppressed and global conscience who now speaks from a location of privilege. NgA (c)gAE (c)'s writings, Lovesey shows, display a seemingly paradoxical consistency in their concerns over nearly five decades at the same time that there have been enormous transformations in his ideology and a shift in his focus from Africa's holocaust to Africa's renaissance. Lovesey argues that NgA (c)gAE (c)'s view of the intellectual has shifted from an alienated, nearly neocolonial stance to a position that allows him to celebrate intellectual activism and a return to the model of the oral vernacular intellectual even as he challenges other global intellectuals. Tracing the development of this notion of the postcolonial intellectual, Lovesey argues for NgA (c)gAE (c)'s rightful position as a major postcolonial theorist who helped establish postcolonial studies.

Popular Music and the Postcolonial addresses the often-overlooked relationship between the fields of popular music and postcolonial studies, and it has implications for ethnomusicology, cultural and literary studies, history, sociology, and political economy. Popular music in its many forms exploded in popularity, following developments in sound technology and shifting population demographics, in the 1960s, the era of radical agitation against empires in the global south but also within the very heart of Europe. Popular music aided in fostering and documenting such resistance to violent oppression and in liberating the hearts and minds of the colonized. This collection offers a timely intervention in this field, showing popular music's role in defining or undermining certain colonial and postcolonial nations, in expanding and complicating the domain of postcolonial theorists-including the "founder" of postcolonial studies Edward Said-and in decolonizing the ears of its diverse, sometimes antagonistic, audiences. This book was originally published as a special issue of Popular Music and Society.

This classic novel, first published in 1860, tells the story of Maggie Tulliver. Intelligent and headstrong but trapped by the conventions of family tradition and rural life, Maggie is one of the great heroines of Victorian literature. Along with Maggie's story, the novel also tells a companion tale of the social pressures that restrict the vision of her beloved brother Tom. George Eliot's most autobiographical novel, The Mill on the Floss remains one of her most popular and influential works. This Broadview edition includes a critical introduction and extensive contextualizing notes as well as a broad range of appendices drawn from contemporary documents dealing with issues such as 19th-century views of disability, education, and the Woman Question.

The 1960s saw the nexus of the revolution in popular music by a post-war generation amid demographic upheavals and seismic shifts in technology. Over the past two decades, musicians associated with this period have produced a large amount of important autobiographical writing. This book situates these works -- in the forms of formal autobiographies and memoirs, auto-fiction, songs, and self-fashioned museum exhibitions -- within the context of the recent expansion of interest in autobiography, disability, and celebrity studies. It argues that these writings express anxiety over musical originality and authenticity, and seeks to dispel their writers’ celebrity status and particularly the association with a lack of seriousness. These works often constitute a meditation on the nature of postmodern fame within a celebrity-obsessed culture, and paradoxically they aim to regain the private self in a public forum.

Whilst today the women authors of these works are better known for their campaigns and non-fiction, the novels presented in this four-volume reset edition are key in fully understanding them as individuals, as well as the causes they were fighting for. Their works employ a broad variety of genres from the novel of manners, sensation, education and vocation, to allegory, romance, female bildungsroman and lesbian fiction. The position of fiction in the careers of these women is complex. Fiction writing was widely recognized as a 'profession' open to women, supplying ready money for personal expenses and for the social cause. It also permitted access to a broad readership that could not be accessed through pamphlets or periodicals, and it allowed the potential for influential literary celebrity. Moreover, romance and the novel had an important position in female education, and fiction allowed writers to voice some of their most unorthodox opinions. With notes on the text.

Twayne's United States Authors, English Authors, and World Authors Series present concise critical introductions to great writers and their works.

Devoted to critical interpretation and discussion of an author's work, each study takes account of major literary trends and important scholarly contributions and provides new critical insights with an original point of view. An Authors Series volume addresses readers ranging from advanced high school students to university professors. The book suggests to the informed reader new ways of considering a writer's work.

Each volume features:

-- A critical, interpretive study and explication of the author's works

-- A brief biography of the author

-- An accessible chronology outlining the life, the work, and relevant historical context

-- Aids for further study: complete notes and references, a selected annotated bibliography and an index

-- A readable style presented in a manageable length

Novelist, playwright and literary theorist, Ngugi is one of the most important contemporary writers in Anglophone Africa. His prize-winning "Weep Not, Child" was the first major novel in English by an East African. Lovesy looks at his life, major works and influences.