Black Horizons

Presents the Pulitzer Prize-winning collection of the complete poems of twentieth-century American poet Carl Sandburg.

Pittsburgh has a rich and diverse theatrical tradition, from early frontier performances by officers stationed at Fort Pitt through experimental theater at the end of the twentieth century. Pittsburgh in Stages offers the first comprehensive history of theater in Pittsburgh, placing it within the context of cultural development in the city and the history of theater nationally.By the time the first permanent theater was built in 1812, Pittsburgh had already established itself as a serious patron of the theatrical arts. The city soon hosted New York and London-based traveling companies, and gained a national reputation as a proving ground for touring productions. By the early twentieth century, numerous theaters hosted 'popular-priced' productions of vaudeville and burlesque, and theater was brought to the masses. Soon after, Pittsburgh witnessed the emergence of myriad community-based theater groups and the formation of the Federation of Non-Commercial Theatres and the New Theater League, guilds designed to share resources among community producers. The rise of local theater was also instrumental to the growth of African American theatrical groups. Though victims of segregation, their art flourished, and was only later recognized and blended into Pittsburgh's theatrical melting pot.Pittsburgh in Stages relates the significant influence and interpretation of urban socioeconomic trends in the theatrical arts and the role of the theater as an agent of social change. Dividing Pittsburgh's theatrical history into distinct eras, Lynne Conner details the defining movements of each and analyzes how public tastes evolved over time. She offers a fascinating study of regional theatrical development and underscores the substantial contribution of regional theater in the history of American theatrical arts.

During the last decades, soil organic carbon (SOC) attracted the attention of a much wider array of specialists beyond agriculture and soil science, as it was proven to be one of the most crucial components of the earth’s climate system, which has a great potential to be managed by humans. Soils as a carbon pool are one of the key factors in several Sustainable Development Goals, in particular Goal 15, “Protect, restore and promote sustainable use of terrestrial ecosystems, sustainably manage forests, combat desertification and halt and reverse land degradation and halt biodiversity loss” with the SOC stock being explicitly cited in Indicator 15.3.1. This technical manual is the first attempt to gather, in a standardized format, the existing data on the impacts of the main soil management practices on SOC content in a wide array of environments, including the advantages, drawbacks, and constraints. This manual presents different sustainable soil management (SSM) practices at different scales and in different contexts, supported by case studies that have been shown with quantitative data to have a positive effect on SOC stocks and successful experiences of SOC sequestration in practical field applications. Volume 2 includes a description of hot spots of SOC stocks. This manual defines hot spots of SOC as areas that represent a proportionally little of the global land surface but on which SOC storage is highly effective; bright spots as large land areas with low SOC stocks per km2 that represent a potential for further carbon sequestration.

Black Horizons is the memoir of an orphan who went from the bottom to become a pioneering aviator, businessman and politician in the post-Tuskegee Airmen era. As a poor African-American youngster picking cotton in a 1930s Tennessee field, U.L. Rip Gooch would look to the sky as airplanes flew overhead and think about escaping to a better life. Soon after World War II, he earned his pilot's license with "Chief" C. Alfred Anderson, but found that racist hiring practices among airlines and other companies did not allow employment of black aviators, even those who gained fame as Tuskegee Airmen. Rip fought back using business principles instead of violence. In time he built a million-dollar aviation business selling Mooney Aircraft in the Air Capital of the World (Wichita, Kansas), accrued 20,000 flight hours, and became one of the few black politicians in one of the most conservative states in the nation. *** "Sen. Rip Gooch is a man of integrity, a role model and a leader. He has served the people of Wichita and Kansas in ways that can never be measured." - Kathleen Sebelius, former governor of Kansas *** "As told in this book, the life of Rip Gooch has been a combination of joys and sorrows, challenges, opportunities and successes." - George Haley, former U.S. ambassador to Gambia

Macelle Mahala’s rich study of contemporary African American theater institutions reveals how they reflect and shape the histories and cultural realities of their cities. Arguing that the community in which a play is staged is as important to the work’s meaning as the script or set, Mahala focuses on four cities’ “arts ecologies” to shed new light on the unique relationship between performance and place: Cleveland, home to the oldest continuously operating Black theater in the country; Pittsburgh, birthplace of the legendary playwright August Wilson; San Francisco, a metropolis currently experiencing displacement of its Black population; and Atlanta, a city with forty years of progressive Black leadership and reverse migration. Black Theater, City Life looks at Karamu House Theatre, the August Wilson African American Cultural Center, Pittsburgh Playwrights’ Theatre Company, the Lorraine Hansberry Theatre, the African American Shakespeare Company, the Atlanta Black Theatre Festival, and Kenny Leon’s True Colors Theatre Company to demonstrate how each organization articulates the cultural specificities, sociopolitical realities, and histories of African Americans. These companies have faced challenges that mirror the larger racial and economic disparities in arts funding and social practice in America, while their achievements exemplify such institutions’ vital role in enacting an artistic practice that reflects the cultural backgrounds of their local communities. Timely, significant, and deeply researched, this book spotlights the artistic and civic import of Black theaters in American cities.

The aim of this book is to provide the reader with a guide to Hawking radiation through a dual approach to the problem. After an introductory chapter containing some basic knowledge about black holes and quantum field theory in curved spacetime, the first part of the book consists in a survey of methods for deriving and studying Hawking radiation from astrophysical black holes, from the original calculation by S W Hawking to the most recent contributions involving tunneling and gravitational anomalies. In the second part, we introduce analogue gravity, and we focus our attention to dielectric black hole systems, to which the studies of the present authors are devoted. The mutual interchange of knowledge between the aforementioned parts is addressed to render a more comprehensive picture of this very fascinating quantum phenomenon associated with black holes.

In Horizon, Sea, Sound: Caribbean and African Women’s Cultural Critiques of Nation, Andrea Davis imagines new reciprocal relationships beyond the competitive forms of belonging suggested by the nation-state. The book employs the tropes of horizon, sea, and sound as a critique of nation-state discourses and formations, including multicultural citizenship, racial capitalism, settler colonialism, and the hierarchical nuclear family. Drawing on Tina Campt’s discussion of Black feminist futurity, Davis offers the concept future now, which is both central to Black freedom and a joint social justice project that rejects existing structures of white supremacy. Calling for new affiliations of community among Black, Indigenous, and other racialized women, and offering new reflections on the relationship between the Caribbean and Canada, she articulates a diaspora poetics that privileges our shared humanity. In advancing these claims, Davis turns to the expressive cultures (novels, poetry, theater, and music) of Caribbean and African women artists in Canada, including work by Dionne Brand, M. NourbeSe Philip, Esi Edugyan, Ramabai Espinet, Nalo Hopkinson, Amai Kuda, and Djanet Sears. Davis considers the ways in which the diasporic characters these artists create redraw the boundaries of their horizons, invoke the fluid histories of the Caribbean Sea to overcome the brutalization of plantation histories, use sound to enter and reenter archives, and shapeshift to survive in the face of conquest. The book will interest readers of literary and cultural studies, critical race theories, and Black diasporic studies.

Penumbra Theatre Company was founded in 1976 by Lou Bellamy as a venue for African American voices within the Twin Cities theatre scene and has stood for more than thirty-five years at the intersection of art, culture, politics, and local community engagement. It has helped launch the careers of many internationally respected theatre artists and has been repeatedly recognized for its artistic excellence as the nation’s foremost African American theatre. Penumbra is the first-ever history of this barrier-breaking institution. Based on extensive interviews with actors, directors, playwrights, producers, funders, and critics, Macelle Mahala’s book offers a multifaceted view of the theatre and its evolution. Penumbra follows the company’s emergence from the influential Black Arts and settlement house movements; the pivotal role Penumbra played in the development of August Wilson’s career and, in turn, how Wilson became an avid supporter and advocate throughout his life; the annual production of Black Nativity as a community-building performance; and the difficult economics of African American theatre production and how Penumbra has faced these challenges for nearly four decades. Penumbra is a testament to how a theatre can respond to and thrive within changing political and cultural realities while contributing on a national scale to the African American presence on the American stage. It is a celebration of theatre as a means of social and cultural involvement—both local and national—and ultimately, of Penumbra’s continuing legacy of theatre that is vibrant, diverse, and vital.