Untitled Autobiography

And Justice For All: Arthur Chaskalson and the Struggle for Equality in South Africa is a biography of a remarkable life lived in service both to law and to the struggle for social change and justice. The social change it describes is the victory over apartheid, which was won on several fronts and through the efforts of people in many nations, but an important one of those fronts lay in the courts of South Africa itself. Arthur Chaskalson enters the historical record in 1963, when he and a team of talented lawyers represented Nelson Mandela in the historic Rivonia Trial. Chaskalson organized legal and non-profit organizations and served as the first president of South Africa's Constitutional Court, which would eventually lead to the deconstruction of apartheid legislation. In exploring his life and career, we appreciate more clearly the roles lawyers can play in social change and the achievement of a just social order, and at the same time we gain insight into the combination of upbringing, experience, and character that shapes a man first into a 'cause lawyer’ and then into a path-breaking and foundation-laying judge.

A biography of one of America's leading humanitarians who, as an advisor to nine presidents, also had a lasting effect on American foreign policy.

Edward "Kid" Ory (1886-1973) was a trombonist, composer, recording artist, and early New Orleans jazz band leader. Creole Trombone tells his story from birth on a rural sugar cane plantation in a French-speaking, ethnically mixed family, to his emergence in New Orleans as the city's hottest band leader. The Ory band featured such future jazz stars as Louis Armstrong and King Oliver, and was widely considered New Orleans's top "hot" band. Ory's career took him from New Orleans to California, where he and his band created the first African American New Orleans jazz recordings ever made. In 1925 he moved to Chicago where he made records with Oliver, Armstrong, and Jelly Roll Morton that captured the spirit of the jazz age. His most famous composition from that period, "Muskrat Ramble," is a jazz standard. Retired from music during the Depression, he returned in the 1940s and enjoyed a reignited career. Drawing on oral history and Ory's unpublished autobiography, Creole Trombone is a story that is told in large measure by Ory himself. The author reveals Ory's personality to the reader and shares remarkable stories of incredible innovations of the jazz pioneer. The book also features unpublished Ory compositions, photographs, and a selected discography of his most significant recordings.

The overlooked story of how ordinary women and their husbands managed financially in the Victorian era – and why so many struggled despite increasing national prosperityNineteenth century Britain saw remarkable economic growth and a rise in real wages. But not everyone shared in the nation’s wealth. Unable to earn a sufficient income themselves, working-class women were reliant on the ‘breadwinner wage’ of their husbands. When income failed, or was denied or squandered by errant men, families could be plunged into desperate poverty from which there was no escape.Emma Griffin unlocks the homes of Victorian England to examine the lives – and finances – of the people who lived there. Drawing on over 600 working-class autobiographies, including more than 200 written by women, Bread Winner changes our understanding of daily life in Victorian Britain.

Autobiographical writings have been a major cultural genre from antiquity to the present time. General questions of the literary as, e.g., the relation between literature and reality, truth and fiction, the dependency of author, narrator, and figure, or issues of individual and cultural styles etc., can be studied preeminently in the autobiographical genre. Yet, the tradition of life-writing has, in the course of literary history, developed manifold types and forms. Especially in the globalized age, where the media and other technological / cultural factors contribute to a rapid transformation of lifestyles, autobiographical writing has maintained, even enhanced, its popularity and importance. By conceiving autobiography in a wide sense that includes memoirs, diaries, self-portraits and autofiction as well as media transformations of the genre, this three-volume handbook offers a comprehensive survey of theoretical approaches, systematic aspects, and historical developments in an international and interdisciplinary perspective. While autobiography is usually considered to be a European tradition, special emphasis is placed on the modes of self-representation in non-Western cultures and on inter- and transcultural perspectives of the genre. The individual contributions are closely interconnected by a system of cross-references. The handbook addresses scholars of cultural and literary studies, students as well as non-academic readers.

In this unique and unprecedented study of birding in Africa, historian Nancy Jacobs reconstructs the collaborations between well-known ornithologists and the largely forgotten guides, hunters, and taxidermists who worked with them. Drawing on ethnography, scientific publications, private archives, and interviews, Jacobs asks: How did white ornithologists both depend on and operate distinctively from African birders? What investment did African birders have in collaborating with ornithologists? By distilling the interactions between European science and African vernacular knowledge, this stunningly illustrated work offers a fascinating examination of the colonial and postcolonial politics of expertise about nature.

In Performing Autobiography, Jenn Stephenson presents an innovative new approach to autobiography studies that links the growing field of research to drama. Stephenson’s analysis engages with performance histories to demonstrate the extent to which the dramatic form, which recasts autobiography as ambiguously fictive, ensures that the experience of the plays remains open to revision, alteration, and interpretation. As such, Performing Autobiography understands this form not to be the impossible documentation of the backward-looking narrative of one’s life, but rather an evolving process of self-creation and transformation. Stephenson explores the autobiographical form by analysing seven works by Canadian playwrights written and performed between 1999 and 2009, including Judith Thompson’s Perfect Pie, Daniel MacIvor’s In On It, and Timothy Findley’s Shadows. Her analysis encourages us to see autobiography as a uniquely political act, one that, where enacted on stage, illustrates the variety of ways that self-reflection and interpretation has an expanding role in contemporary culture.

This annotated anthology presents the first English translation of German photographer Albert Renger-Patzsch’s collected writings. A towering figure in the history of photography, Albert Renger-Patzsch (1897–1966) has come to epitomize New Objectivity, the neorealist movement in modernist literature, film, and the visual arts recognized as the signature artistic style of Germany’s Weimar Republic. Today, his images are regularly exhibited and widely considered key influences on contemporary photographers. Whether they capture geometrically intricate cacti, flooded tidal landscapes, stacks of raw materials, or imposing blast furnace towers, Renger-Patzsch’s photographs embody what his peer Hugo Sieker termed “absolute realism,” an approach predicated upon the idea that photographers have one task: to exploit the camera’s unique capacity to document with uncompromising detail. Not only a photographer, Renger-Patzsch was also an influential and lucid writer who advocated his unique brand of uncompromising realism in almost a half century’s worth of articles, essays, lectures, brochures, and unpublished manuscripts addressing photography, technology, and modernity. Drawing on his papers at the Getty Research Institute and other archives, The Absolute Realist unites in one volume this skillful photographer’s ideas about the defining visual medium of modernity.