The beating of Rodney King and the resulting riots in South Central Los Angeles. The violent clash between Hasidim and African-Americans in Crown Heights. The boats of Haitian refugees being turned away from the Land of Opportunity. These are among the many racially-charged images that have burst across our television screens in the last year alone, images that show that for all our complacent beliefs in a melting-pot society, race is as much of a problem as ever in America. In this vastly important, widely-acclaimed volume, Kwame Anthony Appiah, a Ghanaian philosopher who now teaches at Harvard, explores, in his words, "the possibilities and pitfalls of an African identity in the late twentieth century." In the process he sheds new light on what it means to be an African-American, on the many preconceptions that have muddled discussions of race, Africa, and Afrocentrism since the end of the nineteenth century, and, in the end, to move beyond the idea of race. In My Father's House is especially wide-ranging, covering everything from Pan Africanism, to the works of early African-American intellectuals such as Alexander Crummell and W.E.B. Du Bois, to the ways in which African identity influences African literature. In his discussion of the latter subject, Appiah demonstrates how attempts to construct a uniquely African literature have ignored not only the inescapable influences that centuries of contact with the West have imposed, but also the multicultural nature of Africa itself. Emphasizing this last point is Appiah's eloquent title essay which offers a fitting finale to the volume. In a moving first-person account of his father's death and funeral in Ghana, Appiah offers a brilliant metaphor for the tension between Africa's aspirations to modernity and its desire to draw on its ancient cultural roots. During the Los Angeles riots, Rodney King appeared on television to make his now famous plea: "People, can we all get along?" In this beautiful, elegantly written volume, Appiah steers us along a path toward answering a question of the utmost importance to us all.
0 有用 研 2021-01-31 14:35:48
义正辞严。封面是考验读者的隐语。
0 有用 陈美芳˙Ꙫ˙ 2021-03-30 16:24:11
阿皮亚试图揭露艺术界不高尚的一面,艺术界不是仅仅依照艺术或审美的原则在运行,艺术界同时也顾虑艺术市场做出判断。现代主义主张拥有不受历史和文化浸染的标准,它以假定存在的一套普遍有效的标准为理论基础。在艺术的例子中,非洲艺术史被“发现的”,部分是通过现代主义者的评估而被发现的,他们认为非洲艺术拥有在西方现代主义作品中被发现的重要形式。后现代主义拒绝一切排外主义和普遍主义的主张,阿皮亚挑战现代主义者的主... 阿皮亚试图揭露艺术界不高尚的一面,艺术界不是仅仅依照艺术或审美的原则在运行,艺术界同时也顾虑艺术市场做出判断。现代主义主张拥有不受历史和文化浸染的标准,它以假定存在的一套普遍有效的标准为理论基础。在艺术的例子中,非洲艺术史被“发现的”,部分是通过现代主义者的评估而被发现的,他们认为非洲艺术拥有在西方现代主义作品中被发现的重要形式。后现代主义拒绝一切排外主义和普遍主义的主张,阿皮亚挑战现代主义者的主张。 (展开)
0 有用 陈美芳˙Ꙫ˙ 2021-03-30 16:24:11
阿皮亚试图揭露艺术界不高尚的一面,艺术界不是仅仅依照艺术或审美的原则在运行,艺术界同时也顾虑艺术市场做出判断。现代主义主张拥有不受历史和文化浸染的标准,它以假定存在的一套普遍有效的标准为理论基础。在艺术的例子中,非洲艺术史被“发现的”,部分是通过现代主义者的评估而被发现的,他们认为非洲艺术拥有在西方现代主义作品中被发现的重要形式。后现代主义拒绝一切排外主义和普遍主义的主张,阿皮亚挑战现代主义者的主... 阿皮亚试图揭露艺术界不高尚的一面,艺术界不是仅仅依照艺术或审美的原则在运行,艺术界同时也顾虑艺术市场做出判断。现代主义主张拥有不受历史和文化浸染的标准,它以假定存在的一套普遍有效的标准为理论基础。在艺术的例子中,非洲艺术史被“发现的”,部分是通过现代主义者的评估而被发现的,他们认为非洲艺术拥有在西方现代主义作品中被发现的重要形式。后现代主义拒绝一切排外主义和普遍主义的主张,阿皮亚挑战现代主义者的主张。 (展开)
0 有用 研 2021-01-31 14:35:48
义正辞严。封面是考验读者的隐语。