03368nam 2200625 450 991045306600332120210515003530.00-520-95792-X10.1525/9780520957923(CKB)2550000001259708(EBL)1666291(SSID)ssj0001212853(PQKBManifestationID)11706307(PQKBTitleCode)TC0001212853(PQKBWorkID)11210795(PQKB)10692419(MiAaPQ)EBC1666291(DE-B1597)519874(OCoLC)876343009(DE-B1597)9780520957923(Au-PeEL)EBL1666291(CaPaEBR)ebr10858243(CaONFJC)MIL589040(EXLCZ)99255000000125970820140426h20142014 uy 0engurun#---|u||utxtccrSavage dreams a journey into the landscape wars of the American West /Rebecca SolnitTwentieth anniversary edition.Berkeley, California ;Los Angeles, California :University of California Press,2014.©20141 online resource (439 p.)Description based upon print version of record.0-520-28228-0 1-306-57789-6 Includes bibliographical references and index.Front matter --Contents --PREFACE TO THE TWENTIETH ANNIVERSARY EDITION --Acknowledgments --From Hell to Breakfast --Like Moths to a Candle --April Fool's Day --Trees --Lise Meitner's Walking Shoes --Golden Hours and Iron County --Ruby Valley and the Ranch --The War --Keeping Pace with the Tortoise --The Rainbow --Spectators --Framing the View --Vanishing (Remaining) --Fire in the Garden --The Name of the Snake --Up the River of Mercy --Savage's Grave --Full Circle --Afterword to the 1999 Edition --Sources --Index"A beautiful, absorbing, tragic book."-Larry McMurtryIn 1851, a war began in what would become Yosemite National Park, a war against the indigenous inhabitants. A century later-in 1951-and a hundred and fifty miles away, another war began when the U.S. government started setting off nuclear bombs at the Nevada Test Site. It was called a nuclear testing program, but functioned as a war against the land and people of the Great Basin. In this foundational book of landscape theory and environmental thinking, Rebecca Solnit explores our national Eden and Armageddon and offers a pathbreaking history of the west, focusing on the relationship between culture and its implementation as politics. In a new preface, she considers the continuities and changes of these invisible wars in the context of our current climate change crisis, and reveals how the long arm of these histories continue to inspire her writing and hope.LandscapesWest (U.S.)HistoryYosemite National Park (Calif.)West (U.S.)Description and travelElectronic books.LandscapesHistory.917.8042Solnit Rebecca596398MiAaPQMiAaPQMiAaPQBOOK9910453066003321Savage dreams2485982UNINA03678nam 2200769Ia 450 991079223190332120200520144314.00-19-802437-197866105267961-4294-0641-01-280-52679-31-280-53503-297866105350330-19-510975-92027/heb06332(CKB)2560000000296412(EBL)273151(OCoLC)466431378(SSID)ssj0000225316(PQKBManifestationID)12044709(PQKBTitleCode)TC0000225316(PQKBWorkID)10230154(PQKB)10480278(SSID)ssj0000306597(PQKBManifestationID)11226550(PQKBTitleCode)TC0000306597(PQKBWorkID)10298175(PQKB)11499200(StDuBDS)EDZ0000034515(MiAaPQ)EBC273151(MiAaPQ)EBC5121561(Au-PeEL)EBL273151(CaPaEBR)ebr10278036(CaONFJC)MIL52679(dli)HEB06332(MiU)MIU01000000000000012846707(EXLCZ)99256000000029641219940103d1995 uy 0engur|n|---|||||txtccrThe power of Black music[electronic resource] interpreting its history from Africa to the United States /Samuel A. Floyd, JrNew York Oxford University Pressc19951 online resource (421 p.)Description based upon print version of record.0-19-508235-4 0-19-985324-X Includes bibliographical references (p. 279-295), discography (p. 297-304), filmography (p. 305), and index.Cover Page; Title Page; Copyright Page; Dedication; Contents; Introduction; 1: African Music, Religion, and Narrative; 2: Transformations; 3: Syncretization and Synthesis: Folk and Written Traditions; 4: African-American Modernism, Signifyin(g), and Black Music; 5: The Negro Renaissance: Harlem and Chicago Flowerings; 6: Transitions: Function and Difference in Myth and Ritual; 7: Continuity and Discontinuity: The Fifties; 8: The Sixties and After; 9: Troping the Blues: From Spirituals to the Concert Hall; 10: The Object of Call-Response: The Signifyin(g) Symbol11: Implications and ConclusionsAppendix; Printed Works Cited; Sound Recordings Cited; Films and Videotapes Cited; Index; FootnotesWhen Jimi Hendrix transfixed the crowds of Woodstock with his gripping version of ""The Star Spangled Banner,"" he was building on a foundation reaching back, in part, to the revolutionary guitar playing of Howlin' Wolf and the other great Chicago bluesmen, and to the Delta blues traditionbefore him. But in its unforgettable introduction, followed by his unaccompanied ""talking"" guitar passage and inserted calls and responses at key points in the musical narrative, Hendrix's performance of the national anthem also hearkened back to a tradition even older than the blues, a traditionrooted inAfrican AmericansMusicHistory and criticismMusicUnited StatesHistory and criticismAfrican AmericansMusicHistory and criticism.MusicHistory and criticism.780.8996073781.6296073Floyd Samuel A628646MiAaPQMiAaPQMiAaPQBOOK9910792231903321The power of Black music2117901UNINA