In Culture on the Margins, Jon Cruz recounts the "discovery" of black music by white elites in the nineteenth century, boldly revealing how the episode shaped modern approaches to studying racial and ethnic cultures. Slave owners had long heard black song making as meaningless "noise." Abolitionists began to attribute social and political meaning to the music, inspired, as many were, by Frederick Douglass's invitation to hear slaves' songs as testimonies to their inner, subjective worlds. This interpretive shift--which Cruz calls "ethnosympathy"--marks the beginning of a mainstream American interest in the country's cultural margins. In tracing the emergence of a new interpretive framework for black music, Cruz shows how the concept of "cultural authenticity" is constantly redefined by critics for a variety of purposes--from easing anxieties arising from contested social relations to furthering debates about modern ethics and egalitarianism. In focusing on the spiritual aspect of black music, abolitionists, for example, pivoted toward an idealized religious singing subject at the expense of absorbing the more socially and politically elaborate issues presented in the slave narratives and other black writings. By the end of the century, Cruz maintains, modern social science also annexed much of this cultural turn. The result was a fully modern tension-ridden interest in culture on the racial margins of American society that has long had the effect of divorcing black culture from politics.

This collection of essays examines sociolinguistic phenomena in a variety of marginal environments, providing both an overview of globalizaiton on the margins and a foundation for an expanded understanding of the processes of linguistic and cultural changes at work in these settings.

In this classic book on the meaning of multiculturalism in larger American society, Gary Okihiro explores the significance of Asian American experiences from the perspectives of historical consciousness, race, gender, class, and culture. While exploring anew the meanings of Asian American social history, Okihiro argues that the core values and ideals of the nation emanate today not from the so-called mainstream but from the margins, from among Asian and African Americans, Latinos and American Indians, women, and the gay and lesbian community. Those groups in their struggles for equality, have helped to preserve and advance the founders’ ideals and have made America a more democratic place for all.

Focusing on the Ming (1368-1644) and (especially) the Qing (1364-1912) eras, this book analyzes crucial moments in the formation of cultural, regional, and religious identities. The contributors examine the role of the state in a variety of environments on China's "peripheries," paying attention to shifts in law, trade, social stratification, and cultural dialogue. They find that local communities were critical participants in the shaping of their own identities and consciousness as well as the character and behavior of the state. At certain times the state was institutionally definitive, but it could also be symbolic and contingent. They demonstrate how the imperial discourse is many-faceted, rather than a monolithic agent of cultural assimilation.

What do they all mean – the lascivious ape, autophagic dragons, pot-bellied heads, harp-playing asses, arse-kissing priests and somersaulting jongleurs to be found protruding from the edges of medieval buildings and in the margins of illuminated manuscripts? Michael Camille explores that riotous realm of marginal art, so often explained away as mere decoration or zany doodles, where resistance to social constraints flourished. Medieval image-makers focused attention on the underside of society, the excluded and the ejected. Peasants, servants, prostitutes and beggars all found their place, along with knights and clerics, engaged in impudent antics in the margins of prayer-books or, as gargoyles, on the outsides of churches. Camille brings us to an understanding of how marginality functioned in medieval culture and shows us just how scandalous, subversive, and amazing the art of the time could be.

Produced by an independent group of policy makers, researchers & cultural managers, this book is a contribution to the debate initiated by the World Commission on Culture & Development (UN/Unesco) on the role of culture within society. It addresses various questions such as bridging the global cultural gap, mobilising human resources through culture & living & working in the communications society. Includes case studies, statistics & indicators.

Rukmini Pande’s examination of race in fan studies is sure to make an immediate contribution to the growing field. Until now, virtually no sustained examination of race and racism in transnational fan cultures has taken place, a lack that is especially concerning given that current fan spaces have never been more vocal about debating issues of privilege and discrimination. Pande’s study challenges dominant ideas of who fans are and how these complex transnational and cultural spaces function, expanding the scope of the field significantly. Along with interviewing thirty-nine fans from nine different countries about their fan practices, she also positions media fandom as a postcolonial cyberspace, enabling scholars to take a more inclusive view of fan identity. With analysis that spans from historical to contemporary, Pande builds a case for the ways in which non-white fans have always been present in such spaces, though consistently ignored.