Kathryn Lofton – författare

Women have always been historians. Whether in schoolrooms or kitchens, state houses or church pulpits, women functioned as teachers of history and historical interpreters, offering narrations of the past to criticize existent narratives and inspire new ones. Within African-American communities, women began to write histories in the years after the American Revolution. Distributed through churches, seminaries, public schools, and auxiliary societies, their stories of the past translated ancient Africa, slavery, and ongoing American social reform to populist audiences North and South. In the United States, black women have labored to sustain the cogency of their race and their families through the promotion of education, Christian and historical, for themselves and for their families. This book surveys the creative ways in which African American women harnessed the power of print to share their historical revisions with a broader public. These speeches, textbooks, poems, and polemics did more than just recount the past. They also protested their present status in the United States, using history to write a new story for the future of African America.

Women have always been historians. Whether in schoolrooms or kitchens, state houses or church pulpits, women functioned as teachers of history and historical interpreters, offering narrations of the past to criticize existent narratives and inspire new ones. Within African-American communities, women began to write histories in the years after the American Revolution. Distributed through churches, seminaries, public schools, and auxiliary societies, their stories of the past translated ancient Africa, slavery, and ongoing American social reform to populist audiences North and South. In the United States, black women have labored to sustain the cogency of their race and their families through the promotion of education, Christian and historical, for themselves and for their families. This book surveys the creative ways in which African American women harnessed the power of print to share their historical revisions with a broader public. These speeches, textbooks, poems, and polemics did more than just recount the past. They also protested their present status in the United States, using history to write a new story for the future of African America.

Whether in schoolrooms or kitchens, state houses or church pulpits, women have always been historians. Although few participated in the academic study of history until the mid-twentieth century, women labored as teachers of history and historical interpreters. Within African-American communities, women began to write histories in the years after the American Revolution. Distributed through churches, seminaries, public schools, and auxiliary societies, their stories of the past translated ancient Africa, religion, slavery, and ongoing American social reform as historical subjects to popular audiences North and South. This book surveys the creative ways in which African-American women harnessed the power of print to share their historical revisions with a broader public. Their speeches, textbooks, poems, and polemics did more than just recount the past. They also protested their present status in the United States through their reclamation of that past. Bringing together work by more familiar writers in black America-such as Maria Stewart, Francis E. W. Harper, and Anna Julia Cooper-as well as lesser-known mothers and teachers who educated their families and their communities, this documentary collection gathers a variety of primary texts from the antebellum era to the Harlem Renaissance, some of which have never been anthologized. Together with a substantial introduction to black women''s historical writings, this volume presents a unique perspective on the past and imagined future of the race in the United States.

Whether in schoolrooms or kitchens, state houses or church pulpits, women have always been historians. Although few participated in the academic study of history until the mid-twentieth century, women labored as teachers of history and historical interpreters. Within African-American communities, women began to write histories in the years after the American Revolution. Distributed through churches, seminaries, public schools, and auxiliary societies, their stories of the past translated ancient Africa, religion, slavery, and ongoing American social reform as historical subjects to popular audiences North and South. This book surveys the creative ways in which African-American women harnessed the power of print to share their historical revisions with a broader public. Their speeches, textbooks, poems, and polemics did more than just recount the past. They also protested their present status in the United States through their reclamation of that past. Bringing together work by more familiar writers in black America-such as Maria Stewart, Francis E. W. Harper, and Anna Julia Cooper-as well as lesser-known mothers and teachers who educated their families and their communities, this documentary collection gathers a variety of primary texts from the antebellum era to the Harlem Renaissance, some of which have never been anthologized. Together with a substantial introduction to black women''s historical writings, this volume presents a unique perspective on the past and imagined future of the race in the United States.

What are you drawn to like, to watch, or even to binge? What are you free to consume, and what do you become through consumption? These questions of desire and value, Kathryn Lofton argues, are at bottom religious questions. Whether or not you have been inside of a cathedral, a temple, or a seminary, you live in the frame of religion. In eleven essays exploring soap and office cubicles, Britney Spears and the Kardashians, corporate culture and Goldman Sachs, Lofton shows the conceptual levers of religion in thinking about social modes of encounter, use, and longing. Wherever we see people articulate their dreams of and for the world, wherever we see those dreams organized into protocols, images, manuals, and contracts, we glimpse what the word "religion" allows us to describe and understand. With great style and analytical acumen, Lofton offers the ultimate guide to religion and consumption in our capitalizing times.

What are you drawn to like, to watch, or even to binge? What are you free to consume, and what do you become through consumption? These questions of desire and value, Kathryn Lofton argues, are at bottom religious questions. Whether or not you have been inside of a cathedral, a temple, or a seminary, you live in the frame of religion. In eleven essays exploring soap and office cubicles, Britney Spears and the Kardashians, corporate culture and Goldman Sachs, Lofton shows the conceptual levers of religion in thinking about social modes of encounter, use, and longing. Wherever we see people articulate their dreams of and for the world, wherever we see those dreams organized into protocols, images, manuals, and contracts, we glimpse what the word "religion" allows us to describe and understand. With great style and analytical acumen, Lofton offers the ultimate guide to religion and consumption in our capitalizing times.

"Today on "Oprah"," intoned the TV announcer, and all over America viewers tuned in to learn, empathize, and celebrate. In this book, Kathryn Lofton investigates "the Oprah" phenomenon and finds in Winfrey's empire - Harpo Productions, "O Magazine", and her new television network - an uncanny reflection of religion in modern society. Lofton shows that when Oprah liked, needed, or believed something, she offered her audience nothing less than spiritual revolution, reinforced by practices that fuse consumer behavior, celebrity ambition, and religious idiom. In short, Oprah Winfrey is a media messiah for a secular age. Lofton's unique approach also situates "the Oprah" enterprise culturally, illuminating how Winfrey reflects and continues historical patterns of American religions.

"Today on "Oprah"," intoned the TV announcer, and all over America viewers tuned in to learn, empathize, and celebrate. In this book, Kathryn Lofton investigates "the Oprah" phenomenon and finds in Winfrey's empire - Harpo Productions, "O Magazine", and her new television network - an uncanny reflection of religion in modern society. Lofton shows that when Oprah liked, needed, or believed something, she offered her audience nothing less than spiritual revolution, reinforced by practices that fuse consumer behavior, celebrity ambition, and religious idiom. In short, Oprah Winfrey is a media messiah for a secular age. Lofton's unique approach also situates "the Oprah" enterprise culturally, illuminating how Winfrey reflects and continues historical patterns of American religions.