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This chapter explores the impact of white appropriation and commercial interests on the evolution of jazz. They long contributed to the economic exploitation of black musicians and in imposing white values and preferences over jazz. Free jazz musicians show awareness of their economic position in the music business and their music can be read as a political decision to break from it.

Chapter 2 performs close readings of transcriptions of a nationally syndicated, travel themed radio show—to which Kinship Records president Jon Cohen was a regular contributor—and of the recent popularity of the “Afro-Indie” genre, which is understood as those African-derived musics in U.S. indie rock. This chapter develops the concept of “aural imaginary” as that mechanism through which the aural other is instrumentalized in the constitution of a listening self not simply through appropriation but through incorporation into the subject. This chapter narrows in on sound’s capacity to materially structure social relations, formations, and actors. The WMCI, as represented in Kinship Records, has disassociated itself from the shunned and taboo practice of cultural appropriation and has assumed a new business model, described in this chapter as “aural incorporation.” Aural incorporation represents that means by which listeners structure racialized sounds to which they may have no birthright into their origin narratives laying claim to various musical traditions as their own. This chapter explores these various biopolitical tactics employed by the WMCI.

This chapter traces Amichai's reception and appropriation as a “national poet” of official celebrations in Israel and as a poet of simple religiosity in the Jewish American synagogue. Arguing that revolutionary poetry is too “dangerous” to be left alone to do its work, the chapter interrogates these misreadings not as mistakes that should be corrected but as informative expressions of hegemonic processes of canon formation. By contrast, the chapter illustrates the wrath with which early critics received his work, labeling it revolutionary and heretical – all this in an attempt to restore our ability to perceive these features in Amichai's poetry even today, despite its massive cooptation. The chapter also critiques the over-emphasis on thematics in literary studies, theorizing from Amichai's work a model for the politics of poetic form.

This chapter begins with an overview of La Meri’s life and career and her contribution to the spread of knowledge about different cultures around the world, including world dance and culture. It then discusses her work in relation to modern concerns with theoretical issues—such as appropriation, cultural imposition, orientalism, and so forth—and relates it to concepts that have been investigated in gender and cultural studies. It is important to note that she performed non-Western and Western dances in both Western and non-Western locations. After La Meri settled in the United States, she performed her international repertoire to American audiences, most of whom would have known little or nothing about the foreign cultures where the dances originated. But it’s equally important to understand that both the briefness of La Meri’s actual training in the various dance forms and her minimal or non-existent knowledge of any of the local verbal languages would have limited her understanding of the foreign cultures whose dances she studied, performed, and taught—and about which she wrote.

Sentimental obituaries published after Charles Dickens’s death in 1870 remark that phrases and characters from his fiction “[mingle] with our daily converse and our daily life” (Glasgow Herald, 11 Jun. 1870, p. 4). This is certainly true. However, the convivial tone of this eulogy obscures how literary afterlives were appropriated to argue for material changes to London’s built environment, the effects of which were often misaligned with Dickens’s broadly humanitarian ethos. For example, tropes, extracts, and characters from his novels were mobilised to advocate the demolition of insanitary and overcrowded slum areas, but such modernisations were rarely accompanied by the building of new housing for the displaced population. The introduction to Dickens and Demolition introduces these central concerns of the book: to trace Dickensian afterlives across multiple media and fora; to examine what role these afterlives played in urban development discourses; and to argue that fiction was part of the dialectical relations between past, present and future, through which London’s modernisation was conceived and represented. The chapter also introduces key terminology, such as remediation, appropriation, and adaptation.

Field Lane was envisioned as a nexus of crime, overcrowding, foreignness, social unrest and insanitary conditions in representations of the district in multiple media and contexts in the mid-nineteenth century. In London more widely, these anxieties helped to shape how improvements were conceived, and which places were targeted for demolition. This chapter presents evidence that the improvements promised by advocates of Field Lane’s redevelopment were repeatedly articulated and conceptualised through references to Oliver Twist. For example, by emphasising its association with Fagin and Bill Sikes to draw attention to the slum as a dangerous locale. Focusing on appropriations of Dickens’s works in newspapers, periodicals and parliamentary debates, the chapter traces a proliferation of Dickensian afterlives in commentaries on Field Lane’s improvement before, during and after its demolition. Of course, as is the case with all the afterlives analysed in this book, the novel was variously appropriated, even when users commented on the same site or descriptive passage. However, it is in this instability that we can see how Dickensian afterlives were put to work in arguments for Field Lane’s demolition. His fiction provided a mobile and rhetorically effective vocabulary, which was easily manipulated to serve numerous interests.

These chapters discuss NLRB Chairman Bill Gould’s politically charged appointment process. They explain how significant doctrinal and administrative accomplishments occurred during the Gould Chairmanship but were less than they could have been due to self-destructive inside-the-Board hostility coupled with ideologically–driven, outside-the-Board opposition.

This chapter analyses Hsiung's success by locating it in the context of the revival of a fashion for China in the 1930s and broader geopolitics up to the Second World War. While the 1935 Exhibition of Chinese Art at the Royal Academy is often seen as a pivotal event in improving views of the Chinese, this chapter shows that with the success of Lady Precious Stream, premiering a year earlier, it was Shih-I Hsiung who played a major role in shifting attitudes. This chapter discusses how his success was dependent on, and also became an agent in a series of intersecting socio-economic, cultural and political forces at work in Britain, China and internationally at the time. Specifically, it examines how he had conjured an image of China as Old Cathay that was seized upon as a vital political tool by various actors, especially the Chinese government as a propaganda tool in the Sino-Japanese war, but also in British and US domestic and international politics. It considers the diverse interpretations of Lady Precious Stream as it was appropriated into various political causes through various discourses on race, nation and cultural difference.

Following the publication of Flowering Exile, the Hsiungs retreated into the literary shadows. This chapter tracks their latter years, as modern Chinese subjects, as they went their separate ways. Abandoning her qipaos for baseball caps and trainers, Dymia spent her days in London, playing mahjong and hosting feasts for a small circle of Chinese female friends, until her death in 1987. Hsiung had left London for Singapore in 1956, to set up a university with Lin Yutang. When the plan failed, he made a film version of Lady Precious Stream, and, moving between Hong Kong, Taiwan and the US, increasingly lived in the memories of his lost fame. Having once arrived in London, sporting a western suit and clutching a modern realist play, Hsiung now rarely strayed from the ‘really Chinese and traditional’. Sweeping his traditional Chinese robes and jingling his bracelets wherever he went, the only place he refused to go, as a defiant anti-Communist, was China. Yet, at the age of ninety, he visited Beijing and died there two weeks later.

This chapter discusses ideas of China and Chineseness beyond Europe, Asia and the US, by examining how, after its initial worldwide furore in the 1930s, Lady Precious Streamcontinued to be republished and performed across the globe. By considering productions in Israel, Nairobi, Ghana and South Africa from the 1950s onwards, this chapter shows how the play resurfaced in unexpected localities across the globe and often at extraordinary historical moments. It focuses specifically on how the play was appropriated as means of claiming or contesting a range of vastly different cultural and political identities. It ends by discussing how ideas of China and Chineseness continue to be contested in the twenty-first century, by examining the revival of Hsiung's legacy today.

There are a multitude of jazz dance labels and descriptions. Acknowledging the entirety of the genre allows us to establish historical, cultural, social, and kinetic continuity, also called a continuum. When the primary cultural sources of jazz dance remain unacknowledged, the continuum is disrupted. However, once we recognize the relationships between traditional African cultural dances and African-American vernacular dance, as well as the influence on American social, popular, and theatrical dance, the continuum is established. Whether via appropriation or blending, jazz dance evolved through the first half of the 20th century to include elements of both Africanist and European dance. When we accept the concept of jazz dance as a continuum based in West African roots with diverging vernacular and theatrical branches, each of which is continually creating new offshoots that gradually but inevitably generate newer blended jazz dance forms, we may also accept a broader definition of jazz dance.

This chapter recounts the author’s first encounter with the humorist and folklorist Roger Welsch. Crediting Welsch with providing a model for the thoughtful popularization of folklore and folklore studies, the author discusses Welsch’s inclusive approach to scholarship. Roger’s relationship with Pawnee culture receives special attention.

This chapter introduces the role of “the Hobbesian hypothesis” (the claim that “the Lockean proviso” is fulfilled) in the natural rights justification of private property by discussing John Locke’s use of it in his “appropriation” theory. The chapter defines the property-theory version of “the Lockean proviso” as the claim that everyone is better off in a society with private ownership of land and natural resources than they could reasonably expect to be in any society in which land remains a commons as it was for many small-scale stateless peoples in history and prehistory. The chapter defines the property-theory version of “the Hobbesian hypothesis” as the empirical claim that the Lockean proviso is fulfilled by the property rights system: even the least advantage people under the private property system are better off than they could reasonably expect to be in a small-scale society with common land. It argues that any plausible natural rights justification of the private property system relies on this hypothesis as an empirical premise comparing the welfare of disadvantaged people in societies with a well-develop private property system and people in small-scale, stateless societies that treat land as a commons.

This chapter, by Hugh Magennis, considers the theme of the interpretation and application of Christian knowledge as reflected in treatments of the apostles in vernacular writings in Anglo-Saxon England. The acta of the apostles originated in the East but were transmitted and reworked by western writers, not least in pre-Conquest England. Surveying depictions of the apostles in Old English, Magennis’s chapter emphasises the definitive place that the apostles occupy within Christian systems of knowledge and understanding but also examines how traditions of the apostles are appropriated and reconceived by Anglo-Saxon writers (including the poet of Andreas, whose reworking of his source is considered in greater detail in the chapter in this volume by Richard North).

Richard North’s chapter argues that the Old English verse saint’s life Andreas (on the apostle St Andrew) appropriates the secular epic poem Beowulf for mock-epic purposes, turning knowledge of Beowulf, a poem which by implication must have been famous in Anglo-Saxon England, to a new Christian purpose. Andreas is seen to offer through its mock-epic style a satirical commentary on the heathen nostalgia of Beowulf. In Andreas knowledge of secular literature and its version of the past is astutely re-appropriated for religious purposes, being absorbed into and transcended by a Christian celebration of the true heroism of the saint. This chapter adds a new dimension to the understanding of Anglo-Saxon literary history and the place of secular tradition within it.

This introduction explores the circulation and appropriation of Charlotte Brontë’s image, from her professional portrait sketched by George Richmond in 1850, through to the re-discovery of Branwell’s family portraits in the early twentieth century and a host of subsequent discoveries, forgeries and adaptations. Recognisable iconography is a valuable commodity, but Brontë portraiture must (re-)construct Charlotte’s image from the evidence and narratives of a dual biographical tradition, caught between competing claims and representations of private domesticity and public authorship. Brontë’s face may now seem familiar to public audiences, but she is a mutable and malleable icon: she is constantly seen anew, bespeaking our persistent desire to re-imagine her life and work. Brontë’s bicentenary in 2016 provides the cue and occasion for a critical re-assessment of these legacies and cultural afterlives, and this introduction concludes with a survey of research themes identified and explored by the collection’s contributors.

This chapter explores the apparently limited afterlife of Charlotte Brontë’s poetry. Addressing the critical fortunes of the Aylott and Jones collection of 1846 and considering Brontë's discussion of poetry in her letters, it argues that the author incorporates traces of the early poetry into her novels in different guises. Focusing on The Professor, Jane Eyre and Shirley, this chapter proposes Brontë’s fiction as a sequence of experiments in the poetics of the Victorian novel that retrieve and reform the Romantic lyric, granting it a marketable posthumousness and securing the feminine lyric voice for the printed page.