Early Productions Research Articles

Exposure and feedback in language acquisition: adult construals of children's early verb-form use in Hebrew.

This study focuses on adult responses to children's verb uses, the information they provide, and how they change over time. We analyzed longitudinal samples from four children acquiring Hebrew (age-range: 1;4-2;5; child verb-forms = 8,337). All child verbs were coded for inflectional category, and for whether and how adults responded to them. Our findings show that: (a) children's early verbs were opaque with no clear inflectional target (e.g., the child-form tapes corresponds to letapes 'to-climb', metapes 'is-climbing', yetapes 'will-climb'), with inflections added gradually; (b) most early verbs were followed by adult responses using the same lexeme; and (c) as opacity in children's verbs decreased, adults made fewer uses of the same lexeme in their responses, and produced a broader array of inflections and inflectional shifts. In short, adults are attuned to what their children know and respond to their early productions accordingly, with extensive 'tailor-made' feedback on their verb uses.

Five-Year-olds' Acoustic Realization of Mandarin Tone Sandhi and Lexical Tones in Context Are Not Yet Fully Adult-Like

Large numbers of children around the world are learning tone languages, but few studies have examined the acoustic properties of children's early tone productions. Even more scarce are acquisition studies on tone sandhi, a tone change phenomenon which alters the surface realization of lexical tones. Two studies using perceptual coding report the emergence of lexical tone and tone sandhi at around 2 years (Li and Thompson, 1977; Hua and Dodd, 2000). However, the only acoustic study available shows that 3-year-olds are not yet adult-like in their lexical tone productions (Wong, 2012). This raises questions about when children's productions become acoustically adult-like and how their tone productions differ from those of adults. These questions were addressed in the current study which compared Mandarin-speaking pre-schoolers' (3–5-year-olds) tone productions to that of adults. A picture naming task was used with disyllabic real words familiar to pre-schoolers. Overall children produced appropriate tone contours for all tones, i.e., level for tone 1, rising for tones 2, 3 and full sandhi, falling for tone 4 and half sandhi. However, children's productions were not adult-like for tones 3, 4, and the sandhi forms, in terms of coordinating pitch range, slope and curvature, with little evidence of development across ages. These results suggest a protracted process in achieving adult-like acoustic realization of both lexical and sandhi tones.

Development of phonetic complexity in Arabic, Berber, English and French

AbstractThe goal of this study is to provide crosslinguistic data on the acquisition of phonetic complexity among children acquiring four different languages: Tunisian Arabic, Tashlhiyt Berber, English, and French. Using an adaptation of Jakielski's (2000) Index of Phonetic Complexity (IPC), we carried out an analysis to assess phonetic complexity of children's early vocabulary in the four languages. Four different samples from each language were analyzed: 50 words selected from an adult dictionary of each language, 50 words from child-directed speech, 50 words targeted by the child, and the child's actual pronunciations of those 50 words. Globally, we hypothesized that children's early productions would be shaped by universal articulatory constraints, but also by the language they are exposed to, depending on its phonological complexity. Our findings show that Arabic displays higher degrees of complexity compared to Berber, English and French, and that children acquiring Arabic target and produce more complex words than children learning Berber, English and French.

Linguistic type-frequency in preschool boys and girls with and without hearing loss

Linguistic type-frequency, how many different lexical types are used, has been examined in usage-based models of child language acquisition. In general, it has been shown that exposure to greater type-frequencies increases children’s productive use of language and that language in turn bootstraps later development including language and literacy. It is not currently known if pediatric hearing loss impacts the type-frequency of those children’s early communicative productions. In this study, we used a public database available via HomeBank [http://homebank.talkbank.org] to examine the type-frequency in 53 cognitively intact children, 37 with mild to moderate hearing loss (HL) and 16 peers who were typically-developing (TD). For each child, we analyzed 15 minutes of high volubility from a representative daylong recording collected in a natural family setting via an audio recorder worn by the child. Results indicate a main effect of sex favoring girls, but no main effect of HL. There were, however, interaction effects in which TD-boys had a greater type-frequency than HL-boys, but TD-girls were lesser than HL-girls. Within the HL group, HL-girls had greater type-frequency than HH-boys, but within the TD group TD-boys had greater type-frequency than TD-girls.

Nobody Knows My Name: The Masquerade of Mourning in the Early 1980s Artistic Productions of Michael Jackson and Prince

Abstract The article analyses Michael Jackson’s album Thriller and Prince’s movie Purple Rain. We explore their camp aesthetics and their recasting of the cultural representations of the black male. Jackson’s and Prince’s performative personas are both liberatory and burdened with the received cultural scripts of black masculinity. We claim that their employment of camp is political rather than escapist and depoliticized. Camp serves them as a platform to mourn the cultural displacement of the black male body in a postslavery America. In particular, the two artists distance themselves from the extensive ideological and physical pressures exerted on the black male body in the early 1980s. As a result, their performances are complexly de-Oedipalized. Prince in Purple Rain refuses to assume the patriarchal position of the Father. Analogously, Jackson fashions himself as a Peter Pan-like eternal adolescent who never makes his final identification as either heterosexual or LGBTQ desiring agent. In the coda to the article, we reach beyond the 1980s to explore a more flexible approach to camp in the artistic output of twenty-first-century African American performers of Queercore and Afrofuturist scenes, which were partially enabled by Jackson’s and Prince’s performances.

Biogradska predromanička skulptura

This paper analyses the extant pre-Romanesque sculpture from Biograd, classifying it into homogeneous groups based on stylistic and visualmorphological features, and attributing it to various stone-carving workshops active from the last decades of the 8th until the late 9th century. Most of the fragments have been associated with the recently identified atelier called “Workshop of the Plutei of the Zadar Cathedral” and dated approximately to the last decades of the 8th or the very beginning of the 9th century. Some of the remaining fragments have been linked to the stone-carving workshops active in the times of the Croatian dukes Trpimir and Branimir, and thus dated to the middle and the last quarter of the 9th century, respectively. As for the rest of the reliefs, it has only been possible to establish that they show features of mature pre-Romanesque style typical of the 9th century, with three interesting fragments dated to a somewhat later period based on their stylistic features: two of them to the mid-11th and the third to the first quarter of the 12th century. Finally, an analysis and attribution of three fragments of two pilasters that were later re-carved as an architrave, discovered in St Chrysogonus’ church in Zadar, has helped the author to establish a chronological distinction between two early stone-carving productions identified in the broader Zadar region. One of them is the “Workshop of the Plutei of the Zadar Cathedral”, which helps in dating the largest group of pre-Romanesque reliefs from Biograd with greater accuracy.

Lectures du ‘Misanthrope’. Par Jean Rohou et Brigitte Prost.

In an unevenly divided bipartite project, the two authors bring those preparing for the agrégation up to date on this seminal Molière text. Although the title might lead the reader to expect a spectrum of published interpretations, these are simply mediated by the well-judged overview of Jean Rohou, whose own voice is clearly audible and persuasive despite the pedagogical format. He begins with a broadly focused socio-historical survey, situating the play in the context of the aristocratic manners that it both reflects and satirizes. The early contextual chapters draw heavily on evidence from both moralistes and novelists, in order to foreground the interdependent features of honnêteté and galanterie present in the text, and to describe the often deceitful methods adopted in order to keep up appearances in the world of the salons. The central part of Rohou’s analysis then turns to the modes of comic dramatization of these phenomena. Here, he suggests, the play is in a sense composed retrospectively from the dénouement, and stresses the need to consider acted routines alongside textual analysis in any evaluation of its impact. This balance is then exemplified in a detailed survey of the first act, with respect in particular to the stage interactions of well and badly matched couples. There are one or two contestable value judgements at this point, notably in the endorsement of figures such as Philinte (and his counterparts in other plays), to the effect that they ‘suscitent notre entière adhésion’ (p. 60), thereby failing to notice that there is such a thing as extreme moderation; or, from such apparently genre-unaware interpreters as Jacques Copeau, who is quoted, in the tradition of Jean-Jacques Rousseau, as seeing in Alceste a character who is ‘d’essence tragique’ (p. 60). That is precisely what Alceste thinks he is, and therein lies most of his comic potential. The last part of Rohou’s contribution deals successively with the major protagonists, placing some welcome stress on Célimène’s social position as a young widow, and seeing in Arsinoé an extension of Molière’s enduring campaign against the conjoint phenomena of prudery and false piety. He finally turns to Alceste, and gives an overview of some more recent criticism, before concluding persuasively on the verdict that ‘Alceste a raison dans sa pensée et tort dans son attitude, dans ses expressions; mais celles-ci sont théâtralement excellentes’ (p. 117). In the briefer second part, Brigitte Prost gives an insight into the different ways in which mises en scène have conveyed the ambiguity inherent in the text. After a summary of early modern productions, she devotes the majority of her remarks to twentieth-century readings, all of which tend to reflect the theatrical aesthetic favoured in the decade under review. These range from the psycho-analytical (Jean-Pierre Dougnac in 1976), through the ‘farce sinistre’ (p. 137) of Antoine Vitez in 1978 and the historical re-enactment of Jean-Pierre Vincent in 1985, complete with horses on stage (with the inevitable olfactory dimension thereby implied), to the meta-theatricality of Christian Rist in 1990. There is a useful, if unduly Hexagonal, bibliography.

Early Sentence Productions of 3- and 4-Year-Old Children Who Use Augmentative and Alternative Communication.

This study investigated the early rule-based sentence productions of 3- and 4-year-old children with severe speech disorders who used single-meaning graphic symbols to communicate. Ten 3- and 4-year-olds requiring the use of augmentative and alternative communication, who had largely intact receptive language skills, received instruction in producing up to four different semantic-syntactic targets using an Apple iPad with a communication app. A single-case, multiple-probe, across-targets design was used to assess the progress of each participant and target. Generalization to new vocabulary was assessed, and a subgroup also was taught to produce sentences using grammatical markers. Some targets (primarily possessor-entity) were mastered in the baseline phase, and the majority of the remaining targets were mastered during intervention. All four children who completed intervention for grammatical markers quickly learned to use the markers accurately. Expressive language potential for preschoolers using graphic symbol-based augmentative and alternative communication systems should not be underestimated. With appropriate presentation and intervention techniques, some preschoolers with profound speech disorders can readily learn to produce rule-based messages via graphic symbols.

Bright lights and baby feet

Children's theatre has come a long way since it was first made popular in the 1970s, with inspiration for early years productions being taken from a number of genres. Donna Poynton explores the possibilities.

From sherds to potters

The British Neolithic transition, occurring around 4000 BC, at least one millennium after the continental part of Northwest Europe, is still subject to important debate these days. Various studies suggest that the Neolithic start involved farming immigrants from various parts of the Continent. However, ceramics of the Early Neolithic of Britain became increasingly distinct from their Continental roots, particularly in the Southwest and Southeast of England. We recently completed two important projects, one on Early Neolithic British and Irish pottery and the other on Peterborough Ware, integrating a new way of considering these early productions through a technological approach and the observation of various steps of the chaîne opératoire. This paper is the opportunity to present preliminary results which shed a new light on the evolution of pottery wares during the fourth millennium BC in Southern Britain. It specifically highlights strong connections between Early Neolithic and Middle Neolithic pottery, in terms of style, but above in terms of manufacturing techniques.

Julio’s cultural mission: A homage to Julio García Espinosa, 1926–2016

Abstract In memory of celebrated Cuban filmmaker, theorist and cultural worker/leader Julio García Espinosa, this article outlines his early cultural productions as a necessary precursor of his celebrated manifesto ‘For an Imperfect Cinema’.

Beyond Adornment: Cowry Use as Potter's Tool in the First Impressed Wares of the Southwestern Mediterranean Coast (Northern Morocco)

ABSTRACTThe use of seashells for the decoration of pottery from the sixth millennium cal BC is well known in the western Mediterranean, with the emergence of so-called Cardial Pottery. Actually, the most discussed issue up until now has been the use of bivalves for impressed decoration. However, the experimental approach followed in the present study provides for the first time clear evidence for the utilization of a very specific group of shells as tools for the decoration of some of the early pottery productions in northwest Africa. In particular, we propose the use of cowry, a gastropod family with a well-known ideological and symbolic role in many human cultures around the world. Also, it is suggested that cowry was used for making impressed wares on the opposite European shore. The implications for reconstruction of Neolithic diffusion along both the European and African coasts of the Mediterranean are of great significance.

Consonant cluster production in children with cochlear implants: A comparison with normally hearing peers

In early word productions, the same types of errors are manifest in children with cochlear implants (CI) as in their normally hearing (NH) peers with respect to consonant clusters. However, the incidence of those types and their longitudinal development have not been examined or quantified in the literature thus far. Furthermore, studies on the spontaneous speech of Dutch-speaking children with CI are missing. This article compares children with CI and NH children with respect to their use of word-initial two-consonant clusters and the frequency of each type of error. The spontaneous speech of nine Dutch-speaking children with CI and an age-matched cohort of NH children was analysed from word-onset up to age seven. Results showed that accuracy and frequency of consonant clusters increases with age and that the age at implant activation is crucial in children with CI. Cross-sectional comparisons showed that some aspects of consonant cluster production in children with CI lag behind that of their NH peers, but that children with CI catch up by age five.

Fishing the waters of life: Zane Grey’s White Death, exploitation film and the Great Barrier Reef

ABSTRACTEdwin G. Bowen’s White Death (1936) is an Australian–American film about shark fishing that stars the American novelist and fisherman Zane Grey as himself. Set mainly at the Great Barrier Reef, it has a semi-fictional plot about Grey’s quest to kill a shark in the face of opposition from an anti-fishing activist, Newton Smith (Alfred Frith). Although White Death was financially unsuccessful and has received little attention in histories of Australian film or Grey’s life, it is significant in several ways. The film is unusual among early Australian productions for combining elements of the genres of travelogue documentary, fictional adventure film and exotic exploitation film. It reflects an American perspective of Australia as an exotic location. White Death is also linked to the interwar development of tourism at the Great Barrier Reef and foreshadows the growth of the environmental conservation movement.

Shaw and the Actresses Franchise League: Staging Equality by Ellen Ecker Dolgin

Ellen Ecker Dolgin. Shaw and the Actresses Franchise League: Staging Equality. Jefferson, NC: McFarland, 2015. Pp. x + 243. $55.00. Ellen Ecker Dolgin's Shaw and the Actresses Franchise League: Staging Equality makes a lively and valuable contribution to feminist theatre studies. The book traces the course from to motion in women's theatrical roles and their everyday lives in the late nineteenth and early twentieth centuries. Its scope is broader than its title might suggest: while Shaw and the Actresses Franchise League do feature prominently in the book, they serve as two key nodes in an expansive network of associations among playwrights, practitioners, theatre venues, and feminist activists extending from Britain across the Atlantic. Discussions of plays include well-known works by Ibsen, Wilde, Pinero, and Granville Barker, as well as little-known plays by women including Clothilde Graves's The Mother of Three (1896), Edith Lyttleton's Warp and Woof (1904), Cicely Hamilton's Just to Get Married (1910), and Charlotte Perkins Gilman's suffrage play Something to Vote For (1911). The network encompasses the pioneering work of actress-managers such as Lena Ashwell; actress-activists such as Ellen Terry and Elizabeth Robins; feminist theatre groups such as Edith Craig's Pioneer Players; and small theatre venues such as the Vendrenne-Barker seasons at the Royal Court in London (1904-7) and the socially conscious theatre at Jane Addams's Hull House in Chicago. It also extends to performances of earlier works that influenced the representation of women on stage in the period, such as Racine's Phedre and Alexandre Dumas fils's Camille in the nineteenth century or Shakespeare's Ophelia and Euripides's Electra at the turn of the twentieth century. The opening chapters introduce the main narrative the book seeks to explore: the trajectory from Victorian pictorial drama to the more mobile, expansive, even iconoclastic roles for women characteristic of feminist theatre in the early twentieth century. The first chapter, Getting Past the Tableaux, lays the groundwork by noting the proliferation of images of women frozen in beautiful stasis (20) in nineteenth-century public and private performances through the popularity of tableaux vivants, attitudes, melodramatic tableaux, and figures such as Galatea and Hermione. Dolgin finds in the tableaux vivants the seeds of change: though the female figures in these private productions were generally still and silent, the characters they played--heroic, rebellious, historically important--opened up a wide range of empowering possibilities for women. The next chapters chart the evolution from to motion in a variety of forms, on stage and off, from early productions of Ibsen's A Doll's House in which audiences could watch Nora transform from worshipful doll to disillusioned, empowered individual (34); to the development of small, non-commercial theatres like the Royal Court that could take risks performing new plays with unconventional female roles; to the creation of suffrage plays and pageants, which constituted a more direct challenge to static Victorian assumptions about family life, onstage as well as at home (132). Dolgin sees the Actresses Franchise League as playing a central role in fostering a new direction in theatre in the 1910s that contributed to the rise of women's participation in public culture. The final chapter turns to a grimmer form of disruption of with the experience of the First World War. Though this chapter sits somewhat uncomfortably with the more triumphant narrative that precedes it, it does include an interesting discussion of Edna St. Vincent Millay's Aria da Capo (1919) and Shaw's Heartbreak House (which premiered in New York in 1920) as modern instances of commedia dell'arte and ends with a compelling discussion of Shaw's Saint Joan, whose protagonist's brashness and iconoclasm seem more in keeping with the book's trajectory than the rest of the chapter does. …

New Lines in Bangladeshi Writing in English:

For a country like Bangladesh, which emerged as an independent nation only in 1971, the coming into being of a fully definable national literature in English may understandably take a little more time. Nevertheless, Bangladesh does have a significant number of new writers even in the field of poetry written in English. The first Bangladeshi English poetic voices began to be heard in the mid-1970s with Feroz Ahmeduddin’s Handful of Dust (1975), Razia Khan’s Argus Under Anaesthesia (1976) and Cruel April (1977), and Kaiser Haq’s Collected Poems: 1966-2006 being early productions (Askari). Other poets who published their poetry in English were Nadeem Rahman (with Politically Incorrect Poems, 2004), Rumana Siddique (Five Faces of Eve:Poems, 2007), and Syed Najmuddin Hashim (Hopefully the Pomegranate, 2007) (Shook). Monica Ali, with her 2003 debut novel Brick Lane, put Bangladeshi writing in English on the map of the New English Literatures, and, in this light, it may be appropriate to read and appreciate the output of Shamsad Mortuza who is a comparatively new talent in the field of Bangladeshi English poetry.

Television’s Tortured Misfits: Authenticity, Method Acting, and Americanness in the Midcentury “Slice-of-Life” Anthology Drama

from the beginnings of american network television in the 1940s, the anthology and Method acting shared a kindred space. The anthology format-which consisted of individual, self-contained television plays under a single series title-enjoyed a heyday in the midcentury period and frequently focused on the intimate study of troubled characters from ordinary backgrounds. This focus provided an apt vehicle for countless practicing Method actors, whose training and techniques emphasized the authentic portrayal of realistic characters and problems. Method actors' ability and/or willingness to vigorously explore the depths of everyday characters fit the concerns of a certain kind of television drama, one that purported to eschew glamour in favor of existential grit. Stemming from this association, Method acting and the anthology are also interconnected by the very similar ways in which they were discussed in the midcentury press, often prompting debates about their actual value for representing people. Notably, the volatility of this space very often points toward a complex struggle to define a specifically American reality, a sense of American experience. I argue, then, that intertwined critical debates about the value of both Method acting and the realist anthology have ideological threads leading all the way to the national and that the Methodinflected teleplay is one critical arena in which Americanness itself is negotiated.In service of this exploration of Americanness in the intersection of the anthology series and Method acting, I will focus on two especially useful dramas. The first, Paddy Chayefsky's famous teleplay Marty, broadcast live by Goodyear Television Playhouse (1951- 57)1 in 1953. The second is much less known today but nonetheless represents a significant televisual moment: Journey to the Day, written by Roger O. Hirson and broadcast by Playhouse 90 (1956-60) in 1960. Both prominently feature Method actors, and both focus on what I will call the tortured misfit, a character who struggles to fit into prescribed cultural norms. Specifically, these two teleplays delve into the alienating effects of the familial and lifestyle imperatives associated with being a true American. They are representative of the slice-of-life drama, a realist tradition within the television anthology that examines the everyday lives of unglamorous or even maladjusted people, often in order to raise the question of what constitutes authentic Americanness. Of course, defining Americanness is a highly charged political debate, and these teleplays vividly demonstrate the ways that television, as a rapidly expanding national medium and object of vigorous cultural discussion, became deeply involved in the struggle to determine a sense of American identity.Intimacy, Authenticity, and TelevisionFor many midcentury critics and audiences, television itself ontologically associated with intimacy and authenticity. As Rhona J. Berenstein explains, television was assumed to offer to the viewer a particular temporal and spatial experience, an experience marked by a sense of nowness and hereness and inflected by presumed access to the real (25). The technical and industrial conditions of early television, it said, situated the medium as a prime venue for the display of a realist vision, one associated with liveness, truth, and inthe- momentness. The realist anthology especially thrived under this critical consensus. Because of the constraints of time, budget, and studio space, early television productions were often small in scale and narrative scope. This centered the form on a limited number of sets and actors, as well as on the design of oftenmodest locations and costumes. As Judith E. Smith explains, these conditions often encouraged the writing of interior, intimate drama (257). Anthology series such as Goodyear Television Playhouse became associated with, or perhaps notorious for, the presentation of conflicted and alienated subjects in the struggle of everyday life. …

Why So Sad? Watteau's Pierrots

The reattribution to Antoine Watteau of The Italian Comedians acquired by the Getty Museum in 2012 prompts reconsideration of that artist's many renderings of Pierrot—a character he saw performed as a dim-witted bumbler in early eighteenth-century productions. When, in the following century, Pierrot was recast as forlorn, Watteau's best-known portrayal of him (now in the Louvre) was retroactively reread as both the prototypical sad clown—forebear to those of Honoré Daumier and Théodore de Banville—and a projection of its maker's malaise. Continued allegiance to these anachronistic assumptions unduly constrains imaginative engagement with the multidimensional Pierrots of Watteau's open-ended oeuvre.

Early Sentence Productions of 5-Year-Old Children Who Use Augmentative and Alternative Communication

Four 5-year-old children with receptive language within normal limits and who required augmentative and alternative communication (AAC) received instruction in producing six different semantic–syntactic structures (three treatment and three generalization targets). Participants accessed single-meaning graphic symbols using an AAC app on an iPad to create their messages. A single-case, multiple probe across targets design was used to assess the progress of each participant, and supplementary measures including self-corrections and error types were analyzed. Three participants mastered all six targets during baseline, with a fourth mastering four of six targets in baseline. In contrast to prior reports, findings from the current study indicate that some young children who require AAC can learn to produce rule-based messages using single-meaning graphic symbols rapidly and with minimal instruction. Careful attention to participant characteristics and task demands are required in future research to further refine approaches to teaching young participants to produce rule-based graphic symbol messages.

Escape from New York: The New Negro Renaissance beyond HarlemDavarian L.Baldwin and MinkahMakalani, Editors. Minneapolis: University of Minnesota Press, 2013.

Escape from York: Negro Renaissance beyond Harlem Davarian L. Baldwin and Minkah Makalani, Editors. Minneapolis: University of Minnesota Press, 2013.In new collection, entitled Escape from York: Negro Renaissance beyond Harlem, Davarian L. Baldwin and Minkah Makalani bring together an array of brilliant scholars and writers who successfully take their readers on historical journey that makes the familiar unfamiliar. Building from and expanding the discussion beyond Harlem, beyond the 1930s, and beyond the accepted narrative of the New Negro, the collection adds layers of analysis, depth the academic discourse, and an expanding horizon of the historic index we rely upon in our current moment.Centering the Harlem Renaissance, the growing racial assertiveness that was commonplace in the early part of the twentieth century, especially among black artists, intellectuals, and activists, Escape from works expand the parameters of the center. At best, we are expanding the frame, of the Negro experience temporally, geographically, and conceptually in specific ways (19), writes Baldwin in the book's introduction. Thus, understand the New Negro Movement mandates moving the discourse outside of York, beyond the 1920s and 1930s and into myriad of spaces and sites that resulted in articulation and realization of freedom dreams. This was movement that took hold in range of places, from range of voices.According Baldwin,The Negro analytic asserted new race consciousness that was sometimes explicit but also felt through individualized rebukes or reimaginings of long-held traditions and even new expectations. This new race consciousness was profoundly shaped by class position, gender identity, geographic location, and sexual orientation. Ultimately, wide range of political and cultural mediums brought the Negro life, from the pages of literary magazines and step ladder protests storefront churches and military battlefronts, touching down and taking off from points all over the world. (19-20)Taking their cues from this framework, the authors included within this powerful collection highlight how the heterogeneity of the Negro reach is neither surprising nor arbitrary but reflective of the historic moment. The Negro Moment was the product of particular convergence, writes Robin D. G. Kelley in the book's Forward. The expansion of US and European Empires, settler colonialism, an increasingly industrialized racial capitalism and their attendant processes, expropriation, proletarization, massive migration, urbanization, rapid technological development, and war (ix) not only shaped these movements of struggle but also helped understand the diversity that defined this moment. That is, the expensive framework of the collection to escape York is not simply project of historical revision but instead an effort anchor the conversation in the historic moment.The significance and success of Escape from rests with its ability provide readers with familiar point of entry, with the known history of the Harlem Renaissance and the Garvey movement, yet expand our historic imagination from within and beyond these canonical signposts of (African) American history. For example, with An Inter cultural African Opinion: Amy Ashwood Garvey and C. L. R. James in Black Radical Makalani offers an important essay, which reveals transnational black radicalism at the turn of the century. Pushing back at periodization and narrative that inadvertently reinscribes American exceptionalism, Makalani narrates history of a Negro experience beyond the confines of civil rights, racial uplift, black migration and community formation, and modernity in which USbased scholarly discussions tend be rooted (79). To understand the New Negro Movement, the black radical imagination of this moment, and early twentieth century black activism and transformative cultural productions is look at the Diasporic black communities of London, Paris, Cuba, Tokyo, and Manila. …