Thomas Fiehrer
Biographic Data
| ID | 138609 |
|---|---|
| NAME | Thomas Fiehrer |
| GIVEN NAMES | Thomas |
| FAMILY NAME | Fiehrer |
| SIGNATURE | FIEHRER T |
| AFFILIATIONS | University of New Orleans |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 18 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1979 |
| LATEST PUBLICATION YEAR | 1991 |
| H-INDEX | 3 |
From quadrille to stomp: The Creole origins of jazz
The purpose here is at once simple and complex - to show that both academic and popular perceptions of the origins of jazz are wide of the mark, though still sustained by both scholarly and musical communities. On a very general level jazz is construed as a quintessentially Afro-American music form that originated in widely disparate locales across the United States at roughly the same time, and perhaps the only indigenous American art form of wo…
Political violence in the periphery: The Haitian massacre of 1937
Down by the Riverside: A South Carolina Slave Community
Socialism and Spirituality
Revolutionary unrest south of the U.S. border has laid the groundwork for a political-religious dialogue on the left. The July-August 1984 Monthly Review offers a hopeful sign that open-minded socialists are preparing themselves for a critical exchange of views. The religious radicals themselves, long on the receiving end of Marxist ideas, have made clear their eagerness to respond. Local practice frames the discussion: Christians and Marxists, w…
Slaves and Freedmen in Colonial Central America: Rediscovering a Forgotten Black Past
From quadrille to stomp: The Creole origins of jazz
The purpose here is at once simple and complex - to show that both academic and popular perceptions of the origins of jazz are wide of the mark, though still sustained by both scholarly and musical communities. On a very general level jazz is construed as a quintessentially Afro-American music form that originated in widely disparate locales across the United States at roughly the same time, and perhaps the only indigenous American art form of wo…
Political violence in the periphery: The Haitian massacre of 1937
Slaves and Freedmen in Colonial Central America: Rediscovering a Forgotten Black Past
Slaves and Freedmen in Colonial Central America: Rediscovering a Forgotten Black Past
Socialism and Spirituality
Revolutionary unrest south of the U.S. border has laid the groundwork for a political-religious dialogue on the left. The July-August 1984 Monthly Review offers a hopeful sign that open-minded socialists are preparing themselves for a critical exchange of views. The religious radicals themselves, long on the receiving end of Marxist ideas, have made clear their eagerness to respond. Local practice frames the discussion: Christians and Marxists, w…
Down by the Riverside: A South Carolina Slave Community
Political violence in the periphery: The Haitian massacre of 1937
From quadrille to stomp: The Creole origins of jazz
The purpose here is at once simple and complex - to show that both academic and popular perceptions of the origins of jazz are wide of the mark, though still sustained by both scholarly and musical communities. On a very general level jazz is construed as a quintessentially Afro-American music form that originated in widely disparate locales across the United States at roughly the same time, and perhaps the only indigenous American art form of wo…
History (4 works) · Sociology (4 works) · History (3 works) · Political science (3 works) · Archaeology (2 works) · Colonialism, slavery, and trade (2 works) · Gender Studies (2 works) · Gender Studies (2 works) · Law (2 works) · Media studies (2 works)