The University of Alabama Press was founded in the fall of 1945 with J. B. McMillan as founding director . The Press’s first work was Roscoe Martin’s New Horizons in Public Administration, which appeared in February 1946. In 1964, the Press joined the American Association of University Presses.
Edited by Cameron H. Lacquement, with contributions from Lynne P. Sullivan, Robe
Some of the most visible expressions of human culture are illustrated architecturally. Unfortunately for archaeologists, the architecture being studied is not always visible and must be inferred from soil inconsistencies or charred remains. This study deals with research into roughly a millennium of Native American architecture in the Southeast and includes research on the variation of construction techniques employed both above and below ground. Most of the architecture discussed is that of domestic houses with some emphasis on large public buildings and sweat lodges. The authors use an array of methods and techniques in examining native architecture including experimental archaeology, ethnohistory, ethnography, multi-variant analysis, structural engineering, and wood science technology. A major portion of the work, and probably the most important in terms of overall significance, is that it addresses the debate of early Mississippian houses and what they looked like above ground and the changes that occurred both before and after the arrival of Europeans.
The themes of the essays in Argumentation Theory and the Rhetoric of Assent all coalesce around the general question: "When, if ever, is assent justified?" The question immediate triggers complex and multifaceted considerations of argument and, ultimately, power. In parsing out the nature of assent, the essays take divers approaches: aesthetic and symbolist, rationalistic and formalistic, field theory, various conceptualizations of a public sphere, etc. Together, they offer an insightful exploration of an exciting new terrain argumentation studies.
Arthouse is an audacious transformation in prose of fourteen modernist films. From film to film, Jeffrey DeShell follows a forty-something failed film studies academic—The Professor. While The Professor is reinvented with each new chapter (or film), what remains is DeShell’s inventive deconstruction and representation of modern cinema. At times borrowing imagery, plot, or character elements, and at times rendering lighting, rhythm, costuming, or shot sequences into fictional language, The Professor’s journey sends him from the Southwestern town of Pueblo, Colorado, into the role of rescuer as he aids an attempted-rape victim, and finally to Italy. Ultimately though, The Professor is left alone, struggling to reconcile the real world with his life in cinema.
American Literary Realism and Graphic Illustration, 1880-1905
Artistic Liberties is a landmark study of the illustrations that originally accompanied now-classic works of American literary realism and the ways editors, authors, and illustrators vied for authority over the publications.
Though today, we commonly read major works of nineteenth-century American literature in unillustrated paperbacks or anthologies, many of them first appeared as magazine serials, accompanied by ample illustrations that sometimes made their way into the serials’ first printings as books. The graphic artists creating these illustrations often visually addressed questions that the authors had left for the reader to interpret, such as the complexions of racially ambiguous characters in Uncle Tom’s Cabin. The artists created illustrations that depicted what outsiders saw in Huck and Jim in Adventures of Huckleberry Finn, rather than what Huck and Jim learned to see in one another. These artists even worked against the texts on occasion—for instance, when the illustrators reinforced the same racial stereotypes that writers such as Paul Laurence Dunbar had intended to subvert in their works.
Authors of American realism commonly submitted their writing to editors who allowed them little control over the aesthetic appearance of their work. In his groundbreaking Artistic Liberties, Adam Sonstegard studies the illustrations from these works in detail and finds that the editors employed illustrators who were often unfamiliar with the authors’ intentions and who themselves selected the literary material they wished to illustrate, thereby taking artistic liberties through the tableaux they created.
Sonstegard examines the key role that the appointed artists played in visually shaping narratives—among them Mark Twain’s Pudd’nhead Wilson, Stephen Crane’s The Monster, and Edith Wharton’s The House of Mirth—as audiences tended to accept their illustrations as guidelines for understanding the texts. In viewing these works as originally published, received, and interpreted, Sonstegard offers a deeper knowledge not only of the works, but also of the realities surrounding publication during this formative period in American literature.
“The world is full of continuous conversations: Now is surrounded by Past, and both are encircled by Forever.” So states an unnamed narrator in Sara Greenslit’s new novel As if a Bird Flew by Me.
Celia lives in the contemporary Midwest. Ann is an accused witch, executed during the Salem witch trials. Two women separated by time and place, yet yoked by heritage and history. Set in three time periods, stories within stories unfold, and Greenslit’s language seamlessly weaves Celia’s modern life with the historical record of Ann’s demise alongside dazzling renderings of animal life. Greenslit’s hybrid of fiction and nonfiction occupies that rarest of airs: it is a book that illuminates, line by line and page by page, how it should be read.
Cahokia and Mississippian Politics in Native North America
Written by Timothy R. Pauketat
This ambitious book provides a theoretical explanation of how prehistoric Cahokia became a stratified society, and ultimately the pinnacle of Native American cultural achievement north of Mexico. Considering Cahokia in terms of class struggle, Pauketat claims that the political consolidation in this region of the Mississippi Valley happened quite suddenly, around A.D. 1000, after which the lords of Cahokia innovated strategies to preserve their power and ultimately emerged as divine chiefs. The new ideas and new data in this volume will invigorate the debate surrounding one of the most important developments in North American prehistory.
Talks on Poetry and Autobiography with Robin Blaser and Friends
Robin Blaser moved from his native Idaho to attend the University of California, Berkeley, in 1944. While there, he developed as a poet, explored his homosexuality, engaged in a lively arts community, and met fellow travelers and poets Robert Duncan and Jack Spicer. The three men became the founding members of the Berkeley core of what is now known as the San Francisco Renaissance in New American Poetry.
In the company of a small group of friends and writers in 1974, Blaser was asked to narrate his personal story and to comment on the Berkeley poetry scene. In twenty autobiographical audiotapes, Blaser talks about his childhood in Idaho, his time in Berkeley, and his participation in the making of a new kind of poetry. The Astonishment Tapes is the expertly edited transcript of these recordings by Miriam Nichols, Blaser’s editor and biographer.
In The Astonishment Tapes Blaser comments extensively on the poetic principles that he, Duncan, and Spicer worked through, as well as the differences and dissonances between the three of them. Nichols has edited the transcripts only minimally, allowing readers to make their own interpretations of Blaser’s intentions.
Sometimes gossipy, sometimes profound, Blaser offers his version on the inside story of one of the most significant moments in mid-twentieth century American poetry. The Astonishment Tapes is of considerable value and interest, not only to readers of Blaser, Duncan, and Spicer, but also to scholars of the early postmodern and twentieth-century American poetry.
First published in 1967, Rufus Spain’s thorough investigation into Southern Baptist attitudes set the stage for research on religion in the American South. In At Ease in Zion, Spain questions the titular “ease” with society that Southern Baptists seemed to maintain following the Civil War. His analysis of denominational newspapers, as well as reports from the Southern Baptist Convention and state conventions, paint a compelling picture of the subjects’ complacency with their social existence, even as they criticized personal and recreational ethics.
While the South faced significant social, economic, and political changes after the Civil War, religion remained the primary moral influence. As the Southern Baptist denomination made up a significant majority of the population at that time, its leaders and attitudes had a clear and undeniable impact on social norms. Rufus Spain was one of the first writers to actively demonstrate the relationship between Southern religion and Southern society, and his work displays meticulous attention to the ways in which we are affected by complacency. He asserts that Southern Baptists viewed the American South as a version of God’s ideal society; any issues they wished to address were caused by individuals (such as those who did not conform to societal norms) or external attitudes (such as those in differing religions or regions).
At Ease in Zion is a critical part of the scholarly discussion on religion in society. Spain’s research offers a bold analysis of the American South and its citizens during one of the most tumultuous times in its history while providing a basis for arguments on “social Christianity” and its ever-shifting role in the world.
Civil War Military Tactics and the Southern Heritage
“In the first twenty-seven months of combat 175,000 Southern soldiers died. This number was more than the entire Confederate military force in the summer of 1861, and it far exceeded the strength of any army that Lee ever commanded. More than 80,000 Southerners fell in just five battles. At Gettysburg three out of every ten Confederates present were hit; one brigade lost 65 percent of its men and 70 percent of its field officers in a single charge. A North Carolina regiment started the action with some 800 men; only 216 survived unhurt. Another unit lost two-thirds of its men as well as its commander in a brief assault.”
Why did the Confederacy lose so many men? The authors contend that the Confederates bled themselves nearly to death in the first three years of the war by making costly attacks more often than the Federals. Offensive tactics, which had been used successfully by Americans in the Mexican War, were much less effective in the 1860s because an improved weapon – the rifle – had given increased strength to defenders. This book describes tactical theory in the 1850s and suggests how each related to Civil War tactics. It also considers the development of tactics in all three arms of the service during the Civil War.
In examining the Civil War the book separates Southern from Northern tactical practice and discusses Confederate military history in the context of Southern social history. Although the Southerners could have offset their numerical disadvantage by remaining on the defensive and forcing the Federals to attack, they failed to do so. The authors argue that the Southerners’ consistent favoring of offensive warfare was attributable, in large measure, to their Celtic heritage: they fought with the same courageous dash and reckless abandon that had characterized their Celtic forebears since ancient times. The Southerners of the Civil War generation were prisoners of their social and cultural history: they attacked courageously and were killed – on battlefields so totally defended by the Federals that “not even a chicken could get through.”
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