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Innocence by Association
The statement, "The Civil Rights Movement changed America," though true, has become something of a cliché. Civil rights in the White Literary Imagination seeks to determine how, exactly, the Civil Rights Movement changed the literary possibilities of four iconic American writers: Robert Penn Warren, Norman Mailer, Eudora Welty, and William Styron. Each of these writers published significant works prior to the Brown v. Board of Education case in 1954 and the Montgomery Bus Boycott that began in December of the following year, making it possible to trace their evolution in reaction to these events. The work these writers crafted in response to the upheaval of the day, from Warren's Who Speaks for the Negro?, to Mailer's "The White Negro" to Welty's "Where Is the Voice Coming From?" to Styron's Confessions of Nat Turner, reveal much about their own feeling in the moment even as they contribute to the national conversation that centered on race and democracy.
By examining these works closely, Gray posits the argument that these writers significantly shaped discourse on civil rights as the movement was occurring but did so in ways that--intentionally or not--often relied upon a notion of the relative innocence of the South with regard to racial affairs, and on a construct of African Americans as politically and/or culturally na*ve. As these writers grappled with race and the myth of southern nobility, their work developed in ways that were simultaneously sympathetic of, and condescending to, black intellectual thought occurring at the same time.
Based on new research and combining multiple scholarly approaches, these twelve essays tell new stories about the civil rights movement in the state most resistant to change. Wesley Hogan, Françoise N. Hamlin, and Michael Vinson Williams raise questions about how civil rights organizing took place. Three pairs of essays address African Americans' and whites' stories on education, religion, and the issues of violence. Jelani Favors and Robert Luckett analyze civil rights issues on the campuses of Jackson State University and the University of Mississippi. Carter Dalton Lyon and Joseph T. Reiff study people who confronted the question of how their religion related to their possible involvement in civil rights activism. By studying the Ku Klux Klan and the Deacons for Defense in Mississippi, David Cunningham and Akinyele Umoja ask who chose to use violence or to raise its possibility.
The final three chapters describe some of the consequences and continuing questions raised by the civil rights movement. Byron D'Andra Orey analyzes the degree to which voting rights translated into political power for African American legislators. Chris Myers Asch studies a Freedom School that started in recent years in the Mississippi Delta. Emilye Crosby details the conflicting memories of Claiborne County residents and the parts of the civil rights movement they recall or ignore.
As a group, the essays introduce numerous new characters and conundrums into civil rights scholarship, advance efforts to study African Americans and whites as interactive agents in the complex stories, and encourage historians to pull civil rights scholarship closer toward the present.
In Civil War Humor author Cameron C. Nickels examines the various forms of comedic popular artifacts produced in America from 1861 to 1865, and looks at how wartime humor was created, disseminated, and received by both sides of the conflict. Song lyrics, newspaper columns, sheet music covers, illustrations, political cartoons, fiction, light verse, paper dolls, printed envelopes, and penny dreadfuls--from and for the Union and the Confederacy--are analyzed at length. Nickels argues that the war coincided with the rise of inexpensive mass printing in the United States and thus subsequently with the rise of the country's widely distributed popular culture. As such, the war was as much a "paper war"--involving the use of publications to disseminate propaganda and ideas about the Union and the Confederacy's positions--as one taking place on battlefields. Humor was a key element on both sides in deflating pretensions and establishing political stances (and ways of critiquing them). Civil War Humor explores how the combatants portrayed Jefferson Davis and Abraham Lincoln, life on the home front, battles, and African Americans. Civil War Humor reproduces over sixty illustrations and texts created during the war and provides close readings of these materials. At the same time, it places this corpus of comedy in the context of wartime history, economies, and tactics. This comprehensive overview examines humor's role in shaping and reflecting the cultural imagination of the nation during its most tumultuous period.
A great many commanders in the American Civil War (1861-1865) served in the Mexican War (1846-1848). Civil War Leadership and Mexican War Experience explores the influence of the earlier war on those men who would become leaders of Federal and Confederate forces. Military historian Kevin Dougherty sets the context with a discussion of professional soldiering before both wars. He then depicts the unique experiences of twenty-six men in Mexico, thirteen who would later serve the Confederacy and thirteen who would remain with the Union. He traces how tactics they used and reactions they had to Civil War combat reveal a remarkable connection to what they learned campaigning against Santa Anna and other Mexican generals. Personalities discussed range from well-known leaders such as Ulysses S. Grant to lesser-known figures such as John Winder; from geniuses such as Robert E. Lee to mediocrities such as Gideon Pillow; and from aged heroes such as Winfield Scott to developing practitioners such as William Sherman. No other volume so exclusively and thoroughly focuses on connections of service in both wars. Two appendixes in the book list 194 Federal generals and 142 Confederate generals who served in Mexico. The impact of these experiences on major tactical decisions in the Civil War is far-reaching. A retired U.S. Army officer, Kevin Dougherty teaches history at the University of Southern Mississippi. His books include The Coastal War in North and South Carolina.
In the Civil War Mississippi experienced a protracted and devastating invasion, and Confederate and Union armies fought fiercely at Corinth, Holly Springs, Iuka, Port Gibson, Vicksburg, and many other sites throughout the state.
With both tourists and Civil War buffs in mind, archivist Michael Ballard has written Civil War Mississippi: A Guide, the first comprehensive coverage of the war in the state. Containing easy-to-follow maps and a wealth of historical material, the book discusses the campaigns, the present-day battlefields, the battles, and the soldiers and generals who fought.
The war was complex in Mississippi, for it involved sieges, trench warfare, naval bombardments, and brilliant cavalry engagements. Some of the most storied names of the war-- Ulysses S. Grant, William T. Sherman, Nathan Bedford Forrest, and John Pemberton-- experienced their most triumphant and harrowing moments on Mississippi battlegrounds.
Ballard captures all the destruction, drama, and bravery of Mississippi's war. He examines the major campaigns, emphasizing why engagements occurred, how the battles ended, and how the war in Mississippi affected the ongoing struggle nationwide. Maps include current highways and Ballard has added present-day photos and recommendations about touring the sites.
Both the novice and the Civil War expert will relish this tour of the state's war legacy. Michael Ballard is University Archivist and Coordinator of the Congressional Collection for Special Collections of the Mississippi State University Libraries. Author of numerous works on the war, he has published A Long Shadow: Jefferson Davis and the Final Days of the Confederacy, and Pemberton: A Biography with the University Press of Mississippi. Both were History Book Club selections.
She Walked in Beauty
Claudette Colbert's mixture of beauty, sophistication, wit, and vivacity quickly made her one of the film industry's most famous and highest-paid stars of the 1930s and 1940s. Though she began her career on the New York stage, she was beloved for her roles in such films as Preston Sturges's The Palm Beach Story, Cecil B. DeMille's Cleopatra, and Frank Capra's It Happened One Night, for which she won an Academy Award. She showed remarkable prescience by becoming one of the first Hollywood stars to embrace television, and she also returned to Broadway in her later career. This is the first major biography of Colbert (1903-1996) published in over twenty years. Bernard F. Dick chronicles Colbert's long career, but also explores her early life in Paris and New York. Along with discussing how she left her mark on Broadway, Hollywood, radio, and television, the book explores Colbert's lifelong interests in painting, fashion design, and commercial art. Using correspondence, interviews, periodicals, film archives, and other research materials, the biography reveals a smart, talented actress who conquered Hollywood and remains one of America's most captivating screen icons. Bernard F. Dick is professor of communication and English at Fairleigh Dickinson University and is the author of Hal Wallis: Producer to the Stars; Engulfed: The Death of Paramount Pictures and the Birth of Corporate Hollywood; Forever Mame: The Life of Rosalind Russell (University Press of Mississippi); and other books.
Interviews, Revised and Updated
Clint Eastwood (b. 1930) is the only popular American dramatic star to have shaped his own career almost entirely through films of his own producing, frequently under his own direction; no other dramatic star has directed himself so often. He is also one of the most prolific active directors, with thirty-three features to his credit since 1971.As a star, he is often recalled primarily for two early roles--the "Man with No Name" of three European-made Westerns, and the uncompromising cop "Dirty" Harry Callahan. But on his own as a director, Eastwood has steered a remarkable course. A film industry insider who works through the established Hollywood system and respects its traditions, he remains an outsider by steadfastly refusing to heed cultural and aesthetic trends in film production and film style. His films as director have examined an eclectic variety of themes, ranging from the artist's life to the nature of heroism, while frequently calling into question the ethos of masculinity and his own star image. Yet they have remained accessible to a popular audience worldwide. With two Best Director and two Best Picture Oscars to his credit, Eastwood now ranks among the most highly honored living filmmakers.These interviews range over the more than four decades of Eastwood's directorial career, with an emphasis on practical filmmaking issues and his philosophy as a filmmaker. Nearly a third are from European sources--several appearing here in English for the first time.
The Language and Style of Steampunk
This unique book explores how the aesthetic and cultural movement "Steampunk" persuades audiences and wins new acolytes. Steampunk is an aesthetic style grounded in the Victorian era, in clothing and accoutrements modeled on a heightened and hyper-extended age of steam. In addition to its modeling of attire and other symbolic trappings, what is most distinctive is its adherents' use of a machined aesthetic based on steam engines and early electrical machinery: gears, pistons, shafts, wheels, induction motors, clockwork and so forth.
The aesthetic was first articulated in literature in the works of Jules Verne and H. G. Wells. The American West later contributed images to the aesthetic--revolvers, locomotives, and rifles of the late nineteenth century. Among young people steampunk has found common aesthetic cause with Goth style. Examples from literature and popular culture include William Gibson's fiction, China Miéville's novels, the classic film Metropolis, and the BBC series Doctor Who. This volume recognizes that steampunk, a unique popular culture phenomenon, presents a prime opportunity for rhetorical criticism.
Steampunk's art, style, and narratives convey complex social and political meanings. Chapters in Clockwork Rhetoric explore topics ranging from jewelry to Japanese anime to contemporary imperialism to fashion. Throughout, the book demonstrates how language influences consumers of steampunk to hold certain social and political attitudes and commitments.
Exploring Modern Hollywood’s Leading Genre
In the summer of 2000 X-Men surpassed all box office expectations and ushered in an era of unprecedented production of comic book film adaptations. This trend, now in its second decade, has blossomed into Hollywood’s leading genre. From superheroes to Spartan warriors, The Comic Book Film Adaptation offers the first dedicated study to examine how comic books moved from the fringes of popular culture to the center of mainstream film production.
Through in-depth analysis, industry interviews, and audience research, this book charts the cause-and-effect of this influential trend. It considers the cultural traumas, business demands, and digital possibilities that Hollywood faced at the dawn of the twenty-first century. The industry managed to meet these challenges by exploiting comics and their existing audiences. However, studios were caught off-guard when these comic book fans, empowered by digital media, began to influence the success of these adaptations. Nonetheless, filmmakers soon developed strategies to take advantage of this intense fanbase, while codifying the trend into a more lucrative genre, the comic book movie, which appealed to an even wider audience. Central to this vibrant trend is a comic aesthetic in which filmmakers utilize digital filmmaking technologies to engage with the language and conventions of comics like never before.
The Comic Book Film Adaptation explores this unique moment in which cinema is stimulated, challenged, and enriched by the once-dismissed medium of comics.
Reimagining Critical Discourse on the Form
It has become an axiom in comic studies that "comics is a language, not a genre." But what exactly does that mean, and how is discourse on the form both aided and hindered by thinking of it in linguistic terms? In Comics and Language, Hannah Miodrag challenges many of the key assumptions about the "grammar" and formal characteristics of comics, and offers a more nuanced, theoretical framework that she argues will better serve the field by offering a consistent means for communicating critical theory in the scholarship. Through engaging close readings and an accessible use of theory, this book exposes the problems embedded in the ways critics have used ideas of language, literature, structuralism, and semiotics, and sets out a new and more theoretically sound way of understanding how comics communicate.Comics and Language argues against the critical tendency to flatten the distinctions between language and images and to discuss literature purely in terms of story content. It closely examines the original critical theories that such arguments purport to draw on and shows how they in fact point away from the conclusions they are commonly used to prove. The book improves the use the field makes of existing scholarly disciplines and furthers the ongoing sophistication of the field. It provides animated and insightful analyses of a range of different texts and takes an interdisciplinary approach. Comics and Language will appeal to the general comics reader and will prove crucial for specialized scholars in the fields of comics, literature, cultural studies, art history, and visual studies. It also provides a valuable summary of the current state of formalist criticism within comics studies and so presents the ideal text for those interested in exploring this growing area of research