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William Temple Hornaday and His Controversial Crusade to Save American Wildlife
The late nineteenth and early twentieth century were a brutal time for American wildlife, with many species pushed to the brink of extinction. (Some are endangered to this day.) And yet these decades also saw the dawn of the conservationist movement. Into this contradictory era came William Temple Hornaday, a larger-than-life dynamo who almost uncannily embodies these conflicting threads in our history.
In The Most Defiant Devil, a compelling new biography of this complex figure, Gregory Dehler explores the life of Hornaday the hunter, museum builder, zoologist, author, conservationist, and anti-Bolshevist crusader. A deeply religious man, he was nonetheless anything but peaceful and was racist even by his era’s standards, going so far as to display an Mbuti pygmy as a "living specimen" in a zoo. A passionate hunter, Hornaday killed thousands of animals, including some of the last wild buffalo in America, but he was far ahead of his time in his influential views on the protection of wildlife. Hornaday designed and built the New York Zoological Park (which became the Bronx Zoo) and was chief taxidermist for what would later become the Smithsonian Museum of Natural History.In this single, fascinating individual, we can discern some of the Progressive Era's most destructive forces and some of its most enlightened visions.
Our Travels, Trials, Adventures, and Epiphanies
The New York Times–bestselling author Donald McCaig has established an expansive literary career, founded equally on books about working sheepdogs and the Civil War novels Jacob’s Ladder and Rhett Butler’s People, the official sequel to Gone with the Wind.
In his new book, Mr. and Mrs. Dog, McCaig draws on twenty-five years of experience raising sheepdogs to vividly describe his—and his dogs June and Luke’s—unlikely progress toward and participation in the World Sheepdog Trials in Wales.
McCaig engagingly chronicles the often grueling experience—through rain, snow, ice storms, and brain-numbing heat—of preparing and trialing Mrs. Dog, June, "a foxy lady in a slinky black-and-white peignoir," and Mr. Dog, Luke, "a plain worker—no flash to him." Along the way, he relays sage advice from his decades spent talking with America’s most renowned dog experts, from police-dog trainers to positive-training gurus.
As readers of McCaig’s novels will expect, Mr. and Mrs. Dog delivers far more than straightforward dog-training tips. Revealing an abiding love and respect for his dogs, McCaig unveils the life experiences that set him on the long road to the Welsh trial fields. Starting with memories of his first dog, Rascal, and their Montana roadtrip in a ’48 Dodge, McCaig leads us into his thirties, when he abandons his New York advertising career to move to a run-down Appalachian sheep farm in the least populous county in Virginia. This 1960s agrarian adventure ultimately brings McCaig, Luke, and June to the Olympics of sheepdog trials. In his narration of one man’s love for his dogs, McCaig offers a powerful portrayal of the connection between humans and their animal companions.
Edwardian Fiction and the Emergence of Modernism
By 1901, the public museum was firmly established as an important national institution in British life. Its very centrality led to its involvement in a wide range of debates about art, knowledge, national identity, and individual agency. Ruth Hoberman argues that these debates concerned writers as well. Museum Trouble focuses on fiction written between 1890 and 1914 and the ways in which it engaged the issues dramatized by and within the museum.
Those issues were many. Art critics argued about what kind of art to buy on behalf of the nation, how to display it, and whether salaried professionals or aristocratic amateurs should be in charge. Museum administrators argued about the best way to exhibit scientific and cultural artifacts to educate the masses while serving the needs of researchers. And novelists had their own concerns about an increasingly commercialized literary marketplace, the nature of aesthetic response, the impact of evolution and scientific materialism, and the relation of the individual to Britain’s national and imperial identity.
In placing the many crucial museum scenes of Edwardian fiction in the context of late nineteenth-century and early twentieth-century cultural discourse, Museum Trouble shows how this turn-of-the-century literature anticipated many of the concerns of the modernist writers who followed.
How Continental Presumptions Gave Rise to the United States of America
In one of Common Sense’s most ringing phrases, Thomas Paine declared it "absurd" for "a continent to be perpetually governed by an island." Such powerful words, coupled with powerful ideas, helped spur the United States to independence.
In The Nation's Nature, James D. Drake examines how a relatively small number of inhabitants of the Americas, huddled along North America’s east coast, came to mentally appropriate the entire continent and to think of their nation as America. Drake demonstrates how British North American colonists’ participation in scientific debates and imperial contests shaped their notions of global geography. These ideas, in turn, solidified American nationalism, spurred a revolution, and shaped the ratification of the Constitution.
Winner of the Walker Cowen Memorial Prize for an outstanding work of scholarship in eighteenth–century studies
Thomas Jefferson's Philosophical Anthropology
Although scholars have adequately covered Thomas Jefferson’s general ideas about human nature and race, this is the first book to examine what Maurizio Valsania terms Jefferson’s "philosophical anthropology"—philosophical in the sense that he concerned himself not with describing how humans are, culturally or otherwise, but with the kind of human being Jefferson thought he was, wanted to become, and wished for citizens to be for the future of the United States. Valsania’s exploration of this philosophical anthropology touches on Jefferson’s concepts of nationalism, slavery, gender roles, modernity, affiliation, and community. More than that, Nature's Man shows how Jefferson could advocate equality and yet control and own other human beings.
A humanist who asserted the right of all people to personal fulfillment, Jefferson nevertheless had a complex philosophy that also acknowledged the dynamism of nature and the limits of human imagination. Despite Jefferson's famous advocacy of apparently individualistic rights to life, liberty, and the pursuit of happiness, Valsania argues that both Jefferson's yearning for the human individual to become something good and his fear that this hypothetical being would turn into something bad were rooted in a specific form of communitarianism. Absorbing and responding to certain moral-philosophical currents in Europe, Jefferson’s nature-infused vision underscored the connection between the individual and the community.
Alternative Modernities in Literature, Visual Art, and Film
In a comparative and interdisciplinary analysis of modern and postmodern literature, film, art, and visual culture, Monika Kaup examines the twentieth century's recovery of the baroque within a hemispheric framework embracing North America, Latin America, and U.S. Latino/a culture. As "neobaroque" comes to the forefront of New World studies, attention to transcultural dynamics is overturning the traditional scholarship that confined the baroque to a specific period, class, and ideology in the seventeenth century. Reflecting on the rich, nonlinear genealogy of baroque expression, Neobaroque in the Americas envisions the baroque as an anti-proprietary expression that brings together seemingly disparate writers and artists and contributes to the new studies in global modernity.
American Modernism and World War I
Adopting the term "new death," which was used to describe the unprecedented and horrific scale of death caused by the First World War, Pearl James uncovers several touchstones of American modernism that refer to and narrate traumatic death. The sense of paradox was pervasive: death was both sanctified and denied; notions of heroism were both essential and far-fetched; and civilians had opportunities to hear about the ugliness of death at the front but often preferred not to. By historicizing and analyzing the work of such writers as Willa Cather, Ernest Hemingway, F. Scott Fitzgerald, and William Faulkner, the author shows how their novels reveal, conceal, refigure, and aestheticize the violent death of young men in the aftermath of the war. These writers, James argues, have much to say about how the First World War changed death's cultural meaning.
American Postmodern Fiction and the Cold War
What does narrative look like when the possibility of an expansive future has been called into question? This query is the driving force behind Daniel Grausam’s On Endings, which seeks to show how the core texts of American postmodernism are a response to the geopolitical dynamics of the Cold War and especially to the new potential for total nuclear conflict. Postwar American fiction needs to be rethought, he argues, by highlighting postmodern experimentation as a mode of profound historical consciousness.
In Grausam’s view, previous studies of fiction mimetically concerned with nuclear conflict neither engage the problems that total war might pose to narration nor take seriously the paradox of a war that narrative can never actually describe. Those few critical works that do take seriously such problems do not offer a broad account of American postmodernism. And recent work on postmodernism has offered no comprehensive historical account of the part played by nuclear weapons in the emergence of new forms of temporal and historical experience. On Endings significantly extends the project of historicizing postmodernism while returning the nuclear to a central place in the study of the Cold War.
Fear and the Media
Award-winning media historian Jack Censer's exhaustive account of media coverage of the DC Sniper episode creates a more complex picture of the whole range of news media than accounts emphasizing political bias or commercial gain. The sniper episode has particular lessons about the media's role in generating or moderating public fear. Censer concludes that neither commercial gain nor political bias are adequate to explain media reaction: professional motivations of reporters, which differ for different media, are more important. Looks at public schools, that had a very moderate response.