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Demonization and Defiance in the Confederate South
During the Civil War, southerners produced a vast body of writing about their northern foes, painting a picture of a money-grubbing, puritanical, and infidel enemy. Damn Yankees! explores the proliferation of this rhetoric and demonstrates how the perpetual vilification of northerners became a weapon during the war, fostering hatred and resistance among the people of the Confederacy.
Drawing from speeches, cartoons, editorials, letters, and diaries, Damn Yankees! examines common themes in southern excoriation of the enemy. In sharp contrast to the presumed southern ideals of chivalry and honor, Confederates claimed that Yankees were rootless vagabonds who placed profit ahead of fidelity to religious and social traditions. Pervasive criticism of northerners created a framework for understanding their behavior during theof battle, it confirmed the Yankees’ reputed physical and moral weakness. When the Yankees achieved military success, reports of depravity against vanquished foes abounded, stiffening the resolve of Confederate soldiers and civilians alike to protect their homeland and the sanctity of their women from Union degeneracy.
From award-winning Civil War historian George C. Rable, Damn Yankees! is the first comprehensive study of anti-Union speech and writing, the ways these words shaped perceptions of and events in the war, and the rhetoric’s enduring legacy in the South after the conflict had ended.
The Cultural Construction of Deaf People as Disabled
Until the recent recognition of Deaf culture and the legitimacy of signed languages, majority societies around the world have classified Deaf people as “disabled,” a term that separates all persons so designated from the mainstream in a disparaging way. Damned for Their Difference offers a well-founded explanation of how this discrimination came to be through a discursive exploration of the cultural, social, and historical contexts of these attitudes and behavior toward deaf people, especially in Great Britain. Authors Jan Branson and Don Miller examine the orientation toward and treatment of deaf people as it developed from the 17th century through the 20th century. Their wide-ranging study explores the varied constructions of the definition of “disabled,” a term whose meaning hinges upon constant negotiation between parties, ensuring that no finite meaning is ever established. Damned for Their Difference provides a sociological understanding of disabling practices in a way that has never been seen before.
The Civil War Letters of William Henry Harrison Clayton
William Henry Harrison Clayton was one of nearly 75,000 soldiers from Iowa to join the Union ranks during the Civil War. Possessing a high school education and superior penmanship, Clayton served as a company clerk in the 19th Infantry, witnessing battles in the Trans-Mississippi theater. His diary and his correspondence with his family in Van Buren County form a unique narrative of the day-to-day soldier life as well as an eyewitness account of critical battles and a prisoner-of-war camp.
Clayton participated in the siege of Vicksburg and took part in operations against Mobile, but his writings are unique for the descriptions he gives of lesser-known but pivotal battles of the Civil War in the West. Fighting in the Battle of Prairie Grove, the 19th Infantry sustained the highest casualties of any federal regiment on the field. Clayton survived that battle with only minor injuries, but he was later captured at the Battle of Stirling's Plantation and served a period of ten months in captivity at Camp Ford, Texas.
Clayton's writing reveals the complicated sympathies and prejudices prevalent among Union soldiers and civilians of that period in the country's history. He observes with great sadness the brutal effects of war on the South, sympathizing with the plight of refugees and lamenting the destruction of property. He excoriates draft evaders and Copperheads back home, conveying the intra-sectional acrimony wrought by civil war. Finally, his racist views toward blacks demonstrate a common but ironic attitude among Union soldiers whose efforts helped lead to the abolition of slavery in the United States.
Cahora Bassa and Its Legacies in Mozambique, 1965 - 2007
Resource Development and Preservation the Truman-Eisenhower Era
This book is a chronicle of the myopia and gamesmanship that dominated Americans' understanding of their environment on the eve of the nation's ecology crisis. Based almost entirely on primary sources, Elmo Richardson's study examines the interplay between the national policies and programs for development and preservation of natural resources in the centralist Truman administration and the localist, enterprise-oriented Eisenhower administration. He shows that the decade examined brought about very little change in the values held by federal policy makers. Although the development of resources was a prominent issue in the elections of 1948, 1952, and 1956, what emerges from Richardson's account is the shallowness of understanding on the part of the decision makers and the public, and the ease with which policy direction could be deflected. The book demonstrates the persistence of the tradition of development and the nonpartisan character of the movement for preservation, which crossed party lines, regional lines, and economic interest groups.
A Long Embrace
From ballet to burlesque, from the frontier jig to the jitterbug, Americans have always loved watching dance, whether in grand ballrooms, on Mississippi riverboats, or in the streets. Dance and American Art is an innovative look at the elusive, evocative nature of dance and the American visual artists who captured it through their paintings, sculpture, photography, and prints from the early nineteenth century through the mid-twentieth century. The scores of artists discussed include many icons of American art: Winslow Homer, George Caleb Bingham, Mary Cassatt, James McNeill Whistler, Alexander Calder, Joseph Cornell, Edward Steichen, David Smith, and others.
As a subject for visual artists, dance has given new meaning to America’s perennial myths, cherished identities, and most powerful dreams. Their portrayals of dance and dancers, from the anonymous to the famous—Anna Pavlova, Isadora Duncan, Loïe Fuller, Josephine Baker, Martha Graham—have testified to the enduring importance of spatial organization, physical pattern, and rhythmic motion in creating aesthetic form.
Through extensive research, sparkling prose, and beautiful color reproductions, art historian Sharyn R. Udall draws attention to the ways that artists’ portrayals of dance have defined the visual character of the modern world and have embodied culturally specific ideas about order and meaning, about the human body, and about the diverse fusions that comprise American culture.
Race, Sex, and Stardom
Dance and the Hollywood Latina asks why every Latina star in Hollywood history began as a dancer or danced onscreen. Introducing the concepts of "inbetween-ness" and "racial mobility" to further illuminate how racialized sexuality and the dancing female body operate in film, this book focuses on the careers of Dolores Del Rio, Rita Hayworth, Carmen Miranda, Rita Moreno, and Jennifer Lopez and helps readers better understand how the United States grapples with race, gender, and sexuality through dancing bodies on screen.
Stylized dance music and music based on dance rhythms pervade Bach's compositions. Although the music of this very special genre has long been a part of every serious musician's repertoire, little has been written about it.
The original edition of this addressed works that bore the names of dances—a considerable corpus. In this expanded version of their practical and insightful study, Meredith Little and Natalie Jenne apply the same principals to the study of a great number of Bach's works that use identifiable dance rhythms but do not bear dance-specific titles.
Part I describes French dance practices in the cities and courts most familiar to Bach. The terminology and analytical tools necessary for discussing dance music of Bach's time are laid out.
Part II presents the dance forms that Bach used, annotating all of his named dances. Little and Jenne draw on choreographies, harmony, theorists' writings, and the music of many seventeenth- and eighteenth-century
composers in order to arrive at a model for each dance type.
In Appendix A all of Bach's named dances are listed in convenient tabular form; included are the BWV number for each piece, the date of composition, the larger work in which it appears, the instrumentation, and the meter.
Appendix B supplies the same data for pieces recognizable as dance types but not named as such.
More than ever, this book will stimulate both the musical scholar and the performer with a new perspective at the rhythmic workings of Bach's remarkable repertoire of dance-based music.