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I Came Out of the Eighteenth Century Cover

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I Came Out of the Eighteenth Century

John Andrew Rice

John Andrew Rice’s autobiography, first published to critical acclaim in 1942, is a remarkable tour through late-nineteenth- and early-twentieth-century America. When the book was suppressed by the publisher soon after its appearance because of legal threats by a college president described in the book, the nation lost a rich first-person historical account of race and class relations during a critical period—not only during the days of Rice’s youth, but at the dawn of the civil rights movement. I Came Out of the Eighteenth Century begins with Rice’s childhood on a South Carolina plantation during the post-Reconstruction era. Later Rice moved to Great Britain when he won a Rhodes scholarship, then to the University of Nebraska to accept a professorship. In 1933 he founded Black Mountain College, a legendary progressive college in North Carolina that uniquely combined creative arts, liberal education, self-government, and a work program. Rice’s observations of social and working conditions in the Jim Crow South, his chronicle of his own fading southern aristocratic family, including its famous politicians, and his acerbic portraits of education bureaucrats are memorable and make this book a resource for scholars and a pleasure for lay readers. Historical facts are leavened with wit and insight; black-white relations are recounted with relentless and unsentimental discernment. Rice combines a sociologist’s eye with a dramatist’s flair in a unique voice. This Southern Classics edition includes a new introduction by Mark Bauerlein and an afterword by Rice’s grandson William Craig Rice, exposing a new generation of readers to John Andrew Rice’s incisive commentaries on the American South before the 1960s and to the work of a powerful prose stylist.

I Can Almost See The Clouds of Dust Cover

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I Can Almost See The Clouds of Dust

Selected Poetry of Yu Xiang

Translated by Fiona Sze-Lorrain

Yu Xiang comfortably inhabits the negative space between viewer and subject, artist and artwork, the lover and her beloved in this acrobatic, ekphrastic, meditatively-compelling collection. Fiona Sze-Lorrain’s crisp translation invites American readers to experience Yu Xiang’s poetic mastery half a world away from its formative origins in the Shandong province, bringing into focus the voice of one of China’s most celebrated and memorable female voices. “I have a lonely yet / stable life,” Yu admits at one point in the book. “This is my house. If / you happen to walk in, it’s certainly not / for my rambling notes.” Yu Xiang disarms her reader with exacting imagery and pathos in order to tell the aching, unavoidable truth of womanhood in these striking poems. —Dorianne Laux

I Can't Remember: Family Stories of Alzheimer's Disease Cover

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I Can't Remember: Family Stories of Alzheimer's Disease

I Can't Remember is an intimate photo essay of four families and their process of coping with Alzheimer's disease -- a process of coming to terms with the practical and emotional consequences of a disease that changes the entire family dynamic. Family members tell their stories of first denying that their loved one cold be suffering from Alzheimer's, then dealing with the changing relationships among family members and the intensifying emotions, as old family troubles are stirred up and new feelings of despair and love appear.

Photographs and  personal narratives are woven together to show both the unpleasant and the beautiful sides of the struggle for connection between spouses and across generations. Smoller has a gift for capturing people as they interact, whether it's arguing around the kitchen table or dancing cheek to cheek.

Each family's story is different, but all four families share common pain and frustration. A highway patrolman who has early onset Alzheimer's describes what it is like to have Alzheimer's. His wife tells a parallel story of life together after hearing the diagnosis. A daughter gives the following account of her mother: "I though that it would be helpful if mother spent time in my home in Colorado. Before this visit, I was in denial, convinced that she suffered from depression and not Alzheimer's disease. ... On the plane trip to Colorado, I was brought into the stark, cold reality that Mom had Alzheimer's. She did not know where she was or where she was going. Upon arrival, she did not recognize my home, although she had visited me numerous times in the past. She tried sleeping in the bathtub the first night."

Another daughter relates that she was unaware of the onset of Alzheimer's in her mother, because her mother was such a "wonderful actress." Eventually the memory problems were no longer confined to where things belonged in the kitchen, but extended into driving off at random, driving in circles in a parking lot in the middle of the night or as much as 75 miles away from home.

I Can't Remember gives an intimate glimpse into the hearts and minds of caregivers and patients. Supportive social networks are essential for healthy life. This book provides the impetus caregivers need to develop contacts that can provide support. Smoller offers a glimpse of the frustration and losses faced by those who deal with Alzheimer's, as well as the potential to transcend those losses -- even is only for a time -- through love and hope.

I Cannot Forget Cover

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I Cannot Forget

Imprisoned in Korea, Accused at Home

Judith Fenner Gentry

Eighteen-year-old Johnny Moore was an energetic, self-confident private first class when he entered combat with a heavy-weapons platoon in Korea. Four and a half months later, after surviving heavy attacks on the Pusan Perimeter and in one of the forward units of the western column advancing on the Yalu River, he was captured by the Chinese infantry.

Moore and other American POWs suffered from starvation rations, bitter cold, and mental torment. Although the intense Chinese efforts to change the prisoners’ ideologies were largely unsuccessful, they were very effective in engendering distrust among the prisoners and abandonment of duty by the officers. Encouraged by an American sergeant, Moore worked with his captors to obtain better sanitation, a fairer distribution of food, and, on two occasions, medicine for the sick. Twice he tried to escape from imprisonment. Just four days after his twenty-first birthday, in 1953, the Chinese released him.

Moore cooperated fully with US military interrogators, giving as much information as he could on the prison camp and the methods his captors had used. But two years later, army officers arrested him at his home and charged him with treason. Although the charge was dropped and a Field Board of Inquiry returned him to regular duty, the army’s treatment of him left Moore further traumatized. He eventually went AWOL and turned to drinking, gambling, and other self-destructive behaviors.

Military historian Judith Fenner Gentry has worked with Moore’s memoirs of his experiences during and after the war to corroborate, clarify, elaborate, and situate his story within the larger events in Korea and in the Cold War. She has consulted records from courts-martial, newspaper interviews with returning POWs, and Freedom of Information Act documents on the Army Criminal Investigation Division and the Army Counter-Intelligence Corps.

I Die With My Country Cover

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I Die With My Country

Perspectives on the Paraguayan War, 1864-1870

Hendrik Kraay

The Paraguayan War (1864–70) was the most extensive and profound interstate war ever fought in South America. It directly involved the four countries of Brazil, Argentina, Uruguay, and Paraguay and took the lives of hundreds of thousands, combatants and noncombatants alike. While the war still stirs emotions on the southern continent, until today few scholars from outside the region have taken on the daunting task of analyzing the conflict. In this compilation of ten essays, historians from Canada, the United States, Germany, Argentina, Brazil, and Uruguay address its many tragic complexities. Each scholar examines a particular facet of the war, including military mobilization, home-front activities, the war’s effects on political culture, war photography, draft resistance, race issues, state formation, and the role of women in the war. The editors’ introduction provides a balance to the many perspectives collected here while simultaneously integrating them into a comprehensible whole, thus making the book a compelling read for social historians and military buffs alike.

I Do Wish This Cruel War Was Over Cover

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I Do Wish This Cruel War Was Over

First Person Accounts of Civil War Arkansas from the Arkansas Historical Quarterly

Mark K. Christ

I Do Wish this Cruel War Was Over collects diaries, letters, and memoirs excerpted from their original publication in the Arkansas Historical Quarterly to offer a first-hand, ground-level view of the war’s horrors, its mundane hardships, its pitched battles and languid stretches, even its moments of frivolity. Readers will find varying degrees of commitment and different motivations among soldiers on both sides, along with the perspective of civilians living both in the thick of conflict and at a painful distance from fighting kin. In many cases, these documents address aspects of the war that would become objects of scholarly and popular fascination only years after their initial appearance: the guerrilla conflict that became the “real war” west of the Mississippi; the “hard war” waged against civilians long before William Tecumseh Sherman set foot in Georgia; the work of women in maintaining households in the absence of men; and the complexities of emancipation, which saw African Americans winning freedom and sometimes losing it all over again. Altogether, these first-person accounts provide an immediacy and a visceral understanding of what it meant to survive the Civil War in Arkansas.

I Don’t Cry, But I Remember Cover

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I Don’t Cry, But I Remember

A Mexican Immigrant’s Story of Endurance

By Joyce Lackie

When Viviana Salguero came to the United States in 1946, she spoke very little English, had never learned to read or write, and had no job skills besides housework or field labor. She worked eighteen-hour days and lived outdoors as often as not. And yet she raised twelve children, shielding them from her abusive husband when she dared, and shared in both the tragedies and accomplishments of her family. Through it all, Viviana never lost her love for Mexico or her gratitude to the United States for what would eventually become a better life. Though her story is unique, Viviana Salguero could be the mother, grandmother, or great-grandmother of immigrants anywhere, struggling with barriers of gender, education, language, and poverty.

In I Don't Cry, But I Remember, Joyce Lackie shares with us an intimate portrait of Viviana's life. Based on hours of recorded conversations, Lackie skillfully translates the interviews into an engaging, revealing narrative that details the migrant experience from a woman's point of view and fills a gap in our history by examining the role of women of color in the American Southwest. The book presents Vivana's life not only as a chronicle of endurance, but as a tale of everyday resistance. What she lacks in social confidence, political strength, and economic stability, she makes up for in dignity, faith, and wisdom.

Like all good oral history, Salguero's accounts and Lackie's analyses contribute to our understanding of the past by exposing the inconsistencies and contradictions in our remembrances. This book will appeal to ethnographers, oral historians, students and scholars of Chicana studies and women's studies, as well as general readers interested in the lives of immigrant women.

I Don't Sound Like Nobody Cover

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I Don't Sound Like Nobody

Remaking Music in 1950s America

Albin Zak

The 1950s marked a radical transformation in American popular music, as the nation drifted away from its love affair with big band swing to embrace the unschooled and unruly new sounds of rock 'n' roll. The sudden flood of records from the margins of the music industry left impressions on the pop soundscape that would eventually reshape long-established listening habits and expectations, as well as conventions of songwriting, performance, and recording. When Elvis Presley claimed, "I don't sound like nobody," a year before he made his first commercial record, he was unwittingly articulating a musical Zeitgeist. The central story line of I Don't Sound Like Nobody is change itself. The book's characters include not just performers but engineers, producers, songwriters, label owners, and radio personalities---all of them key players in the decade's musical transformation. Written in engaging, accessible prose, Albin Zak's I Don't Sound Like Nobody is the first book to approach musical and historical issues of the 1950s through the lens of recordings and to fashion a compelling story of the birth of a new musical language. The book belongs on the shelf of every modern music aficionado and every scholar of rock 'n' roll. Albin J. Zak III is Associate Professor and Chair of the Department of Music at the University at Albany, State University of New York. He is the editor of The Velvet Underground Companion and the author of The Poetics of Rock: Cutting Tracks, Making Records, a groundbreaking study of rock music production. Zak is also a recording engineer, record producer, songwriter, singer, and guitarist. Keywords: rock and roll, nineteen-fifties, sound recording, radio, popular music

Žižek's Jokes Cover

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Žižek's Jokes

(Did you hear the one about Hegel and negation?)

Slavoj Žižek

"A serious and good philosophical work could be written consisting entirely of jokes." -- Ludwig WittgensteinThe good news is that this book offers an entertaining but enlightening compilation of Žižekisms. Unlike any other book by Slavoj Žižek, this compact arrangement of jokes culled from his writings provides an index to certain philosophical, political, and sexual themes that preoccupy him. Žižek's Jokes contains the set-ups and punch lines -- as well as the offenses and insults -- that Žižek is famous for, all in less than 200 pages. So what's the bad news? There is no bad news. There's just the inimitable Slavoj Žižek, disguised as an impossibly erudite, politically incorrect uncle, beginning a sentence, "There is an old Jewish joke, loved by Derrida..." For Žižek, jokes are amusing stories that offer a shortcut to philosophical insight. He illustrates the logic of the Hegelian triad, for example, with three variations of the "Not tonight, dear, I have a headache" classic: first the wife claims a migraine; then the husband does; then the wife exclaims, "Darling, I have a terrible migraine, so let's have some sex to refresh me!" A punch line about a beer bottle provides a Lacanian lesson about one signifier. And a "truly obscene" version of the famous "aristocrats" joke has the family offering a short course in Hegelian thought rather than a display of unspeakables. Žižek's Jokes contains every joke cited, paraphrased, or narrated in Žižek's work in English (including some in unpublished manuscripts), including different versions of the same joke that make different points in different contexts. The larger point being that comedy is central to Žižek's seriousness.

I Fear I Shall Never Leave This Island Cover

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I Fear I Shall Never Leave This Island

Life in a Civil War Prison

David R. Bush

Johnson's Island, in Sandusky, Ohio, was not the largest Civil War prison in the North, but it was the only one to house Confederate officers almost exclusively. As a result, a distinctive prison culture developed, in part because of the educational background and access to money enjoyed by these prisoners.

David Bush has spent more than two decades leading archaeological investigations at the prison site. In I Fear I Shall Never Leave This Island he pairs the expertise gained there with a deep reading of extant letters between one officer and his wife in Alexandria, Virginia, providing unique insights into the trials and tribulations of captivity as actually experienced by the men imprisoned at Johnson's Island. Together, these letters and the material culture unearthed at the site capture in compelling detail the physical challenges and emotional toll of prison life for POWs and their families. They also offer fascinating insights into the daily lives of the prisoners by revealing the very active manufacture of POW craft jewelry, especially rings.

No other collection of Civil War letters offers such a rich context; no other archaeological investigation of Civil War prisons provides such a human story.

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