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The Many Faces of Rebel Iconography
After the death of James Dean in 1955, the figure of the teen rebel permeated the globe, and its presence is still felt in the twenty-first century. Rebel iconography—which does not have to resemble James Dean himself, but merely incorporates his disaffected attitude—has become an advertising mainstay used to sell an array of merchandise and messages. Despite being overused in advertisements, it still has the power to surprise when used by authors and filmmakers in innovative and provocative ways. The rebel figure has mass appeal precisely because of its ambiguities; it can mean anything to anyone. The global appropriation of rebel iconography has invested it with fresh meanings. Author Claudia Springer succeeds here in analyzing both ends of the spectrum—the rebel icon as a tool in upholding capitalism’s cycle of consumption, and as a challenge to that cycle and its accompanying beliefs. In this groundbreaking study of rebel iconography in international popular culture, Springer studies a variety of texts from the United States and abroad that use this imagery in contrasting and thought-provoking ways. Using a cultural studies approach, she analyzes films, fiction, poems, Web sites, and advertisements to determine the extent to which the icon’s adaptations have been effective as a response to the actual social problems affecting contemporary adolescents around the world.
The Selected Poems
James Dickey: The Selected Poems is the first book to collect James Dickey's very best poems. Like many visionary poets of the ecstatic imagination, Dickey experimented in a wide variety of literary styles. This volume brings together the finest work from each of the periods in Dickey's extremely controversial career. For over three decades, until his death in 1997, Dickey was one of the nation's most important poets; these are the poems that brought him a popular readership and critical acclaim.
University of Minnesota Pamphlets on American Writers
James Fenimore Cooper - American Writers 48 was first published in 1965. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
University of Minnesota Pamphlets on American Writers
James Gould Cozzens - American Writers 58 was first published in 1966. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Loyalty, Politics, and Commerce in Colonial Georgia
But Habersham's story is more than biography. It also provides a window into colonial Georgia and its transformation from a struggling colony on the brink of collapse in the 1740s to a prosperous province in the 1770s, confident enough to defy the Crown. Ranging over such topics as the rise of Methodist missionary fervor, the development of transatlantic trade, the introduction of slavery, and the escalating debate over American independence, Frank Lambert tells how Habersham's success is inextricably tied to Georgia's fortunes and how he played a major role in helping the colony exploit its abundant resources. Habersham's economic development plan provided a blueprint for attracting new settlers, supplying an abundance of cheap labor, and opening new markets.
Habersham's achievements, however, are obscured by his unpopular stance on American independence. While his three sons distinguished themselves as Patriots, Habersham remained loyal to the Crown, though he had opposed Britain's new imperial policies in the 1760's. Nevertheless, it was Habersham's loyal service to colonial Georgia that enabled the colony to separate successfully from the mother country and assume its place in the new republic as a prosperous, vigorous state.
James Hall, Literary Pioneer of the Ohio Valley was first published in 1941. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
For generations the attention of students of American literature has been directed toward the Atlantic seaboard, but the rise of regional literature and the development of genuine artists in various parts of the United States has caused them to turn their scrutiny westward. High on the western horizon of the early 1800's stands James Hall, a literary pioneer in the Ohio Valley, one of the minor literary figures whose influence on the artistic consciousness of the frontier was widely felt.
Author, critic, journalist, editor, publisher, and historian—few men have had more to do with the early cultural development of the Middle West. Every historian of the Ohio and Mississippi valleys is indebted to Hall for facts and details of life in America in the early nineteenth century.
A circuit judge when there were only 55,000 people in all Illinois—he had an unparalleled opportunity to observe the life and customs of the times. A publisher of the first literary magazine west of the Ohio when there were more Indians and horse thieves in the state than there were literate readers—he had a virgin field for awakening the artistic, literary, even scientific, interest of the frontier.
He organized the first State Historical Society of Illinois, was state treasurer, published two newspapers, welcomed Lafayette on his triumphal tour, edited the first literary annual in the West, awarded a prize to Harriet Beecher (Stowe) for her "New England Sketch," published in his magazine. Moving to Cincinnati when it was at the peak of its sectional importance, an intellectual and cultural oasis on the frontier, Hall continued his sponsorship of education and culture.
James Hall's own published works were multitudinous in the fields of fiction, biography, poetry, criticism, history, and anthropology. His picture of the prairies in his day is still one of the best accounts ever written and his Indian Tribes of North America a monumental volume, but none of his works is of first-rate importance. Nevertheless, because of the tremendous variety of his activities and the breadth of his influence, he left his stamp upon the history and the literature of the region.
Hall's work is an honest, vigorous record of the path of the American pioneer in the days of the rapid growth and expansion of a new nation, and an understanding of his contribution is obligatory for every serious student of American literature.
A Design for Mastery
From his birth in 1807 to his death in 1864 as Sherman’s troops marched in triumph toward South Carolina, James Henry Hammond witnessed the rise and fall of the cotton kingdom of the Old South. Planter, politician, and partisan of slavery, Hammond built a career for himself that in its breadth and ambition provides a composite portrait of the civilization in which he flourished. A long-awaited biography, Drew Gilpin Faust’s James Henry Hammond and the Old South reveals the South Carolina planter who was at once characteristic of his age and unique among men of his time. Of humble origins, Hammond set out to conquer his society, to make himself a leader and a spokesman for the Old South. Through marriage he acquired a large plantation and many slaves, and then through shrewd management and progressive farming techniques he soon became one of the wealthiest men in South Carolina. He was elected to the United States House of Representatives and served as governor of his state. A scandal over his personal life forced him to retreat for many years to his plantation, but eventually he returned to public view, winning a seat in the United States Senate that he resigned when South Carolina seceded from the Union. James Henry Hammond’s ambition was unquenchable. It consumed his life, directed almost his every move, and ultimately, in its titanic calculation and rigidity, destroyed the man confined within it. Like Faulkner’s Thomas Sutpen, Faust suggests, Hammond had a “design,” a compulsion to direct every moment of his life toward self-aggrandizement and legitimation. Hammond envisioned himself as the benevolent, paternal, but absolute master of his family and his slaves. But in reality, neither his family, his slaves, nor even his own behavior was completely under his command. Hammond ardently wished to perfect and preserve the southern way of life. But these goals were also beyond his control. At the time of his death it had become clear to him that his world, the world of the Old South, had ended.
The Letter as Nativist Discourse
James confronts the exploitive wealthy; it also opposes Pauline hybridity. K. Jason Coker argues that postcolonial perspectives allow us to understand how these themes converge in the letter. James opposes the exploitation of the Roman Empire and a peculiar Pauline form of hybridity that compromises with it; refutes Roman cultural practices, such as the patronage system and economic practices, that threaten the identity of the letter’s recipients; and condemns those who would transgress the boundaries between purity and impurity, God and “world.”
How Merchant Ivory Makes Its Movies
James Ivory in Conversation is an exclusive series of interviews with a director known for the international scope of his filmmaking on several continents. Three-time Academy Award nominee for best director, responsible for such film classics as A Room with a View and The Remains of the Day, Ivory speaks with remarkable candor and wit about his more than forty years as an independent filmmaker. In this deeply engaging book, he comments on the many aspects of his world-traveling career: his growing up in Oregon (he is not an Englishman, as most Europeans and many Americans think), his early involvement with documentary films that first brought attention to him, his discovery of India, his friendships with celebrated figures here and abroad, his skirmishes with the Picasso family and Thomas Jefferson scholars, his usually candid yet at times explosive relations with actors. Supported by seventy illuminating photographs selected by Ivory himself, the book offers a wealth of previously unavailable information about the director's life and the art of making movies.
James Ivory on:
On the Merchant Ivory Jhabvala partnership:
"I've always said that Merchant Ivory is a bit like the U. S. Govenment; I'm the President, Ismail is the Congress, and Ruth is the Supreme Court. Though Ismail and I disagree sometimes, Ruth acts as a referee, or she and I may gang up on him, or vice versa. The main thing is, no one ever truly interferes in the area of work of the other."
On Shooting Mr. and Mrs. Bridge:
"Who told you we had long 18 hour days? We had a regular schedule, not at all rushed, worked regular hours and had regular two-day weekends, during which the crew shopped in the excellent malls of Kansas City, Paul Newman raced cars somewhere, unknown to us and the insurance company, and I lay on a couch reading The Remains of the Day."
On Jessica Tandy as Miss Birdseye in The Bostonians:
"Jessica Tandy was seventy-two or something, and she felt she had to 'play' being an old woman, to 'act' an old woman. Unfortunately, I'couldn't say to her, 'You don't have to 'act' this, just 'be,' that will be sufficient.' You can't tell the former Blanche Du Bois that she's an old woman now."
On Adapting E. M. Forster's novels
"His was a very pleasing voice, and it was easy to follow. Why turn his books into films unless you want to do that? But I suppose my voice was there, too; it was a kind of duet, you could say, and he provided the melody."
"If you see my Indian movies then you get some idea of what it was that attracted me about India and Indians...any explanation would sound lamer than the thing warrants. The mood was so great and overwhelming that any explanation of it would seem physically thin....I put all my feeling about India into several Indian films, and if you know those films and like them, you see from these films what it was that attracted me to India."
On whether he was influenced by Renoir in filming A Room with a View
"I was certainly not influenced by Renoir in that film. But if you put some good looking women in long white dresses in a field dotted with red poppies, andthey're holding parasols, then people will say, ‘Renoir.’"
On the Critics:
"I came to believe that to have a powerful enemy like Pauline Kael only made me stronger. You know, like a kind of voodoo. I wonder if it worked that way in those days for any of her other victims—Woody Allen, for instance, or Stanley Kubrick."
On Andy Warhol as a dinner guest:
"I met him many times over the last twenty years of his life, but I can't say I knew him, which is what most people say, even those who were his intimates. Once he came to dinner with a group of his Factory friends at my apartment. I remember that he or someone else left a dirty plate, with chicken bones and knife and fork, in my bathroom wash basin. It seemed to be a symbolic gesture, to be a matter of style, and not just bad manners."
Salesman for Segregation
James J. Kilpatrick was a nationally known television personality, journalist, and columnist whose conservative voice rang out loudly and widely through the twentieth century. As editor of the ###Richmond News Leader#, writer for the ###National Review#, debater in the "Point Counterpoint" portion of CBS's ###60 Minutes#, and supporter of conservative political candidates like Barry Goldwater, Kilpatrick had many platforms for his race-based brand of southern conservatism. In ###James J. Kilpatrick: Salesman for Segregation#, William Hustwit delivers a comprehensive study of Kilpatrick's importance to the civil rights era and explores how his protracted resistance to both desegregation and egalitarianism culminated in an enduring form of conservatism that revealed a nation's unease with racial change. Relying on archival sources, including Kilpatrick's personal papers, Hustwit provides an invaluable look at what Gunnar Myrdal called the race problem in the "white mind" at the intersection of the postwar conservative and civil rights movements. Growing out of a painful family history and strongly conservative political cultures, Kilpatrick's personal values and self-interested opportunism contributed to America's ongoing struggles with race and reform. William P. Hustwit is visiting assistant professor of history at the University of Mississippi.