A SCHOLARLY BOOK REPOSITORY60 have author last names that start with C have author last names that start with C
This graceful translation and bilingual edition, now in paperback, is the first to bring English readers a representative sampling of the poetry Delmira Agustini published before her untimely death on July 6, 1914 at the age of twenty-seven. Translated by native Uruguayan Alejandro Cáceres and including work from each of Agustini's four published books, Selected Poetry of Delmira Agustini: Poetics of Eros is a response to a resurgent interest not just in the poems but in the passionate and daring woman behind them and the social and political world she inhabited.
Delmira Agustini was born in Montevideo, Uruguay, on October 24, 1886 to wealthy parents of German and Italian descent. She published her first volume of poetry when she was twenty-one and followed with two more in the next six years: the fourth volume was a posthumous publication. Her life was cut short in 1914, when Enrique Job Reyes, her ex-husband, shot her to death and then turned the gun on himself.
Carefully selected for this bilingual, en face edition, the poems collected here track and highlight Agustini's development and strengths as an artist—including her methods of experimentation, first relying on modernista forms and later abandoning them—and her focus on the figure of the male, which she portrays as the crux of devotion and attention but deems ultimately unreachable. Cáceres's introduction presents biographical information and situates Agustini's work and life in a larger political, historical, and literary context, particularly the modernismo movement, whose followers broke linguistic and political ties with the pathos and excesses of romanticism.
Traveling commercially and on U.S. Navy warships, Grant visited ports of call throughout the British Empire, Europe, and Asia, including Britain, France, Egypt, the Ottoman Empire, Greece, Italy, the Netherlands, Germany, Scandinavia, Russia, Spain, Portugal, Gibraltar, Ireland, India, Singapore, Hong Kong, China, and Japan. Along the way, he met with monarchs, ministers, and average citizens, creating the model for the summitry and public diplomacy practiced by future American presidents and articulating concepts of national self-determination, international organization, and the peaceful settlement of international disputes decades before Elihu Root’s advocacy of binding international arbitration and Woodrow Wilson’s proposal for the League of Nations.
Campbell reveals Grant to be a skillful envoy who brought to his travels the deep interest in foreign policy issues he had shown during his administration. Grant confirmed the United States’ commitment to Anglo-American cooperation, demonstrated America’s interest in the territorial integrity of China, affirmed American faith in universal (male) suffrage as the basis for governmental legitimacy, and asserted the importance of an international order based on equality and justice for all states and their citizens. Grant’s efforts shaped not only John Hay’s Open Door policy in 1899–1900 but also the broader American approach to twentieth-century international relations. Throughout the trip, Julia Grant proved essential to the success of her husband’s mission, and Campbell tells how the couple impressed people around the world with an enduring image of an American president and first lady.
By illuminating the significance of Grant’s often overlooked postpresidential travels, Citizen of a Wider Commonwealth establishes the eighteenth president as a key diplomat whose work strongly influenced the direction of future U.S. foreign policy and contributes substantially to the study of American international relations.
Bitzer shows that, by attempting to elaborate a general theory of rhetoric through empirical procedures, Campbell’s project reveals the limitations of his method. He cannot ground all statements empirically and it is at this point that his theological position comes into play. Inspection of his religious views shows that God’s design of human nature, and God’s revelations to humankind, make moral and spiritual truths known and quite secure to human beings, although not empirically.
Of the fifty thousand Americans who declared themselves conscientious objectors during World War II, nearly six thousand went to prison, many serving multiyear sentences in federal lockups. Some conscientious objectors, notably Robert Lowell, William Everson, and William Stafford, went on to become important figures in the literary life of their country, while others were participants and teachers in the civil rights and antiwar movements of the 1950s, 1960s, and 1970s. This long out-of-print book, reprinted from the rare original 1951 edition, collects firsthand accounts by conscientious objectors who were imprisoned for their beliefs.
Prison Etiquette is illustrated with eleven line drawings by Lowell Naeve.
In a style reminiscent of the master storytellers of yore, Charless Caraway recounts the story of his life, as a man and a boy, on small farms in Saline and Jackson counties, particularly around Eldorado, Makanda, and Etherton Switch. He makes no bones about the hardships of those "old days," first helping his father eke out a living from the land, then scrambling for a living as a sharecropper and fruit picker, as he scrimped and saved for the day when he and his young wife, Bessie Mae Rowan Caraway, could buy a piece of land of their own.
The one-room school, the general store, the trips by wagon over roads that choked you in summer and swallowed you in winter, the home that burned: all are described in a matter-of-fact yet moving way. Many of the locations, buildings, and people are represented in equally unromanticized photographs from the family’s collection. Some of the stories and photos recall the common disasters of the frontier: drought, flood, and the tornado of 1925.
It is clear from these stories that each aspect of life exacted a price, but the Caraways paid that price without regret and rallied to go on their way. Charless and his family and friends fill this book with courage, strength, and an unshakable faith in the value of human endeavor.
In Growing Up in a Land Called Egypt: A Southern Illinois Family Biography,author Cleo Caraway fondly recalls how she and her siblings came of age on the family farm in the 1930s and 1940s. Like many others, the Caraways were affected by the economic hardships of the Great Depression, but Cleo’s parents strived to shelter her and her six siblings from the dire circumstances affecting the nation and their home and allowed them to bask in their idealistic existence. Her love for her family clearly shines from every page as she writes of a simpler time, before World War II divided the family.
Caraway revels in the life her family lived on a southern Illinois hilltop in Murphysboro township, marveling at the mix of commonplace and adventure she experienced in her childhood. She remembers her first day of school, walking three miles to the wondrous one-room building with her siblings; reminisces about strolling through the countryside with her mother, investigating the various plants and flowers, fruits and nuts; and recollects her fascination with the Indian relics she found buried near her home, a hobby she shared with her father. She also writes of seeing Gone with the Wind on the big screen at the Hippodrome in Murphysboro, of learning to sew dresses for her dolls, and of idyllic life on the farm—milking cows, hatching chicks, feeding pigs. Along with her personal memories Caraway includes interviews with neighbors and many fascinating photographs with detailed captions that make the images come alive.
A delightful follow-up to her father’s popular Foothold on a Hillside: Memories of a Southern Illinoisan,Caraway’s book is a pleasant change from the typical accounts of southern Illinois before, during, and after the Great Depression. Instead of hardscrabble grit, Growing Up in a Land Called Egypt offers a refreshingly different view of the period and is certain to be embraced by southern Illinois natives as well as anyone interested in the experiences of a rural family that thrived despite the difficult times. The author’s lighthearted prose, self-deprecating humor, and genuine affection for her family make reading this book a rich and memorable experience.
In recent years, archaeologists have used the terms hybrid and hybridity with increasing frequency to describe and interpret forms of material culture. Hybridity is a way of viewing culture and human action that addresses the issue of power differentials between peoples and cultures. This approach suggests that cultures are not discrete pure entities but rather are continuously transforming and recombining. The Archaeology of Hybrid Material Culture discusses this concept and its relationship to archaeological classification and the emergence of new ethnic group identities. This collection of essays provides readers with theoretical and concrete tools for investigating objects and architecture with discernible multiple influences.
The twenty-one essays are organized into four parts: ceramic change in colonial Latin America and the Caribbean; ethnicity and material culture in pre-Hispanic and colonial Latin America; culture contact and transformation in technological style; and materiality and identity. The media examined include ceramics, stone and glass implements, textiles, bone, architecture, and mortuary and bioarchaeological artifacts from North, South, and Central America, Hawai‘i, the Caribbean, Europe, and Mesopotamia. Case studies include Bronze Age Britain, Iron Age and Roman Europe, Uruk-era Turkey, African diasporic communities in the Caribbean, pre-Spanish and Pueblo revolt era Southwest, Spanish colonial impacts in the American Southeast, Central America, and the Andes, ethnographic Amazonia, historic-era New England and the Plains, the Classic Maya, nineteenth-century Hawai‘i, and Upper Paleolithic Europe. The volume is carefully detailed with more than forty maps and figures and over twenty tables.
The work presented in The Archaeology of Hybrid Material Culture comes from researchers whose questions and investigations recognized the role of multiple influences on the people and material they study. Case studies include experiments in bone working in middle Missouri; images and social relationships in prehistoric and Roman Europe; technological and material hybridity in colonial Peruvian textiles; ceramic change in colonial Latin America and the Caribbean; and flaked glass tools from the leprosarium at Kalawao, Moloka‘i. The essays provide examples and approaches that may serve as a guide for other researchers dealing with similar issues.
Both a historical recovery and a critical rethinking of the functions and practices of textbooks, Archives of Instruction: Nineteenth-Century Rhetorics, Readers, and Composition Books in the United States argues for an alternative understanding of our rhetorical traditions. The authors describe how the pervasive influence of nineteenth-century literacy textbooks demonstrate the early emergence of substantive instruction in reading and writing. Tracing the histories of widespread educational practices, the authors treat the textbooks as an important means of cultural formation that restores a sense of their distinguished and unique contributions.
At the beginning of the nineteenth century, few people in the United States had access to significant school education or to the materials of instruction. By century’s end, education was a mass—though not universal—experience, and literacy textbooks were ubiquitous artifacts, used both in home and in school by a growing number of learners from diverse backgrounds. Many of the books have been forgotten, their contributions slighted or dismissed, or they are remembered through a haze of nostalgia as tokens of an idyllic form of schooling. Archives of Instruction suggests strategies for re-reading the texts and details the watersheds in the genre, providing a new perspective on the material conditions of schooling, book publication, and emerging practices of literacy instruction. The volume includes a substantial bibliography of primary and secondary works related to literacy instruction at all levels of education in the United States during the nineteenth century.
A careful analysis of the rhetorical thought of René Descartes and of a distinguished group of post-Cartesians. Covering a unique range of authors, including Bernard Lamy and Nicolas Malebranche, Carr attacks the idea, which has become commonplace in contemporary criticism, that the Cartesian system is incompatible with rhetoric.
Carr analyzes the writings of Balzac, the Port-Royalists Arnauld and Nicole, Malebranche, and Lamy, exploring the evolution of Descartes’ thought into their different theories of rhetoric. He constructs his arguments, probing each author’s writings on rhetoric, persuasion, and attention, to demonstrate the basis for rhetorical thought present in Descartes’ theory of persuasion when it is combined with his psychophysiology of attention.
In Rehearsing New Roles: How College Students Develop as Writers, Lee Ann Carroll argues for a developmental perspective to counter the fantasy held by many college faculty that students should, or could, be taught to write once so that ever after, they can write effectively on any topic, any place, any time. Carroll demonstrates in this volume why a one- or two-semester, first-year course in writing cannot meet all the needs of even more experienced writers. She then shows how students’ complex literacy skills develop slowly, often idiosyncratically, over the course of their college years, as they choose or are coerced to take on new roles as writers.
As evidence, Carroll offers a longitudinal study of a group of students and the literacy environment they experienced in a midsize, independent university. Her study follows the experiences that altered their conception of writing in college and fostered their growing capacities as writers.
Carroll’s analysis of the data collected supports a limited but still useful role for first-year composition, demonstrates how students do learn to write differently across the curriculum in ways that may or may not be recognized by faculty, and evaluates the teaching and learning practices that promote or constrain students’ development.
Where Writing Begins: A Postmodern Reconstruction is an innovative approach to the postmodern dilemma in rhetoric and composition thatoffers a positive and postmodern pedagogy that redefines and revalues writing and the teaching of writing through reconstructive, postmodern thought. The result is a fresh understanding of both the field of composition and writing instruction.
Drawing on the rich potential of “beginning” as a philosophical concept, Michael Carter asks the simple question: Where does writing begin? His findings take readers first to a new view of what it means to begin, and then to a new understanding of writing and teaching writing based on the redefined beginning. Challenging conventional notions that posit “beginning” as a chronological and temporal concept, he instead advocates an ontological and philosophical approach, in which “beginning” embodies both deconstruction and reconstruction—and the very possibility of newness.
Adding to a growing body of rhetorical scholarship in postmodern reconstruction, Where Writing Begins illustrates that writing must be understood within the framework of deconstruction and reconstruction. Writing, then, may be newly defined and valued as beginning. Weaving together conceptual, structural, and methodological patterns, Carter’s study is also a journey through the history of philosophy and rhetoric that will leave readers feeling refreshed and teachers eager to return to their classes.
Winner, ISHS Annual Award for a Scholarly Publication, 2018
Abraham Lincoln was the first president to make storytelling, jokes, and laughter tools of the office, and his natural sense of humor has become legendary. Lincoln’s Sense of Humor registers the variety, complexity of purpose, and ethical dimension of Lincoln’s humor and pinpoints the political risks Lincoln ran in telling jokes while the nation was engaged in a bloody struggle for existence.
Complete with amusing anecdotes, this book shows how Lincoln’s uses of humor evolved as he matured and explores its versatility, range of expressions, and multiple sources: western tall tales, morality stories, bawdy jokes, linguistic tricks, absurdities, political satire, and sharp wit. While Lincoln excelled at self-mockery, nothing gave him greater pleasure than satirical work lampooning hypocrisy and ethical double standards. He particularly enjoyed David R. Locke’s satiric writings by Petroleum V. Nasby, a fictional bigoted secessionist preacher, and the book explores the nuances of Lincoln’s enthusiasm for what he called Locke’s genius, showing the moral springs of Lincoln’s humor.
Richard Carwardine methodically demonstrates that Lincoln’s funny stories were the means of securing political or personal advantage, sometimes by frontal assault on opponents but more often by depiction through parable, obfuscation through hilarity, refusal through wit, and diversion through cunning. Throughout his life Lincoln worked to develop the humorist’s craft and hone the art of storytelling. His jokes were valuable in advancing his careers as politician and lawyer and in navigating his course during a storm-tossed presidency. His merriness, however, coexisted with self-absorbed contemplation and melancholy. Humor was his lifeline; dark levity acted as a tonic, giving Lincoln strength to tackle the severe challenges he faced. At the same time, a reputation for unrestrained, uncontrollable humor gave welcome ammunition to his political foes. In fact, Lincoln’s jocularity elicited waves of criticism during his presidency. He was dismissed as a “smutty joker,” a “first rate second rate man,” and a “joke incarnated.”
Since his death, Lincoln’s anecdotes and jokes have become detached from the context that had given them their political and cultural bite, losing much of the ironic and satiric meaning that he had intended. With incisive analysis and laugh-inducing examples, Carwardine helps to recapture a strong component of Lincoln’s character and reanimates the good humor of our sixteenth president.
Finalist for the Helen C. Smith Award for the Best Book of Poetry from the Texas Institute of Letters, 2019
Nominated for the NAACP Image Award for Outstanding Literature in Poetry, 2019
Consisting of two dynamic song cycles, Cyrus Cassells’s sixth poetry volume, The Gospel according to Wild Indigo, keeps the reader on edge with a timeless and beguiling feast of language that fuses together history, memory, and family.
The first cycle, rooted in the culture of the Gullah people of Charleston and the Sea Islands, celebrates the resilience of the rice- and indigo-working slaves and their descendants who have forged a unique Africa-inspired language and culture. Set against a Mediterranean backdrop, the second cycle explores themes of pilgrimage, love, and loss, concluding with a pair of elegies to the poet’s mother and the many men lost in the juggernaut of the AIDS crisis. Throughout, Cassells invites the reader to consider the duality of grief and love, as well as the shifting connections between past and present.
Cassells’s language is always striking, unpredictable, and beautiful, conjuring a world not only of “placid seagulls perched / in priest-gentle pines / like festive Christmas ornaments” but also one where “Death prevailed, / tireless as a forest partisan.” His poems transport the reader across time, space, and language, searching constantly not just for empathy but also for the human spirit in its triumph, for “our human joy, / laced with an ageless grieving.”
In this comprehensive aviation manual, Raoul Castro provides a source of invaluable corporate aviation management information. He begins by giving an overview of corporate aviation from its inception, then focuses on the management principles and functions that specifically target corporate aviation. Through the utilization of these sound management principles, Castro facilitates the acceptance of corporate aircraft as indispensable tools of industry.
As Castro notes, few companies know how to use corporate aircraft to maximum advantage. Drawing on his expertise and experience, Castro designs a plan by which a company can achieve maximum utilization of an airplane or helicopter fleet. He gives specific instructions on how to facilitate the efficient use of the aviation department of a company, select appropriate aircraft, plan for disasters and establish security measures, fulfill legal requirements of the governmental agencies that regulate the use of aircraft, and manage the maintenance and repair of aircraft. Castro also discusses the scores of details involved in the management of a professional corporate aviation branch and how these details can be handled in a positive, productive manner.
After thoroughly examining the overall managerial functions involved in planning, organizing, controlling, and implementing an aviation arm, Castro concludes by discussing the future of corporate aviation.
This book is a practical and valuable guide for the executive in charge of an aviation department, an aviation department manager or chief pilot, aspirants to aviation management positions, and both students and teachers of aviation management.
Portraits of self-made men are rife in Western culture, as James V. Catano observes. Positive and negative, admittedly fictional and ostensibly factual, these portraits endure because the general rhetorical practice embodied in the myth of the self-made man enacts both the need and the very means for making oneself masculine: verbal power and prowess. The myth of the self-made man, in short, is part of ongoing rhetorical practices that constitute society, culture, and subjects.
To explain those practices and their effectiveness, Catano argues that the basic narrative achieves much of its effectiveness by engaging and enacting the traditional psychological dynamics of the family romance: preoedipal separation, oedipal conflict, and “proper” postoedipal self-definition and socialization.
To focus on the combined social, psychological, and rhetorical dynamics that constitute the ongoing activity he calls masculine self-making, Catano emphasizes a particular strand: masculinity and steelmaking. Pursuing that strand, he argues that these representations of masculine self-making are rhetorical enactments of cultural needs and desires, and that they are ongoing and formative arguments about what society and its individuals either are or should be.
With grim humor and humorous grimness, In Search of the Great Dead engages the great themes of poetry: death and fame.
The title poem of this collection records Richard Cecil's quest for the tombs of the famous dead. At first the search leads him on a tour of famous European tombstones—the grave of Chateaubriand in St. Malo, the shared tomb of Gertrude Stein and Alice B. Toklas in Pere-Lachaise cemetery in Paris, Yeats's old Celtic cross in Sligo—but gradually it expands into areas where all the tombs have been erased by time or vandalism—the tombs of Seneca and Lucan, and all of the great dead poets whose names have been lost. These once famous, now unknown poets lead Cecil to consider those graveyards full of anonymous dead—the civil war soldiers buried under tiny stones with numbers instead of names inscribed on them. Are they more anonymous than the once famous, now forgotten "great" dead?
Though Cecil is wryly aware of his own obscurity, his poems are strangely optimistic and life-affirming. His reply to Emily Dickinson's question: "I'm Nobody—are you / Nobody, too?" is an enthusiastic yes! In Search of the Great Dead conveys the joy of being Nobody and the shy, almost buried hope that someday (after death), he might become Somebody.
Death, fame, art, and religion become comic subjects in Twenty First Century Blues, the fourth collection from Richard Cecil.Whether elegizing his predecessors, predicting his own end, channeling Dickinson’s “corpse-eye-view of stony death,” or imagining Yeats living in Indiana and dealing with English department politics, Cecil tempers his morbidity with a straightforward, tender brand of humor and a refreshing honesty about the shelf life of contemporary poetry. Deadpan and dark, yet pulsing with the spirit of life, these poems speak of historic France, Italy, and Switzerland, where religious persecutions, ancient catastrophes, and other, less personal, failures overshadow the disappointments and shortcomings of the poet’s modern life in the Midwest. Grimly cheered by these revelations, Cecil shows that poets, like cicadas screaming in the summer air, “won’t shut up until we’re skeletons.”
Messiah of the New Technique: John Howard Lawson, Communism, and American Theatre, 1923–1937 is a critical and political biography and a cultural and social history that focuses on Lawson’s career in the theatre. Using a materialist methodology, Jonathan L. Chambers emphasizes the evolution and interplay of the playwright’s artistic vision and political ideology, considering his art as both a documentation of this evolution and a product of the socio-political and cultural matrix in which he was immersed.
Spanning the playwright’s career, the volume details Lawson’s early indoctrination in and commitment to the avant-garde, his use and development of various nonrealistic playwriting techniques, his subtle though unfocused attacks on bourgeois society, and the varied critical responses he received. Chambers addresses Lawson’s involvement with the New Playwrights’ Theatre and his participation in the protests surrounding the case of Nicola Sacco and Bartolomeo Vanzetti, which stimulated his growing commitment to left-wing politics and radical causes.
Chambers also analyzes the social and cultural factors that shaped Lawson’s growing interest in revolutionary politics, his tutelage in Marxism under Edmund Wilson, and his tenure as president of the Screen Writers Guild. He also covers the final phase of Lawson’s playwriting career, which reveals the playwright’s internal struggle. That struggle, suggests Chambers, pitted Lawson’s view of aesthetics against his political ideology and is reflected in his scripts and theoretical writings.
Messiah of the New Technique provides a wealth of new material about both the playwright and the period, offering a critical synopsis of the artist’s career, addressing his often vehement rebuttals to his critics, and summarizing both his political activism and his creative and critical endeavors in the last forty years of his life.
Taking its concept of concentricity from the eponymous Ralph Waldo Emerson essay, Circle, the first collection from Victoria Chang, adopts the shape as a trope for gender, family, and history. These lyrical, narrative, and hybrid poems trace the spiral trajectory of womanhood and growth and plot the progression of self as it ebbs away from and returns to its roots in an Asian American family and context. Locating human desire within the helixes of politics, society, and war, Chang skillfully draws arcs between T’ang Dynasty suicides and Alfred Hitchcock leading ladies, between the Hong Kong Flower Lounge and an all-you-can-eat Sunday brunch, the Rape of Nanking and civilian casualties in Iraq.
When movies replaced theatre as popular entertainment in the years 1910–20, the world of live drama was wide open for reform. American advocates and practitioners founded theatres in a spirit of anticommercialism, seeking to develop an American audience for serious theatre, mounting plays in what would today be called “alternative spaces,” and uniting for the cause an eclectic group of professors, social workers, members of women’s clubs, bohemians, artists, students, and immigrants. This rebellion, called the Little Theatre Movement, also prompted and promoted the college theatre major, the inclusion of theatre pedagogy in K–12 education, prototypes for the nonprofit model, and the notion that theatre is a valuable form of self-expression.
Composing Ourselves: The Little Theatre Movement and the American Audience argues that the movement was a national phenomenon, not just the result of aspirants copying the efforts of the much-storied Provincetown Players, Washington Square Players, Neighborhood Playhouse, and Chicago Little Theatre. Going beyond the familiar histories of the best-known groups, Dorothy Chansky traces the origins of both the ideas and the infrastructures for serious theatre that are ordinary parts of the American cultural landscape today; she also investigates the gender discrimination, racism, and class insensitivity that were embedded in reformers’ ideas of the “universal” and that still trouble the rhetoric of regional, educational, and community theatre.
An important piece of revisionist history, Composing Ourselves shows how theatre reform, in keeping with other Progressive Era activism, took on corporate, conservative society, but did so in ways that were sometimes contradictory. For example, women constituted the majority of ticket buyers and the bulk of unsung labor, yet plays by women were considered inferior. Most reformers were comfortably middle class and sought change that would eliminate the anomie of modernity but not challenge their privileged positions.
Chansky deliberates on antifeminist images of women theatergoers in literature and cartoons and considers the achievements and failures of the Drama League of America, a network of women’s clubs, following up with a case study of the playwright Alice Gerstenberg to point out that theatre history has not fully realized the role of women in the Little Theatre Movement. Even as women were earning the majority of degrees in newly minted theatre programs, their paths were barred to most professional work except teaching. Chansky also considers a blackface production of a play about rural African Americans, which was a step towards sympathetic portrayals of minority characters yet still a reinforcement of white upper- and middle-class perspectives.
Most studies of deindustrialization in the United States emphasize the economic impact of industrial decline; few consider the social, human costs. "I Was Content and Not Content": The Story of Linda Lord and the Closing of Penobscot Poultry is a firsthand account of a plant closure, heavily illustrated through photographs and told through edited oral history interviews. It tells the story of Linda Lord, a veteran of Penobscot Poultry Company in Belfast, Maine, and her experience when the plant—Maine’s last poultry-processing plant— closed its doors in 1988, costing over four hundred people their jobs and bringing an end to a once productive and nationally competitive agribusiness.
Linda Lord’s story could be that of any number of Americans—blue- and white-collar—effected by the rampant and widespread downsizing over the past several decades. She began working at Penobscot straight out of high school and remained with the company for over twenty years. Lord worked in all aspects of poultry processing, primarily in the "blood tunnel," where she finished off the birds that had been missed by the automatic neck-cutting device—a job held by few women. Single and self-supporting, Lord was thirty-nine years old when the plant closed. In part because she was the primary caretaker for her elderly parents, Lord did not want to leave Maine for a better job but did want to stay in the area that had been her home since birth.
The book is comprised of distinct sections representing different perspectives on Lord’s story and the plant’s demise. Cedric N. Chatterley’s gritty black-and-white photographs, reproduced here as duotones, document the final days at the poultry plant and chronicle Lord’s job search, as well as her daily life and community events. Lord’s oral history interviews, interspersed with the photographs, reveal her experiences working in poultry processing and her perspectives on the plant’s closing. Carolyn Chute’s essay reflects on her own struggles as a worker in Maine, and, more generally, on the way workers are perceived in America. Alicia J. Rouverol’s historical essay explores the rise and fall of Maine’s poultry industry and the reasons for its demise. Stephen A. Cole’s epilogue brings the story full circle when he tells of his most recent visit with Linda Lord. Michael Frisch (Portraits in Steel, A Shared Authority) contributes a foreword.
Lord’s story and the story of Penobscot’s closing brings into question the relationship of business to community, reminding us that businesses and communities are in fact integrally linked—or, perhaps more accurately, should be. Her narrative makes plain that plant closings have particular ramifications for women workers, but her experience also points to the way in which all individuals cope with change, hardship, and uncertain times to create possibilities where few exist. Perhaps most important, her story reveals some of the challenges and complexities that most human beings share.
Ghost Light: An Introductory Handbook for Dramaturgy offers useful and entertaining answers to the confounding questions: “What, exactly, is dramaturgy, and what does a dramaturg do?” According to Michael Mark Chemers, dramaturgs are the scientists of the theater world—their primary responsibility is to query the creative possibilities in every step of the production process, from play selection to costume design, and then research the various options and find ways to transform that knowledge into useful ideas. To say that dramaturgs are well-rounded is an understatement: those who choose this profession must possess an acute aesthetic sensibility in combination with an extensive knowledge of theater history and practice, world history, and critical theory, and they must be able to collaborate with every member of the creative team and theater administration.
Ghost Light is divided into three sections. Part 1, “Philosophy,” describes what dramturgs do, presents a detailed history of dramaturgy, and summarizes many of the critical theories needed to analyze and understand dramatic texts. “Analysis” teaches the two essential skills of a dramaturg: reading and writing. It includes a “12-step program for script analysis” along with suggestions about how to approach various genres and play structures. “Practice,” the third part, delves into the relationships that dramaturgs forge and offers useful advice about collaborating with other artists. It also includes ideas for audience outreach initiatives such as marketing and publicity plans, educational programs, talkbacks, blogs, and program notes and lobby displays, all of which are often the responsibility of the dramaturg.
Ghost Light was written with undergraduate students in mind and is perfectly suited for the classroom (each chapter concludes with a series of practical exercises that can be used as course assignments). However, dramaturgy is a skill that is essential to all theater practitioners, not just professional or aspiring dramaturgs, making Ghost Light a valuable addition to all theater libraries.
Since its release in 2010, Ghost Light: An Introductory Handbook for Dramaturgy has become the international standard for dramaturgy training and practice. The first textbook introduced students to the “ghost light” model of dramaturgy—a creatively engaged, artistically vibrant approach that draws on extensive knowledge of theatre history, practice, and theory—and this second edition brings the conversation up to the present.
Over three parts, author and theory creator Michael Mark Chemers helps students explore the world of the dramaturg. Part 1 describes what dramaturgs do, presents a detailed history of dramaturgy, and summarizes many of the critical theories needed to analyze and understand dramatic texts. Part 2 teaches students to read, write, and analyze scripts through a twelve-step program with suggestions about how to approach various genres and play structures. The final part delves into the relationships dramaturgs forge and offers useful advice about collaborating with other artists. It also includes ideas for audience outreach initiatives such as marketing and publicity plans, educational programs, program notes and lobby displays, and more.
Perfectly suited for the undergraduate theatre classroom, this holistic guide includes chapter exercises for students to practice the skills as they learn. The new edition also incorporates recent theory and new resources on multimedia performance and dramaturgy in the digital age. As the field of dramaturgy continues to shift and change, this new edition of Ghost Light: An Introductory Handbook for Dramaturgy prepares theatre students and practitioners to create powerful, relevant performances of all types.
Systemic Dramaturgy offers an invigorating, practical look at the daunting cultural problems of the digital age as they relate to performance. Authors Michael Mark Chemers and Mike Sell reject the incompatibility of theatre with robots, digital media, or video games. Instead, they argue that technology is the original problem of theatre: How can we tell this story and move this audience with these tools? And if we have different tools, how can that change the stories we tell?
This volume attunes readers to “systemic dramaturgy”—the recursive elements of signification, innovation, and history that underlie all performance—arguing that theatre must be understood as a system of systems, a concatenation of people, places, things, politics, feelings, and interpretations, ideally working together to entertain and edify an audience. The authors discuss in-depth the application of time-tested dramaturgical skills to extra-theatrical endeavors, including multi-platform performance, installations, and videogames. And they identify the unique interventions that dramaturgs can and must make into these art forms.
More than any other book that has been published in the field, Systemic Dramaturgy places historical dramaturgy in conversation with technologies as old as the deus ex machina and as new as artificial intelligence. Spirited and playful in its approach, this volume collates histories, transcripts, and case studies and applies the concepts of systemic dramaturgy to works both old and avant-garde. Between chapters, Chemers and Sell talk with with some of the most forward-thinking, innovative, and creative people working in live media as they share their diverse approaches to the challenges of making performances, games, and digital media that move both heart and mind. This volume is nothing less than a guide for thinking about the future evolution of performance.
Emphasizing the courage required and the cost of dissent before and throughout the Civil War, David B. Chesebrough identifies dissenters among the southern clergy, tells their stories, and discusses the issues that caused these Christians to split from the majority
After an opening chapter in which he provides an overview of the role of the southern clergy in the antebellum and war years, Chesebrough turns to the South’s efforts to present a united proslavery front from 1830 to 1861. Clergy who could not support the "peculiar institution" kept silent, moved to the North, or suffered various consequences for their nonconformity.
Chesebrough then deals with the war years (1861–1865), when opposition to secession and the war was regarded as much more serious than opposition to slavery had been. Some members of the clergy who formally supported and justified slavery could not support secession and war. This was a dangerous stance, sometimes carrying a death sentence.
The final chapter, "The Creative Minority" stresses the important societal role of dissenters, who, history shows, often perceive events more clearly than the majority.
The dissenters Chesebrough discusses include John H. Aughey, a Presbyterian evangelist from Mississippi who was imprisoned and sentenced to death for his opposition to secession; William G. Brownlow, a Methodist cleric and newspaper publisher who, though he later became governor of Tennessee, was imprisoned and forced to leave the state because of his opposition to secession and the Civil War; John Gregg Fee, the founder of Berea College in Kentucky, who was denounced by his family and forced to leave the state because of his abolitionist views; and Melinda Rankin, a Presbyterian missionary worker in Brownsville, Texas, who was dismissed from her teaching responsibilities because of alleged northern sympathies.
From the ancient Egyptian inventors of the love lyric to contemporary poets, Bending the Bow: An Anthology of African Love Poetry gathers together both written and sung love poetry from Africa.
This anthology is a work of literary archaeology that lays bare a genre of African poetry that has been overshadowed by political poetry. Frank Chipasula has assembled a historically and geographically comprehensive wealth of African love poetry that spans more than three thousand years. By collecting a continent’s celebrations and explorations of the nature of love, he expands African literature into the sublime territory of the heart.
Bending the Bow traces the development of African love poetry from antiquity to modernity while establishing a cross-millennial dialogue. The anonymously written love poems fromPharaonic Egypt that open the anthology both predate Biblical love poetry and reveal the longevity of written love poetry in Africa. The middle section is devoted to sung love poetry from all regions of the continent. These great works serve as the foundation for modern poetry and testify to love poetry’s omnipresence in Africa. The final section, showcasing forty-eight modern African poets, celebrates the genre’s continuing vitality. Among those represented are Muyaka bin Hajji and Shaaban Robert,two major Swahili poets; Gabriel Okara, the innovative though underrated Nigerian poet; Léopold Sédar Senghor, the first president of Senegal and a founder of the Negritude Movement in francophone African literature; Rashidah Ismaili from Benin; Flavien Ranaivo from Madagascar; and Gabeba Baderoon from South Africa.
Ranging from the subtly suggestive to the openly erotic, this collection highlights love’s endurance in a world too often riven by contention. Bending the Bow bears testimony to poetry’s role as conciliator while opening up a new area of study for scholars and students.
Marguerite de Navarre (1492–1549), the sister of the French king François I, composed the Heptaméron as a complex collection of seventy-two novellas, creating one of the first examples of realistic, psychological fiction in French literature. These novellas, framed by debates among ten storytellers, all noble lords and ladies, reveal the author’s desire to depart from the purely masculine voice of the age.
Cholakian contends that this Renaissance text is characterized by feminine writing. She reads the text as the product of the author’s personal experience. Beginning her study with the rape narrative in the autobiographical novella 4, she examines how the Heptaméron interacts with male literary traditions and narrative conventions about gender relations. She analyzes such words as rape, and honor, noting how they are defined differently by men and women and how these differences in perception affect the development of both plot and character.
A dynamic figure in the pages of history, Major General William “Bull” Nelson played a formative role in the Union’s success in Kentucky and the Western theater of the Civil War. Now, Donald A. Clark presents a long-overdue examination of this irascible officer, his numerous accomplishments, and his grim fate. More popularly known for his temper than his intrepid endeavors on behalf of the North, Nelson nevertheless dedicated much of his life to his nation and the preservation of the Union.
The child of a privileged family, Nelson was one of the first officers to graduate from the newly formed U.S. Naval Academy. His years in the Navy imbued in him the qualities of bravery, loyalty, and fortitude; however, his term of service also seemed to breed an intolerance of others for which he became infamous, and that ultimately led to his violent downfall. Clark sheds new light upon Nelson’s pre–Civil War years as a naval officer, when he became a hardened veteran of battle, fighting at the siege of Veracruz and the capture of Tabasco during the Mexican War in the 1840s. On the basis of Nelson’s military experience, in 1861 President Lincoln sent him to Kentucky—which was considering secession—and Nelson rallied loyalists and helped the Union prepare to maintain control of the state during the next several years of war.
Nelson went on to prove instrumental in blocking Confederate attempts to subdue Kentucky and the West, serving important roles in the battle of Shiloh, General Henry W. Halleck’s advance against Corinth, and Brigadier General Don Carlos Buell’s movement toward Chattanooga. But while some viewed his bold maneuvers as the saving of the state, many others, including such notables as Ulysses S. Grant and William Tecumseh Sherman, argued that Nelson’s actions merited no praise. Unfortunately for the general, the question of his value to the Union abruptly became moot, as his achievements were shortly overshadowed by ignominious rumors of scandal and abuse.
His involvement in the defense of Louisville gave Nelson a chance to redeem himself and restore his military reputation, but the general’s famous temper soon robbed him of any potential glory. During September of 1862, in a crime that was never prosecuted, fellow Union general Jefferson C. Davis shot and killed Nelson after an argument. Clark explores this remarkable exception in military law, arguing that while the fact of the murder was indisputable, many considered Davis a hero for having dispatched the so-called tyrant. Although Nelson eventually received many posthumous honors for his indispensable role in the war, justice was never sought for his murder.
A comprehensive study of this well-known, yet misunderstood American figure, The Notorious “Bull” Nelson: Murdered Civil War General is an illuminating addition to the history of the Civil War. Through Clark’s impeccable research and richly layered narrative, William “Bull” Nelson springs from the pages as large and volatile as he was in life.
Written only a decade after George Rogers Clark’s conquest of Illinois, this firsthand account shows the region as it existed in the 1770s, explains how British occupation affected Kentucky settlers, and exhibits Clark’s enormous diplomatic skills in convincing the French settlers and Indians along the rivers of Illinois that they were better off under the jurisdiction of the Americans rather than the British. In his new foreword to this book, Rand Burnette refers to Clark as a psychologist and an expert in human relations.
Believing the British responsible for Indian raids on the people of Kentucky, Clark determined to capture that area, which was claimed by his home state of Virginia. “His plan, which he presented to Governor Patrick Henry,” Burnette notes, “was to take possession of the Illinois country by defeating the British at Kaskaskia, win the support of the French in that area, and thus control both the Mississippi and the Ohio Rivers. The British support of the Indians, who raided the Kentucky settlements from the Illinois country, would be at an end.”
Clark’s stirring narrative—written between 1789 and 1791 and covering 1773–1779—chronicles the events in the Old Northwest in the second half of the eighteenth century. Life on the frontier was dangerous and uncertain at this time. As Clark points out and Milo Milton Quaife underlines in his footnotes, death came to many at the hands of Indians or in military battles and skirmishes.
First published in 1920 and long out of print, the Quaife edition of Clark’s The Conquest of The Illinois reprinted here is for the modern reader superior to the original. First, Quaife provided an index. Equally important for modern readers, he standardized Clark’s spelling. (Clark had little formal education, and his spelling was even more eccentric than that found in a typical eighteenth-century account.) Finally, Quaife’s footnotes often include biographical sketches of the people in the book.
This book articulates an ethics for reading that places primary responsibility for the social influences of a text on the response of its readers.
We write and read as participants in a process through which we negotiate with others whom we must live or work with and with whom we share values, beliefs, and actions. Clark draws on current literary theory, rhetoric, philosophy, communication theory, and composition studies as he builds on this argument.
Because reading and writing are public actions that address and direct matters of shared belief, values, and action, reading and writing should be taught as public discourse. We should teach not writing or reading so much as the larger practice of public discourse—a discourse that sustains the many important communities of which students are and will be active members.
Gregory Clark and S. Michael Halloran bring together nine essays that explore change in both the theory and the practice of rhetoric in the nineteenth-century United States.
In their introductory essay, Clark and Halloran argue that at the beginning of the nineteenth century, rhetoric encompassed a neoclassical oratorical culture in which speakers articulated common values to establish consensual moral authority that directed community thought and action. As the century progressed, however, moral authority shifted from the civic realm to the professional, thus expanding participation in the community as it fragmented the community itself. Clark and Halloran argue that this shift was a transformation in which rhetoric was reconceived to meet changing cultural needs.
Part I examines the theories and practices of rhetoric that dominated at the beginning of the century. The essays in this section include "Edward Everett and Neoclassical Oratory in Genteel America" by Ronald F. Reid, "The Oratorical Poetic of Timothy Dwight" by Gregory Clark, "The Sermon as Public Discourse: Austin Phelps and the Conservative Homiletic Tradition in Nineteenth-Century America" by Russel Hirst, and "A Rhetoric of Citizenship in Nineteenth-Century America" by P. Joy Rouse.
Part 2 examines rhetorical changes in the culture that developed during that century. The essays include "The Popularization of Nineteenth-Century Rhetoric: Elocution and the Private Learner" by Nan Johnson, "Rhetorical Power in the Victorian Parlor: Godey’s Lady’s Book and the Gendering of Nineteenth-Century Rhetoric" by Nicole Tonkovich, "Jane Addams and the Social Rhetoric of Democracy" by Catherine Peaden, "The Divergence of Purpose and Practice on the Chatauqua: Keith Vawter’s Self-Defense" by Frederick J.Antczak and Edith Siemers, and "The Rhetoric of Picturesque Scenery: A Nineteenth-Century Epideictic" by S. Michael Halloran.
Cold Warriors: Manliness on Trial in the Rhetoric of the West returns to familiar cultural forces—the West, anticommunism, and manliness—to show how they combined to suppress dissent and dominate the unruliness of literature in the name of a national identity after World War II. Few realize how much the domination of a “white male” American literary canon was a product not of long history, but of the Cold War. Suzanne Clark describes here how the Cold War excluded women writers on several levels, together with others—African American, Native American, poor, men as well as women—who were ignored in the struggle over white male identity.
Clark first shows how defining national/individual/American identity in the Cold War involved a brand new configuration of cultural history. At the same time, it called upon the nostalgia for the old discourses of the West (the national manliness asserted by Theodore Roosevelt) to claim that there was and always had been only one real American identity.
By subverting the claims of a national identity, Clark finds, many male writers risked falling outside the boundaries not only of public rhetoric but also of the literary world: men as different from one another as the determinedly masculine Ernest Hemingway and the antiheroic storyteller of the everyday, Bernard Malamud. Equally vocal and contentious, Cold War women writers were unwilling to be silenced, as Clark demonstrates in her discussion of the work of Mari Sandoz and Ursula Le Guin.
The book concludes with a discussion of how the silencing of gender, race, and class in Cold War writing maintained its discipline until the eruptions of the sixties. By questioning the identity politics of manliness in the Cold War context of persecution and trial, Clark finds that the involvement of men in identity politics set the stage for our subsequent cultural history.
Richard M. Coe has developed such a “grammar,” one which uses a simple graphic instrument to analyze the meaningful relationships between sentences in a passage and to clarify the function of structure in discourse. Working in the tradition of Christensen’s generative rhetoric, Coe presents a two-dimensional graphic matrix that effectively analyzes the logical relations between statements by mapping coordinate, subordinate, and superordinate relationships.
Coe demonstrates the power of his discourse matrix by applying it to a variety of significant problems, such as how to demonstrate discourse differences between cultures (especially between Chinese and English), how to explain precisely what is “bad” about the structure of passages that do not work, and how best to teach structure. This new view of the structure of passages helps to articulate crucial questions about the relations between form and function, language, thought and culture, cognitive and social processes.
One journalist curious about life in the taverns along the stagecoach lines in Wisconsin and northern Illinois from the early 1800s until the 1880s was Harry Ellsworth Cole. While he could not sample strong ales at all of the taverns he wrote about, Cole did study newspaper accounts, wrote hundreds of letters to families of tavern owners, read widely in regional history, and traveled extensively throughout the territory. The result, according to Brunet, is a "nostalgic, sometimes romantic, well-written, and easily digested social history."
At Cole’s death, historian Louise Phelps Kellogg edited his manuscript, which in this case involved turning his notes and illustrations into a book and publishing it with the Arthur H. Clark Company in 1930.
Unsettling Sights: The Fourth World on Film examines the politics of representing Aboriginality, in the process bringing frequently marginalized voices and visions, issues and debates into the limelight. Corinn Columpar uses film theory, postcolonial theory, and Indigenous theory to frame her discussion of the cinematic construction and transnational circulation of Aboriginality. The result is a broad interdisciplinary analysis of how Indigeneity is represented in cinema, supported by more than twenty rigorous and theoretically informed case studies of contemporary feature films by both First- and Fourth-World filmmakers in the United States, Canada, New Zealand, and Australia. Columpar relies heavily on textual analysis of the films but also explores contextual issues in filmmaking such as funding, personnel, modes of production, and means of distribution.
Part one of Unsettling Sights focuses on contact narratives in which the Aboriginal subject is constructed in reactive response to a colonizing or invading presence. Films such as The Piano and The Proposition, wherein a white man “goes native,” and The New World and Map of the Human Heart, which approach contact from the perspective of an Aboriginal character, serve as occasions to examine the ways in which Aboriginal identities are negotiated within dominant cinema. Part two shifts the focus from contact narratives to films that seek to define Aboriginality on its own terms, with reference to a (lost) homeland and/or Indigenous practices of (hi)story-telling: while texts such as Once Were Warriors and Smoke Signals foster an engagement with issues of deterritorialization, relocation, and urbanization, discussion of beDevil, Atanarjuat, and The Business of Fancydancing, among others,bring questions of voice, translation, and the relationship between cinema and oral tradition to the forefront.
Unsettling Sights is the first significant, scholarly examination of Aboriginality and cinema in an international context and will be invaluable to scholars and students in many fields including cinema studies, anthropology, critical race studies, cultural studies, and postcolonial studies.
For nearly twenty-five years, English studies has been focused on two terms: politics and ethics. However, the institutional emergence, development, and relationship of these two concepts have yet to be examined. Between Politics and Ethics: Toward a Vocative History of English Studies traces the development of politics and ethics in contemporary English studies, questions the current political orientation of the discipline, and proposes a rethinking of the history of English studies based on a “vocative” dimension of writing—the idea that writers form a virtual community by “calling to” and listening to other writers.
In a series of interrelated discussions, James Comas examines the historical trends leading to recent confusion regarding ethics and its relation to the politics of English studies. Through close, rhetorical readings of texts by Judith Butler, Stephen Greenblatt, Edward Said, and others, Comas argues that this confusion is largely the result of a “political turn” that resists theorizing itself. In addition, he argues that work on ethics by Wayne Booth, Geoffrey Harpham, and J. Hillis Miller reflects an uneasy dialectic between the ethics and politics of reading and writing. In response to this discord, Comas turns to the theories of Emmanuel Levinas and Maurice Blanchot, as well as to the examples of Georges Bataille and Kenneth Burke, and proposes a vocative approach to assessing English studies and its history. In doing so, this volume offers a thoughtful reassessment of English studies that affects our understanding of the rhetoric of disciplinary histories.
John W. Cones has updated his now classic 43 Ways toFinance Your Feature Film: A Comprehensive Analysis of Film Finance with a substantially reorganized and expanded third edition.
An essential reference guide for film professionals on every side of film financing, 43 Ways answers the question that every filmmaker and producer ultimately faces, the issue that can make or break any venture into the film industry: How do I finance my feature film? The third edition includes updated information and coverage of new options for financing.
In his clear and concise style and with expertise amassed over his nearly twenty years of experience in the film finance industry, Cones breaks financing options down into six main areas: gifts and grants, investor financing, domestic government subsidies and tax incentive programs, lender financing, international finance options, and studio or industry financing. Beginning with the forms of financing most likely to be accessible to independent feature film producers, Cones proceeds to other forms that become increasingly available as the producer’s career matures.
As an objective adviser, Cones provides specific, concise information regarding the many possible financing strategies and lists the distinct pros and cons of each strategy. This guide covers the options for film financing in rich detail so that even first-time producers and filmmakers will be able to make educated and informed decisions about the best approaches to financing their films. An extensive bibliography contains additional information about each form of film finance. Cones also counters much of the bad advice being provided by pseudoprofessional film finance consultants and points out scams that may separate unwary film producers from their money.
Although the book focuses on financing feature films, much of its information is relevant to the financing of other kinds of projects, such as short films, documentaries, videos, and multimedia and theatrical endeavors. Anyone considering making or investing in a feature film will be well served by this practical and helpful guide.
The practical and legal aspects of writing a business plan for a film venture can be daunting to navigate without a firm grasp of know-how. With this in mind, John W. Cones's Business Plans for Filmmakers arms independent movie-makers and students with everything they need to successfully tackle the confusing intersection of law, business, and art when creating a business plan for a movie. This pragmatic volume offers plenty of examples and strategies for success, sharing straightforward insight into some of the toughest challenges independent filmmakers face when encountering these documents.
With simple yet thorough detail and clarity, Cones outlines the legal requirements affecting movie proposals, including ways to evaluate the necessity for a business plan or a securities disclosure document, as well as the legal definition of "an active investor." Also addressed are the numerous subjects filmmakers and students must consider before a film offering, including the efficacy of a business plan to fund the development, production, and distribution phases of a film; common elements of fraud of which fledgling filmmakers should beware; the intricacies of revenue sharing; and how to render financial projections. Cones also imparts useful distinctions between such industry terms as "company financing" versus "project financing," along with many others.
This bookalso includes in-depth guidance through the murky paths of investor analysis and key strategies to find and attract parties interested in financing film. Drawing upon his many years as a securities and entertainment attorney, and his experiences advising independent film producers, Cones offers the tools necessary not only to understand investors' motivations but also to use that knowledge to the filmmaker's advantage. Also provided are perceptive studies of the investment vehicles commonly used in business plans seeking investors, with analysis of each method's pros and cons. Throughout the volume, Cones uses sample plans to offer a real-world grasp of the intricacies of the business.
In the business of this art, knowledge is power. Business Plans for Filmmakers dispels the myths and misinformation circulating among filmmakers to provide accurate and useful advice.
John W. Cones, whose real goal is to stimulate a long-term film industry reform movement, shows how the financial control of the film industry in the hands of the major studios and distributors actually translates into creative control of the industry.
Cones discusses the pros and cons of the debate relating to the industry’s so-called net profit problem and the way in which the distribution deal plays an integral part in that problem. He then breaks down five major film finance/distribution scenarios, explaining various distribution deals and suggesting ways of negotiating distribution.
Critically examining the specific terms of the distribution deal itself, Cones covers gross receipts exclusions, distributor fees, and distribution expenses. He also investigates the various forms of interest, issues of production costs, matters of creative control, and general contractual provisions.
For handy reference, Cones includes an extensive checklist for negotiating any feature film distribution deal. The list deals with distribution fees, distribution expenses, interest, production costs, creative control issues, general contractual provisions, distributor commitments, and the limits of negotiating. His nine appendixes present a "Motion Picture Industry Overview," "Profit Participation Audit Firms," "ADI (Top 50) Market Rankings," an "AFMA Member List, 1992–1993," a "Production-Financing/Distribution Agreement," a "Negative Pickup Distribution Agreement," a "Distribution Rights Acquisition Agreement," a "Distribution Agreement (Rent-a-Distributor Deal)," and a "Foreign Distribution Agreement."
Cones wrote this book for independent producers, executive and associate producers and their representatives, directors, actors, screenwriters, members of talent guilds, distributors, and entertainment, antitrust, and securities attorneys. Securities issuers and dealers, investment bankers, and money finders, investors, and financiers of every sort also will be interested. In addition, Cones suggests and hopes that the book will interest "Congress, their research staff, government regulators at the Internal Revenue Service, the Securities and Exchange Commission, the Federal Trade Commission, and law enforcement officials such as the Los Angeles District Attorney and the U.S. Justice Department."
Eighteen essays by leading scholars in English, speech communication, education, and philosophy explore the vitality of the classical rhetorical tradition and its influence on both contemporary discourse studies and the teaching of writing.
Some of the essays investigate theoretical and historical issues. Others show the bearing of classical rhetoric on contemporary problems in composition, thus blending theory and practice. Common to the varied approaches and viewpoints expressed in this volume is one central theme: the 20th-century revival of rhetoric entails a recovery of the classical tradition, with its marriage of a rich and fully articulated theory with an equally efficacious practice. A preface demonstrates the contribution of Edward P. J.Corbett to the 20th-century revival, and a last chapter includes a bibliography of his works.
In Dilemma of Duties, Corbin outlines patterns of role conflict that defenders experience, details its impact on counselors and clients in the juvenile justice system, and addresses the powerful influence of the juvenile court culture and the lack of resources for defenders. Tasked with guiding these children, counselors frequently must contend with and manage their clients’ general distrust of adults as they attempt to serve as their voices to the court.
Understanding how juvenile defenders define their role and experience role conflict provides valuable insights into our juvenile justice system, especially its role in upholding due process rights. Such knowledge points to the importance of the training and practices of juvenile court functionaries and the efficacy, credibility, and legitimacy of the juvenile justice system itself.
The Hanlons—a family of six brothers from Manchester, England—were one of the world’s premiere performing troupes in the mid-nineteenth and early twentieth centuries, yet their legacy has been mostly forgotten. In The Hanlon Brothers: From Daredevil Acrobatics to Spectacle Pantomime, 1833–1931, Mark Cosdon carefully documents the careers of this talented family and enumerates their many contributions to modern popular entertainment.
As young men, the Hanlons stunned audiences all over the world with their daring acrobatic feats. After a tragic accident severely injured one brother (and indirectly led to his suicide in a manner achievable only by someone with considerable acrobatic talents), they moved into the safer arena of spectacle pantomime, where they became the rage of Parisian popular theatre. They achieved fame with their uproariously funny and technically astonishing production of Le Voyage en Suisse. After settling permanently in the northeastern United States, they developed two more full-length pantomimes, Fantasma and Superba. The three shows toured for more than thirty years, a testament to their popularity and to the Hanlons’ impressive business acumen.
The book’s illustrations—including sketches of their performances, studio photographs of the Hanlons, and posters for all three of their major pantomimes—are essential to the understanding of their work. The Hanlon Brothers is painstakingly researched yet accessible and engaging. Cosdon has managed to provide a thorough and engrossing account of the Hanlons’ lives and careers, which will no doubt help to reestablish their legacy in the world of popular entertainment.
Examining the case that inspired a pop culture phenomenon
In 1924 Beulah Annan was arrested and incarcerated for killing her lover, Harry Kalsted. Six weeks later, a jury acquitted her of murder. Inspired by the sordid event, trial, and acquittal, Maurine Watkins, a reporter at the time, wrote the play Chicago, a Broadway hit that was adapted several times. Through a fresh retelling of the story of Annan and of Watkins’s play, Charles H. Cosgrove provides a critical examination of the criminal case and an exploration of the era’s social assumptions that made the message of the play so plausible in its own time. His careful historical research challenges the received portrait of Annan as a killer who got away with murder and of Watkins as a savvy cub reporter and precocious playwright.
In They Both Reached for the Gun, Charles H. Cosgrove expertly combines meticulous research into inquest transcripts, police records, and interviews with Annan’s relatives with detailed analysis to shed new light on the participants, the trial, and the subsequent play and musical. Although no one will ever know what really happened in the south side apartment one hundred years ago, Cosgrove’s interrogation shows how sensationalized Watkins’s writing was. Her reporting on the Annan case perpetuated falsehoods about Annan’s so-called “confession,” and her play gave an inaccurate portrayal of Chicago’s criminal justice system. Despite Watkins’s insistence that her drama revealed the truth about its subjects without any exaggeration, her play depicted police, prosecutors, and judges as the only “good guys” in the story, ignoring those who lied, misled, and used brutal methods to obtain forced confessions.
This engaging biography of Augustus Garrett and Eliza Clark Garrett tells two equally compelling stories: an ambitious man’s struggle to succeed and the remarkable spiritual journey of a woman attempting to overcome tragedy. By contextualizing the couple’s lives within the rich social, political, business, and religious milieu of Chicago’s early urbanization, author Charles H. Cosgrove fills a gap in the history of the city in the mid-nineteenth century.
The Garretts moved from the Hudson River Valley to a nascent Chicago, where Augustus made his fortune in the land boom as an auctioneer and speculator. A mayor during the city’s formative period, Augustus was at the center of the first mayoral election scandal in Chicago. To save his honor, he resigned dramatically and found vindication in his reelection the following year. His story reveals much about the inner workings of Chicago politics and business in the antebellum era.
The couple had lost three young children to disease, and Eliza arrived in Chicago with deep emotional scars. Her journey exemplifies the struggles of sincere, pious women to come to terms with tragedy in an age when most people attributed unhappy events to divine punishment. Following Augustus’s premature death, Eliza developed plans to devote her estate to founding a women’s college and a school for ministerial training, and in 1853 she endowed a Methodist theological school, the Garrett Biblical Institute (now the Garrett-Evangelical Theological Seminary), thereby becoming the first woman in North America to found an institution of higher learning.
In addition to illuminating our understanding of Chicago from the 1830s to the 1850s, Fortune and Faith in Old Chicago explores American religious history, particularly Presbyterianism and Methodism, and its attention to gender shows how men and women experienced the same era in vastly different ways. The result is a rare, fascinating glimpse into old Chicago through the eyes of two of its important early residents.
George S. Counts was amajor figure in American education for almost fifty years. Republication of this early (1932) work draws special attention to Counts’s role as a social and political activist. Three particular themes make the book noteworthy because of their importance in Counts’s plan for change as well as for their continuing contemporary importance: (1)Counts’s criticism of child-centered progressives; (2)the role Counts assigns to teachers in achieving educational and social reform; and (3) Counts’s idea for the reform of the American economy.
Basing this compelling war memoir on his original World War II diary, Pfc. Richard D. Courtney tells what it was like to be a combat infantryman in the greatest and most destructive war in history.
Finalist, INDIEFAB Book of the Year
Lisa Fay Coutley’s lyrical debut collection, Errata, investigates the delicate balance between parent and child, love and loss, hope and grief. Errata’s narrator reflects on struggles and fears that span generations in compositions that are at once musical and bleak. Coutley’s narrative journey is often a dark one, exploring not only the loss of loved ones but also the potential to lose one’s very self. The collection unravels the lingering consequences of abuse and addiction, yet threads of hope and determination weave a finely wrought path through the dark side of human relationships, illuminating the power of the will to survive. Coutley’s sharp yet tender collection will both haunt readers and move them to reflect, to remember, and most of all, to persevere.
Current rhetorical and critical theory for the most part separates writing from consciousness and presumes relative truth to be the only possible expressive goal for rhetoric. These presumptions are reflected in our tradition of persuasive rhetoric, which values writing that successfully argues one person’s belief at the expense of another’s. Barbara Couture presents a case for a phenomenological rhetoric, one that values and respects consciousness and selfhood and that restores to rhetoric the possibility of seeking an all-embracing truth through pacific and cooperative interaction.
Couture discusses the premises on which current interpretive theory has supported relative truth as the philosophical grounding for rhetoric, premises, she argues, that have led to constraints on our notion of truth that divorce it from human experience. She then shows how phenomenological philosophy might guide the theory and practice of rhetoric, reanimating its role in the human enterprise of seeking a shared truth. She proposes profession and altruism as two guiding metaphors for the phenomenological activity of "truth-seeking through interaction."
Among the contemporary rhetoricians and philosophers who influence Couture are Pierre Teilhard de Chardin, Martin Buber, Charles Altieri, Charles Taylor, Alasdair Maclntyre, and Jürgen Habermas.
2014 Illinois State Historical Society Book of the Year
In Richard Barr: The Playwright’s Producer, author David A. Crespy investigates the career of one of the theatre’s most vivid luminaries, from his work on the film and radio productions of Orson Welles to his triumphant—and final—production of Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street. Explored in detail along the way are the producer’s relationship with playwright Edward Albee, whose major plays such as A Zoo Story and Who’s Afraid of Virginia Woolf Barr was the first to produce, and his innovative productions of controversial works by playwrights like Samuel Beckett, Terrence McNally, and Sam Shepard. Crespy draws on Barr’s own writings on the theatre, his personal papers, and more than sixty interviews with theatre professionals to offer insight into a man whose legacy to producers and playwrights resounds in the theatre world. Also included in the volume are a foreword and an afterword by Edward Albee, a three-time Pulitzer Prize–winning playwright and one of Barr’s closest associates.
A practical "how-to" workbook that outlines a plan for the design and implementation of staff in-service training programs for human service agencies and facilities.
Crimando and Riggar have made every effort to guarantee the usefulness of this text to practitioners, instructors, and students. This is a working book designed to assist trainers as they acquire the knowledge and skills needed to provide thorough, systematic in-service training that will enhance human service endeavors.
The authors have organized the nineteen chapters into four parts that treat significant steps in the training-program design process. These include analyzing problems that require training solutions; developing a proposal; writing a plan of action for training; and evaluating a program. Each of the chapters combines text, examples, exercises, and supplementary readings to foster a full appreciation of the process involved. Even those topics frequently overlooked or disregarded are included: budgeting program time and financial resources, obtaining administrative commitment, and transferring and maintaining skills in the work setting.
The eleven essays that make up this collection show how, despite judicial, political, and public proclamations of support for freedom of expression, factors like tradition, gender stereotypes, religion, and fear of social unrest often led to narrow judicial and political protection for freedom of expression by people whose views upset the status quo. These views, expressed by abolitionists, suffragists, and labor leaders, challenged rigid cultural mores of the day, and many political and cultural leaders feared that extending freedom of expression to agitators would undermine society. The Civil War intensified questions about the duties and privileges of citizenship. After the war, key conflicts over freedom of expression were triggered by Reconstruction, suffrage, the Comstock Act, and questions about libel.
The volume’s contributors blend social, cultural, and intellectual history to untangle the complicated strands of nineteenth-century legal thought. By chronicling the development of modern-day notions of free speech, this timely collection offers both a valuable exploration of the First Amendment in nineteenth-century America and a useful perspective on the challenges we face today.
Crab Orchard Review First Book Prize
Co-Winner, Julie Suk Prize
Finalist, INDIEFAB Book fo the Year
Throughout Salt Moon, Noel Crook forges the kind of tragic vision Howard Nemerov described as the mark of our finest poets: drawing on myth and memory, Crook’s fierce lyrics reveal a world that is at once “hopeless and beautiful . . . giving equal emphasis to both words.” Sacrifice and betrayal, parental love and patricide, unleashed desire and cornered despair—these antitheses fuel Crook’s Ovidian imagination, which ranges freely from Comanche raids in Texas to a slave plantation in North Carolina, from a carpet maker in Istanbul to beggars in Delhi, from her daughter’s hospital room to the war in Iraq. Rendered in unforgettable images, Salt Moon is that rare book which grows richer with each reading.
In this first sustained critique of current-traditional rhetorical theory, Sharon Crowley uses a postmodern, deconstructive reading to reexamine the historical development of current-traditional rhetoric. She identifies it (as well as the British new rhetoric from which it developed) as a philosophy of language use that posits universal principles of mind and discourse. Crowley argues that these philosophies are not appropriate bases for the construction of rhetorical theories, much less guides for the teaching of composition. She explains that current-traditional rhetoric is not a rhetorical theory, and she argues that its use as such has led to a misrepresentation of invention.
Crowley contends that current-traditional rhetoric continues to prosper because a considerable number of college composition teachers—graduate students, part-time instructors, and teachers of literature—are not involved in the development of the curricula they are asked to teach. As a result, their voices, necessary to create any true representation of the composition teaching experience, are denied access to the scholarly conversations evaluating the soundness of the institutionalized teaching methods derived from the current-traditional approach.
Throughout much of his long life (1897–1993), Kenneth Burke was recognized as a leading American intellectual, perhaps the most significant critic writing in English since Coleridge. From about 1950 on, rhetoricians in both English and speech began to see him as a major contributor to the New Rhetoric. But despite Burke's own claims to be writing philosophy and some notice from reviewers and critics that his work was philosophically significant, Timothy W. Crusius is the first to access his work as philosophy.
Crusius traces Burke's commitment and contributions to philosophy prior to 1945, from Counter-Statement (1931) through The Philosophy of Literary Form (1941). While Burke might have been a late modernist thinker, Crusius shows that Burke actually starts from a position closely akin to such postmodern figures as Michel Foucault and Richard Rorty.
Crusius then examines Burke's work from A Grammar of Motives (1945) up to his last published essays, drawing most heavily on A Rhetoric of Motives, The Rhetoric of Religion, and uncollected essays from the 1970s. This part concerns Burke's contributions to human activities always closely associated with rhetoric-hermeneutics, dialectic, and praxis. Burke's highly developed notion of our species as the "symbol-using animal," argues Crusius, draws together the various strands of his later philosophy—his concern with interpretation, with dialectic and dialogue, with a praxis devoted to awareness and control of the self-deceiving and potentially self-destructive motives inherent in language itself.
The path to political power for Latinos in Chicago
In the Midwest’s largest city, Latinos have been fighting for political representation for more than half a century. In this exploration of urban politics in Chicago, Wilfredo Cruz shows for the first time how Latinos went from being ignored by the Irish-controlled political machine to becoming a respected constituency.
Beginning with the Latino community’s first attempt to acquire a political voice in Chicago politics in 1911 and continuing through Latino officeholders of the early twenty-first century, Cruz surveys not only the struggles of this community—specifically the two largest Latino groups in the city, Mexicans and Puerto Ricans—but also the ways in which Chicago’s Latinos overcame those challenges to gain their political voice.
For most of the twentieth century, Chicago politicians ignored the growing Latino community. This disregard changed with the 1983 election of Mayor Harold Washington, an African American who defied the political machine and actively recruited Latinos to his administration and helped them win city and statewide political offices. His actions opened the doors of government for Latinos in Chicago. Subsequent mayors, seeing the political success of Washington’s move, continued his policies.
Many up-and-coming Latino politicians making strides in Chicago, including state representative Aarón Ortíz, Alderman Andre Vasquez, and Alderman Rossana Rodríguez-Sanchez, contribute their takes on the struggle for political power and the challenges facing the rising new generation of elected officials. With this book, Cruz asks and answers this question: What does the future hold for Latinos politically in Chicago?
During the American Civil War, more than four hundred women were arrested and imprisoned by the Union Army in the St. Louis area. The majority of these women were fully aware of the political nature of their actions and had made conscious decisions to assist Confederate soldiers in armed rebellion against the U.S. government. Their crimes included offering aid to Confederate soldiers, smuggling, spying, sabotaging, and, rarely, serving in the Confederate army. Historian Thomas F. Curran’s extensive research highlights for the first time the female Confederate prisoners in the St. Louis area, and his thoughtful analysis shows how their activities affected Federal military policy.
Early in the war, Union officials felt reluctant to arrest women and waited to do so until their conduct could no longer be tolerated. The war progressed, the women’s disloyal activities escalated, and Federal response grew stronger. Some Confederate partisan women were banished to the South, while others were held at Alton Military Prison and other sites. The guerilla war in Missouri resulted in more arrests of women, and the task of incarcerating them became more complicated.
The women’s offenses were seen as treasonous by the Federal government. By determining that women—who were excluded from the politics of the male public sphere—were capable of treason, Federal authorities implicitly acknowledged that women acted in ways that had serious political meaning. Nearly six decades before U.S. women had the right to vote, Federal officials who dealt with Confederate partisan women routinely referred to them as citizens. Federal officials created a policy that conferred on female citizens the same obligations male citizens had during time of war and rebellion, and they prosecuted disloyal women in the same way they did disloyal men.
The women arrested in the St. Louis area are only a fraction of the total number of female southern partisans who found ways to advance the Confederate military cause. More significant than their numbers, however, is what the fragmentary records of these women reveal about the activities that led to their arrests, the reactions women partisans evoked from the Federal authorities who confronted them, the impact that women’s partisan activities had on Federal military policy and military prisons, and how these women’s experiences were subsumed to comport with a Lost Cause myth—the need for valorous men to safeguard the homes of defenseless women.
Heavily illustrated by photographs of the damage, The Great Cyclone was compiled from stories in the city’s daily newspapers—the Globe-Democrat, the Post-Dispatch, and, most notably, the old St. Louis Republic. O’Neil points out that "the book’s compilers are not identified, but their glowing praise of the ‘superb descriptive composition’ in the Republic provides a good guess about where most of them worked."
People have long been fascinated about times in human history when different cultures and societies first came into contact with each other, how they reacted to that contact, and why it sometimes occurred peacefully and at other times was violent or catastrophic.
Studies in Culture Contact: Interaction, Culture Change, and Archaeology, edited by James G. Cusick,seeks to define the role of culture contact in human history, to identify issues in the study of culture contact in archaeology, and to provide a critical overview of the major theoretical approaches to the study of culture and contact.
In this collection of essays, anthropologists and archaeologists working in Europe and the Americas consider three forms of culture contact—colonization, cultural entanglement, and symmetrical exchange. Part I provides a critical overview of theoretical approaches to the study of culture contact, offering assessments of older concepts in anthropology, such as acculturation, as well as more recently formed concepts, including world systems and center-periphery models of contact. Part II contains eleven case studies of specific contact situations and their relationships to the archaeological record, with times and places as varied as pre- and post-Hispanic Mexico, Iron Age France, Jamaican sugar plantations, European provinces in the Roman Empire, and the missions of Spanish Florida.
Studies in Culture Contact provides an extensive review of the history of culture contact in anthropological studies and develops a broad framework for studying culture contact’s role, moving beyond a simple formulation of contact and change to a more complex understanding of the amalgam of change and continuity in contact situations.
Chicago: Metropolis of the Mid-Continent provides a comprehensive portrayal of the growth and development of Chicago from the mudhole of the prairie to today’s world-class city. This completely revised fourth edition skillfully weaves together the geography, history, economy, and culture of the city and its suburbs with a special emphasis on the role of the many ethnic and racial groups that comprise the “real Chicago” of its neighborhoods. Cutler demonstrates how the geography of “Chicagoland” and the influx of a diverse population spurred transportation, industrial technology, the economy, and sporadic planning to foster rapid urban growth, which brought both great progress and severe problems.
Through insightful analysis, Cutler also traces the demographic and societal changes to Chicago, critically examining such problems as the environment, education, racial tension, crime, welfare, housing, employment, and transportation. Richly illustrated with nearly three hundred drawings, photos, maps, and tables, the volume includes six appendices with sections dedicated to Chicago facts, population growth and income data, weather and climate, significant dates, and historic sites.
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