Unearthing the fearful flesh and sinful skins at the heart of gothic horror, Jack Morgan rends the genre’s biological core from its oft-discussed psychological elements and argues for a more transhistorical conception of the gothic, one negatively related to comedy. The Biology of Horror: Gothic Literature and Film dissects popular examples from the gothic literary and cinematic canon, exposing the inverted comic paradigm within each text.

Morgan’s study begins with an extensive treatment of comedy as theoretically conceived by Suzanne Langer, C. L. Barber, and Mikhail Bakhtin. Then, Morgan analyzes the physical and mythological nature of horror in inverted comic terms, identifying a biologically grounded mythos of horror. Motifs such as sinister loci, languishment, masquerade, and subversion of sensual perception are contextualized here as embedded in an organic reality, resonating with biological motives and consequences. Morgan also devotes a chapter to the migration of the gothic tradition into American horror, emphasizing the body as horror’s essential place in American gothic.

The bulk of Morgan’s study is applied to popular gothic literature and films ranging from high gothic classics like Matthew Lewis’s The Monk, Ann Radcliffe’s The Mysteries of Udolpho, Charles Maturin’s Melmoth the Wanderer, and Mary Shelley’s Frankenstein, to later literary works such as Poe’s macabre tales, Melville’s “Benito Cereno,” J.S. Le Fanu’s Uncle Silas, H.P. Lovecraft’s “The Shadow over Innsmouth,” Shirley Jackson’s The Haunting of Hillhouse, Stephen King’s Salem’s Lot, and Clive Barker’s The Damnation Game. Considered films include Nosferatu, Invasion of the Body Snatchers, Friday the 13th, Halloween, Night of the Living Dead, Angel Heart, The Stand, and The Shining.

Morganconcludes his physical examination of the Gothic reality with a consideration born of Julia Kristeva’s theoretical rubric which addresses horror’s existential and cultural significance, its lasting fascination, and its uncanny positive—and often therapeutic—direction in literature and film.

Drawing on research from a variety of academic fields, such as archaeology, history, botany, ecology, and physical science, M. J. Morgan explores the intersection of people and the environment in early eighteenth-century Illinois Country—a stretch of fecund, alluvial river plain along the Mississippi river. Arguing against the traditional narrative that describes Illinois as an untouched wilderness until the influx of American settlers, Morgan illustrates how the story began much earlier.

She focuses her study on early French and Indian communities, and later on the British, nestled within the tripartite environment of floodplain, riverine cliffs and bluffs, and open, upland till plain/prairie and examines the impact of these diverse groups of people on the ecological landscape. By placing human lives within the natural setting of the period—the abundant streams and creeks, the prairies, plants and wildlife—she traces the environmental change that unfolded across almost a century. She describes how it was a land in motion; how the occupying peoples used, extracted, and extirpated its resources while simultaneously introducing new species; and how the flux and flow of life mirrored the movement of the rivers. Morgan emphasizes the importance of population sequences, the relationship between the aboriginals and the Europeans, the shared use of resources, and the effects of each on the habitat.

Land of Big Rivers is a unique, many-themed account of the big-picture ecological change that occurred during the early history of the Illinois Country. It is the first book to consider the environmental aspects of the Illinois Indian experience and to reconsider the role of the French and British in environmental change in the mid-Mississippi Valley. It engagingly recreates presettlement Illinois with a remarkable interdisciplinary approach and provides new details that will encourage understanding of the interaction between physical geography and the plants, animals, and people in the Illinois Country. Furthermore, it exhibits the importance of looking at the past in the context of environmental transformation, which is especially relevant in light of today’s global climate change.

The story of John A. Logan’s famed 31st Regiment Illinois Volunteers, told by three veterans, follows the regiment from the battles of Belmont, Fort Donelson, Vicksburg, Kenesaw Mountain, and Atlanta through the March to the Sea and into North Carolina. "Few regiments," notes historian John Y. Simon in the foreword, "fought longer or more fiercely, suffered more casualties, or won more victories."

Logan proved a valiant and valuable Union commander, yet when the Civil War first began, it was far from clear whether he would lead Union or Confederate troops. In dramatic fashion, however, he broke what Simon calls an "ominous silence ... interpreted by many as sympathy for the South." Speaking from a wagon platform in Marion, Illinois, Logan proclaimed: "[The] time has come when a man must be for or against his country." Logan accepted a commission from Illinois governor Richard Yates, recruited heavily in southern Illinois, and formed the 31st Regiment Illinois Volunteers.

The 31st became a prime component in Grant’s western campaigns, fighting for the first time at Belmont, Missouri. In February of 1862, the 31st foiled Confederate general Gideon J. Pillow’s dramatic escape from the Union siege at Fort Donelson. Although this is often listed as one of the proudest moments for the 31st, casualties ran high (fifty-eight killed), with Logan so severely wounded that at first he was reported dead. Logan’s valor at Fort Donelson won him promotion to brigadier general.

When the Civil War erupted in April 1861, many German immigrants in Illinois rushed to enlist in the Union Army. Volunteers from Illinois towns in St. Clair County—Belleville, Millstadt, Mascoutah, Lebanon, and others—marched to Springfield under the command of August Mersy, a veteran of the failed 1848 revolt in Baden, Germany.

Marion Morrison notes that when the German immigrants reached Springfield, August Mersy was rejected as commander because of his limited facility with English. Replaced by Colonel Eleazer A. Paine, an Ohioan and West Point graduate, Lieutenant Colonel Mersy fell to second in command of the Ninth Illinois Infantry Volunteers. Within a few months, however, Paine received a promotion to general that left Mersy in charge of the "Bloody Ninth."

Once Grant began his Tennessee River campaign, the Ninth found itself in the thick of battle, bearing the brunt of the Confederate attempt at Fort Donelson to break Grant’s siege lines. Less than two months later, the Ninth shored up sagging Union lines after the surprise Confederate attack at Shiloh Church, retreating only when their ammunition was gone.

Morrison’s account of the "Bloody Ninth" is one of the few histories written during the war.

In this feminist investigation into the art of preaching—one of the oldest and least studied rhetorical traditions—Roxanne Mountford explores the relationship between bodies, space, race, and gender in rhetorical performance and American Protestant culture. Refiguring delivery and physicality as significant components of the rhetorical situation, The Gendered Pulpit: Preaching in American Protestant Spaces examines the strategies of three contemporary women preachers who have transgressed traditions, rearranged rhetorical space, and conquered gender bias to establish greater intimacy with their congregations.

Mountford’s examinations of the rhetoric inherent in preaching manuals from 1850 to the present provide insight into how “manliness” has remained a central concept in American preaching since the mid-nineteenth century. The manuals illustrate that the character, style, method of delivery, and theological purpose of preachers focused on white men and their cultural standing, leaving contemporary women preachers searching for ways to accommodate themselves to the physicality of preaching.

Three case studies of women preachers who have succeeded or failed in rearranging rhetorical space provide the foundation for the volume. These contemporary examples have important implications for feminist theology and also reveal the importance of gender, space, and bodies to studies of rhetoric in general. Mountford explores the geographies of St. John’s Lutheran Church and the preaching of Rev. Patricia O’Connor who reformed rhetorical space through the delivery of her sermons. At Eastside United Church of Christ, Mountford shows, Rev. Barbara Hill employed narrative style and prophetic utterance in the tradition of black preaching to address gender bias and institute change in her congregation. The final case study details the experiences of Pastor Janet Moore and her struggles at Victory Hills United Methodist Church, where the fractured congregation could not be united even with Pastor Moore’s focus on theological purpose and invention strategies.

This collection of essays was selected from those presented in October 1988 at a conference sponsored by the National Endowment for the Humanities, "Concepts of History in German Cinema." The contributors include notable historians, film scholars, and German studies specialists who explore the complex network of social, political, and religious institutions that have influenced the historiography of German cinema and television.

Before the turn of the century, Germans began to employ the medium of film to represent the past when they attempted to document their Prussian heritage. Since then, German cinema and television have promoted history as a component of personal, cultural, and national identity by consistently providing prominent treatment of historical subjects.

Although it is relatively easy to document changes in the selection and handling of these subjects, it is more difficult to determine precisely which factors have motivated those changes.

In attempting to define these factors, the link between German cinema, television, and history has developed around three interrelated issues: (1) the reception of Weimar cinema, which for most film scholars continues to be mediated to one extent or another by Siegfried Kracauer’s work; (2) the inscribing of fascism in cinema and television; and (3) the nature of, and potential for, alternatives to mainstream cinema and television.

Seven chronologically arranged essays—each covering roughly a decade from 1908 through 1988—plus two special-focus essays on black and female poets, an introduction by Ed Folsom, and a preface by editors Jack Myers and David Wojahn, outline the critical, creative, aesthetic, and cultural forces at work in the American poetry of this century. Several contributors, including Michael Heller, Richard Jackson, and Jonathan Holden, have recently published important book-length critical studies in their essay area; all have published well-regarded collections of their own poetry.