Like. Share. Comment. Subscribe. Embed. Upload. Check in. The commands of the modern online world relentlessly prompt participation and encourage collaboration, connecting people in ways not possible even five years ago. This connectedness no doubt influences college writing courses in both form and content, creating possibilities for investigating new forms of writing and student participation. In this innovative volume, Sarah J. Arroyo argues for a “participatory composition,” inspired by the culture of online video sharing and framed by theorist Gregory Ulmer’s concept of electracy.
Electracy, according to Ulmer, “is to digital media what literacy is to alphabetic writing.” Although electracy can be compared to digital literacy, it is not something shut on and off with the power buttons on computers or mobile devices. Rather, electracy encompasses the cultural, institutional, pedagogical, and ideological implications inherent in the transition from a culture of print literacy to a culture saturated with electronic media, regardless of the presence of actual machines.
Arroyo explores the apparatus of electracy in many of its manifestations while focusing on the participatory practices found in online video culture, particularly on YouTube. Chapters are devoted to questions of subjectivity, definition, authorship, and pedagogy. Utilizing theory and incorporating practical examples from YouTube, classrooms, and other social sites, Arroyo presents accessible and practical approaches for writing instruction. Additionally, she outlines the concept of participatory composition by highlighting how it manifests in online video culture, offers student examples of engagement with the concept, and advocates participatory approaches throughout the book.
Arroyo presents accessible and practical possibilities for teaching and learning that will benefit scholars of rhetoric and composition, media studies, and anyone interested in the cultural and instructional implications of the digital age.
In Past Forward: French Cinema and the Post-Colonial Heritage, author Dayna Oscherwitz focuses on the world of French films with a new lens. Drawing upon a wealth of research and the examination of popular French movies, Oscherwitz offers fresh perspectives not only on the unique importance of motion pictures and their indelible influence on French character, but on current debates regarding individual and collective memory.
Past Forward traces the development and ascension of the French heritage film—those historical and costume dramas focusing on prestigious French subjects, events, and settings. These motion pictures, preeminent during a period of globalization and fear over the affects of immigration in 1980s France, quickly came to embody a specific version of French national and collective identity: one that idealized the past, condemned the present, and created an institutional form of memory. Oscherwitz presents the intriguing notion that French heritage films are not exclusively expressions of nationalism and nostalgia as has commonly been asserted. On the contrary, although these movies were born out of a perceived loss of French culture, their ambivalence toward traditional hallmarks of nationalism opens them up to new interpretation. Also in contrast to typical conceptions, the author suggests that these heritage films are far from cinematic bastions of multicultural backlash; instead, she argues, popular culture has in its own fashion reinserted the history of colonialism and immigration into the national past, thus reimagining heritage itself.
Against this backdrop, Oscherwitz goes on to investigate the multicultural worlds of beur and banlieue movies—cinema seemingly in direct contrast with the heritage film—offering the theory that these films serve as a “countermemory” to an institutionalized one and provide alternative models of collective memory and identity. Through careful analysis of several examples, Oscherwitz demonstrates how these two seemingly different realms—heritage and multicultural cinema—are far from mutually exclusive in the construction of French identity.
Throughout the volume, numerous well-known French movies are reexamined, inviting new interpretations of and challenging old views through investigations of familiar cinematic works. Past Forward is arevolutionary volume that boldly reimagines our ideas about French film and its role in communicating history and memory.
After explaining his new methodology, Bidney identifies and discusses epiphanies in the works of William Wordsworth, Samuel Taylor Coleridge, Matthew Arnold, Alfred Lord Tennyson, Walter Pater, Thomas Carlyle, Leo Tolstoy, and Elizabeth Barrett Browning. Taking his cue from the French philosopher Gaston Bachelard, Bidney postulates that any writer’s epiphany pattern usually shows characteristic elements (earth, air, fire, water), patterns of motion (pendular, eruptive, trembling), and/or geometric shapes. Bachelard’s analytic approach involves studying patterns of perceived experience—phenomenology—but unlike most phenomenologists, Bidney does not speculate on internal processes of consciousness. Instead, he concentrates on literary epiphanies as objects on the printed page, as things with structures that can be detected and analyzed for their implications.
Bidney, then, first identifies each author’s paradigm epiphany, finding that both the Romantics and the Victorians often label such a paradigm as a vision or dream, thereby indicating its exceptional intensity, mystery, and expansiveness. Once he identifies the paradigm and shows how it is structured, he traces occurrences of each writer’s epiphany pattern, thus providing an inclusive epiphanic portrait that enables him to identify epiphanies in each writer’s other works. Finally, he explores the implications of his analysis for other literary approaches: psychoanalytical, feminist, influence-oriented or intertextual, and New Historical.
Paul Powell emerged from the hill country of southern Illinois to serve in state government from 1935 until his death in 1970. His political tenure included three terms as Speaker of the Illinois House, four terms as minority leader, and two terms as secretary of state. The sponsor of hundreds of bills, he worked tirelessly for his constituents in southern Illinois. He also worked tirelessly to promote his own interests.
In this first political biography of Powell, Robert E. Hartley follows the money. He tells how this man of humble origins and meager means amassed a world-class political and financial base. Part of that story is the disclosure of a personal fortune that boggled minds, including the unbelievable yarn of the $800,000 cash found in the hotel room following Powell's death.
Powell never earned a state salary of more than $30,000 per year, yet in the last year of his life, his federal income tax return showed an income of more than $200,000. At his death his estate totaled $3.2 million, and, when settled in 1978, was worth $4.6 million, including nearly $1 million in racetrack stock.
Following Powell's story, Hartley takes us deep into the Illinois political world of the 1940s, 1950s, and 1960s, a time when politicians were on an "honor system" regarding their financial holdings. This was before disclosure of political contributions, before computer records, and before public meetings laws.
With Paul Simon: The Political Journey of an Illinois Original, author Robert E. Hartley presents the first thorough, objective volume on the journalistic and political career of one of Illinois’s most respected public figures. Hartley’s detailed account offers a fully rounded portrait of a man whose ideals and tenacity not only spurred reform on both state and national levels during his celebrated forty-year career but also established the lasting legacy of a political legend.
Simon first became a public figure at the age of nineteen, when he assumed the post of editor and publisher of a weekly newspaper in Troy, Illinois. From there, he used his paper to launch a fierce crusade against the crime and corruption plaguing Madison County. This battle sparked his entry into politics, helping to land him a seat in the state legislature in 1954. While serving, he campaigned tirelessly according to his principles, earning him the mass voter approval that would usher him into the seat of lieutenant governor in 1968—the first person elected to that position who did not share party affiliation with the governor.
As lieutenant governor, Simon initiated many changes to the position, remaking it to better serve the citizens of the state of Illinois. The cornerstone of his reform plan was an ombudsman program designed to allow the people of the state to voice problems they had with government and state agencies. The program, extremely popular with the public and the press, solved problems and helped to make Simon a household name throughout Illinois. Although he faced challenges along the way, including racial upheaval in Cairo and the student and police riots on the Carbondale campus of Southern Illinois University, Simon’s outspoken honesty and strong support of his constituents earned him the utmost esteem and popularity.
While his 1972 bid for governor of Illinois ultimately failed, this did not deter Simon from his dedication to social progress. In 1974 he began his remarkable twenty-two-year career in the U.S. House of Representatives and Senate, where he earned the admiration of the country for his political integrity. Despite the praise and support Simon had earned during his time in Washington, he was unable to win the Democratic presidential nomination in 1988 and returned to the Senate, winning a second term in 1990. Simon committed time and energy to the myriad issues of interest to him, especially in the field of education, with one of his biggest successes coming with the passage of the National Literacy Act, which he sponsored. He continued to foster his ties to journalism throughout his lengthy political career, authoring numerous books, articles, and columns, all of which he used to relentlessly promote open government and social programs.
This vivid account of the public life of Paul Simon reveals a man whose personal honor and dedication were unshakeable throughout nearly half a century in the political arena. Robert E. Hartley provides a candid perspective on Simon’s accomplishments and victories, as well as his mistakes and losses, revealing new insights into the life of this dynamic and widely respected public figure.
Written exclusively for this collection by today’s leading Peckinpah critics, the nine essays in Peckinpah Today explore the body of work of one of America’s most important filmmakers, revealing new insights into his artistic process and the development of his lasting themes. Edited by Michael Bliss, this book provides groundbreaking criticism of Peckinpah’s work by illuminating new sources, from modified screenplay documents to interviews with screenplay writers and editors.
Included is a rare interview with A. S. Fleischman, author of the screenplay for The Deadly Companions, the film that launched Peckinpah’s career in feature films. The collection also contains essays by scholar Stephen Prince and Paul Seydor, editor of the controversial special edition of Pat Garrett and Billy the Kid. In his essay on Straw Dogs, film critic Michael Sragow reveals how Peckinpah and co-scriptwriter David Zelag Goodman transformed a pulp novel into a powerful film. The final essay of the collection surveys Peckinpah’s career, showing the dark turn that the filmmaker’s artistic path took between his first and last films. This comprehensive approach reinforces the book’s dawn-to-dusk approach, resulting in a fascinating picture of a great filmmaker’s work.
In a book that itself exemplifies the dialogic scholarship it proposes, Kay Halasek reconceives composition studies from a Bakhtinian perspective, focusing on both the discipline's theoretical assumptions and its pedagogies.
Framing her discussions at every level of the discipline—theoretical, historical, pedagogical—Halasek provides an overview of portions of the Bakhtinian canon relevant to composition studies, explores the implications of Mikhail Bakhtin's work in the teaching of writing and for current debates about the role of theory in composition studies, and provides a model of scholarship that strives to maintain dialogic balance between practice and theory, between composition studies and Bakhtinian thought.
Halasek's study ranges broadly across the field of composition, painting in wide strokes a new picture of the discipline, focusing on the finer details of the rhetorical situation, and teasing out the implications of Bakhtinian thought for classroom practice by examining the nature of critical reading and writing, the efficacy and ethics of academic discourse, student resistance, and critical and conflict pedagogy. The book ends by setting out a pedagogy of possibility, what Halasek terms elsewhere a "post-critical pedagogy" that redefines and redirects current discussions of home versus academic literacies and discourses.
Pelican Tracks is a book of poems with a homing instinct. Elton Glaser travels a restless circuit between his native Louisiana and his adopted home of Ohio, from the “spice and license of the lowlands” to the “streets of Akron cobbled in ice.” These reflections, leavened with a fierce wit and moving bravura of language, are extracted from the origins and ends of the poet’s life—his birth in the final spasms of the second World War, the fears and excitements of youth, the death of parents, and the unexpected losses of adulthood. Marking his tracks between the Pelican State and the Buckeye State, Glaser records the damaged beauty of “everything sinking, everything rising again in the mind.”
Hastings experienced the rural and small town side of an event that touched all who weathered it—the economic crash of 1929 and its 10-year aftermath.
The author grew up in Marion, Illinois, entering the first grade in 1930, the start of the Great Depression. This book, which recalls memorable episodes in the life of that boy, is a sequel to the popular ANickel’s Worth of Skim Milk.
What Hastings experienced as a child was typical of depression-era life. Those who were young then can relive lost youth in Hastings’ books. And there were moments worth reliving: Hastings tells of “laughter and love and tears in the midst of hunger and cold and deprivation.” Those too young to have experienced the economic devastation can see those hard days through the eyes of a trained storyteller reporting from the point of view of a child.
Two combatants, one ring, and a battle governed as much by determination and drive as by rules and referees: that’s boxing. Perfect in Their Art: Poems on Boxing from Homer to Ali spans the millennia to present more than one hundred of the finest in pugilism poetry from both oral and written traditions, celebrating the lasting literary, historical, and cultural significance of boxing’s storied heritage.
Editors Robert Hedin and Michael Waters pulled no punches in assembling the definitive poems and poets of the sport. Works by such classical poets as Homer, Virgil, and Pindar are gathered here side-by-side for the first time with the poems of Lord Byron, William Makepeace Thackeray, and Sir Arthur Conan Doyle. This provocative collection also features more recent literary heavyweights, including Langston Hughes, Maya Angelou, Joyce Carol Oates, Philip Levine, Wislawa Szymborska, Ai, Yusef Komunyakaa, James Merrill, and Norman Mailer. Equally impressive is this anthology’s rich sampling of boxing music, including ballads, blues, marches, waltzes, and pop lyrics. Irving Berlin, Memphis Minnie, Leadbelly, Paul Simon, Warren Zevon, and Bob Dylan are only a few of the songwriters in this volume compelled to honor the sweet science.
Complemented by a foreword from On the Waterfront author Budd Schulberg, Perfect in Their Art offers glimpses into the boxing ring’s literal and metaphoric place as a popular stage for brutal but artful combat. Together these poems celebrate the heroes and traditions of this most primal competition across its many eras to provide an accurate, graceful, and spirited evocation of boxing’s cultural legacy as both sport and art.
In Performing Identities on the Restoration Stage, Cynthia Lowenthal explores identity—especially masculinity and femininity, English and “foreign,” middle-class and aristocratic—as it is enacted, idealized, deployed, and redefined on the late-seventeenth-century British stage. Particular emphasis is placed on the ways the theatre contributed to new and often shifting early modern definitions of the boundaries of nation, status, and gender.
The first portion of the book focuses on the playwrights’ presentations of idealized men and the comic ridicule of male bodies and behaviors that fall short of the ideal. Of special interest are those moments when playwrights use stereotypes of national character, particularly the Spaniards and Turks, as examples of the worst in male behavior, judgments that are always inflected with elements of class or status inconsistency.
The second portion of Lowenthal’s discussion focuses on playwrights’ attempts to redefine the idealized woman. Lowenthal investigates the ways that an extratheatrical discourse surrounding the actresses, one that essentialized them as sexual bodies demanding scrutiny and requiring containment, also serves to secure for them an equally essential aristocratic status. Anchored by Manley’s Royal Mischief, Lowenthal’s reading reveals that even a woman playwright’s attempts to represent female subjectivity or interiority at odds with the surfaces of the body are doomed to return to those same surfaces.
By focusing on a new, early modern lability of identity and by reading less canonical women playwrights, such as Manley and Pix, alongside established male playwrights such as Dryden and Wycherley, Performing Identities on the Restoration Stage yields both a more accurate and a more compelling picture of the cultural dynamics at work on the early modern stage.
In Performing Loss: Rebuilding Community through Theater and Writing, author Jodi Kanter explores opportunities for creativity and growth within our collective responses to grief. Performing Loss provides teachers, students, and others interested in performance with strategies for reading, writing, and performing loss as communities—in the classroom, the theater, and the wider public sphere.
From an adaptation of Jose Saramago’s novel Blindness to a reading of Suzan-Lori Parks’s The America Play, from Kanter’s own experience creating theater with terminally ill patients and federal prisoners to a visual artist’s response to September 11th, Kanter shows in practical, replicable detail how performing loss with community members can transform experiences of isolation and paralysis into experiences of solidarity and action.
Drawing on academic work in performance, cultural studies, literature, sociology, and anthropology, Kanter considers a range of responses to grief in historical context and goes on to imagine newer, more collaborative, and more civically engaged responses. Performing Loss describes Kanter’s pedagogical and artistic processes in lively and vivid detail, enabling the reader to use her projects as models or to adapt the techniques to new communities, venues, and purposes. Kanter demonstrates through each example the ways in which writing and performing can create new possibilities for mourning and living together.
In Performing Prose, authors Chris Holcomb and M. Jimmie Killingsworth breathe new life into traditional concepts of style. Drawing on numerous examples from a wide range of authors and genres, Holcomb and Killingsworth demonstrate the use of style as a vehicle for performance, a way for writers to project themselves onto the page while managing their engagement with the reader. By addressing style and rhetoric not as an editorial afterthought, but as a means of social interaction, they equip students with the vocabulary and tools to analyze the styles of others in fresh ways, as well as create their own.
Whereas most writing texts focus exclusively on analysis or techniques to improve writing, Holcomb and Killingsworth blend these two schools of thought to provide a singular process of thinking about writing. They discuss not only the benefits of conventional methods, but also the use of deviation from tradition; the strategies authors use to vary their style; and the use of such vehicles as images, tropes, and schemes. The goal of the authors is to provide writers with stylistic “footing”: an understanding of the ways writers use style to orchestrate their relationships with readers, subject matter, and rhetorical situations.
Packed with useful tips and insights, this comprehensive volume investigates every aspect of style and its use to present an indispensable resource for both students and scholars. Performing Prose moves beyond customary studies to provide a refreshing and informative approach to the concepts and strategies of writing.
In Persephone in America, Alison Townsend deftly weaves autobiography with myth in this reinvention of the tale of Demeter and Persephone as seen from the modern woman’s perspective. Fraught with emotional honesty, this captivating collection of lyrical and narrative poems chronicles the struggles of the figurative Persephone in three parts—the abduction, descent to the underworld, and return. Townsend turns a shrewd eye to her own experiences, as well as to the lives of other women, to offer an unflinching yet deeply compassionate exploration of such themes as girlhood and the vulnerability of the motherless; the demons of depression, addiction, and abuse; as well as passion, aging, and celebration of the natural world.
Although the poems traverse dark emotional territory at times, the picture that emerges ultimately is one of revelation and wisdom. Persephone in America is above all a journey of the soul, following the narrator as she explores what it means to be a woman in America, at times descending into darkness, only to emerge into redemption and realize “time’s sweet and invincible secret—that everything repeats—and we watch it.” Townsend’s candid portrait of female loss and discovery seeks to illuminate the truths inherent in myth, and the awakenings that hide in our darkest moments.
Persephone, Pretending(Madison, Wisconsin)
When the news says that the girl
who had been missing almost four days,
only to be found in a marshy area
at the edge of our medium-sized city,
was faking it all along, I wondered
what made her do it. I'd seen
her face—bright smile, dark eyes—
on a flier masking-taped to a pillar
at the airport the week before,
felt the involuntary frisson
of the curious, then only fear
at the thought of a girl abducted
in this place once voted
"America's most livable city."
She must have wanted
something she couldn't name,
that good girl with good grades
who looks like so many girls
in my own classes, but who keeps
changing her story. It happened
here; no, it happened there; no,
I really just wanted to be alone.
Then she turns her face away,
tired of telling her tale,
not sure what to make up next
or where invention will take her.
“Fictitious victimization disorder,”
Time magazine claims, but I wonder
what else, imagining her in the marsh,
cold, unrepentant, powerless, her mind
gone muddy with lack of sleep,
no way out of this lie she almost
believes, or the lies ahead,
nothing but memory of the rope,
duct tape, cough medicine,
and knife she bought at the PDQ
with her own cash, wanting
to be taken by someone so badly,
she takes us, she does it to herself.
John Hill Brinton (1832–1907) met, observed, and commented on practically the entire hierarchy of the Union army; serving as medical director for Ulysses S. Grant, he came into contact with Philip H. Sheridan, John C. Frémont, Henry W. Halleck, William A. Hammond, D. C. Buell, John A. Rawlins, James Birdseye McPherson, C. F. Smith, John A. McClernand, William S. Rosecrans, and his first cousin George Brinton McClellan. John Y. Simon points out in his foreword that Brinton was one of the first to write about a relatively obscure Grant early in the war:
"Brinton found a quiet and unassuming man smoking a pipe—he could not yet afford cigars— and soon recognized a commander with mysterious strength of intellect and character."
Positioned perfectly to observe the luminaries of the military, Brinton also occupied a unique perspective from which to comment on the wretched state of health and medicine in the Union army and on the questionable quality of medical training he found among surgeons. With both A.B. and A.M. degrees from the University of Pennsylvania and postgraduate training in Paris and Vienna at a time when most medical schools required only a grammar school education, Brinton was exceptional among Civil War doctors. He found, as John S. Haller, Jr., notes in his preface, "the quality of candidates for surgeon’s appointments was meager at best." As president of the Medical Examining Board, Brinton had to lower his standards at the insistence of Secretary of War Edwin Stanton. Haller points out that one "self-educated candidate for an appointment as brigade surgeon explained to the board that he could do ‘almost anything, from scalping an Indian, up and down.’" Brinton assigned this singular candidate to duty in Kansas "where Brinton hoped he would do the least amount of damage." Throughout the war, the dearth of qualified surgeons created problems.
Brinton’s memoirs reveal a remarkable Civil War surgeon, a witness to conditions in Cairo, the Battle of Belmont, and the Siege of Fort Donelson who encountered almost every Union military leader of note.
Brinton wrote his memoirs for the edification of his family, not for public consumption. Yet he was, as Haller notes, a "keen observer of character." And with the exception of Brinton’s acceptance of late nineteenth-century gossip favorable to his cousin General McClellan, Simon finds the memoirs "remarkable for accuracy and frankness." His portrait of Grant is vivid, and his comments on the state of medicine during the war help explain, in Haller’s terms, why the "Civil War was such a medical and human tragedy."
Written in the early twentieth century for her children and grandchildren and first published in 1975, these eloquent memoirs detail the life of General Ulysses S. Grant’s wife. First Lady Julia Dent Grant wrote her reminiscences with the vivacity and charm she exhibited throughout her life, telling her story in the easy flow of an afternoon conversation with a close friend. She writes fondly of White Haven, a plantation in St. Louis County, Missouri, where she had an idyllic girlhood and later met Ulysses.
In addition to relating the joys she experienced, Grant tells about the difficult and sorrowful times. Her anecdotes give fascinating glimpses into the years of the American Civil War. One recounts the night President Abraham Lincoln was assassinated. Grant insisted she and her husband turn down an invitation to the theater. Her decision saved her husband’s life: like Lincoln, he too had been marked for assassination.
Throughout these memoirs, which she ends with her husband’s death, Grant seeks to introduce her descendants to both her and the man she loved. She also strives to correct misconceptions that were circulated about him. She wanted posterity to share her pride in this man, whom she saw as one of America’s greatest heroes. Her book is a testament to their devoted marriage.
This forty-fifth-anniversary edition includes a new foreword by John F. Marszalek and Frank J. Williams, a new preface by Pamela K. Sanfilippo, the original foreword by Bruce Catton, the original introduction by editor John Y. Simon, recommendations for further reading, and more than twenty photographs of the Grants, their children, and their friends.
Written in the early twentieth century for her children and grandchildren and first published in 1975, these eloquent memoirs detail the life of General Ulysses S. Grant’s wife. First Lady Julia Dent Grant wrote her reminiscences with the vivacity and charm she exhibited throughout her life, telling her story in the easy flow of an afternoon conversation with a close friend. She writes fondly of White Haven, a plantation in St. Louis County, Missouri, where she had an idyllic girlhood and later met Ulysses.
In addition to relating the joys she experienced, Grant tells about the difficult and sorrowful times. Her anecdotes give fascinating glimpses into the years of the American Civil War. One recounts the night President Abraham Lincoln was assassinated. Grant insisted she and her husband turn down an invitation to the theater. Her decision saved her husband’s life: like Lincoln, he too had been marked for assassination.
Throughout these memoirs, which she ends with her husband’s death, Grant seeks to introduce her descendants to both her and the man she loved. She also strives to correct misconceptions that were circulated about him. She wanted posterity to share her pride in this man, whom she saw as one of America’s greatest heroes. Her book is a testament to their devoted marriage.
This forty-fifth-anniversary edition includes a new foreword by John F. Marszalek and Frank J. Williams, a new preface by Pamela K. Sanfilippo, the original foreword by Bruce Catton, the original introduction by editor John Y. Simon, recommendations for further reading, and more than twenty photographs of the Grants, their children, and their friends.
Responding to contemporary discussion about using personal accounts in academic writing, Personally Speaking: Experience as Evidence in Academic Discourse draws on classical and current rhetorical theory, feminist theory, and relevant examples from both published writers and first-year writing students to illustrate the advantages of blending experiential and academic perspectives.
Candace Spigelman examines how merging personal and scholarly worldviews produces useful contradictions and contributes to a more a complex understanding in academic writing. This rhetorical move allows for greater insights than the reading or writing of experiential or academic modes separately does. Personally Speaking foregrounds the semi-fictitious nature of personal stories and the rhetorical possibilities of evidence as Spigelman provides strategies for writing instructors who want to teach personal academic argument while supplying practical mechanisms for evaluating experiential claims.
The volume seeks to complicate and intensify disciplinary debates about how compositionists should write for publication and what kinds of writing should be taught to composition students. Spigelman not only supplies evidence as to why the personal can count as evidence but also relates how to use it effectively by including student samples that reflect particular features of personal writing. Finally, she lays the groundwork to move narrative from its current site as confessional writing to the domain of academic discourse.
A Natural History of Mississippi
A blade of rust from the ocean
and from the air a rumor
that corrodes the earth in tongues,
lichen, moss, magnolia,
until each gossip’s true.
Things go this way,
each green repeating its fact
of sun and wind and rain,
its dialect, its blade,
while beneath each leaf
a quiet cuts between the veins.
Laced, pale wings open
to learn the particular weather,
the place or part of speech
that will darken
and give them a name.
So each sugar furls
to burn and bitter
against whatever mouths
might swallow,
each skin becomes
the history of its harbor,
another word for here.
This hatch of bark and shade
hangs like a photograph
of all it covers, so perfect,
so still, its edges
blur, then disappear.
H. T. Kirby-Smith uses Santayana’s 1936 novel, The Last Puritan, as both an occasion and a means for bringing into focus the complex relations between Santayana’s life, his personality, and his philosophy. Opening with an account of Santayana’s various literary styles and arguing for the significance of Santayana’s writing of philosophy as literature, Kirby-Smith notes that Santayana saw the rational life as a continual adjustment and accommodation of contradictory claims. And he saw a literary style as an accommodation of the author to the reader.
Chapters 2 through 5 provide the philosophical background for a consideration of The Last Puritan, summarizing exactly how Santayana assimilated other philosophies into his own.
Chapters 6 and 7 incorporate Santayana’s three-volume autobiography, his letters and memoirs, and biographical studies by others into a psychological portrait of the author. All of this is in preparation for chapters 8 and 9, which focus on The Last Puritan. Kirby-Smith closes with a chapter that serves as a legal brief in defense of the author against the harsh, sometimes malicious attacks of his critics.
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.
An admirer of Pirate president Barney Dreyfuss, prolific baseball writer Frederick G. Lieb consorted with the club’s biggest stars, christened the legendary Dreyfuss “the first-division man,” and produced The Pittsburgh Pirates, one of the fifteen celebrated histories of major league teams commissioned by G. P. Putnam’s Sons in the 1940s and 1950s. Originally published in 1948, Lieb’s history ranges from the ball club’s earliest professional days in the late nineteenth century as the Pittsburgh Alleghenies to its spring training session in preparation for the 1948 season, a span that included six National League pennants and two World Series championships, as well as a loss to the Boston Red Sox, then the Pilgrims, at the inaugural World Series a century ago.
“This reprint of Fred Lieb’s The Pittsburgh Pirates is an invitation for baseball readers to enjoy Lieb’s wonderful stories of the great Pirate teams of the first half of the twentieth century,” writes Richard “Pete” Peterson in the new foreword to this edition. “Lieb’s book is rich with accounts of World Series triumphs and disappointments, of epic encounters on the playing field, like that between Wagner and Cobb, of mutinies in the clubhouse, of courageous comebacks, and of devastating defeats, including the infamous ‘homer in the gloaming.’”
In Lieb’s personable and anecdotal prose, honed over the course of his sustained sportswriting career, the book conveys “baseball drama of the highest order,” including the pre-Dreyfuss days of Captain Kerr, Ned Hanlon, and Connie Mack; Dreyfuss’s dynasty in the early twentieth century; the dramatic World Series triumphs of 1909 and 1925; the end of the Dreyfuss era and the sale of the club to a syndicate headed by John Galbreath and Bing Crosby; and the purchase of Hank Greenberg and the emergence of slugger Ralph Kiner. Aided by twenty-five black-and-white photographs, this rare history revisits the glories and stories of “fabulous old Pirates” such as Honus Wagner, Tommy Leach, Fred Clarke, Babe Adams, Max Carey, Kiki Cuyler, Pie Traynor, Paul and Lloyd Waner, and Arky Vaughan.
In A Place Called Appomattox, William Marvel turns his extensive Civil War scholarship toward Appomattox County, Virginia, and the village of Appomattox Court House, which became synonymous with the end of the Civil War when Robert E. Lee surrendered to Ulysses S. Grant there in 1865. Marvel presents a formidably researched and elegantly written analysis of the county from 1848 to 1877, using it as a microcosm of Southern attitudes, class issues, and shifting cultural mores that shaped the Civil War and its denouement.
With an eye toward correcting cultural myths and enriching the historical record, Marvel analyzes the rise and fall of the village and county from 1848 to 1877, detailing the domestic economic and social vicissitudes of the village, and setting the stage for the flight of Lee’s Army toward Appomattox and the climactic surrender that still resonates today.
Now available for the first time in paperback, A Place Called Appomattox reveals a new view of the Civil War, tackling some of the thorniest issues often overlooked by the nostalgic exaggerations and historical misconceptions that surround Lee’s surrender.
Winner, Mina P. Shaughnessy Prize
Achieving the remarkable feat of linking composition theory, deconstruction, and classical rhetoric, this book has been admirably summarized by the theorist G. Douglas Atkins, who writes: "This lively and engaging, informed and informative book constitutes an important contribution. Though its ‘field’ is most obviously composition, composition theory, and pedagogy, part of its importance derives from the way it transcends disciplinary boundaries to bear on writing in general. . . I know of no book that so fully and well discusses, and evaluates, the implications of deconstruction for composition and pedagogy. That [it] goes ‘beyond deconstruction,’ rather than merely ‘applying’ it, increases its importance and signals a clear contribution to the understanding of writing."
Jasper Neel analyzes the emerging field of composition studies within the epistemological and ontological debate over writing precipitated by Plato, who would have us abandon writing entirely, and continued by Derrida, who argues that all human beings are written. This book offers a three-part exploration of that debate. In the first part, a deconstructive reading of Plato’s Phaedrus, Neel shows the elaborate sleight-of-hand that Plato must employ as he uses writing to engage in a semblance of spoken dialogue.
The second part describes Derrida’s theory of writing and presents his famous argument that "the history of truth, of the truth of truth, has always been. . .the debasement of writing, and its repression outside full speech." A lexicon of nine Derridean terms, the key to his theory of writing, is also included. At the end of this section, Neel turns deconstruction against itself, demonstrating that Derridean analysis collapses of its own weight.
The concluding section of the book juxtaposes the implications of Platonic and Derridean views of writing, warning that Derrida’s approach may lock writing inside philosophy. The conclusion suggests that writing may be liberated from philosophical judgment by turning to Derrida’s predecessors, the sophists, particularly Protagoras and Gorgias. Drawing on Protagoras’s idea of strong discourse, Neel shows that sophistry is the foundation of democracy: "Strong discourse is public discourse, which, though based on probability and not truth, remains persuasive over a long period of time to a great number of people. This publicly tested discourse exists only among competitors, never alone, but its ability to remain persuasive even when surrounded by other discourses enables the ideas of democracy to emerge and then keeps democracy alive."
David Garrick’s accomplishments as an actor, manager, and theatrical innovator brought him great fame and fortune, and his ideas influenced not only his own age but succeeding ages as well. Yet as a playwright, a part of the elegant combination of talents that was David Garrick, he has never achieved the critical reputation he richly deserves, in main because of the unavailability of texts and the lack of proper assessment of the historic importance of his plays in the English theatre.
This first complete edition makes available to scholars and students all the plays of Garrick in well edited texts, with commentary and notes.
Contents: Macbeth. A Tragedy, 1744; Romeo and Juliet, 1748; The Fairies. An Opera, 1755; Catherine and Petruchio. A Comedy, 1756; Florizel and Perdita. A Dramatic Pastoral, 1756; The Tempest. An Opera, 1756; and King Lear. A Tragedy, 1756.
This is the first comprehensive play-by-play analysis of the drama of David Storey, one of the most acclaimed and innovative, sometimes controversial, writers in the British theatre since World War II. Grouping the plays according to theme, Hutchings demonstrates that the central focus in the drama of David Storey is the devaluation of traditional rituals in contemporary life and the disintegration of the family. A playwright attuned to the poetry in the ordinary, to the profundity, subtle eloquence, and dramatic tension in the mundane, Storey explores the ways people cope, or fail to cope, with complexity, with uncertainty, with constant, bewildering flux. He writes about groups—families (In Celebration, The Farm), rugby teams (The Changing Room), and construction crews (The Contractor). In his plays, individuals seek to overcome isolation and integrate themselves into a significant assemblage that transcends the self.
Hutchings notes that Storey frequently deals with working-class parents who cannot "understand their grown children’s anxieties, their discontentedness with life, their unstable marriages, and their inability to enjoy the benefits of the education and advantages they labored so hard for so many years to provide."
Storey understands and sympathizes with parents who have paid to educate their children out of their own spheres. He saw it happen in his own family, knew the disapproval of his father: "What else could my father think when, nearing sixty, he came home each day from the pit exhausted, shattered by fatigue, to find me—a young man ideally physically equipped to do the job which now left him totally prostrated—painting a picture of flowers, or writing a poem about a cloud. There was, and there is, no hope of reconciliation."
Hutchings supplements his thematic analysis of Storey’s plays by interweaving into his text 90 percent of a major interview with the playwright, the only such comprehensive interview in existence. Storey, who believes that readers "ought to be chary of all interviews," discusses alleged literary influences on his work, the current state of British theatre, and his reactions to critics. He also provides insight into various productions and performances in his work.
A literary discovery of considerable magnitude, these 98 previously unpublished poems by John Dewey, written principally in the 1910–18 period, illuminate an emotive aspect in his intellectual life often not manifest in the prose works.
Rumors of the existence of the poems have circulated among students of Dewey’s life and writings since 1957,when Mrs. Roberta Dewey gained possession of them from the Columbia University Columbiana collection. But except for the few persons who saw copies made by the French scholar Deladelle five years after Dewey’s death, the poems have remained inaccessible until now.
None of the poems has hitherto been published. Mrs. Roberta Dewey and Dewey’s children from his first marriage seem not to have known of Dewey’s experiments in verse during his lifetime. And, as evidence presented here now shows, only two or three acquaintances knew of actual poems written by Dewey, one of them the Polish-American novelist Anzia Yezierska, who had a brief emotional involvement with Dewey in the 1917–18 period. The factual, rather than inferential, evidence of Dewey’s relationship with Anzia Yezierska appears in the poems, which, taken as a whole, provide revealing insights into Dewey’s feelings and illuminate not only aspects of his emotions but of his thought as well.
The fact that Dewey did not publish the poetry himself, together with the circumstances of its discovery and unusual history, has led to the exceptionally careful editorial treatment of the poems given here. Scholars will find all the evidence for the authorship of the manuscripts clearly presented and all the changes and alterations carefully recorded. This edition has received the Modern Language Association of America Center for Editions of American Authors Seal as an “approved text.”
Henry Weinfield offers a new reading not only of the Elegy itself but also of its place in English literary history. His central argument is that in Gray’s Elegy the thematic constellation of poverty, anonymity, alienation, and unfulfilled potential—or what Weinfield calls the "problem of history"—is fully articulated for the first time, and that, as a result, the Elegy represents an important turning-point in the history of English poetry.
In this study of Miles Poindexter, Insurgent Republican turned conservative, Howard W. Allen reaches beyond the traditional bounds of biography to present a history of the United States Congress during the Progressive era and the early years after World War I.
A congressman (1909–13)and a senator (1913–23), Miles Poindexter of Washington State was an outspoken, progressive reformer before World War I. He struggled to protect “the people” from “special interests,” particularly defending the interest of his section against eastern “colonialism.” A man with a penchant for absolute positions, Poindexter became caught up in the emotionalism of the Insurgent Republican revolt. At one time or another he championed Socialists, the IWW, the striking textile workers in Lawrence, Massachusetts—all unlikely causes for a middle-class lawyer from Spokane.
Regarding foreign policy, Poindexter was an uncompromising nationalist who, with Theodore Roosevelt, declared himself a member of the Progressive party in 1912.
After 1917 Poindexter actively tried to suppress opponents of the war. Following the war his targets were “Bolshevists” and other radicals. He also developed intense hostility toward Socialists, the IWW, and organized labor, fearing radicalism and labor. Reversing his former position, he allied himself with the eastern businessmen and regular Republicans in the Senate. Campaigning for the presidency in 1920, he appealed without success to the most conservative members of the party. He was defeated b a progressive Democrat in his 1922 bid for reelection to the Senate.
Allen examines the traditional sources—archival collections, newspaper files, and congressional reports. When he combines this material with a quantitative analysis of roll-call votes throughout Senator Poindexter’s years in Congress, he creates a remarkably useful method never before attempted in political biography.
The income of blacks in most northern industrial states today is lower relative to the income of whites than in 1949.Fusfeld and Bates examine the forces that have led to this state of affairs and find that these economic relationships are the product of a complex pattern of historical development and change in which black-white economic relationships play a major part, along with patterns of industrial, agricultural, and technological change and urban development. They argue that today’s urban racial ghettos are the result of the same forces that created modern America and that one of the by-products of American affluence is a ghettoized racial underclass.
These two themes, they state, are essential for an understanding of the problem and for the formulation of policy. Poverty is not simply the result of poor education, skills, and work habits but one outcome of the structure and functioning of the economy. Solutions require more than policies that seek to change people: they await a recognition that basic economic relationships must be changed.
Among the most influential poets of the Harlem Renaissance, Langston Hughes is perhaps best remembered for the innovative use of jazz rhythms in his writing. While his poetry and essays received much public acclaim and scholarly attention, Hughes’ dramas are relatively unknown. Only five of the sixty-three plays Hughes scripted alone or collaboratively have been published (in 1963).
Published here, for the first time, are four of Hughes’ most poignant, poetic, and political dramas, Scottsboro Limited, Harvest (also known as Blood on the Fields), Angelo Herndon Jones, and De Organizer. Each play reflects Hughes’ remarkable professionalism as a playwright as well as his desire to dramatize the social history of the African American experience, especially in the context of the labor movements of the 1930s and their attempts to attract African American workers. Hughes himself counted prominent members of these leftist groups among his close friends and patrons; he formed a theater group with Whittaker Chambers, prompting an FBI investigation of Hughes and his writing in the 1930s. These plays, while easily read as idealistic propaganda pieces for the left, are nonetheless reflective of Hughes’ other more influential and studied works.
The first scholar to offer a systematic study of Hughes’ plays, Susan Duffy provides an informed introduction as well as a detailed analysis of each of the four plays. Duffy also establishes that De Organizer, a collaboration with noted jazz pianist and composer James P. Johnson (who also wrote its score) was indeed performed by the Labor Stage.
By making these forgotten texts available, and by presenting them within a scholarly discussion of 1930s leftist political movements, Duffy seeks to spark a renewed interest in Langston Hughes as an American playwright and political figure.
Chicago seems an ideal environment for public housing because of the city’s relatively young age among major cities and well-deserved reputation for technology, innovation, and architecture. Yet The Poorhouse: Subsidized Housing in Chicago shows that the city’s experience on the whole has been a negative one, raising serious questions about the nature of subsidized housing and whether we should have it and, if so, in what form.
Bowly, a native of the city, provides a detailed examination of subsidized housing in the nation’s third-largest city. Now in its second edition, The Poorhouse looks at the history of public housing and subsidized housing in Chicago from 1895 to the present day. Five new chapters that cover the decline and federal takeover of the Chicago Housing Authority, and its more recent “transformation,” which involved the demolition of the CHA family high-rise buildings and in some cases their replacement with low-risemixed income housing on the same sites. Fifty new photos supplement this edition.
Certificate of Excellence from the Illinois State Historical Society, 2013
Discussing Supreme Court decisions regarding obscenity, Richard F. Hixson highlights the views of Justices William J. Brennan and John Paul Stevens, borrows from the pioneer decisions of Judge Learned Hand, and consults the work of contemporary First Amendment scholars; finally, though, he relies not on public debate or political machinations but on the justices’ own published opinions, which are, as he says, "the most tantalizing documents of all."
Hixson proceeds chronologically through eleven chapters, with each chapter featuring a specific aspect of the constitutional problem and the approach or solution espoused by a particular justice. Through his case-by-case analysis of the many Supreme Court obscenity rulings, Hixson relates each decision to the temper of the times.
In this investigation of the Supreme Court’s dealings with obscenity, Hixson asks—and answers in detail—a series of pertinent questions. Do Congressional politics and public opinion prejudice the Court’s ability to interpret the Constitution fairly? Must adults be treated the same as children? What are the limits, if any, of "content restriction" on obscene materials? How much "expressive activity" is, or should be, protected by the First Amendment? Does pornography discriminate against women? How protective of the individual can the Supreme Court be and, at the same time, allow as many voices as possible to be heard?
Pornography and the Justices differs from other studies of pornography in its unique focus and its fresh conclusion, which is a composite of views garnered from the Supreme Court justices. As long as there is ample protection of minors and nonconsenting adults, Hixson argues, obscenity should be up to the individual. Separating himself from others who have discussed the issue, Hixson contends that the freedom to speak is as important as the freedom to be heard: it is essential to be able to speak whether or not anyone is listening.
For Hixson, the clear trajectory of Supreme Court opinions implies that the freedom to purchase obscene pornographic matter should be restricted only by time, place, and manner considerations. If a person wants pornography, he or she should be able to get it, albeit perhaps from a higher shelf, in a secluded room, or at a theater clearly marked for adults.
Breaking with the still-dominant process tradition in composition studies, post-process theory—or at least the different incarnations of post-process theory discussed by the contributors represented in this collection of original essays—endorses the fundamental idea that no codifiable or generalizable writing process exists or could exist. Post-process theorists hold that the practice of writing cannot be captured by a generalized process or a "big" theory.
Most post-process theorists hold three assumptions about the act of writing: writing is public; writing is interpretive; and writing is situated. The first assumption is the commonsensical claim that writing constitutes a public interchange. By "interpretive act," post-process theorists generally mean something as broad as "making sense of" and not exclusively the ability to move from one code to another. To interpret means more than merely to paraphrase; it means to enter into a relationship of understanding with other language users. And finally, because writing is a public act that requires interpretive interaction with others, writers always write from some position or some place. Writers are never nowhere; they are "situated."
Leading theorists and widely published scholars in the field, contributors are Nancy Blyler, John Clifford, Barbara Couture, Nancy C. DeJoy, Sidney I. Dobrin, Elizabeth Ervin, Helen Ewald, David Foster, Debra Journet, Thomas Kent, Gary A. Olson, Joseph Petraglia, George Pullman, David Russell, and John Schilb.
It is said that America came of age intellectually with the appearance of the pragmatic movement in philosophy. Pragmatic Naturalism presents a selective and interpretative overview of this philosophy as developed in the writings of its intellectual founders and chief exponents—Charles Sanders Peirce, William James, George Herbert Mead, and John Dewey. Mr. Eames groups the leading ideas of these pragmatic naturalists around the general fields of “Nature and Human Life,” “Knowledge,” “Value,” and “Education,” treating the primary concerns and special emphasis of each philosopher to these issues.
Philosophy students, teachers of philosophy, and general readers will find this book a comprehensive overview of American philosophy.
Walter H. Beale offersthe most coherent treatment of the aims and modes of discourse to be presented in more than a decade. His development of a semiotic “grammar of motives” that relates the problems of meaning in discourse both to linguistic structure and ways of constructing reality stands as a provocative new theory of rhetoric sharply focused on writing.
He includes a comprehensive treatment of rhetoric, its classes and varieties, modes, and strategies. In addition, he demonstrates the importance of the purpose, substance, and social context of discourse, at a time when scholarly attention has become preoccupied with process. He fortifies and extends the Aristotelian approach to rhetoric and discourse at a time when much theory and pedagogy have yielded to modernist assumptions and methods. And finally, he develops a theoretical framework that illuminates the relationship between rhetoric, the language arts, and the human sciences in general.
Originally published in 1962, this story of the English Settlement in pioneer Illinois is compiled from the eyewitness accounts of the participants. The founders, Morris Birkbeck and George Flower, as well as their associates and the many visitors to their prairie settlement, wrote mainly for immediate and sometimes controversial ends. Charles Boewe has selected excerpts from letters, descriptions, diaries, histories, and periodicals within a chronological framework to emphasize the implicit drama of the settlers' deeds as they searched for a suitable site, founded their colony, and augmented their forces with new arrivals from England. No less dramatic is the subsequent estrangement of the two founders, the disillusionment of many of the English settlers, the untimely death of Birkbeck, and the financial ruin of Flower.
The regiment’s history unfolds around major events in the Western Theater from 1861 to September 1865, including campaigns at Helena, Vicksburg, Jackson, and Meridian, as well as numerous little-known skirmishes. Although they were led almost exclusively by Northern-born Republicans, the majority of the soldiers in the Fifth Illinois remained Democrats. As Kohl demonstrates, politics, economics, education, social values, and racism separated the line officers from the common soldiers, and the internal friction caused by these cultural disparities led to poor leadership, low morale, disciplinary problems, and rampant alcoholism.
The narrative pulls the Fifth Illinois out of historical oblivion, elucidating the highs and lows of the soldiers’ service as well as their changing attitudes toward war goals, religion, liberty, commanding generals, Copperheads, and alcoholism. By reconstructing the cultural context of Fifth Illinois soldiers, Prairie Boys Go to War reveals how social and economic traditions can shape the wartime experience.
Winner, ISHS Superior Achievement Award for a Scholarly Publication, 2016
A concise legal history of Illinois through the end of the nineteenth century, Prairie Justice covers the region’s progression from French to British to early American legal systems, which culminated in a unique body of Illinois law that has influenced other jurisdictions. Written by Roger L. Severns in the 1950s and published in serial form in the 1960s, Prairie Justice is available now for the first time as a book, thanks to the work of editor John A. Lupton, an Illinois and legal historian who also contributed an introduction.
Illinois’ legal development demonstrates the tension between two completely different European legal systems, between river communities and prairie towns, and between agrarian and urban interests. Severns uses several rulings—including a reconstitution of the Supreme Court in 1824, slavery-related cases, and the impeachment of a Supreme Court justice—to examine political movements in Illinois and their impact on the local judiciary. Through legal decisions, the Illinois judiciary became an independent, co-equal branch of state government. By the mid-nineteenth century, Illinois had established itself as a leading judicial authority, influencing not only the growing western frontier but also the industrialized and farming regions of the country. With a close eye for detail, Severns reviews the status of the legal profession during the 1850s by looking new members of the Court, the nostalgia of circuit riding, and how a young lawyer named Abraham Lincoln rose to prominence.
Illinois has a rich judicial history, but that history has not been adequately documented until now. With the publication of Prairie Justice, those interested in Illinois legal history finally have a book that covers the development of the state’s judiciary in its formative years.
Leo Crowley has been known only as the administrator condemned by President Truman for cutting off Soviet lend-lease after V-E Day. Stuart L. Weiss revises this view while exploring Crowley’s long, significant state and federal career, emphasizing his service as Franklin D. Roosevelt’s man for all seasons.
Weiss deals effectively with Crowley’s flaws and virtues as well as those of the administrations he served. Crowley was confirmed as chair of the FDIC in 1934 despite a charge, unknown to President Roosevelt, that Crowley had committed fraud as a banker in Wisconsin. Crowley then served with distinction for more than eleven years as the administration twice buried a 1935 Treasury Department report that, had it been handed to Wisconsin authorities, could have sent him to prison: Roosevelt valued Crowley’s political and administrative talents too highly to allow that to happen.
In 1939, Roosevelt, anxious to have business support for stopping the Axis powers, encouraged Crowley to take the chair of a holding company about to be prosecuted by the SEC. After Pearl Harbor, like priorities prompted the president first to name Crowley alien property custodian, then chair of the Board of Economic Warfare to supplant Roosevelt’s politically troublesome vice president, and, finally, foreign economic administrator, the person responsible for civilian lend-lease activity
In this vibrant biography, Weiss furnishes the reader with detailed portraits of a man faithful to his president even when he disagreed with him and of a president willing to do what he felt was necessary for the good of the country.
The first book to focus on the political behavior of primates also undertakes to compare human social behavior with that of nonhuman primates.
The editors contribute probing introductory essays to each of the three major parts of the volume in addition to their article-length introductory and concluding chapters. In his conclusion, Masters indicates directions for future work.
Part I is devoted to theoretical clarification of the interrelationships between the study of primates and humans. Part II presents two examples of comparisons between animal and human social behavior that throw valuable light on contemporary political and social systems. Part III focuses more precisely on contemporary human politics, providing two concrete examples of ethological perspectives on human political behavior. In both cases, nonverbal cues studied by primatologists are shown to illuminate the dynamics of human politics.
Contributors include: Nicholas G. Blurton-Jones, Frans B. M. de Waal, Basil G. Englis, Jane Goodall, Bruno Latour, Roger D. Masters, Gregory J. McHugo, Elise F. Plate, Thelma E. Rowell, Glendon Schubert, James N. Schubert, Shirley S. Strum, and Denis G. Sullivan.
John Dewey delivered two sets of related lectures at the University of Chicago in the fall quarter 1895 and the spring quarter 1896. Designed for graduate students, the lectures show the birth of Dewey’s instrumentalist theory of inquiry in its application to ethical and political thinking.
From 1891 through 1903, Dewey attempted to develop a revolutionary experimentalist approach to ethical inquiry, designed to replace the more traditional ways of moral theorizing that relied on the fixed moral knowledge given in advance of the situations in which they were applied. In the lectures on the logic of ethics, he sets forth and defends the view that the "is" in a moral judgment such as "This is good" is a coordinating factor in an inquiry. Although the subject matter of the lectures is highly technical, its significance is paramount. It provides the key to and opens the door for a theory that preserves the difference between strictly scientific inquiry and moral inquiry even while it provides a "scientific treatment" of the latter.
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 Professional Academic Writing in the Humanities and Social Sciences, Susan Peck MacDonald tackles important and often controversial contemporary questions regarding the rhetoric of inquiry, the social construction of knowledge, and the professionalization of the academy. MacDonald argues that the academy has devoted more effort to analyzing theory and method than to analyzing its own texts. Professional texts need further attention because they not only create but are also shaped by the knowledge that is special to each discipline. Her assumption is that knowledge-making is the distinctive activity of the academy at the professional level; for that reason, it is important to examine differences in the ways the professional texts of subdisciplinary communities focus on and consolidate knowledge within their fields.
Throughout the book, MacDonald stresses her conviction that academics need to do a better job of explaining their text-making axioms, clarifying their expectations of students at all levels, and monitoring their own professional practices. MacDonald’s proposals for both textual and sentence-level analysis will help academic professionals better understand how they might improve communication within their professional communities and with their students.
Challenging the ideology of treatment in the prison world
The Professional Convict’s Tale: The Survival of John O’Neill In and Out of Prison offers a unique, inside view of life behind bars in the 1960s. Elmer H. Johnson, a criminologist who has specialized in prison life for half a century, gave Menard Penitentiary parolee John O’Neill a tape recorder and a set of questions designed to draw out his opinions and observations about the prison world.
This study frames O’Neill’s responses with Johnson’s analysis. O’Neill’s narrative guides readers through the world beyond the prison gate as he shares his strategies for survival and proposes alternatives to rebellion or submission. He discusses the fractionalization between the keepers and the kept and the effects that subterranean communication, threats of inmate predators, and prison riots can have on the psyche of both inmates and staff.
O’Neill’s frustrations and the inadequate responses from the community to which he was paroled illustrate the social costs and impact of parole for the community and for the parolee. Although O’Neill recorded his comments more than forty years ago, they are still relevant today when thousands of convicts are being released from prison each year.
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.
In Prophets, Gurus, and Pundits, author Anna M. Young proposes that the difficulty of bridging the gap between intellectuals and the public is not a failure of ideas; rather, it is an issue of rhetorical strategy. By laying a rhetorical foundation and presenting analytical case studies of contemporary “public intellectuals,” Young creates a training manual for intellectuals who seek to connect with a public audience and effect change writ large.
Young begins by defining key aspects of rhetorical style before moving on to discuss the specific ways in which intellectuals may present ideas to a general audience in order to tackle large-scale social problems. Next, she defines the ways in which five crucial turning points in our nation—the rise of religious fundamentalism, a growing lack of trust in our institutions, the continued destruction of the environment, the ubiquity of media and information in our daily lives, and the decline of evidence-based reasoning—have set the stage for opportunities in the current public-intellectual dialogue.
Via case studies of such well-known personalities as Deepak Chopra and Professor Cornel West, Young goes on to reveal the six types of public intellectuals who achieve success in presenting scholarly ideas to audiences at large:
The Prophet presents the public’s sins for contemplation, then offers a path to redemption.
The Guru shepherds his or her flock to enlightenment and a higher power.
The Sustainer draws upon our natural and human resources to proffer solutions for social, political, and ecological systems.
The Pundit utilizes wit and brevity to bring crucial issues to the attention of the public.
The Narrator combines a variety of perspectives to create a story the average person can connect with and understand.
The Scientist taps into the dreams of the public to offer ideas from above and beyond the typical scope of public discourse.
At once a rallying cry and roadmap, The Politics of Thinking Out Loud draws upon rhetorical expertise and analysis of contemporary public intellectuals to offer a model for scholars to effectively engage the public—and in doing so, perhaps forever change the world in which we live.
Philip L. Simpson provides an original and broad overview of the evolving serial killer genre in the two media most responsible for its popularity: literature and cinema of the 1980s and 1990s.
The fictional serial killer, with a motiveless, highly individualized modus operandi, is the latest manifestation of the multiple murderers and homicidal maniacs that haunt American literature and, particularly, visual media such as cinema and television. Simpson theorizes that the serial killer genre results from a combination of earlier genre depictions of multiple murderers, inherited Gothic storytelling conventions, and threatening folkloric figures reworked over the years into a contemporary mythology of violence. Updated and repackaged for mass consumption, the Gothic villains, the monsters, the vampires, and the werewolves of the past have evolved into the fictional serial killer, who clearly reflects American cultural anxieties at the start of the twenty-first century.
Citing numerous sources, Simpson argues that serial killers’ recent popularity as genre monsters owes much to their pliability to any number of authorial ideological agendas from both the left and the right ends of the political spectrum. Serial killers in fiction are a kind of debased and traumatized visionary, whose murders privately and publicly re-empower them with a pseudo-divine aura in the contemporary political moment. The current fascination with serial killer narratives can thus be explained as the latest manifestation of the ongoing human fascination with tales of gruesome murders and mythic villains finding a receptive audience in a nation galvanized by the increasingly apocalyptic tension between the extremist philosophies of both the New Right and the anti-New Right.
Faced with a blizzard of works of varying quality dealing with the serial killer, Simpson has ruled out the catalog approach in this study in favor of in-depth an analysis of the best American work in the genre. He has chosen novels and films that have at least some degree of public name-recognition or notoriety, including Red Dragon and The Silence of the Lambs by Thomas Harris, Manhunter directed by Michael Mann, Henry: Portrait of a Serial Killer directed by John McNaughton, Seven directed by David Fincher, Natural Born Killers directed by Oliver Stone, Zombie by Joyce Carol Oates, and American Psycho by Bret Easton Ellis.
Unmasking old-time racism in southern Illinois
Pulling off the Sheets tells the previously obscured history of the Second Ku Klux Klan which formed in deep southern Illinois in the early 1920s. Through meticulous research into both public and private records, Darrel Dexter and John A. Beadles recount the Klan’s mythical origins, reemergence, and swift disappearance. This important historical account sets out to expose the lasting impact of the Klan on race relations today.
The ideation of the Klan as a savior of the white race and protector of white womanhood was perpetuated by books, plays, and local news sources of the time. The very real but misplaced fear of Black violence on whites created an environment in which the Second Klan thrived, and recruitment ran rampant in communities such as the Protestant church. Events like the murder of Daisy Wilson intensified the climate of racial segregation and white supremacy in the region, and despite attempts at bringing justice to the perpetrators, most failed. The Second Klan’s presence may have been short-lived, but the violence and fear it inflicted continues to linger.
This disturbing historical account challenges readers to “pull back the sheet” and confront the darkest corners of their past. Dexter and Beadles emphasize the importance of acknowledging the damage that white supremacy and racism cause and how we can move toward healing.
The nature of Puritanism in America and the role of emotion in religion is the subject of this important and useful collection of five religious orations, discussed and appraised by Professor White for students of Puritanism and rhetoric. The five orations presented here consist of three by Jonathan Edwards, “Future Punishment,” “Distinguishing Marks,” and “The Nature of the Affections”; one by Charles Chauncy, “Enthusiasm Described and Caution’d Against”; and one by Ebenezer Gay, “Natural Religion, as Distinguished from Revealed.”
In the first or introductory part of the book, Professor White discusses in considerable detail the broader implications of the confrontation between rationalists and revivalists in New England, represented by the following orations, during this most important upheaval in the Colonies prior to the Revolution. The orations themselves are arranged to represent the force and counterforce of reason versus emotionalism and the precarious balance maintained momentarily and, eventually, lost. And in the third part of the book Professor White provides critical analysis and suggested appraisal for further interpretation and inquiry.
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