Geologic forces raised the Ozarks. Myth enshrouds these hills. Human beings shaped them and were shaped by them. The Ozarks reflect the epic tableau of the American people—the native Osage and would-be colonial conquerors, the determined settlers and on-the-make speculators, the endless labors of hardscrabble farmers and capitalism of visionary entrepreneurs. The Old Ozarks is the first volume of a monumental three-part history of the region and its inhabitants. Brooks Blevins begins in deep prehistory, charting how these highlands of granite, dolomite, and limestone came to exist. From there he turns to the political and economic motivations behind the eagerness of many peoples to possess the Ozarks. Blevins places these early proto-Ozarkers within the context of larger American history and the economic, social, and political forces that drove it forward. But he also tells the varied and colorful human stories that fill the region's storied past—and contribute to the powerful myths and misunderstandings that even today distort our views of the Ozarks' places and people. A sweeping history in the grand tradition, A History of the Ozarks, Volume 1: The Old Ozarks is essential reading for anyone who cares about the highland heart of America.
Tackling the myriad issues raised by Sander Gilman’s provocative opening salvo—”Are Jews Musical?”—this volume’s distinguished contributors present a series of essays that trace the intersections of Jewish history and music from the late nineteenth century to the present.
Covering the sacred and the secular, the European and the non-European, and all the arenas where these realms converge, these essays recast the established history of Jewish culture and its influences on modernity. Mitchell Ash explores the relationship of Jewish scientists to modernist artists and musicians, while Edwin Seroussi looks at the creation of Jewish sacred music in nineteenth-century Vienna. Discussing Jewish musicologists in Austria and Germany, Pamela Potter details their contributions to the “science of music” as a modern phenomenon. Kay Kaufman Shelemay investigates European influence in the music of an Ethiopian Jewish community, and Michael P. Steinberg traces the life and works of Charlotte Salomon, whose paintings staged the destruction of the Holocaust. Bolstered by Philip V. Bohlman’s wide-ranging introduction and epilogue, and featuring lush color illustrations and a complementary CD of the period’s music, this volume is a lavish tribute to Jewish contributions to modernity.
Negotiating a peaceful end to civil wars, which often includes an attempt to bring together former rival military or insurgent factions into a new national army, has been a frequent goal of conflict resolution practitioners since the Cold War. In practice, however, very little is known about what works, and what doesn’t work, in bringing together former opponents to build a lasting peace.
Contributors to this volume assess why some civil wars result in successful military integration while others dissolve into further strife, factionalism, and even renewed civil war. Eleven cases are studied in detail—Sudan, Zimbabwe, Lebanon, Rwanda, the Philippines, South Africa, Mozambique, Bosnia-Herzegovina, Sierra Leone, Democratic Republic of the Congo, and Burundi—while other chapters compare military integration with corporate mergers and discuss some of the hidden costs and risks of merging military forces. New Armies from Old fills a serious gap in our understanding of civil wars, their possible resolution, and how to promote lasting peace, and will be of interest to scholars and students of conflict resolution, international affairs, and peace and security studies.
For this updated edition of her acclaimed work on historians and the writing of history, Gertrude Himmelfarb adds four insightful and provocative essays dealing with changes in the discipline over the past twenty years. In examining the effects of postmodernism, the illusions of cosmopolitanism, A. J. P. Taylor and revisionism, and Francis Fukuyama's "end of history," Himmelfarb enriches her illuminating exploration of the myriad ways--new and old--in which historians make sense of the past.
Reviews of this book: Himmelfarb has an intellect of steel as sharp as a razor. For those who enjoy intellectual debate and a concern for the value of the past, The New History and the Old is as splendid as an Olympic fencing match. --J. H. Plumb, Wall Street Journal
Reviews of this book: One can only share Ms. Himmelfarb's hope that we shall soon be allowed to 'find a renewed excitement in the drama of events, the power of ideas, and the dignity of individuals'...[The New History and the Old] will serve as a powerful corrective to many unquestioned assumptions. --Neil McKendrick, New York Times Book Review
"This book...will undoubtedly influence the course of future homeless research and policy. It represents the most comprehensive statement today of the realities of Skid Row life and of the pitfalls of contrasting 'new' and 'old' homeless populations."
--American Journal of Sociology
Blending detailed historical perspective with contemporary survey research, Charles Hoch and Robert Slayton argue that the answers to one of the most pressing problems of our time come from the poor themselves. Their examination of the Skid Row single room occupancy hotel (SRO) reveals how communities formed by low-income single-person households have for decades offered the security, personal autonomy, and privacy for the "old" homeless that the "new" homeless lack. And they show how public urban renewal efforts, which destroyed the bulk of these hotels with the intent to rid the inner city of the Skid Row homeless, actually laid the foundation for today's urban homeless crisis.
Focusing on Chicago from 1870 to the present, but including case studies in other cities, Hoch and Slayton analyze how these SRO hotels operated in the past and claim that the term "flop house" really described a wide range of shelter types available to the poor according to their economic conditions.
Based on their research, the authors conclude that policies for solving the homeless problem should focus mainly not on the homeless people, but on the institutional actors who benefit directly and indirectly from their predicament. This means changing public policies that encourage the destruction of affordable housing, especially SRO hotels, and implementing preservation, rehabilitation, and new construction policies instead.
"The authors argue that government attitudes rooted in New Deal philosophy, and public confusion of this group's characteristics with those of a stereotypical Skid Row deviant, have resulted in inadequate planning for dealing with people who have a legitimate social problem and need enlightened attention. Recommended for professionals and academics."
"Hoch and Slayton seem more savvy...about the political implications of housing and land-use policies. And they aren't shy about naming names, which makes their study more comprehensive and compelling."
"New Homeless and Old breaks with the tradition of previous research in several welcome respects...the approach taken is refreshingly eclectic, weaving together historical materials, survey evidence, and intimate knowledge of the local scene. In a devastating critique of advocates' ameliorative efforts, they show bow both compassion--and entitlement--based appeals have encouraged 'shelterization,' thus threatening to institutionalize the homelessness problem."
In Old and New New Englanders, Bluford Adams provides a reenvisioning of New England’s history and regional identity by exploring the ways the arrival of waves of immigrants from Europe and Canada transformed what it meant to be a New Englander during the Gilded Age. Adams’s intervention challenges a number of long-standing conceptions of New England, offering a detailed and complex portrayal of the relations between New England’s Yankees and immigrants that goes beyond nativism and assimilation. In focusing on immigration in this period, Adams provides a fresh view on New England’s regional identity, moving forward from Pilgrims, Puritans, and their descendants and emphasizing the role immigrants played in shaping the region’s various meanings. Furthermore, many researchers have overlooked the newcomers’ relationship to the regional identities they found here. Adams argues immigrants took their ties to New England seriously. Although they often disagreed about the nature of those ties, many immigrant leaders believed identification with New England would benefit their peoples in their struggles both in the United States and back in their ancestral lands.
Drawing on and contributing to work in immigration history, as well as American, gender, ethnic, and New England studies, this book is broadly concerned with the history of identity construction in the United States while its primary focus is the relationship between regional categories of identity and those based on race and ethnicity. With its interdisciplinary methodology, original research, and diverse chapter topics, the book targets both specialist and nonspecialist readers.
Old And New Testaments
Lynn Powell University of Wisconsin Press, 1995 Library of Congress PS3566.O83255O43 1995 | Dewey Decimal 811.54
The Brittingham Prize in Poetry
Winner of the 1996 Great Lakes Colleges Association New Writers Award
Winner of the 1995 Norma Farber First Book Award
"A radiance and clarity suffuses Lynn Powell's work."
--Carolyn Kizer, Brittingham Prize Citation
"In Lynn Powell's poems we rediscover the meaning of the word 'testament,' for they give us a full testimony of a life, a family, a world. Whether writing of grief, or The Rapture, of a junebug or Aunt Roxy at the age of one hundred, she brings us intense, crafted narratives of selfÂknowledge, of facts so vivid they are painful, becoming signs and also wonders of life. These are poems of the recovery of spiritual desire. This is an extraordinary book, and an extraordinary new talent."--Robert Morgan
"These direct, loving, sober poems are the change we need from most recent verse. The intensity of the opening poems in Old & New Testaments builds throughout the book until, almost intolerable, it transforms into profound acceptance, the quietness that comes of acknowledging both life and death. These images and rhythms need no persuasiveness beyond themselves, brightening our spirits with the clarity of reality."--A. R. Ammons
"Lynn Powell's Old & New Testaments is a reclaiming of spiritual texts and traditions for a woman's life in the body--a life of childhood physicality, female sexuality, procreation, and nurturing love. Playful, tender, and wise, Powell brings her gospel learning down to earth. We can hail her poems in an old phrase with a new meaning: they are full of grace."--Alicia Ostriker
Lynn Powell was raised in East Tennessee and educated at Carson-Newman College and Cornell University. She has worked extensively as a writer in the schools for the Tennessee Arts Commission, the New Jersey State Council for the Arts, the Geraldine R. Dodge Foundation, and currently, the Ohio Arts Council. Her poems have appeared in The Paris Review, Poetry, The Gettysburg Review, and other journals. She lives in Oberlin, Ohio.
Just when private property materialized as an important social institution, a new kind of map appeared—the estate map. Prepared for private owners rather than national powers, these maps have been a little-studied strain of cadastral mapping until now. Here a group of leading historians—Sarah Bendall, David Buisseret, P. D. A. Harvey, and B. W. Higman—follow the spread of estate maps from their origin in England around 1570 to colonial America, the British Caribbean, and early modern Europe.
Generously illustrated with reproductions of rare manuscripts, including 8 color plates, these accounts reveal how estate maps performed vital economic and cultural functions for property owners until the end of the nineteenth century. From plans of plantations in Jamaica and South Carolina to a map of Queens College, Cambridge, handsome examples show that estate maps formed an important part of the historical record of property ownership for both individuals and corporations, and helped owners manage their land and appraise its value. Exhibited in public places for pleasure and as symbols of wealth, they often displayed elaborate cartouches and elegant coats-of-arms.
Digital Humanities remains a contested, umbrella term covering many types of work in numerous disciplines, including literature, history, linguistics, classics, theater, performance studies, film, media studies, computer science, and information science. In Traces of the Old, Uses of the New: The Emergence of Digital Literary Studies, Amy Earhart stakes a claim for discipline-specific history of digital study as a necessary prelude to true progress in defining Digital Humanities as a shared set of interdisciplinary practices and interests.
Traces of the Old, Uses of the New focuses on twenty-five years of developments, including digital editions, digital archives, e-texts, text mining, and visualization, to situate emergent products and processes in relation to historical trends of disciplinary interest in literary study. By reexamining the roil of theoretical debates and applied practices from the last generation of work in juxtaposition with applied digital work of the same period, Earhart also seeks to expose limitations in need of alternative methods—methods that might begin to deliver on the early (but thus far unfulfilled) promise that digitizing texts allows literature scholars to ask and answer questions in new and compelling ways. In mapping the history of digital literary scholarship, Earhart also seeks to chart viable paths to its future, and in doing this work in one discipline, this book aims to inspire similar work in others.
Winnowed from a distinguished career, then distilled, then polished and winnowed again, the poems in You Are Here are Leon Stokesbury’s best from fifty years of published work.
The selections from his earlier volumes are as fully realized as one would expect from the winner of the AWP Poetry Competition and the Poets’ Prize. But it is in Stokesbury’s new work, collected under the heading “These Days,” that he reveals something completely different. From a carnival sideshow to Hitchcock’s Mount Rushmore, from John Keats’s backyard to the miseries of a failed crematorium operator, every turned page divulges a particular we didn’t see coming. You Are Here is like a sideshow of this modern world, even when we discover, amazed, our selves looking back at us.
“Why do we still only stand here?” Stokesbury asks in one of his earliest salvos. The poems in this collection give such varied answers that readers will have no idea what the next page holds, only that they will find themselves somewhere new.