Results by title

Dancing out of Line transports readers back to the 1840s, when the craze for social and stage dancing forced Victorians into a complex relationship with the moving body in its most voluble, volatile form.

By partnering cultural discourses with representations of the dance and the dancer in novels such as Jane Eyre, Bleak House, and Daniel Deronda, Molly Engelhardt makes explicit many of the ironies underlying Victorian practices that up to this time have gone unnoticed in critical circles. She analyzes the role of the illustrious dance master, who created and disseminated the manners and moves expected of fashionable society, despite his position as a social outsider of nebulous origins. She describes how the daughters of the social elite were expected to “come out” to society in the ballroom, the most potent space in the cultural imagination for licentious behavior and temptation. These incongruities generated new, progressive ideas about the body, subjectivity, sexuality, and health.

Engelhardt challenges our assumptions about Victorian sensibilities and attitudes toward the sexual/social roles of men and women by bringing together historical voices from various fields to demonstrate the versatility of the dance, not only as a social practice but also as a forum for Victorians to engage in debate about the body and its pleasures and pathologies.

The Danish-Mormon migration to Utah in the nineteenth century was, relative to population size, one of the largest European religious out-migrations in history. Hundreds of thousands of Americans can trace their ancestry to Danish Mormons, but few know about the social and cultural ramifications of their ancestors’ conversion to Mormonism. This book tells that exciting and complex story for the first time.

In 1849, after nearly a thousand years of state- controlled religion, Denmark’s first democratic constitution granted religious freedom. One year later, the arrival of three Mormon missionaries in Denmark and their rapid success at winning converts to their faith caused a crisis in Danish society over the existential question: "How could someone be Danish but not Lutheran?" Over the next half-century nearly thirty thousand Danes joined the LDS Church, more than eighteen thousand of whom emigrated to join their fellow Mormons  in Utah. This volume explores the range of Danish public reactions to Mormonism over a seventy-year period—from theological concerns articulated by Søren and Peter Christian Kierkegaard in the 1850s to fear-mongering about polygamy and white slavery in silent films of the 1910s and 1920s—and looks at the personal histories of converts. 

Honorable Mention for Best International Book from the Mormon History Association.

When 13-year-old Ben Ward left school to work with his Pa in a logging camp, a winter of peeling potatoes and setting tables wasn’t the adventure he had in mind. Still, come spring, he signs up for the log drive with his friend Nevers, wishing the head cook on the wanigan (the floating cook shack) could be someone other than his crabby Pa. Fate, with a wink, complies, and Pa quits—only to be replaced by someone far worse: Pete Sardman, aka Old Sard, a cantankerous character complete with a greasy apron, an eye patch, one deaf ear, and plenty to say.

Luckily, there’s also the rest of the crew—a colorful, sometimes outrageous company of men. Together Ben and Nevers endure freezing weather, dangerous rapids, logjams, storms and floods, and a number of gripping tall tales, along the way learning about logging on the river and a whole lot more about life.

Taking up where Blackwater Ben left off, Dead Man’s Rapids returns to the north woods of Minnesota in the late nineteenth century, and with warmth, humor, and attention to historical detail engages readers both young and old.

Since the French Revolution in1789, Deaf French people have struggled to preserve their cultural heritage, to win full civil rights, and to gain access to society through their sign language. Anne T. Quartararo depicts this struggle in her new book Deaf Identity and Social Images in Nineteenth-Century France. In it, she portrays the genesis of the French Deaf community, examines its identity as a minority culture, and analyzes how deaf people developed their cultural heritage, a deaf patrimonie that has been historically connected to the preservation of French sign language.

Quartararo begins by describing how Abbé de l’Epée promoted the education of deaf students with sign language, an approach supported by the French revolutionary government, which formally established the Paris Deaf Institute in 1791. In the early part of the nineteenth century, the school’s hearing director, Roch-Ambroise-Auguste Bébian, advocated the use of sign language even while the institute’s physician Dr. Jean-Marc-Gaspard Itard worked to discredit signing.

In this meticulous study, Quartararo details the many variations in deaf education from 1830 to1930. She describes the banquet movement in the 1830s led by Ferdinand Berthier, Alponse Lenoir, and Claudius Forestier, which celebrated sign language and fostered the deaf association known as the Société Centrale. Quartararo also recounts how hearing educators at the Milan Congress in 1880 universally adopted oralism as the way to defeat deafness, and prohibited sign language in deaf schools. French deaf people refused to submit to this attack upon their cultural heritage, however, and an explosion of social activity among deaf people between 1880 and 1900 created a host of active deaf groups in all corners of the country. Deaf Identity and Social Images paints a unique, rich tapestry of the resilience of French deaf people in defending their culture through the most trying century in their history.

The True Story of One of America’s Most Enigmatic and Tragic Heroes

Awarded Best Western History Book of 2008 by the Wild West History Association

"A superb biography"—Foreword Reviews

"An ambitious, well-written effort to restore a Wild West desperado to history.... Readers will surely remember Jack Slade from henceforth. A treat for Western history buffs and fans of true crime."—Kirkus Reviews

"An enjoyable read, and it is also a heroic effort."—Wall Street Journal

"Every bit the page-turner as Roughing It, with one added advantage—Rottenberg's book approaches the truth."—Wild West magazine

"Now and then a book of Western history comes along that captures an era and clears up many a mystery; Death of a Gunfighter is such a book."—Colorado Central magazine

In 1859, as the United States careened toward civil war, Washington's only northern link with America's richest state, California, was a stagecoach line operating between Missouri and the Pacific. Yet the stage line was plagued by graft, outlaws, and hostile Indians. At this critical moment, the company enlisted a former wagon train captain and Mexican War veteran to clean up its most dangerous division. Over the next three years, Joseph Alfred "Jack" Slade exceeded his employers' wildest dreams, capturing bandits and horse thieves and driving away gangs; he even shot to death a disruptive employee. He kept the stagecoaches and the U.S. Mail running, and helped launch the Pony Express, all of which kept California in the Union—and without California's gold, the Union would have failed to finance its cause. Across the Great Plains he became known as "The Law West of Kearny."

Slade's legend grew when he was shot multiple times and left for dead, only to survive and exact revenge on his would-be killer. But once Slade had restored the peace, leaving him without challenges, his life descended into an alcoholic Dr. Jekyll and Mr. Hyde nightmare, transforming him from a courageous leader, charming gentleman, and devoted husband into a vicious, quick-triggered ruffian—a purported outlaw —who finally lost his life at the hands of vigilantes.

Since Slade's death in 1864, persistent myths and stories have defied the efforts of writers and historians, including Mark Twain, to capture the real Jack Slade. Despite his notoriety, the pieces of Slade's fascinating life—including his marriage to the beautiful Maria Virginia—have remained scattered and hidden. He was never photographed and left almost no personal writings, not even a letter. In Death of a Gunfighter: The Quest for Jack Slade, the West's Most Elusive Legend, journalist Dan Rottenberg assembles years of research to reveal the true story of Jack Slade, one of America's greatest tragic heroes.

In Decadent Style, John Reed defines “decadent art” broadly enough to encompass literature, music, and the visual arts and precisely enough to examine individual works in detail. Reed focuses on the essential characteristics of this style and distinguishes it from non–esthetic categories of “decadent artists” and “decadent themes.”

Like the natural sciences and psychology, the arts in the late nineteenth century reflect an interest in the process of atomization. Literature and the other arts mirror this interest by developing, or rather elaborating, existing forms to the point of what appears to be dissolution. Instead of these forms dissolving, however, they require their audience’s participation and thus involve a new order. Reed argues that this process of reordering characterizes decadent style, which depends upon sensory provocation resolvable only through negation and is therefore bounded by philosophical and emotional assumptions of inevitable frustration.

Drawing upon the literature, music, and visual arts of England and Europe at the end of the nineteenth century, Reed provides a widely ranging and authoritative overview of decadent style, which relates such artists as Huysmans, Wilde, D’Annunzio, Moreau, Bresdin, Klimt, Klinger, Wagner, and Strauss. He related decadent style to Pre–Raphaelite and Naturalist preoccupation with detail and to aesthetic and Symbolist fascination with sensibility and idealism. Ultimately, Reed argues, decadent style is a late stage of Romanticism, overshadowed by Symbolism but anticipating, in its attempt to yoke incompatibilities and to engender a new cerebral form, some of the main traits of Modernism.

Defining Russian Graphic Arts explores the energy and innovation of Russian graphic arts during the period which began with the explosion of artistic creativity initiated by Serge Diaghilev at the end of the nineteenth century and which ended in the mid-1930s with Stalin's devastating control over the arts. This beautifully illustrated book represents the development of Russian graphic arts as a continuum during these forty years, and places Suprematism and Constructivism in the context of the other major, but lesser-known, manifestations of early twentieth-century Russian art.

The book includes such diverse categories of graphic arts as lubki (popular prints), posters and book designs, journals, music sheets, and ephemera. It features not only standard types of printed media and related studies and maquettes, but also a number of watercolor and gouache costume and stage designs.

About 100 works borrowed from the National Library of Russia and the Research Museum of the Academy of Fine Arts in St. Petersburg, Russia-many seen here for the first time outside of Russia-are featured in this book. Additional works have been drawn from the Zimmerli Art Museum, The New York Public Library, and from other public and private collections. Together they provide a rare opportunity to view and learn about a wide variety of artists, from the acclaimed to the lesser known.

This book is a companion volume to an exhibition appearing at the Jane Voorhees Zimmerli Art Museum at Rutgers University.