William Taylor's Cavalier and Yankee was one of the most famous works of American history written in the 1960s. The book is an intellectual history of the South before the Civil War, the perception of it in the North, and the effect it had upon the nation in the years from 1800 to 1860. First published in 1961 and out of print for several years, Taylor's classic study remains essential to the study of the pre-Civil War South.
William Taylor's Cavalier and Yankee was one of the most famous works of American history written in the 1960s. The book is an intellectual history of the South before the Civil War, the perception of it in the North, and the effect it had upon the nation in the years from 1800 to 1860. First published in 1961 and out of print for several years, Taylor's classic study remains essential to the study of the pre-Civil War South.
Medieval America analyzes literary, legal, and historical archives that help tell a new story about the formation of American culture. Against Cold War–era studies of U.S. culture that argued, following political scientist Louis Hartz’s “liberal consensus” model, that the United States emerged from the Revolutionary era free from Europe’s feudal institutions and uninterested in the production of its medieval culture productions, Robert Yusef Rabiee contends that feudal law and medieval literature were structural components of the American cultural imaginary in the nineteenth century. The racial, gender, and class formations that emerged in the first era of U.S. nation building were deeply indebted to medieval social, political, and religious thought—an observation that challenges the liberal consensus model and allows us to better grasp how American social roles developed. Far from casting off feudal tradition, the early United States folded feudalism into its emerging liberal order, creating a knotted system of values and practices that continue to structure the American experience. Sometimes, the feudal residuum contradicted the liberal values of the Unites States. Other times, the feudal residuum bolstered those values, revealing deep sympathies between so-called “modern” and “premodern” political thought. Medieval America thus aims to reorient our discussions about American cultural and political development in terms of the long arc of European history.
The story of how the multicultural identity of San Antonio, Texas, has been shaped and polished through its annual fiesta since the late nineteenth century.
What does it mean to be from somewhere? Does place seep into one's very being like roots making their way through rich soil, shaping a sense of self? In particular, what does it mean to be from a place with a storied past, one mythologized as the very best and worst of our nation? Such questions inspired Catherine Egley Waggoner and Laura Egley Taylor, sisters and Delta expatriates themselves, to embark on a trail of conversations through the Mississippi Delta. Meeting in evocative settings from kitchens and beauty parlors to screened-in porches with fifty-one women--black, Chinese, Lebanese, and white; elderly and young; rich and poor; bisexual and straight--the authors trace the extent to which the historical dimensions of southern womanhood like submissiveness, purity, piety, and domesticity are visible in contemporary Delta women's everyday enactments. Waggoner and Taylor argue that these women do not simply embrace or reject such dimensions, but instead creatively tweak stereotypes in such a way that skillfully legitimizes their authenticity. Blending academic analysis with colorful excerpts of Delta women's words and including over one hundred striking photographs, Waggoner and Taylor provide an insightful peek into the lives of real southern women living in a deeply mythologized land.
This book treats William Faulkner's major fiction--from Flags in the Dust through to Absalom, Absalom!--to a searching reappraisal under the spotlight of a media-historical inquiry. It proposes that Faulkner's inveterate attraction to the paradigms of romance was disciplined and masked by the recurrent use of metaphorical figures borrowed from the new media ecology. Faulkner dressed up his romance materials in the technological garb of radio, gramophony, photography, and cinema, along with the transportational networks of road and air that were being installed in the 1920s. His modernism emerges from a fraght but productive interplay between his anachronistic predilection for chivalric chichés and his extraordinarily knowledgeable interest in the most up-to-date media institutions and forms. Rather than see Faulkner as a divided author, who worked for money in the magazines and studios while producing his serious fiction in despite of their symbolic economies, this study demonstrates how profoundly his mature art was shot through with the figures and dynamics of the materials he publicly repudiated. The result is a richer and more nuanced understanding of the dialectics of his art.
The American Civil War (1861-65) was the bloodiest war of the nineteenth century and its impact continues to be felt today. It, and its origins have been studied more intensively than any other period in American history, yet it remains profoundly controversial. Brian Holden Reid's formidable volume is a major contribution to this ongoing historical debate. Based on a wealth of primary research, it examines every aspect of the origins of the conflict and addresses key questions such as was it an avoidable tragedy, or a necessary catharsis for a divided nation? How far was slavery the central issue? Why should the conflict have errupted into violence and why did it not escalate into world war?
