Bøger udgivet af University of Virginia Press

Queens, by definition, embody a historical contradiction between femininity and power. Queen Victoria, whose strength and longevity defined an age, possessed immense cultural as well as political power, even becoming a writer herself.This cultural sovereignty, argues Gail Turley Houston, in the hands of a female monarch troubled writers, especially men, who worked during a reign that viewed women as domestic angels. By exploring a wide range of representations of the queen by significant Victorian writers, Houston points out the complexity of Victorian constructions of gender, representation, authority, and identity. She works to demystify such canonized authors as Charles Dickens, Elizabeth Barrett Browning, and Margaret Oliphant by examining the ways they encounter Victoria in their writings. The queen's feminine power seems to be at odds with the masculine profession of author, which was also coming to be viewed as a significant representative of the culture.Part of the recent movement by feminist scholars to recuperate and analyze Queen Victoria's important meanings in nineteenth-century British culture, Royalties dissects the anomaly of the queen and her effect on dominant cultural attitudes about gender.

The first novel of the Haitian novelist Jacques Stephen Alexis, General Sun, My Brother appears here for the first time in English. Its depiction of the nightmarish journey of the unskilled laborer Hilarion and his wife from the slums of Port-au-Prince to the cane fields of the Dominican Republic has brought comparisons to the work of Emile Zola, André Malraux, Richard Wright, and Ernest Hemingway.Alexis, whose mother was a descendant of the Revolutionary General Jean-Jacques Dessalines, was already a mature thinker when he published General Sun, My Brother (Compère Général Soleil) in France in 1955. A militant Marxist himself, Alexis championed a form of the "marvelous realism" developed by the Cuban novelist Alejo Carpentier, who called for a vision of historical reality from the standpoint of slaves for whom the supernatural was as much a part of everyday experience as were social and other existential realities. General Sun, My Brother opens as Hilarion is arrested for stealing a wallet and imprisoned with an activist named Pierre Roumel--a fictional double for the novelist Jacques Roumain--who schools him in the Marxist view of history. On his release, Hilarion meets Claire-Heureuse and they settle down together. Hilarion labors in sisal processing and mahogany polishing while his partner sets up a small grocery store. After losing everything in a criminally set fire, the couple joins the desperate emigration to the Dominican Republic. Hilarion finds work as a sugarcane cutter, but the workers soon become embroiled in a strike that ends in the "Dominican Vespers," the 1937 massacre pf Haitian workers by the Dominican army. The novel personifies the sun as the ally, brother, and leader of the peasants. Mortally wounded in crossing the Massacre River back into Haiti, Hilarion urges Claire-Heureuse to remarry and to continue to work for a Haiti where people can live in dignity and peace.

In a February 1966 letter to her artistic confidant, Robert Lowell, Elizabeth Bishop tellingly grouped four midcentury poets: Lowell, Randall Jarrell, John Berryman, and herself. For Bishop--always wary of being pigeonholed and therefore reticent about naming her favorite contemporaries--it was a rare explicit acknowledgment of an informal but enduring artistic circle that has evaded the notice of literary journalists for more than forty years. Despite the private nature of their dialogue, the group's members--Bishop, Lowell, Jarrell, and Berryman--left a compelling record of their mutual interchange and influence. Drawing on an extensive range of published and archival sources, Thomas Travisano traces these poets' creation of a surprisingly coherent postmodern aesthetic and defines its continuing influence on American poetry.The refusal of this "midcentury quartet," as Travisano calls them, to voice a formalized doctrine, coupled with their intuitive way of working, has caused critics to miss the coherence of their project. Travisano argues that these poets are not only successors to Pound, Auden, Stevens, and Eliot but postmodern explorers in their own right. In forging their own aesthetic, characterized here as a postmodern mode of elegy, they encountered significant resistance from their immediate modernist mentors Allen Tate, John Crowe Ransom, and Marianne Moore.Jarrell, whom others of the group regarded as a critic of particular genius, was first described as a post-modernist in a 1941 review by Ransom that Travisano cites as the earliest known use of the term. In Jarrell's review of Lowell's Lord Weary's Castle six years later, he named Lowell a postmodernist and identified traits, among them the use of pastiche, that are now considered by theorists such as Fredric Jameson as specifically postmodern. And Bishop's inventiveness allowed her to adapt a self-exploratory mode often, but imprecisely, termed confessional to challenging forms such as the double sonnet, villanelle, and sestina.Each of these poets suffered a devastating loss during childhood and lived through the twentieth-century disasters of the Great Depression, World War II and the Holocaust, and the cold war. The continual tension in their poetry between subjectivity and form, claims Travisano, reflects the plight of the fractured individual in a postmodern world. By arguing so sharply for the importance of this circle, Midcentury Quartet is certain to redraw the map of postwar American poetry.

On 5 and 6 May 1864, the Union and Confederate armies met near an unfinished railroad in central Virginia, with Lee outmanned and outgunned, hoping to force Grant to fight in the woods. The name of the battle--Wilderness--suggests the horror of combat at close quarters and an inability to see the whole field of engagement, even from a distance. Indeed, the battle is remembered for its brutality and ultimate futility for Lee: even with 26,000 casualties on both sides, the Wilderness only briefly stemmed Grant's advance.Stephen Cushman lives fifty miles south of this battlefield. A poet and professor of American literature, he wrote Bloody Promenade to confront the fractured legacy of a battle that haunts him through its very proximity to his everyday life. Cushman's personal narrative is not another history of the battle. "If this book is a history of anything," he writes, "it's the history of verbal and visual images of a single, particularly awful moment in the American Civil War." Reflecting on that moment can begin in the present, with the latest film or reenactment, but it leads Cushman back to materials from the past. Writing in an informal, first-person style, he traces his own fascination with the conflict to a single book, a pictorial history he read as a boy. His abiding interest and poetic sensibility yield a fresh perspective on the war's continuing grip on Americans--how it pervades our lives through films and songs; novels such as The Red Badge of Courage, The Killer Angels, and Cold Mountain; Whitman's poetry and Winslow Homer's painting; or the pull of the abstract idea of the triumph of freedom.With maps and a brief discussion of the Battle of the Wilderness for those not familiar with the landscape and actors, Bloody Promenade provides a personal tour of one of the most savage engagements of the Civil War, then offers a lively discussion of its aftermath.

Essays and Reviews is a collection of seven articles that appeared in 1860, sparking a Victorian culture war that lasted for at least a decade. With pieces written by such prominent Oxford and Cambridge intellectuals as Benjamin Jowett, Mark Pattison, Baden Powell, and Frederick Temple (later archbishop of Canterbury), the volume engaged the relations between religious faith and current topics of the day in education, the classics, theology, science, history, literature, biblical studies, hermeneutics, philology, politics, and philosophy. Upon publication, the church, the university, the press, the government, and the courts, both ecclesiastical and secular, joined in an intense dispute. The book signaled an intellectual and religious crisis, raised influential issues of free speech, and questioned the authority and control of the Anglican Church in Victorian society. The collection became a best-seller and led to three sensational heresy trials.Although many historians and literary critics have identified Essays and Reviews as a pivotal text of high Victorianism, until now it has been almost inaccessible to modern readers. This first critical edition, edited by Victor Shea and William Whitla, provides extensive annotation to map the various positions on the controversies that the book provoked. The editors place the volume in its complex social context and supply commentary, background materials, composition and publishing history, textual notes, and a broad range of new supporting documents, including material from the trials, manifestos, satires, and contemporary illustrations.Not only does such an annotated critical edition of Essays and Reviews indicate the impact that the volume had on Victorian society; it also sheds light on our own contemporary cultural institutions and controversies.

The fourth edition of The Virginia Landmarks Register is an entirely new, fully illustrated compilation of the state's buildings, structures, sites, and districts that have been officially designated as historic landmarks by the Virginia Board of Historic Resources over the past thirty years. The assemblage of nearly 1,800 entries--700 more than in the third edition, published in 1986--represents the most comprehensive inventory of Virginia's rich and varied historic patrimony ever published.An invaluable reference for any Virginian, scholar, planner, architect, or preservationist, the Register is far more than an official list of names. Every registered landmark and district is identified by a brief history documenting its significance and by a brief description. Each entry is accompanied by a photograph showing its current appearance. Arranged alphabetically by county and independent city, the entries include not only many nationally famous places but the entire spectrum of the Commonwealth's cultural resources, from a 1,200-year-old prehistoric archaeological site through twentieth-century commercial architecture, from gristmills and metal-truss bridges and iron furnaces to NASA space exploration installations.Those interested in traditional Virginia architecture will discover a multiplicity of building types, both high-style and vernacular. Included, too, are important landmarks of black history, the Civil War, education, and industry. The Virginia Landmarks Register, fourth edition, will create for the reader a deeper awareness of a unique legacy and will serve to enhance the stewardship of Virginia's irreplaceable heritage.

As anyone who lived through that decade knows, the 1980s in South Africa were marked by protest, violent confrontation, and international sanctions. Internally, the country saw a bewildering growth of grassroots organizations--including trade unions, civic associations in the black townships, student and other youth organizations, church-based groups, and women's movements--many of which operated under the umbrella of the United Democratic Front (UDF). "Beyond Our Wildest Dreams" explores the often conflicted relationship between the UDF's large-scale resistance to apartheid and its everyday struggles at the local level.In hindsight, the UDF can be seen as a transitional front, preparing the ground for leaders of the liberation movement to return from exile or prison and take over power. But the founding fathers of the UDF initially had far more modest ambitions. As Azhar Cachalia, one of its core activists, later explained: "Look, when we founded the UDF, we had never in our wildest dreams expected that events would take off in the way they did. What happened was beyond everybody's expectations."Interviews with Cachalia and other leading personalities in the UDF examine the organization's workings at the national level, while stories of ordinary people, collected by the author, illuminate the grassroots activism so important to the UDF's success. Even in South Africa, writes Ineke van Kessel, who covered the anti-apartheid movement as a journalist, resistance was not the obvious option for ordinary citizens. Van Kessel shows how these people were mobilized into forming a radical social movement that developed a highly flexible and innovative form of resistance that ultimately ended apartheid.

(Congressional Research Institute for Social Work and Policy) * Marc Mauer (The Sentencing Project) * Anoop Mirpuri (Portland State University) * Christopher Muller (Harvard University) * Marlon B. Ross (University of Virginia) * Jim Shea (Community Organizer) * Jonathan Simon (University of California-Berkeley) * Heather Ann Thompson (Temple University) * Debbie Walker (The Female Perspective) * Christopher Wildeman (Yale University) * Interviews by Jared Brown (University of Virginia) & Tshepo Morongwa Chéry (University of Texas-Austin)

Cathryn Hankla's first novel is an engaging coming-of-age story set in the small Appalachian mining town of Poorwater, Virginia. It is the summer of 1968, and the narrator, inquisitive ten-year-old Dorie Parks, is getting ready to enter fifth grade when her errant older brother Willie returns to town. A religious fanatic and suspected drug user, Willie represents to the residents of Poorwater the hippie counterculture that threatens their conservative town, and his return is the catalyst for a string of strange and sometimes tragic events. Dorie's father, a miner, begins a dangerous labor rights crusade after a mining accident leaves a close friend dead. Dorie struggles to understand the class differences that separate "holler kids" and trailer park children like herself from her wealthy friend Betty. Hankla's graceful writing evokes the wonder and growing sophistication of a young girl on the verge of adolescence and an unknown future. A Blue Moon in Poorwater offers a moving yet unsentimental slice of life in Appalachian, Virginia.

AUTOBIOGRAPHY AND NATIONAL IDENTITY in the Americas puts texts from English and French Canada, Guatemala, Nicaragua, Brazil, Bolivia, and the United States into a hemispheric dialogue on national and ethnic identity. Drawing on such materials as journals, personal essays, autobiography, and the testimonio, this ambitious book is as comprehensive in its treatment of autobiographical writing as in its geographical coverage.Departing from Benedict Anderson's hopeful premise that the "imagined community" is fundamentally inclusive, Steven V. Hunsaker maintains that national identity is more idiosyncratic, complex, and divisive than Anderson's model suggests. The fact that potential compatriots create the nation by seeing themselves as a community means that there can be no guarantee of uniformly imagined identity. Hunsaker uses works by such authors as Rigoberta Menchú, Carolina Maria de Jesus, Pierre Vallières, Maxine Hong Kingston, and Richard Rodriguez to illustrate how different populations within a single nation--children, women, indigenous groups, and minority groups--challenge established collective identities and create their own senses of community.Bringing into play elements of genre studies and regional studies, the book illustrates the liberating potential of seeing a nation as the product of its citizens, but also the instability inherent in national communities imagined across race, class, ethnicity, and gender.

The pluralization of Christian religion was the defining fact of cultural life in sixteenth-century Europe. Everywhere they took root, ideas of evangelical reform disturbed the unity of religious observance on which political community was founded. By the third quarter of the sixteenth century, one or another form of Christianity had emerged as dominant in most territories of the Holy Roman Empire.In Hometown Religion: Regimes of Coexistence in Early Modern Westphalia, David Luebke examines a territory that managed to escape that fate--the prince-bishopric of Münster, a sprawling ecclesiastical principality and the heart of an entire region in which no single form of Christianity dominated. In this confessional "no-man's-land," a largely peaceable order took shape and survived well into the mid-seventeenth century, a unique situation, which raises several intriguing questions: How did Catholics and Protestants manage to share parishes for so long without religious violence? How did they hold together their communities in the face of religious pluralization? Luebke responds by examining the birth, maturation, old age, and death of a biconfessional "regime"--a system of laws, territorial agreements, customs, and tacit understandings that enabled Roman Catholics and Protestants, Lutherans as well as Calvinists, to cohabit the territory's parishes for the better part of a century.In revealing how these towns were able to preserve peace and unity--in the Age of Religious Wars-- Hometown Religion attests to the power of toleration in the conduct of everyday life.

A midst the other religious, political, and technological changes in seventeenth-century England, the ready availability of printed books was the most significant sign of the disappearance of old ways of thinking. The ability to read granted new independence as the interactions among reader, text, and author moved from the public forums of church and court to the privacy and solitude of the home. Privacy and Print proposes that the emergence of the concept of privacy as a personal right, as the very core of individuality, is connected in a complex fashion with the history of reading. Cecile M. Jagodzinski attempts to recover the experience of readers past by examining representations of reading and readers (especially women) in five genres of seventeenth-century literature: devotional books, conversion narratives, personal letters, drama, and the novel. The discussion ranges from the published letters of Charles I and John Donne to Aphra Behn's Love-Letters between a Nobleman and His Sister and Margaret Cavendish's literary activities.

During her long career as a public figure in Jacksonian America, Anne Royall was called everything from an "enemy of religion" to a "Jackson man" to a "common scold." In her search for the source of such strong reactions, Elizabeth Clapp has uncovered the story of a widely read woman of letters who asserted her right to a political voice without regard to her gender.Widowed and in need of a livelihood following a disastrous lawsuit over her husband's will, Royall decided to earn her living through writing--first as a travel writer, journeying through America to research and sell her books, and later as a journalist and editor. Her language and forcefully expressed opinions provoked people at least as much as did her inflammatory behavior and aggressive marketing tactics. An ardent defender of American liberties, she attacked the agents of evangelical revivals, the Bank of the United States, and corruption in government. Her positions were frequently extreme, directly challenging the would-be shapers of the early republic's religious and political culture. She made many enemies, but because she also attracted many supporters, she was not easily silenced. The definitive account of a passionate voice when America was inventing itself, A Notorious Woman re-creates a fascinating stage on which women's roles, evangelical hegemony, and political involvement were all contested.

<p><p>In <i>Imagining a Nation,</i> Ruramisai Charumbira analyzes competing narratives of the founding of Rhodesia/Zimbabwe constructed by political and cultural nationalists both black and white since occupation in 1890. The book uses a wide array of sourcesincluding archives, oral histories, and a national monumentto explore the birth of the racialized national memories and parallel identities that were in vigorous contention as memory sought to present itself as history. In contrast with current global politics plagued by divisions of outsider and insider, patriot and traitor, Charumbira invites the reader into the liminal spaces of the regions history and questions the centrality of the nation-state in understanding African or postcolonial history today. </p><p>Using an interdisciplinary methodology, Charumbira offers a series of case studies, bringing in characters from far-flung places to show that history and memory in and of one small place can have a far-reaching impact in the wider world. The questions raised by these stories go beyond the history of colonized or colonizer in one former colony to illuminate contemporary vexations about what it means to be a citizen, patriot, or member of a nation in an ever-globalizing world. Rather than a history of how the rulers of Rhodesia or Zimbabwe marshaled state power to force citizens to accept a single definition of national memory and identity, <i>Imagining a Nation</i> shows how ordinary people invested in the soft power of individual, social, and collective memories to create and perpetuate exclusionary national myths.</p></p><p><p>Reconsiderations in Southern African History</p></p>

An important contribtion to iconographic studies of the presidency, this book employs an innovative approach. Sixty engraving, medal and silhousettes illustrate the images of Thomas Jefferson that were availabel to the common man. Without television, photography, or coins that pictured the head of state, the majority of American's in Jefferson's day knew his likeness mainly from engraved prints, many of questionable artistic merit. These contemporary images have never been collected in a single source and many have never been reproduced. Source, artist, and date are given for each. They reflect the public's fascination with the man and the office and they display the state of the arts in a young nation. For the most part they derive from artistic treasures we are familiar with today, especiallly the Houdon bust and the penetrating portraits by Rembrandy Peale and Gilbert Stuart. The likeness some done by such leading engravers as Cornelius Tiebout and David Edwin appeared as separate prints, in books and periodicals and sometimes as transfers on pieces of Liverpool pottery. Among the author's major contributions are important discoveries altering accepted conclusions regarding stuart's first life portrait of Jefferson.

"The story of a lost mixed-race community in Northern Virginia, drawing together newly discovered historic records, freshly uncovered contemporary accounts, and personal interviews to reveal the lives and experiences of people who struggled to make real the Reconstruction-era promise of freedom and opportunity, and those who insisted that their efforts not be forgotten"--