Bøger udgivet af University Press of Florida

The first synthesis of the archaeologicalheritage of Baltimore Below Baltimore provides the first detailed overview of the rich archaeologicalheritage of the people and city of Baltimore. Drawing on a combined fivedecades of experience in the Chesapeake region and compiling 70 years of publishedand unpublished records, Adam Fracchia and Patricia Samford explore the layersof the city's material record from the late seventeenth century to the recent past. Fracchiaand Samford focus on major themes and movements such as Baltimore's growth intoa mercantile port city, the city's diverse immigrant populations and thehistory of their foodways, and the ways industries--including railroads, glass factories, sugar refineries, and breweries--structured the city's landscape. Using insightsfrom artifacts and the built environment, they detail individual lives andexperiences within different historical periods and show how the city haschanged over time. Synthesizinga large amount of information that has never before been gathered in one place, Below Baltimore demonstrates howurban archaeology can approach cities as larger collective artifacts of thepast, where excavations can uncover patterns of inequality in urbanization andindustrialization that connect to social and economic processes still at worktoday.

Examining a century of dance criticism in the United States and its influence on aesthetics and inclusionDance criticism has long been integral to dance as an art form, serving as documentation and validation of dance performances, yet few studies have taken a close look at the impact of key critics and approaches to criticism over time. The first book to examine dance criticism in the United States across 100 years, from the late 1920s to the early twenty-first century, Shaping Dance Canons argues that critics in the popular press have influenced how dance has been defined and valued, as well as which artists and dance forms have been taken most seriously. Kate Mattingly likens the effect of dance writing to that of a flashlight, illuminating certain aesthetics at the expense of others. Mattingly shows how criticism can preserve and reproduce criteria for what qualifies as high art through generations of writers and in dance history courses, textbooks, and curricular design. She examines the gatekeeping role of prominent critics such as John Martin and Yvonne Rainer while highlighting the often-overlooked perspectives of writers from minoritized backgrounds and dance traditions. The book also includes an analysis of digital platforms and current dance projects--On the Boards TV, thINKingDANCE, Black Dance Stories, and amara tabor-smith's House/Full of BlackWomen--that challenge systemic exclusions. In doing so, the book calls for ongoing dialogue and action to make dance criticism more equitable and inclusive.

Highlighting Bethune's global activism and her connections throughout the African diaspora This book examines the Pan-Africanism of Mary McLeod Bethune through her work, which internationalized the scope of Black women's organizations to create solidarity among Africans throughout the diaspora. Broadening the familiar view of Bethune as an advocate for racial and gender equality within the United States, Ashley Preston argues that Bethune consistently sought to unify African descendants around the world with her writings, through travel, and as an advisor.Preston shows how Bethune's early involvement with Black women's organizations created personal connections across Cuba, Haiti, India, and Africa and shaped her global vision. Bethune founded and led the National Council of Negro Women, which strengthened coalitions with women across the diaspora to address issues in their local communities. Bethune served as director of the Division of Negro Affairs for the Franklin D. Roosevelt administration and later as associate consultant for the United Nations alongside W.E.B. DuBois and Walter White, using her influence to address diversity in the military, decolonization, suffrage, and imperialism. Mary McLeod Bethune the Pan-Africanist provides a fuller, more accurate understanding of Bethune's work, illustrating the perspective and activism behind Bethune's much-quoted words: "For I am my mother's daughter, and the drums of Africa still beat in my heart." Publication of this work made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.

"An exceptional piece of scholarship. Rossano clearly points out that military organizations in general, and a naval air force in particular, are built from the ground up and not the other way around. While we celebrate the exploits of the pilots, Rossano reminds us that there were myriad mechanics, constructors, paymasters, and even some ship drivers who played a vital role in naval aviation during WWI."--Craig C. Felker, U.S. Naval Academy "A fine book that will stand for many years as the definitive study of U.S. naval aviation in Europe. Well-researched and written, the book ranges widely, from the high-level planning in Washington for a naval air war to moving thousands of men and hundreds of aircraft across the ocean to the routine but dangerous training, patrol, and bombing flights that constituted the navy's air mission in World War I."--William F. Trimble, author of Attack from the Sea Stalking the U-Boatis the first and only comprehensive study of U.S. naval aviation operations in Europe during WWI. The navy's experiences in this conflict laid the foundations for the later emergence of aviation as a crucial--sometimes dominant--element of fleet operations, yet those origins have been previously poorly understood and documented.Begun as antisubmarine operations, naval aviation posed enormous logistical, administrative, personnel, and operational problems. How the USN developed this capability--on foreign soil in the midst of desperate conflict--makes a fascinating tale sure to appeal to all military and naval historians.

Ceramics serve as one of the best-known artifacts excavated by archaeologists. They are carefully described, classified, and dated, but rarely do scholars consider their many and varied uses. Breaking from this convention, Myriam Arcangeli examines potsherds from four colonial sites in the Antillean island of Guadeloupe to discover what these everyday items tell us about the people who used them. In the process, she reveals a wealth of information about the lives of the elite planters, the middle and lower classes, and enslaved Africans.By analyzing how the people of Guadeloupe used ceramics-whether jugs for transporting and purifying water, pots for cooking, or pearlware for eating-Arcangeli spotlights the larger social history of Creole life. What emerges is a detail rich picture of water consumption habits, changing foodways, and concepts of health. Sherds of History offers a compelling and novel study of the material record and the "e;ceramic culture"e; it represents to broaden our understanding of race, class, and gender in French-colonial societies in the Caribbean and the United States.Arcangeli's innovative interpretation of the material record will challenge the ways archaeologists analyze ceramics.

"A unique social and economic history of the Seminoles and an insightful view of their cultural adaptation and cultural continuity that previously has not been appreciated or understood."--Florida Heritage

This book tells the story of how NASA transformed Florida's East Coast from an economy based on agriculture and tourism to one of the nation's most influential centers of technology.

In this book, Canter Brown, Jr. records the economic, social, political, and racial history of the Peace River Valley in southwestFlorida in an account of violence, passion, struggle, sacrifice, anddetermination.

"The Wild East is a graceful, accurate, and, in its subdued way, a passionate account. The author calls it a 'biography' of the great Smokies and it does strike a more intimate note than similar histories usually do. I find it not only a valuable document but a friendly and interesting book. Margaret Lynn Brown has a deft touch."--Fred Chappell, author of Look Back All the Green ValleyThe Wild East explores the social, political, and environmental changes in the Great Smoky Mountains during the 19th and 20th centuries. Although this national park is most often portrayed as a triumph of wilderness preservation, Margaret Lynn Brown concludes that the largest forested region in the eastern United States is actually a re-created wilderness--a product of restoration and even manipulation of the land.Several hundred years before white settlement, Cherokees farmed and hunted this land. Between 1910 and 1920, corporate lumbermen built railroads into the most remote watersheds and removed more than 60 percent of the old-growth forest. Despite this level of human impact, early promoters of a national park represented the land as an untouched wilderness and described the people living there as pioneers.During the 1930s, landscape architects and Civilian Conservation Corps workers transformed the Smokies, building trails, campgrounds, and facilities that memorialized the rustic ideals of Roosevelt-style conservation. With the advent of the 1950s, enthusiasm for the national park system boomed again; cultural interpreters went to work to create a Ponderosa-like scene in Cades Cove, while developers in Gatlinburg emulated the designs of western ski resorts. During the 1960s, however, wilderness advocates began lobbying for a less manicured, more natural-looking landscape.In the 1970s, Brown writes, the Smokies faced many of the consequences of these management decisions. Major crises with brook trout, black bears, and exotic species pushed park officials toward a greater regard for ecology. At the same time, scientists trained during the environmental movement foraged through the land's history and sought to re-create the look of the landscape before human settlement. Park management continues to waffle between these shifting views of wilderness, negotiating the often contradictory mission of promoting tourism and ensuring preservation.

This bookexplores how settlers from northern states created myths about the Indian Riverarea on Florida's Atlantic Coast, importing ideas about the region's Indigenouspeoples and rewriting its history to market the land to investors and tourists.

The Art of the Magic Striptease marks the first in-depth critical assessment of George Garrett in nearly two decades. One of the country's most gifted, important, and undervalued contemporary writers, Garrett is the author of award-winning novels, plays, poetry, short stories, biography, and criticism. He has been a prolific and significant creative force for six decades, regarded as a central figure in southern and American letters and a writer of tremendous intellectual reach and imaginative energy. The former poet laureate of Virginia, Garrett is also a teacher and editor. Casey Clabough's metaphor of the magic striptease--borrowed from the title of Garrett's 1973 collection of three novellas--allows him to examine the ways in which Garrett sheds skins or layers in his writing, becoming and articulating others while maintaining his own identity. Considering Garrett's many experiments with form, genre, and storytelling, it proves to be a powerful critical framework by which to examine the remarkable output of a remarkable writer. Clabough was given exclusive access to Garrett's private papers, and this volume includes the transcript of an interview with the author and the previously unknown, unpublished, and highly provocative short story, "No Novel Today."

"Offers a much needed discussion of racial politics in the premier New South city. Readers will discover that courageous struggles for justice, as much as compromise, have marked the so-called Atlanta-style since Reconstruction."--W. Scott Poole, College of Charleston Atlanta stands out among southern cities for many reasons, not least of which is the role African Americans have played in local politics. Black Power in Dixie offers the first comprehensive study of black politics in the city. From Reconstruction to recent times, the middle-class black leadership in Atlanta, while often subordinating class and gender differences to forge a continuous campaign for equality, successfully maintained its mantle of racial leadership for more than a century through a deft combination of racial advocacy and collaboration with local white business and political elites. Alton Hornsby provides an analysis of how one of the most important southern cities managed, adapted, and coped with the struggle for racial justice, examining both traditional electoral politics as well as the roles of non-elected individuals influential in the community. Highlighting the terms of Maynard Jackson and Andrew Young, the city's first two black mayors, Hornsby concludes by raising important questions about the success of black political power and whether it has translated into measurable economic power for the African American community.

For years, some scholars have privately suspected Martin Luther King Jr.'s "I Have a Dream" speech was connected to Langston Hughes's poetry, and the link between the two was purposefully veiled through careful allusions in King's orations. In Origins of the Dream, W. Jason Miller lifts that veil to demonstrate how Hughes's revolutionary poetry became a measurable inflection in King's voice, and that the influence can be found in more than just the one famous speech.Miller contends that by employing Hughes's metaphors in his speeches, King negotiated a political climate that sought to silence the poet's subversive voice. He argues that by using allusion rather than quotation, King avoided intensifying the threats and accusations against him, while allowing the nation to unconsciously embrace the incendiary ideas behind Hughes's poetry.

Agroundbreaking Black artist and his career in the Jim Crow South This book is the first biographyof Graham Jackson (1903‒1983), a virtuosic musician whose life story displays the complexities of being aBlack professional in the segregated South. David Cason discusses how Jacksonnavigated a web of racial and social negotiations throughout his long career andhighlights his little-known role in events of the twentieth century. Widely known for an iconic photo taken of him playing the accordionin tears at Franklin D. Roosevelt's funeral, which became a Lifemagazine cover, Jackson is revealed here to have a much deeper story. He was aperformer, composer, and high school music director known for his skills on thepiano and organ. Jackson was among the first Black men to enlist in the Navy duringWorld War II, helping recruit many other volunteers and raising over $2 millionfor the war effort. After the war he became a fixture at Atlanta music venuesand in 1971, Governor Jimmy Carter proclaimed Jackson the State Musician ofGeorgia. Cason examines Jackson's groundbreaking roles with a critical eye, taking into account how Jackson drew on his connections with white elitesincluding Roosevelt, Coca-Cola magnate Robert Woodruff, and golfer Bobby Jones, and was censured by Black Power figures for playing songs associated withConfederate memory. Based on archival, newspaper, and interview materials, TheLife and Music of Graham Jackson brings into view the previously unknownstory of an ambitious and talented artist and his controversial approach to thepolitics and culture of his day. Publication of this work made possible by aSustaining the Humanities through the American Rescue Plan grant from theNational Endowment for the Humanities.

An insider's account of a wrongful conviction and the fight to overturn it during the civil rights era This book is an insider's account of the case of Freddie Pitts and Wilbert Lee, two Black men who were wrongfully charged and convicted of the murder of two white gas station attendants in Port St. Joe, Florida, in 1963, and sentenced to death. Phillip Hubbart, a defense lawyer for Pitts and Lee for more than 10 years, examines the crime, the trial, and the appeals with both a keen legal perspective and an awareness of the endemic racism that pervaded the case and obstructed justice. Hubbart discusses how the case against Pitts and Lee was based entirely on confessions obtained from the defendants and an alleged "eyewitness" through prolonged, violent interrogations and how local authorities repeatedly rejected later evidence pointing to the real killer, a white man well known to the Port St. Joe police. The book follows the case's tortuous route through the Florida courts to the defendants' eventual exoneration in 1975 by the Florida governor and cabinet. From Death Row to Freedom is a thorough chronicle of deep prejudice in the courts and brutality at the hands of police during the civil rights era of the 1960s. Hubbart argues that the Pitts-Lee case is a piece of American history that must be remembered, along with other similar incidents, in order for the country to make any progress toward racial reconciliation today. Publication of this work made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.