In this highly revisionist study, historian Adam H. Petty tracks how veterans and historians of the Civil War created and perpetuated myths about the Wilderness, a forest in Virginia that served as the backdrop for three of the war’s most interesting campaigns. This forest had a fearsome reputation among soldiers, especially those from Union armies; many believed it to be an exceptional landscape with a menacing mystique that created favorable combat conditions for Lee’s Army of Northern Virginia. According to Petty, the mythology surrounding the campaigns in the Wilderness began to take shape during the war but truly blossomed in the postwar years, continuing into the present. Those myths, he suggests, confounded accurate understandings of how the physical environment influenced combat and military operations. While the Wilderness did create difficult combat conditions, Petty refutes claims that it was unique and favored the Confederates. Unlike previous studies of the Wilderness, this work does not focus on a single battle or campaign. Instead, Petty explores all the major clashes there—Chancellorsville, Mine Run, and the battle of the Wilderness—which allows Petty to observe changes over time, especially regarding the attitudes and actions of generals and soldiers. Yet Petty’s study is not a narrative history of the campaigns. Instead, he reconsiders traditional interpretations surrounding the nature of the Wilderness and how it affected military operations and combat. His work analyzes not only the interaction between military campaigns and environment but also how the memory of that interaction evolved into the myth we know today.
Colleges, universities, and seminaries do more than just transfer knowledge to students. They sell themselves as "experiences" that transform young people in unique ways. The conservative evangelical Protestant network of higher education has been no different. In the twentieth century, when higher education sometimes seemed to focus on sports, science, and social excess, conservative evangelical schools offered a compelling alternative. On their campuses, evangelicals debated what it meant to be a creationist, a Christian, a proper American, all within the bounds of Biblical revelation. Instead of encouraging greater personal freedom and deeper pluralist values, conservative evangelical schools thrived by imposing stricter rules on their students and faculty. In Fundamentalist U, Adam Laats shows that these colleges have always been more than just schools; they have been vital intellectual citadels in America's culture wars. These unique institutions have defined what it has meant to be an evangelical and have reshaped the landscape of American higher education. Students at these schools have been expected to learn what it means to be an educated evangelical in a secularizing society. This book asks new questions about that formative process. How have conservative evangelicals hoped to use higher education to instill a uniquely evangelical identity? How has this identity supported the continuing influence of a dissenting body of knowledge? In what ways has it been tied to cultural notions of proper race relations and proper relations between the sexes? And perhaps most important, how have students responded to schools' attempts to cultivate these vital notions about their selves? In order to understand either American higher education or American evangelicalism, we need to appreciate the role of this influential network of dissenting institutions. Only by making sense of these schools can we make sense of America's continuing culture wars.
A landmark study of the illustrations that originally accompanied now-classic works of American literary realism Though today we commonly read major works of nineteenth-century American literature in unillustrated paperbacks or anthologies, many of them first appeared as magazine serials, accompanied by ample illustrations that sometimes made their way into the serials’ first printings as books. The graphic artists creating these illustrations often visually addressed questions that the authors had left for the reader to interpret, such as the complexions of racially ambiguous characters in Uncle Tom’s Cabin. The artists created illustrations that depicted what outsiders saw in Huck and Jim in Adventures of Huckleberry Finn, rather than what Huck and Jim learned to see in one another. These artists even worked against the texts on occasion—for instance, when the illustrators reinforced the same racial stereotypes that writers such as Paul Laurence Dunbar had intended to subvert in their works. Authors of American realism commonly submitted their writing to editors who allowed them little control over the aesthetic appearance of their work. In his groundbreaking Artistic Liberties, Adam Sonstegard studies the illustrations from these works in detail and finds that the editors employed illustrators who were often unfamiliar with the authors’ intentions and who themselves selected the literary material they wished to illustrate, thereby taking artistic liberties through the tableaux they created. Sonstegard examines the key role that the appointed artists played in visually shaping narratives—among them Mark Twain’s Pudd’nhead Wilson, Stephen Crane’s The Monster, and Edith Wharton’s The House of Mirth—as audiences tended to accept their illustrations as guidelines for understanding the texts. In viewing these works as originally published, received, and interpreted, Sonstegard offers a deeper knowledge not only of the works, but also of the realities surrounding publication during this formative period in American literature.
“Essential reading for anyone who has ever loved a Manhattan.” —Wine & Spirits Vermouth is hitting its stride—again. The cocktail resurgence has put a spotlight on an often-overlooked ingredient in some of the most iconic cocktails of our time: vermouth. It appeared in America in the 1860s, reigned supreme in drinks like the Manhattan and the Martini, then fell out of favor during the counterculture days of the 1960s. But with artisanal cocktails now the rage, interest in vermouth is at a peak. After all, without it, your martini is merely a chilled vodka or gin. More and more cocktail lovers are requesting more than a whisper of vermouth in their drinks. In fact, it’s touted as a low-alcohol alternative to sip on its own, or, if the ratio is tweaked, as tasty way to lighten up more traditionally strong drinks. Vermouth has a rich history, deeply intertwined with that of America, and, here, expert Adam Ford offers the first-ever detailed look into the background of this aromatized, fortified wine, as well as its rise, fall, and comeback in America. With bold and delicious cocktail recipes?there are twists on the classic Boulevardier, a once-forgotten Brooklyn Cocktail, and a refreshing White Negroni?and color photographs throughout, Vermouth is a must-have book for anyone interested in drinking, or learning about, great cocktails.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.