In the uneasily shared history of Jews and blacks in America, the struggle for civil rights in the South may be the least understood episode. Fight against Fear is the first book to focus on Jews and African Americans in that remarkable place and time. Mindful of both communities' precarious and contradictory standings in the South, Clive Webb tells a complex story of resistance and complicity, conviction and apathy. Webb begins by ranging over the experiences of southern Jews up to the eve of the civil rights movement--from antebellum slaveowners to refugees who fled Hitler's Europe only to arrive in the Jim Crow South. He then shows how the historical burden of ambivalence between Jews and blacks weighed on such issues as school desegregation, the white massive resistance movement, and business boycotts and sit-ins. As many Jews grappled as never before with the ways they had become--and yet never could become--southerners, their empathy with African Americans translated into scattered, individual actions rather than any large-scale, organized alliance between the two groups. The reasons for this are clear, Webb says, once we get past the notion that the choices of the much larger, less conservative, and urban-centered Jewish populations of the North define those of all American Jews. To understand Jews in the South we must look at their particular circumstances: their small numbers and wide distribution, denominational rifts, and well-founded anxiety over defying racial and class customs set by the region's white Protestant majority. For better or worse, we continue to define the history of Jews and blacks in America by its flash points. By setting aside emotions and shallow perceptions, Fight against Fear takes a substantial step toward giving these two communities the more open and evenhanded consideration their shared experiences demand.
The issue of race has indelibly shaped the history of the United States. Nowhere has the drama of race relations been more powerfully staged than in the American South. This book charts the turbulent course of southern race relations from the colonial origins of the plantation system to the maturation of slavery in the nineteenth century, through the rise of a new racial order during the Civil War and Reconstruction, to the civil rights revolution of the twentieth century.While the history of race in the southern states has been shaped by a basic struggle between black and white, the authors show how other forces such as class and gender have complicated the colour line. They distinguish clearly between ideas about race, mostly written and disseminated by intellectuals and politicians, and their reception by ordinary southerners, both black and white. As a result, readers are presented with a broad, over-arching view of race in the American South throughout its chequered history.Key Features:*racial issues are the key area of interest for those who study the American South*race is the driving engine of Southern history*unique in its focus on race*broad coverage - origins of the plantation system to the situation in the South today
The decade following the 1954 Brown v. Board of Education decision saw white southerners mobilize in massive resistance to racial integration. Most segregationists conceded that ultimately they could only postpone the demise of Jim Crow. Some militant whites, however, believed it possible to win the civil rights struggle. Histories of the black freedom struggle, when they mention these racist zealots at all, confine them to the margin of the story. These extremist whites are caricatured as ineffectual members of the lunatic fringe. Civil rights activists, however, saw them for what they really were: calculating, dangerous opponents prepared to use terrorism in their stand against reform. To dismiss white militants is to underestimate the challenge they posed to the movement and, in turn, the magnitude of civil rights activists' accomplishments. The extremists helped turn massive resistance into a powerful political phenomenon. While white southern elites struggled to mobilize mass opposition to racial reform, the militants led entire communities in revolt. Rabble Rousers turns traditional top-down models of massive resistance on their head by telling the story of five far-right activists--Bryant Bowles, John Kasper, Rear Admiral John Crommelin, Major General Edwin Walker, and J. B. Stoner--who led grassroots rebellions. It casts new light on such contentious issues as the role of white churches in defending segregation, the influence of anti-Semitism in southern racial politics, and the divisive impact of class on white unity. The flame of the far right burned brilliantly but briefly. In the final analysis, violent extremism weakened the cause of white southerners. Tactical and ideological tensions among massive resisters, as well as the strength and unity of civil rights activists, accelerated the destruction of Jim Crow.
Mob violence in the United States is usually associated with the southern lynch mobs who terrorized African Americans during the Jim Crow era. In Forgotten Dead, William D. Carrigan and Clive Webb uncover a comparatively neglected chapter in the story of American racial violence, the lynching of persons of Mexican origin or descent. Over eight decades lynch mobs murdered hundreds of Mexicans, mostly in the American Southwest. Racial prejudice, a lack of respect for local courts, and economic competition all fueled the actions of the mob. Sometimes ordinary citizens committed these acts because of the alleged failure of the criminal justice system; other times the culprits were law enforcement officers themselves. Violence also occurred against the backdrop of continuing tensions along the border between the United States and Mexico aggravated by criminal raids, military escalation, and political revolution. Based on Spanish and English archival documents from both sides of the border, Forgotten Dead explores through detailed case studies the characteristics and causes of mob violence against Mexicans across time and place. It also relates the numerous acts of resistance by Mexicans, including armed self-defense, crusading journalism, and lobbying by diplomats who pressured the United States to honor its rhetorical commitment to democracy. Finally, it contains the first-ever inventory of Mexican victims of mob violence in the United States. Carrigan and Webb assess how Mexican lynching victims came in the minds of many Americans to be the "forgotten dead" and provide a timely account of Latinos' historical struggle for recognition of civil and human rights.
You got game? This book tells you all you need to know about picking up women. In these days of women's liberation and equality it is difficult to know what to say, how to say it and even who to say it to! How to date Paris Hilton helps by giving men the confidence to approach and chat to any woman - no matter how famous or seemingly unapproachable!
The fascinating story of the evolution of the country house in Britain, from its Roman precursors to the present "An eclectic scholarly account, tracing the evolution of the country house from the hunting lodges of the Middle Ages to the modern villas of today. . . . Mr. Aslet is an elegant writer with a wry sense of humor."--Moira Hodgson, Wall Street Journal "[Aslet] doesn't just tell us who built what, and for whom, and in what style, but about the prevailing economic circumstances and fashions of each period."--Simon Heffer, Daily Telegraph The Story of the Country House is an authoritative and vivid account of the British country house, exploring how they have evolved with the changing political and economic landscape. Clive Aslet reveals the captivating stories behind individual houses, their architects, and occupants, and paints a vivid picture of the wider context in which the country house in Britain flourished and subsequently fell into decline before enjoying a renaissance in the twenty-first century. The genesis, style, and purpose of architectural masterpieces such as Hardwick Hall, Hatfield House, and Chatsworth are explored, alongside the numerous country houses lost to war and economic decline. We also meet a cavalcade of characters, owners with all their dynastic obsessions and diverse sources of wealth, and architects such as Inigo Jones, Sir John Vanbrugh, Robert Adam, Sir John Soane and A.W.N. Pugin, who dazzled or in some cases outraged their contemporaries. The Story of the Country House takes a fresh look at this enduringly popular building type, exploring why it continues to hold such fascination for us today.
I Walked with a Zombie (1943), Val Lewton's second feature for RKO Radio Pictures, was described by critic Robin Wood as 'perhaps the most delicate poetic fantasy in the American Cinema.' Following immediately in the wake of the groundbreaking Cat People (1942), Zombie pioneered an even more radical narrative approach yet proved to be the critical and commercial equal of its predecessor, cementing the reputation of both Lewton and his director, Jacques Tourneur. Despite the lurid, studio-imposed title, I Walked with a Zombie is a subtle and ambiguous visual poem that advanced a daring condemnation of slavery and colonialism at a time when such themes were being actively suppressed by government censors. Clive Dawson charts the complex development and production of the project, essential to understanding the concerns of the filmmakers in the context of wartime Hollywood, then analyses the film in detail, referencing a broad range of academic studies of the audio-visual text and distilling new insight into its layers of meaning. Finally, he explores the film's reception, and the influence it exerted on the horror genre and beyond. Extensive primary research has uncovered a wealth of previously unpublished new material that solves many unanswered questions and dispels various myths about this utterly unique film.
Ombra is the term which applies to an operatic scene involving the appearance of an oracle or demon, witches, or ghosts. Such scenes can be traced back to the early days of opera and were commonplace in the seventeenth century in Italy and France. Operas based on the legends of Orpheus, Iphigenia, and Alcestis provide numerous examples of ombra and extend well into the eighteenth century. Clive McClelland's Ombra: Supernatural Music in the Eighteenth Century is an in-depth examination of ombra and is many influences on classical music performance. McClelland reveals that ombra scenes proved popular with audiences not only because of the special stage effects employed, but also due to increasing use of awe-inspiring musical effects. By the end of the eighteenth century the scenes had come to be associated with an elaborate set of musical features including slow, sustained writing, the use of flat keys, angular melodic lines, chromaticism and dissonance, dotted rhythms and syncopation, tremolando effects, unexpected harmonic progressions, and unusual instrumentation, especially involving trombones. It is clearly distinct from other styles that exhibit some of these characteristics, such as the so-called 'Sturm und Drang' or 'Fantasia.' Futhermore, parallels can be drawn between these features and Edmund Burke's 'sublime of terror,' thus placing ombra music on an important position in the context of eighteenth-century aesthetic theory.
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