Writing Ireland is a provocative and wide-ranging examination of culture, literature and identity in nine-teenth- and twentieth-century Ireland. Moving beyond the reductionist reading of the historical moment as a backdrop to cultural production, the authors deploy contemporary theories of discourse and the constitution of the colonial subject to illuminate key texts in the cultural struggle between the colonizer and the colonized. The book opens with a consideration of the originary moment of the colonial relationsip of England and Ireland through re-reading of works by Shakespeare and Spenser. Cairns and Richards move then to the constitution of the modern discourse of Celticism in the nineteenth century. A fundamental re-reading of the period of the Literary Revival through the works of Yeats, Synge, Joyce and O'Casey locates them in a social moment illuminated by detailed considerations of poems, playwrights and polemicists such as D. P. Moran, Arthur Griffith, Patrick Pearse and Thomas MacDonagh. Writing Ireland examines the psychic, sexual and social costs of the decolonisation struggle in the society and culture of the Irish Free State and its successor. Beckett, Kavanagh and O'Faolain registered the enervation and paralysis consequent upon sustaining a repressive view of Irish identity. The book concludes in the contemporary moment, as Ireland's post-colonial culture enters crisis and writers like Seamus Heaney, Brian Friel, Tom Murphy and Seamus Deane grapple with the notion of alternative identities. Writing Ireland provides students of literature, history, cultural studies and Irish studies with a lucid analysis of Ireland's colonial and post-colonial situation on which an innovative methodology transcends disciplinary divisions."--
In The Heroic Earth, David T. Murphy argues that geopolitical ideas were most dynamic and significant in Germany not during the Nazi era (1933-45) but in the democratic culture of the Weimar republic (1919-33). By helping to condition the German population to geopolitical ideas, which emphasized revision of the Versailles settlement and enlarging Germany's living space, geopolitics helped contribute to Nazi imperialism. From the defeat of Germany in 1918 until the rise of National Socialism i9n 1933, theories of geographical determinism enjoyed a broad currency in many fields of German public life. The ancient notion that environmental factors--climate, topography, resource distribution--shape society in significant ways was now applied in a radically determinist fashion to help Germans understand why they had lost the war and what they had to do to regain their place among the Great Powers. Under the rubric of Geopolitik, politicians, teachers, writers and others argued that they key to Germany's past, and the hope for its future, lay in understanding geography's determining impact upon races, cultures, states, and warfare. Theories of geographical determinism shaped German thinking about politics, race, science, education, aesthetics, and many other subjects on the eve of the Nazi era. Challenging traditional historiography, Murphy argues that geopolitics faded in importance after Adolf Hitler came to power.
The notorious Opium-Eater returns in the sensational climax to David Morrell's acclaimed Victorian mystery trilogy. 1855. The railway has irrevocably altered English society, effectively changing geography and fueling the industrial revolution by shortening distances between cities: a whole day's journey can now be covered in a matter of hours. People marvel at their new freedom. But train travel brings new dangers as well, with England's first death by train recorded on the very first day of railway operations in 1830. Twenty-five years later, England's first train murder occurs, paralyzing London with the unthinkable when a gentleman is stabbed to death in a safely locked first-class passenger compartment. In the next compartment, the brilliant opium-eater Thomas De Quincey and his quick-witted daughter, Emily, discover the homicide in a most gruesome manner. Key witnesses and also resourceful sleuths, they join forces with their allies in Scotland Yard, Detective Ryan and his partner-in-training, Becker, to pursue the killer back into the fogbound streets of London, where other baffling murders occur. Ultimately, De Quincey must confront two ruthless adversaries: this terrifying enemy, and his own opium addiction which endangers his life and his tormented soul. Ruler of the Night is a riveting blend of fact and fiction which, like master storyteller David Morrell's previous De Quincey novels, "evokes Victorian London with such finesse that you'll hear the hooves clattering on cobblestones, the racket of dustmen, and the shrill calls of vendors" (Entertainment Weekly).
According to conventional historical wisdom, Irish nationalism in Canada was a marginal phenomenon - overshadowed by the more powerful movement in the United States and eclipsed in Canada by the Orange Order. The nine contributors in this book argue otherwise - and in doing so make a major and original contribution to our understanding of the Irish experience in Canada and the place of Irish-Canadian nationalism within an international context. Focusing on the period 1820 to 1920, they examine political, religious, and cultural expressions of Irish-Canadian nationalism as it responded to Irish events and Canadian politics. They also look at tensions within the movement between those who argued that Ireland should share the same freedom that Canada enjoyed within the British Empire and revolutionary republicans who wanted to liberate both Ireland and Canada from the yoke of British imperialism. Irish Nationalism in Canada sheds light on questions such as transference of old world political traditions into North America, the dynamics of ethno-religious conflict, and state responses to a revolutionary minority within an ethno-religious group. Contributors include Donald Harman Akenson (Queen's University, Kingston), Sean Farrell (Northern Illinois University), Mark G. McGowan (St Michael's College, University of Toronto), Frederick J. McEvoy (Independent Scholar), Michael Peterman (Trent University), Garth Stevenson (Brock University), Peter M. Toner (University of New Brunswick), Rosalyn Trigger (University of Aberdeen), and David A. Wilson (University of Toronto).
William Hannibal Thomas (1843-1935) served with distinction in the U.S. Colored Troops in the Civil War (in which he lost an arm) and was a preacher, teacher, lawyer, state legislator, and journalist following Appomattox. In many publications up through the 1890s, Thomas espoused a critical though optimistic black nationalist ideology. After his mid-twenties, however, Thomas began exhibiting a self-destructive personality, one that kept him in constant trouble with authorities and always on the run. His book The American Negro (1901) was his final self-destructive act. Attacking African Americans in gross and insulting language in this utterly pessimistic book, Thomas blamed them for the contemporary "Negro problem" and argued that the race required radical redemption based on improved "character," not changed "color." Vague in his recommendations, Thomas implied that blacks should model themselves after certain mulattoes, most notably William Hannibal Thomas. Black Judas is a biography of Thomas, a publishing history of The American Negro, and an analysis of that book's significance to American racial thought. The book is based on fifteen years of research, including research in postamputation trauma and psychoanalytic theory on selfhatred, to assess Thomas's metamorphosis from a constructive race critic to a black Negrophobe. John David Smith argues that his radical shift resulted from key emotional and physical traumas that mirrored Thomas's life history of exposure to white racism and intense physical pain.
Murder Along the Cape Fear is the story of Fayetteville and Fort Bragg, North Carolina, during the twentieth century. Seen through the eyes of a native son, this is the tale of one - a distinguished historian - who lived through some of it and heard about much of it from friends and relatives. In this hundred-year journey the town was profoundly impacted by the establishment of Fort Bragg 10 miles to its west. Throughout this hundred-year history, murder seems to be the scarlet thread that stitched the town into infamy. The book demonstrates that Fayetteville was by no means innocent prior to the coming of Fort Bragg. Nor did all of the crime and evil emanate from Fort Bragg after 1918. As for murder, there was an abundance of killing that had no connection with Fort Bragg, but the most sensational murder case of the century involved Jeffrey MacDonald, a Green Beret Army captain and physician who received three life terms in federal prison for killing his pregnant wife and two daughters. While many other Fort Bragg soldiers were involved with murders along the Cape Fear, murders were also committed by transient civilians and local citizens like the famous inventor of the M-1 carbine, Marshall "Carbine" Williams, and Velma Barfield, who poisoned her mother and three other people. In all, about two dozen murder cases-some highly publicized and some not-are woven into this story about a North Carolina town in the twentieth century. Engagingly told, this book is a wonderful blend of history, lore, and murder.
At age ninety-five, Judge Edward Dimock, patriarch of his family and the man who defended accused Soviet spy Alger Hiss in the famous 1950 Cold War “trial of the century,” is writing his memoir at his fabled Catskill retreat, Hermitage, with its glorious Italian Renaissance ceiling. Judge Dimock is consumed with doubts about the troubling secrets he’s kept to himself for over fifty years—secrets that might change both American history and the lives of his entire family. Was his client guilty of spying for Stalin or not? And if guilty, did Hiss’s crimes go far beyond his perjury conviction—a verdict that divided the country for a generation? Dimock enlists his grandson, George Altmann, a brilliant Princeton astrophysicist, in the quest for truth. Reluctantly, George finds himself drawn into the web of deceit that has ravaged his family, his curiosity sparked by a string of clues found in the Judge’s unpublished memoir and in nine pencil sketches of accused Soviet agents pinned to an old corkboard in his grandfather’s abandoned office. Even more dismaying, the drawings are by George’s paternal grandfather and namesake, a once-famous painter who covered the Hiss trial as a courtroom artist for the Herald Tribune, only to die in uncertain circumstances in a fall from Woodstock’s Fishkill Bridge on Christmas Eve 1949. Many of the suspected spies also died from ambiguous falls (a KGB specialty) or disappeared behind the Iron Curtain—and were conveniently unable to testify in the Hiss trial. George begins to realize the immensity of what is at stake: deceptive entanglements that will indeed alter the accepted history of the Cold War—and how he understands his own unhappy Woodstock childhood, growing up in the shadow of a rumored suicide and the infidelities of an alcoholic father, a roadie with The Band. In Gods of Deception, acclaimed novelist David Adams Cleveland has created a multiverse all its own: a thrilling tale of espionage, a family saga, a stirring love story, and a meditation on time and memory, astrophysics and art, taking the reader on an unforgettable journey into the troubled human heart as well as the past—a past that is ever present, where the gods of deception await our distant call.
This is an historical fantasy set in 1555 on the Island of St Thomas in the USVI. A privateer named the Red Grouse, captained by a Captain Douglas Murphy intercepted a Portuguese merchant ship. They sunk the vessel and took on board two hostages, which consisted of an Arabian merchant and his daughter. Later they entered, what is now known as the American Virgin Islands. As they past Secret Harbor they become the victims of a surprise attack by a French galleon, captained by a Captain Jacques de-Sores and the Grouse sank. Despite this, twelve year old Tom, the captains cabin boy and one of the hostages, named Mayya the Arabian merchant's daughter, also twelve, managed to escape being drowned. They were marooned on the Island, now known as St Thomas. Their journey through this Island introduced them to both the good and the bad elements of the island. Their human weaknesses and frailties were tested and they learnt life's cruel lesson about pain and separation. On their journey they became embroiled in a struggle between good and evil, the dominance of evil and the advantages of the collective good. In the story, the manifestation of evil was Mowang, the king of devils and his pet Weiju. The good were materialized in the Tutus fairy-like beings, the Black Witch Lisa, the Ceboney girl Arawa and others. Mowang lived in a cave overlooking Brewer's beach, where it still is to this day. Many places are named after the heroes and heroines in this book. This story is a mythological story about the Island of St Thomas in the USVI. Ironically the loss of the great evil resulted in the disappearance of the great good. The Ceboney and Arawa people no longer live there, they are all gone now. Gone too, are the ancient mystical creatures, only their names exist, like some epitaph to those who lived in those long lost forgotten times.
In March 1824 a group of angry and intoxicated settlers brutally murdered nine Indians camped along a tributary of Fall Creek. The carnage was recounted in lurid detail in the contemporary press, and the events that followed sparked a national sensation. Murder in Their Hearts: The Fall Creek Massacre tells that, although violence between settlers and Native Americans was not unusual during the early nineteenth century, in this particular incident the white men responsible for the murders were singled out and hunted down, brought to trial, convicted by a jury of their neighbors, and, for the first time under American law, sentenced to death and executed for the murder of Native Americans.
The Bents might be the most famous family in the history of the American West. From the 1820s to 1920 they participated in many of the major events that shaped the Rocky Mountains and Southern Plains. They trapped beaver, navigated the Santa Fe Trail, intermarried with powerful Indian tribes, governed territories, became Indian agents, fought against the U.S. government, acquired land grants, and created historical narratives. The Bent family's financial and political success through the mid-nineteenth century derived from the marriages of Bent men to women of influential borderland families--New Mexican and Southern Cheyenne. When mineral discoveries, the Civil War, and railroad construction led to territorial expansions that threatened to overwhelm the West's oldest inhabitants and their relatives, the Bents took up education, diplomacy, violence, entrepreneurialism, and the writing of history to maintain their status and influence. In Blood in the Borderlands David C. Beyreis provides an in-depth portrait of how the Bent family creatively adapted in the face of difficult circumstances. He incorporates new material about the women in the family and the "forgotten" Bents and shows how indigenous power shaped the family's business and political strategies as the family adjusted to American expansion and settler colonist ideologies. The Bent family history is a remarkable story of intercultural cooperation, horrific violence, and pragmatic adaptability in the face of expanding American power.
The Autobiography of Thomas Moxley (Weasel Tom). Thomas was in his 'own' as an adventurer and hunter when the events of the Civil War engulfed his world and changed his life forever. He did not let the events change his moral character and took action to preserve his family and values. He did this in spite of the threats to his life, family and property. He took this challenge and enriched the lives of those around him and lived a full and rich life.
Written by the undisputed "deans of America's Kennedy watchers", this exceptional biography traces Kennedy's life and political career from his boyhood and school days, through his "Casanova" period in London, to his years at war, his entrance into politics and finally the Presidency. An in-depth study of a great man in memory of the 25th anniversary of his assassination.
Many of us grew up hearing our parents exclaim 'you are driving me to the poorhouse!' or remember the card in the 'Monopoly' game which says 'Go to the Poorhouse! Lose a Turn!' Yet most Americans know little or nothing of this institution that existed under a variety of names for approximately three hundred years of American history. Surprisingly these institutions variously named poorhouses, poor farms, sometimes almshouses or workhouses, have received rather scant academic treatment, as well, though tens of millions of poor people were confined there, while often their neighbors talked in hushed tones and in fear of their own fate at the 'specter of the poorhouse.' Based on the author's study of six New England poorhouses/poor farms, a hidden story in America's history is presented which will be of popular interest as well as useful as a text in social welfare and social history. While the poorhouse's mission was character reform and 'repressing pauperism,' these goals were gradually undermined by poor people themselves, who often learned to use the poorhouse for their own benefit, as well as by staff and officials of the houses, who had agendas sometimes at odds with the purposes for which the poorhouse was invented.
With the assistance of several scholars, including James M. McPherson and Gary Gallagher, and a long-time specialist in Civil War books, Ralph Newman, David Eicher has selected for inclusion in The Civil War in Books the 1,100 most important books on the war. These are organized into categories as wide-ranging as "Battles and Campaigns," "Biographies, Memoirs, and Letters," "Unit Histories," and "General Works." The last of these includes volumes on black Americans and the war, battlefields, fiction, pictorial works, politics, prisons, railroads, and a host of other topics. Annotations are included for all entries in the work, which is presented in an oversized 8 1/2 x 11 inch volume in two-column format. Appendixes list "prolific" Civil War publishers and other Civil War bibliographies, and the works included in Eicher's mammoth undertaking are indexed by author or editor and by title. Gary Gallagher's foreword traces the development of Civil War bibliographies and declares that Eicher's annotation exceeds that of any previous comprehensive volume. The Civil War in Books, Gallagher believes, is "precisely the type of guide" that has been needed. The first full-scale, fully-annotated bibliography on the Civil War to appear in more than thirty years, Eicher's The Civil War in Books is a remarkable compendium of the best reading available about the worst conflict ever to strike the United States. The bibliography, the most valuable reference book on the subject since The Civil War Day by Day, will be essential for college and university libraries, dealers in rare and secondhand books, and Civil War buffs.
What was distinctive about the evil of the transatlantic slave trade and New World slavery? In what ways can the present seek to rectify such historical wrongs, even while recognizing that they lie beyond repair? Irreparable Evil explores the legacy of slavery and its moral and political implications, offering a nuanced intervention into debates over reparations. David Scott reconsiders the story of New World slavery in a series of interconnected essays that focus on Jamaica and the Anglophone Caribbean. Slavery, he emphasizes, involved not only scarcely imaginable brutality on a mass scale but also the irreversible devastation of the ways of life and cultural worlds from which enslaved people were uprooted. Colonial extraction shaped modern capitalism; plantation slavery enriched colonial metropoles and simultaneously impoverished their peripheries. To account for this atrocity, Scott examines moral and reparatory modes of history and criticism, probing different conceptions of evil. He reflects on the paradoxes of seeking redress for the specific moral evil of slavery, criticizing the limitations of liberal rights-based arguments for reparations that pursue reconciliation with the past. Instead, this book argues, in making the urgent demand for reparations, we must acknowledge the fundamental irreparability of a wrong of such magnitude.
In addition to his political activities, Attwood laid claim to competence as an economist, based on his experience in banking and his observation of industrial practices in Birmingham. He focused most of his attention on the gold standard and its inhibitory effect on the growth of the economy. Long before the development of modern schools of economic theory, Attwood sought the regulation of business through control of the money supply. He was unsuccessful in his challenge to the Ricardian school, which promised stability through a gold based economy, and died disillusioned. Birmingham became identified with his brand of economic theory and a succession of economists followed his lead into the national arena. Through his study of Attwood's career and the development of his philosophy, David Moss reveals the impact of industrialism on the individual and society.
Dubbed "The Dollar Bills," William H. Pine and William C. Thomas made 1940s Hollywood take notice with their B movies for Paramount that gave solid entertainment while cutting costs to the bone. In the 1950s, with television looming, Pine-Thomas Productions began making bigger-budget films with stars including James Cagney and Jane Wyman, and incorporating trends like 3-D. "The public is Hollywood's boss," Pine said, and the company gave moviegoers what they wanted. Written with the assistance of the Pine and Thomas families, this book draws on Thomas' never-published memoir, interviews with colleagues and relatives, and rarely seen photographs to document the story of Pine-Thomas and its founders. An annotated filmography covers their 76 feature films and five shorts. Appendices give biographical sketches of such actors as Robert Lowery, Jean Parker and John Payne, as well as the directors, cinematographers and other crew members who made movies at top speed with more ingenuity than money.
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