Women of Discriminating Taste examines the role of historically white sororities in the shaping of white womanhood in the twentieth century. As national women’s organizations, sororities have long held power on college campuses and in American life. Yet the groups also have always been conservative in nature and inherently discriminatory, selecting new members on the basis of social class, religion, race, or physical attractiveness. In the early twentieth century, sororities filled a niche on campuses as they purported to prepare college women for “ladyhood.” Sorority training led members to comport themselves as hyperfeminine, heterosocially inclined, traditionally minded women following a model largely premised on the mythical image of the southern lady. Although many sororities were founded at non-southern schools and also maintained membership strongholds in many non-southern states, the groups adhered to a decidedly southern aesthetic—a modernized version of Lost Cause ideology—in their social training to deploy a conservative agenda. Margaret L. Freeman researched sorority archives, sorority-related materials in student organizations, as well as dean of women’s, student affairs, and president’s office records collections for historical data that show how white southerners repeatedly called upon the image of the southern lady to support southern racial hierarchies. Her research also demonstrates how this image could be easily exported for similar uses in other areas of the United States that shared white southerners’ concerns over changing social demographics and racial discord. By revealing national sororities as significant players in the grassroots conservative movement of the twentieth century, Freeman illuminates the history of contemporary sororities’ difficult campus relationships and their continuing legacy of discriminatory behavior and conservative rhetoric.
Women of Discriminating Taste examines the role of historically white sororities in the shaping of white womanhood in the twentieth century. As national women’s organizations, sororities have long held power on college campuses and in American life. Yet the groups also have always been conservative in nature and inherently discriminatory, selecting new members on the basis of social class, religion, race, or physical attractiveness. In the early twentieth century, sororities filled a niche on campuses as they purported to prepare college women for “ladyhood.” Sorority training led members to comport themselves as hyperfeminine, heterosocially inclined, traditionally minded women following a model largely premised on the mythical image of the southern lady. Although many sororities were founded at non-southern schools and also maintained membership strongholds in many non-southern states, the groups adhered to a decidedly southern aesthetic—a modernized version of Lost Cause ideology—in their social training to deploy a conservative agenda. Margaret L. Freeman researched sorority archives, sorority-related materials in student organizations, as well as dean of women’s, student affairs, and president’s office records collections for historical data that show how white southerners repeatedly called upon the image of the southern lady to support southern racial hierarchies. Her research also demonstrates how this image could be easily exported for similar uses in other areas of the United States that shared white southerners’ concerns over changing social demographics and racial discord. By revealing national sororities as significant players in the grassroots conservative movement of the twentieth century, Freeman illuminates the history of contemporary sororities’ difficult campus relationships and their continuing legacy of discriminatory behavior and conservative rhetoric.
This exhaustive reference includes new chapters and pedagogical features, as well as—for the first time—content on managing fragility factures. To facilitate fast, easy absorption of the material, this edition has been streamlined and now includes more tables, charts, and treatment algorithms than ever before. Experts in their field share their experiences and offer insights and guidance on the latest technical developments for common orthopaedic procedures, including their preferred treatment options.
Although many opera dictionaries and encyclopedias are available, very few are devoted exclusively to operas in a single language. In this revised and expanded edition of Operas in English: A Dictionary, Margaret Ross Griffel brings up to date her original work on operas written specifically to an English text (including works both originally prepared in English, as well as English translations). Since its original publication in 1999, Griffel has added nearly 800 entries to the 4,300 from the original volume, covering the world of opera in the English language from 1634 through 2011. Listed alphabetically by letter, each opera entry includes alternative titles, if any; a full, descriptive title; the number of acts; the composer’s name; the librettist’s name, the original language of the libretto, and the original source of the text, with the source title; the date, place, and cast of the first performance; the date of composition, if it occurred substantially earlier than the premiere date; similar information for the first U.S. (including colonial) and British (i.e., in England, Scotland, or Wales) performances, where applicable; a brief plot summary; the main characters (names and vocal ranges, where known); some of the especially noteworthy numbers cited by name; comments on special musical problems, techniques, or other significant aspects; and other settings of the text, including non-English ones, and/or other operas involving the same story or characters (cross references are indicated by asterisks). Entries also include such information as first and critical editions of the score and libretto; a bibliography, ranging from scholarly studies to more informal journal articles and reviews; a discography; and information on video recordings. Griffel also includes four appendixes, a selective bibliography, and two indexes. The first appendix lists composers, their places and years of birth and death, and their operas included in the text as entries; the second does the same for librettists; the third records authors whose works inspired or were adapted for the librettos; and the fourth comprises a chronological listing of the A–Z entries, including as well as the date of first performance, the city of the premiere, the short title of the opera, and the composer. Griffel also include a main character index and an index of singers, conductors, producers, and other key figures.
New edition of a shop-by-mail guide. Brief descriptions and contact information are provided for some 2,000 vendors in 59 categories, among them: bead crafts, ceramics, jewelry making and lapidary, kite making, leather crafts, rug making, spinning and weaving, stenciling, and woodworking. A resources section includes listings of publications, associations, and companies selling supportive materials and aids. Annotation copyrighted by Book News, Inc., Portland, OR
Festivals have always been part of city life, but their relationship with their host cities has continually changed. With the rise of industrialization, they were largely considered peripheral to the course of urban affairs. Now they have become central to new ways of thinking about the challenges of economic and social change, as well as repositioning cities within competitive global networks. In this timely and thought-provoking book, John and Margaret Gold provide a reflective and evidence-based historical survey of the processes and actors involved, charting the ways that regular festivals have now become embedded in urban life and city planning. Beginning with David Garrick’s rain-drenched Shakespearean Jubilee and ending with Sydney’s flamboyant Mardi Gras celebrations, it encompasses the emergence and consolidation of city festivals. After a contextual historical survey that stretches from Antiquity to the late nineteenth century, there are detailed case studies of pioneering European arts festivals in their urban context: Venice’s Biennale, the Salzburg Festival, the Cannes Film Festival and Edinburgh’s International Festival. Ensuing chapters deal with the worldwide proliferation of arts festivals after 1950 and with the ever-increasing diversifycation of carnival celebrations, particularly through the actions of groups seeking to assert their identity. The conclusion draws together the book’s key themes and sketches the future prospects for festival cities. Lavishly illustrated, and copiously researched, this book is essential reading not just for urban geographers, social historians and planners, but also for anyone interested in contemporary festival and events tourism, urban events strategy, urban regeneration regeneration, or simply building a fuller understanding of the relationship between culture, planning and the city.
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