This story has been virtually ignored by historians of fundamentalism and historians of religion in the South. Glass has written a history that fills a significant gap in the historical literature on fundamentalism and on religion in the American South. As such, he lays the groundwork for understanding the South's contribution to the growth of the religious right in second half of the twentieth-century."--BOOK JACKET.
Volume three of a bibliography documenting all that has been written in the English language on the history of sport and physical education in Britain. It lists all secondary source material including reference works, in a classified order to meet the needs of the sports historian.
From the greatest western storytellers of our time comes a new twist on the legend of notorious outlaw Jesse Jameswho just might not have died on that fateful April 3, 1882.
The Great Justices offers a revealing glimpse of a judicial universe in which titanic egos often clash, and comes as close as any book ever has to getting inside the minds of Supreme Court jurists. This is rare and little-examined territory: in the public consciousness the Supreme Court is usually seen as an establishment whose main actors, the justices, remain above emotion, vitriol, and gossip, the better to interpret our nation of laws. Yet the Court's work is always an interchange of ideas and individuals, and the men and women who make up the Court, despite or because of their best intentions, are as human as the rest of us. Appreciating that human dimension helps us to discover some of the Court's secrets, and a new way to understand the Court and its role. Comparing four brilliant but very different jurists of the Roosevelt Court-Hugo Black, William O. Douglas, Felix Frankfurter, and Robert Jackson-William Domnarski paints a startling picture of the often deeply ambiguous relationship between ideas and reality, between the law and the justices who interpret and create it. By pulling aside the veil of decorous tradition, Domnarski brings to light the personalities that shaped one of the greatest Courts of our time-one whose decisions continue to affect judicial thinking today. William Domnarski is the author of In the Opinion of the Court (1996), a study of the history and nature of federal court judicial opinions. He holds a J.D. from the University of Connecticut and a Ph.D. in English from the University of California. Domnarski currently practices law in California, where he is also working on a forthcoming biography of legendary Hollywood lawyer Bert Fields.
E. M. (Buck) Schiwetz (1898–1984) could be called a “favorite son” among Texas artists working in the twentieth century. Schiwetz ranks among the state’s best-known early artists, having left behind an important body of iconic Texas imagery produced over a prodigious career spanning some seven decades. Educated as an architect at A&M College of Texas, he parlayed this training with natural acumen to become a consummate draftsman, prominent illustrator, and celebrated artist. In the mid-twentieth century, Schiwetz distinguished himself as an active participant in the rise of Texas art. As the Texas art scene experienced a period of dynamic growth and development, his artwork evolved across successive movements of Lone Star Impressionism, Regionalism, Modernism, and Expressionism. During his lifetime, the artwork of Buck Schiwetz arguably graced more publications than that of any other Texas artist. Featured in popular journals such as The Humble Way or published in the pioneering art books issued by academic presses at both the University of Texas and Texas A&M University, Schiwetz’s Texas imagery has long been employed to portray and celebrate Lone Star history and culture. The Artistic Legacy of Buck Schiwetz provides a long-overdue examination of this important Texas artist and his legacy: the first authoritative treatment of Schiwetz’s career as both fine artist and accomplished illustrator, and the first scholarly examination of his full body of work. See the art exhibition traveling Texas from 2023-2025: Stark Galleries, Texas A&M University: September 21 to December 18, 2023 Tyler Museum of Art: January 19 to April 14, 2024 The Grace Museum, Abilene: April 27 to September 15, 2024 The Capitol of Texas, Austin: October 25, 2024, to January 31, 2025
Some law students find jurisprudence daunting, impersonal, dry and seemingly detached from practical affairs. William Twining believes that many jurists have been fascinating people struggling with questions that are both historically significant and relevant to contemporary issues. This book brings together previously published essays that centre on three related themes: reading Juristic texts, the role of narrative in law, and relations between theory and practice. Building on a pragmatic view of jurisprudence, the author explores different ways of reading and using Juristic texts, to set them in context, to bring them to life and to engage with the reader's own concerns. He applies this approach to throw fresh light on four familiar figures - Holmes, Bentham, Hart and Llewellyn. Challenging limited agendas and parochial points of view, Twining outlines a programme for a broad approach to legal theory in the context of globalization. He satirizes some bad habits in jurisprudence and explores in depth how stories can be seductive vehicles for cheating in legal contexts, yet are essential for making sense of disputes about fact or law.
A significant collection of Texas paintings and prints hangs humbly and inconspicuously throughout the offices, conference rooms, and hallways of Texas A&M University Press. These works comprise the Frank H. Wardlaw Collection of Texas Art, named in honor of the Press’s founding director, who was one of the genuine publishing icons of his day. Established in 1983 at the dedication of the new headquarters of Texas A&M University Press on the campus of Texas A&M, the collection began with twenty inaugural contributions that came as gifts from respected Texas artists whose art appeared in the books Wardlaw had shepherded to publication at the Press. Since then, the collection—which continues to be linked to artists published by the Press—has grown to house more than one hundred paintings, photographs, and illustrations. Among the noted artists featured in the collection are E. M. (Buck) Schiwetz, Otis Dozier, Michael Frary, Everett Spruce, Emily Guthrie Smith, Jerry Bywaters, and, among more recent additions, Dorothy Hood and Richard Stout. Through interviews with longtime staff and research into the Press’s book files and correspondence, William and Linda Reaves have uncovered the captivating history of this unlikely collection. In A Book Maker’s Art, they present the freshly assembled story of the Wardlaw collection, from its modest yet unique beginning to its present-day status as one of the university’s excellent collections of Texas art, reflecting the exceptional bond of arts and letters that has come to distinguish Texas A&M University Press.
The true story, and the black citizens, behind the evolution of racial equality in Minnesota He had just given a rousing speech to a packed assembly in St. Paul, but Frederick Douglass, confidant to the Great Emancipator and conscience of the Republican Party, was denied a hotel room because he was black. This was Minnesota in 1873, four years after the state had approved black suffrage—a state where “freedom” meant being unshackled from slavery but not social restrictions, where “equality” meant access to the ballot but not to a restaurant downtown. Spanning the half-century after the Civil War, Degrees of Freedom draws a rare picture of black experience in a northern state and of the nature of black discontent and action within a predominantly white, ostensibly progressive society. William D. Green reveals little-known historical characters among the black men and women who moved to Minnesota following the Fifteenth Amendment; worked as farmhands and laborers; built communities (such as Pig’s Eye Landing, later renamed St. Paul), businesses, and a newspaper (the Western Appeal); and embodied the slow but inexorable advancement of race relations in the state over time. Within this absorbing, often surprising, narrative we meet “ordinary” citizens, like former slave and early settler Jim Thompson and black barbers catering to a white clientele, but also personages of national stature, such as Frederick Douglass, Booker T. Washington, and W. E. B. Du Bois, all of whom championed civil rights in Minnesota. And we see how, in a state where racial prejudice and oppression wore a liberal mask, black settlers and entrepreneurs, politicians, and activists maneuvered within a restricted political arena to bring about real and lasting change.
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