Bøger udgivet af University of Virginia Press

TWO HUNDRED YEARS after Henry "Lighthorse Harry" Lee's funeral oration for George Washington, the eloquence of his words "first in war, first in peace, and first in the hearts of his countrymen" has caused most Americans to forget the clause that followed in which Lee located Washington's character firmly in his private life. George Washington: The Man behind the Myths redresses this historical imbalance in our image of Washington by examining our conceptions and misconceptions about him through a fascinating collection of documents and images.Washington's own accounts, observations by his contemporaries, narratives by the first generation of Washington biographers, decorative objects, and visual images, which were assembled for a major exhibition sponsored by the Virginia Historical Society, the Mount Vernon Ladies' Association, and Washington and Lee University, invite a fresh evaluation of Washington. William M. S. Rasmussen and Robert S. Tilton trace the ways in which Washington's origins in the peculiar colonial society of Virginia prepared him for success on the national stage. Chronologically arranged chapters examine Washington's early exposure to the wealthy Fairfax family, his command of the Virginia Regiment during the French and Indian War and later the Continental Army, his decision to attend the Constitutional Convention, and his two elections to the presidency. Rasmussen and Tilton argue that the major transitions we see in Washington's public image were made possible by the stability of his private life and his love of Mount Vernon.The image of Washington created by antebellum writers and artists after his death was intended to capture what he signified to the fledgling republic. This myth has survived largely because of its usefulness to our national culture. George Washington: The Man behind the Myths takes a crucial step in restoring our understanding of Washington as he actually was.

Visiting Britain in the mid-eighteenth century, Andre Rouquet wrote that "in England more than in any other country, every man would fain be his own architect." Not surprisingly, then, several of the most important eighteenth-century British authors were also practicing architects: John Vanbrugh, a playwright, designed Blenheim Palace; the poet Alexander Pope offered architectural drawings for redesigning the houses of friends; and Horace Walpole claimed that the home he renovated, Strawberry Hill, inspired his novel The Castle of Otranto. The work of John Milton and Thomas Gray also exhibits an abiding interest in architecture. By examining the connections between literature and architecture in the work of these writers and by viewing architecture in literary terms, Lee Morrissey traces a narrative of cultural change in the Augustan Age and beyond.A literary scholar with a strong background in architectural theory and practice, Morrissey examines architectural references made by these authors and architectural publications familiar to them. Each chapter establishes a connection with architecture in the careers of an author and then describes how a principal text -- Paradise Lost, The Provok'd Wife, An Essay on Man, Elegy Written in a Country Churchyard, and The Castle of Otranto -- focuses the literary and historical issues of the period in architectural terms.While some twentieth-century architectural theorists have worried that treating architecture in literary terms robs it of its social function, Morrissey argues that architecture can be a language and still participate in political and social contexts, because language itself is political and social. The fruit of hisargument is a unique intellectual history of late seventeenth- and eighteenth-century Britain that will engage scholars of architectural history and landscape architecture as well as of literature.

On the day Fort Sumter surrendered to Confederate authorities, General Braxton Bragg reacted to a newspaper report that might have revealed the position of gun emplacements by placing the correspondent, a Southern loyalist, under arrest. Thus the Confederate army's first detention of a citizen occurred before President Lincoln had even called out troops to suppress the rebellion. During the civil war that followed, not a day would pass when Confederate military prisons did not contain political prisoners.Based on the discovery of records of over four thousand of these prisoners, Mark E. Neely Jr.'s new book undermines the common understanding that Jefferson Davis and the Confederates were scrupulous in their respect for constitutional rights while Lincoln and the Unionists regularly violated the rights of dissenters. Neely reveals for the first time the extent of repression of Unionists and other civilians in the Confederacy, and uncovers and marshals convincing evidence that Southerners were as ready as their Northern counterparts to give up civil liberties in response to the real or imagined threats of wartime.From the onset of hostilities, the exploits of drunken recruits prompted communities from Selma to Lynchburg to beg the Richmond government to impose martial law. Southern citizens resigned themselves to a passport system for domestic travel similar to the system of passes imposed on enslaved and free blacks before the war. These restrictive measures made commerce difficult and constrained religious activity. As one Virginian complained, "This struggle was begun in defence of Constitutional Liberty which we could not get in the United States." The Davis administration countered that the passport system was essential to prevent desertion from the army, and most Southerners accepted the passports as a necessary inconvenience, ignoring the irony that the necessities of national mobilization had changed their government from a states'-rights confederacy to a powerful, centralized authority.After the war the records of men imprisoned by this authority were lost through a combination of happenstance and deliberate obfuscation. Their discovery and subtle interpretation by a Pulitzer Prize&emdash;winning historian explodes one of the remaining myths of Lost Cause historiography, revealing Jefferson Davis as a calculated manipulator of the symbols of liberty.

Queens, by definition, embody a historical contradiction between femininity and power. Queen Victoria, whose strength and longevity defined an age, possessed immense cultural as well as political power, even becoming a writer herself.This cultural sovereignty, argues Gail Turley Houston, in the hands of a female monarch troubled writers, especially men, who worked during a reign that viewed women as domestic angels. By exploring a wide range of representations of the queen by significant Victorian writers, Houston points out the complexity of Victorian constructions of gender, representation, authority, and identity. She works to demystify such canonized authors as Charles Dickens, Elizabeth Barrett Browning, and Margaret Oliphant by examining the ways they encounter Victoria in their writings. The queen's feminine power seems to be at odds with the masculine profession of author, which was also coming to be viewed as a significant representative of the culture.Part of the recent movement by feminist scholars to recuperate and analyze Queen Victoria's important meanings in nineteenth-century British culture, Royalties dissects the anomaly of the queen and her effect on dominant cultural attitudes about gender.

In a February 1966 letter to her artistic confidant, Robert Lowell, Elizabeth Bishop tellingly grouped four midcentury poets: Lowell, Randall Jarrell, John Berryman, and herself. For Bishop--always wary of being pigeonholed and therefore reticent about naming her favorite contemporaries--it was a rare explicit acknowledgment of an informal but enduring artistic circle that has evaded the notice of literary journalists for more than forty years. Despite the private nature of their dialogue, the group's members--Bishop, Lowell, Jarrell, and Berryman--left a compelling record of their mutual interchange and influence. Drawing on an extensive range of published and archival sources, Thomas Travisano traces these poets' creation of a surprisingly coherent postmodern aesthetic and defines its continuing influence on American poetry.The refusal of this "midcentury quartet," as Travisano calls them, to voice a formalized doctrine, coupled with their intuitive way of working, has caused critics to miss the coherence of their project. Travisano argues that these poets are not only successors to Pound, Auden, Stevens, and Eliot but postmodern explorers in their own right. In forging their own aesthetic, characterized here as a postmodern mode of elegy, they encountered significant resistance from their immediate modernist mentors Allen Tate, John Crowe Ransom, and Marianne Moore.Jarrell, whom others of the group regarded as a critic of particular genius, was first described as a post-modernist in a 1941 review by Ransom that Travisano cites as the earliest known use of the term. In Jarrell's review of Lowell's Lord Weary's Castle six years later, he named Lowell a postmodernist and identified traits, among them the use of pastiche, that are now considered by theorists such as Fredric Jameson as specifically postmodern. And Bishop's inventiveness allowed her to adapt a self-exploratory mode often, but imprecisely, termed confessional to challenging forms such as the double sonnet, villanelle, and sestina.Each of these poets suffered a devastating loss during childhood and lived through the twentieth-century disasters of the Great Depression, World War II and the Holocaust, and the cold war. The continual tension in their poetry between subjectivity and form, claims Travisano, reflects the plight of the fractured individual in a postmodern world. By arguing so sharply for the importance of this circle, Midcentury Quartet is certain to redraw the map of postwar American poetry.

Essays and Reviews is a collection of seven articles that appeared in 1860, sparking a Victorian culture war that lasted for at least a decade. With pieces written by such prominent Oxford and Cambridge intellectuals as Benjamin Jowett, Mark Pattison, Baden Powell, and Frederick Temple (later archbishop of Canterbury), the volume engaged the relations between religious faith and current topics of the day in education, the classics, theology, science, history, literature, biblical studies, hermeneutics, philology, politics, and philosophy. Upon publication, the church, the university, the press, the government, and the courts, both ecclesiastical and secular, joined in an intense dispute. The book signaled an intellectual and religious crisis, raised influential issues of free speech, and questioned the authority and control of the Anglican Church in Victorian society. The collection became a best-seller and led to three sensational heresy trials.Although many historians and literary critics have identified Essays and Reviews as a pivotal text of high Victorianism, until now it has been almost inaccessible to modern readers. This first critical edition, edited by Victor Shea and William Whitla, provides extensive annotation to map the various positions on the controversies that the book provoked. The editors place the volume in its complex social context and supply commentary, background materials, composition and publishing history, textual notes, and a broad range of new supporting documents, including material from the trials, manifestos, satires, and contemporary illustrations.Not only does such an annotated critical edition of Essays and Reviews indicate the impact that the volume had on Victorian society; it also sheds light on our own contemporary cultural institutions and controversies.

The fourth edition of The Virginia Landmarks Register is an entirely new, fully illustrated compilation of the state's buildings, structures, sites, and districts that have been officially designated as historic landmarks by the Virginia Board of Historic Resources over the past thirty years. The assemblage of nearly 1,800 entries--700 more than in the third edition, published in 1986--represents the most comprehensive inventory of Virginia's rich and varied historic patrimony ever published.An invaluable reference for any Virginian, scholar, planner, architect, or preservationist, the Register is far more than an official list of names. Every registered landmark and district is identified by a brief history documenting its significance and by a brief description. Each entry is accompanied by a photograph showing its current appearance. Arranged alphabetically by county and independent city, the entries include not only many nationally famous places but the entire spectrum of the Commonwealth's cultural resources, from a 1,200-year-old prehistoric archaeological site through twentieth-century commercial architecture, from gristmills and metal-truss bridges and iron furnaces to NASA space exploration installations.Those interested in traditional Virginia architecture will discover a multiplicity of building types, both high-style and vernacular. Included, too, are important landmarks of black history, the Civil War, education, and industry. The Virginia Landmarks Register, fourth edition, will create for the reader a deeper awareness of a unique legacy and will serve to enhance the stewardship of Virginia's irreplaceable heritage.

(Congressional Research Institute for Social Work and Policy) * Marc Mauer (The Sentencing Project) * Anoop Mirpuri (Portland State University) * Christopher Muller (Harvard University) * Marlon B. Ross (University of Virginia) * Jim Shea (Community Organizer) * Jonathan Simon (University of California-Berkeley) * Heather Ann Thompson (Temple University) * Debbie Walker (The Female Perspective) * Christopher Wildeman (Yale University) * Interviews by Jared Brown (University of Virginia) & Tshepo Morongwa Chéry (University of Texas-Austin)

Cathryn Hankla's first novel is an engaging coming-of-age story set in the small Appalachian mining town of Poorwater, Virginia. It is the summer of 1968, and the narrator, inquisitive ten-year-old Dorie Parks, is getting ready to enter fifth grade when her errant older brother Willie returns to town. A religious fanatic and suspected drug user, Willie represents to the residents of Poorwater the hippie counterculture that threatens their conservative town, and his return is the catalyst for a string of strange and sometimes tragic events. Dorie's father, a miner, begins a dangerous labor rights crusade after a mining accident leaves a close friend dead. Dorie struggles to understand the class differences that separate "holler kids" and trailer park children like herself from her wealthy friend Betty. Hankla's graceful writing evokes the wonder and growing sophistication of a young girl on the verge of adolescence and an unknown future. A Blue Moon in Poorwater offers a moving yet unsentimental slice of life in Appalachian, Virginia.

AUTOBIOGRAPHY AND NATIONAL IDENTITY in the Americas puts texts from English and French Canada, Guatemala, Nicaragua, Brazil, Bolivia, and the United States into a hemispheric dialogue on national and ethnic identity. Drawing on such materials as journals, personal essays, autobiography, and the testimonio, this ambitious book is as comprehensive in its treatment of autobiographical writing as in its geographical coverage.Departing from Benedict Anderson's hopeful premise that the "imagined community" is fundamentally inclusive, Steven V. Hunsaker maintains that national identity is more idiosyncratic, complex, and divisive than Anderson's model suggests. The fact that potential compatriots create the nation by seeing themselves as a community means that there can be no guarantee of uniformly imagined identity. Hunsaker uses works by such authors as Rigoberta Menchú, Carolina Maria de Jesus, Pierre Vallières, Maxine Hong Kingston, and Richard Rodriguez to illustrate how different populations within a single nation--children, women, indigenous groups, and minority groups--challenge established collective identities and create their own senses of community.Bringing into play elements of genre studies and regional studies, the book illustrates the liberating potential of seeing a nation as the product of its citizens, but also the instability inherent in national communities imagined across race, class, ethnicity, and gender.

The pluralization of Christian religion was the defining fact of cultural life in sixteenth-century Europe. Everywhere they took root, ideas of evangelical reform disturbed the unity of religious observance on which political community was founded. By the third quarter of the sixteenth century, one or another form of Christianity had emerged as dominant in most territories of the Holy Roman Empire.In Hometown Religion: Regimes of Coexistence in Early Modern Westphalia, David Luebke examines a territory that managed to escape that fate--the prince-bishopric of Münster, a sprawling ecclesiastical principality and the heart of an entire region in which no single form of Christianity dominated. In this confessional "no-man's-land," a largely peaceable order took shape and survived well into the mid-seventeenth century, a unique situation, which raises several intriguing questions: How did Catholics and Protestants manage to share parishes for so long without religious violence? How did they hold together their communities in the face of religious pluralization? Luebke responds by examining the birth, maturation, old age, and death of a biconfessional "regime"--a system of laws, territorial agreements, customs, and tacit understandings that enabled Roman Catholics and Protestants, Lutherans as well as Calvinists, to cohabit the territory's parishes for the better part of a century.In revealing how these towns were able to preserve peace and unity--in the Age of Religious Wars-- Hometown Religion attests to the power of toleration in the conduct of everyday life.

A midst the other religious, political, and technological changes in seventeenth-century England, the ready availability of printed books was the most significant sign of the disappearance of old ways of thinking. The ability to read granted new independence as the interactions among reader, text, and author moved from the public forums of church and court to the privacy and solitude of the home. Privacy and Print proposes that the emergence of the concept of privacy as a personal right, as the very core of individuality, is connected in a complex fashion with the history of reading. Cecile M. Jagodzinski attempts to recover the experience of readers past by examining representations of reading and readers (especially women) in five genres of seventeenth-century literature: devotional books, conversion narratives, personal letters, drama, and the novel. The discussion ranges from the published letters of Charles I and John Donne to Aphra Behn's Love-Letters between a Nobleman and His Sister and Margaret Cavendish's literary activities.

During her long career as a public figure in Jacksonian America, Anne Royall was called everything from an "enemy of religion" to a "Jackson man" to a "common scold." In her search for the source of such strong reactions, Elizabeth Clapp has uncovered the story of a widely read woman of letters who asserted her right to a political voice without regard to her gender.Widowed and in need of a livelihood following a disastrous lawsuit over her husband's will, Royall decided to earn her living through writing--first as a travel writer, journeying through America to research and sell her books, and later as a journalist and editor. Her language and forcefully expressed opinions provoked people at least as much as did her inflammatory behavior and aggressive marketing tactics. An ardent defender of American liberties, she attacked the agents of evangelical revivals, the Bank of the United States, and corruption in government. Her positions were frequently extreme, directly challenging the would-be shapers of the early republic's religious and political culture. She made many enemies, but because she also attracted many supporters, she was not easily silenced. The definitive account of a passionate voice when America was inventing itself, A Notorious Woman re-creates a fascinating stage on which women's roles, evangelical hegemony, and political involvement were all contested.

<p><p>In <i>Imagining a Nation,</i> Ruramisai Charumbira analyzes competing narratives of the founding of Rhodesia/Zimbabwe constructed by political and cultural nationalists both black and white since occupation in 1890. The book uses a wide array of sourcesincluding archives, oral histories, and a national monumentto explore the birth of the racialized national memories and parallel identities that were in vigorous contention as memory sought to present itself as history. In contrast with current global politics plagued by divisions of outsider and insider, patriot and traitor, Charumbira invites the reader into the liminal spaces of the regions history and questions the centrality of the nation-state in understanding African or postcolonial history today. </p><p>Using an interdisciplinary methodology, Charumbira offers a series of case studies, bringing in characters from far-flung places to show that history and memory in and of one small place can have a far-reaching impact in the wider world. The questions raised by these stories go beyond the history of colonized or colonizer in one former colony to illuminate contemporary vexations about what it means to be a citizen, patriot, or member of a nation in an ever-globalizing world. Rather than a history of how the rulers of Rhodesia or Zimbabwe marshaled state power to force citizens to accept a single definition of national memory and identity, <i>Imagining a Nation</i> shows how ordinary people invested in the soft power of individual, social, and collective memories to create and perpetuate exclusionary national myths.</p></p><p><p>Reconsiderations in Southern African History</p></p>

An important contribtion to iconographic studies of the presidency, this book employs an innovative approach. Sixty engraving, medal and silhousettes illustrate the images of Thomas Jefferson that were availabel to the common man. Without television, photography, or coins that pictured the head of state, the majority of American's in Jefferson's day knew his likeness mainly from engraved prints, many of questionable artistic merit. These contemporary images have never been collected in a single source and many have never been reproduced. Source, artist, and date are given for each. They reflect the public's fascination with the man and the office and they display the state of the arts in a young nation. For the most part they derive from artistic treasures we are familiar with today, especiallly the Houdon bust and the penetrating portraits by Rembrandy Peale and Gilbert Stuart. The likeness some done by such leading engravers as Cornelius Tiebout and David Edwin appeared as separate prints, in books and periodicals and sometimes as transfers on pieces of Liverpool pottery. Among the author's major contributions are important discoveries altering accepted conclusions regarding stuart's first life portrait of Jefferson.

The Key to the Door frames and highlights the stories of some of the first black students at the University of Virginia. This inspiring account of resilience and transformation offers a diversity of experiences and perspectives through first-person narratives of black students during the University of Virginia's era of incremental desegregation. The authors relate what life was like before enrolling, during their time at the University, and after graduation. In addition to these personal accounts, the volume includes a historical overview of African Americans at the University--from its earliest slaves and free black employees, through its first black applicant, student admission, graduate, and faculty appointments, on to its progress and challenges in the twenty-first century. Including essays from graduates of the schools of law, medicine, engineering, and education, The Key to the Door a candid and long-overdue account of African American experiences at the University of Virginia.

"The story of a lost mixed-race community in Northern Virginia, drawing together newly discovered historic records, freshly uncovered contemporary accounts, and personal interviews to reveal the lives and experiences of people who struggled to make real the Reconstruction-era promise of freedom and opportunity, and those who insisted that their efforts not be forgotten"--

"The authoritative cultural history of Virginia's most famous accused witch In 1706, Grace Sherwood was "ducked" after her neighbors in Princess Anne County accused her of witchcraft. Binding and throwing her into the Lynnhaven River, they waited to see whether she would float to the top (evidence of her guilt) or sink (proof of her innocence). Incredibly, she survived. This bizarre spectacle became an early piece of Virginia folklore as stories about Sherwood, the "Witch of Pungo," spread. Her legend still looms large in Tidewater. In 2006, Governor Tim Kaine even issued an informal pardon of Sherwood, read aloud by the mayor of Virginia Beach before the annual reenactment of Sherwood's ducking. This is the first book to explore Grace Sherwood's life and cultural impact in depth. Anyone interested in colonial Virginia, American folklore, and the history and legacy of witch trials will find much to enjoy in this spellbinding book"--