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Determinism or Transcendence?: Faulkner's Reckoning with the Civil War 决定论还是超越论?福克纳的《内战的清算》
IF 0.1 4区 文学 Q4 Arts and Humanities Pub Date : 2021-09-11 DOI: 10.1353/mss.2020.0026
R. Russell
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引用次数: 0
"To Be Up and Doing": Kate Markham Power's Crusade Journalism and Case Against Woman Suffrage in the Postbellum South 《起身行动》:凯特·马卡姆·鲍尔的新闻运动和战后南方反对妇女选举权的案例
IF 0.1 4区 文学 Q4 Arts and Humanities Pub Date : 2021-09-11 DOI: 10.1353/mss.2020.0025
Philip Smith
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引用次数: 0
Remembering Randall: Written Roundtable 缅怀兰德尔:书面圆桌会议
IF 0.1 4区 文学 Q4 Arts and Humanities Pub Date : 2021-09-11 DOI: 10.1353/mss.2020.0020
J. A. Crank, Jaki Shelton Green, T. Harris, S. Holland, E. P. Johnson, R. Reid-Pharr, Rebecka Rutledge Fisher, D. Wallace
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引用次数: 0
Harriet Beecher Stowe's Palmetto Leaves and the Creation of Florida's Wild Landscape Harriet Beecher Stowe的棕榈叶与佛罗里达野生景观的创造
IF 0.1 4区 文学 Q4 Arts and Humanities Pub Date : 2021-09-11 DOI: 10.1353/mss.2020.0021
Judith W. Page
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引用次数: 0
"Ain't no more stories for you here": Vengeful Hauntings and Traumatized Community in Jesmyn Ward's Sing, Unburied, Sing “这里没有更多的故事给你听”:杰斯明·沃德的《歌唱,未埋葬,歌唱》中复仇的幽灵和创伤的社区
IF 0.1 4区 文学 Q4 Arts and Humanities Pub Date : 2021-09-11 DOI: 10.1353/mss.2020.0022
M. A. Swartzfager
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引用次数: 1
Revisiting Cable's Bras-Coupé, New Orleans, and African Creolized Reorientations of American Foundations 重新审视凯布尔的《胸罩夫妇》、《新奥尔良》和《非洲克里奥尔化的美国基金会的重新定位》
IF 0.1 4区 文学 Q4 Arts and Humanities Pub Date : 2021-09-11 DOI: 10.1353/mss.2020.0023
C. Stewart
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引用次数: 0
Resistance and Reconciliation: Whiteness, Will D. Campbell, and the Ex-Poor White Writer 《抵抗与和解:白人,威尔·d·坎贝尔和前贫穷白人作家》
IF 0.1 4区 文学 Q4 Arts and Humanities Pub Date : 2021-09-11 DOI: 10.1353/mss.2020.0024
Joseph Farmer
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引用次数: 0
A Scholar Born to Write Poetry: Interview with Jerry W. Ward, Jr. 一个天生写诗的学者——小杰里·W·沃德访谈录。
IF 0.1 4区 文学 Q4 Arts and Humanities Pub Date : 2021-06-16 DOI: 10.1353/mss.2020.0019
John Zheng
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引用次数: 0
Faulkner at the Movies: Lucas Burch/Joe Brown/Joe E. Brown 电影界的福克纳:卢卡斯·伯奇/乔·布朗/乔·E·布朗
IF 0.1 4区 文学 Q4 Arts and Humanities Pub Date : 2021-06-16 DOI: 10.1353/mss.2020.0018
Karl F. Zender
THE PURPOSE OF THIS NOTE IS TO IDENTIFY AND COMMENT ON A MOTIONpicture-related joke in the second chapter of William Faulkner’s Light in August. The joke, an allusion to the film comedian Joe E. Brown, occurs midway through the conversation between Byron Bunch and Lena Grove in which Byron, already in love with Lena, “though he does not yet know it” (Faulkner 55), inadvertently reveals that her runaway betrayer, Lucas Burch, has taken on the assumed name of Joe Brown. When Lena asks whether Joe Christmas’s “partner [is] named Joe too,” Byron responds with sidelong but telling skepticism:
本注释的目的是识别和评论威廉·福克纳《八月之光》第二章中的一个与电影有关的笑话。这个笑话暗指电影喜剧演员乔·E·布朗,发生在拜伦·邦奇和莉娜·格罗夫对话的中途,在对话中,拜伦已经爱上了莉娜,“尽管他还不知道”(福克纳55),无意中透露出她逃跑的背叛者卢卡斯·伯奇化名乔·布朗。当Lena问Joe Christmas的“伴侣是否也叫Joe”时,Byron的回答是侧目的,但表示怀疑:
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引用次数: 0
The Creating of Connelly’s Tavern and the Making of Mississippi’s Cultural Tourism Industry During the Great Depression 康纳利酒馆的创建与大萧条时期密西西比文化旅游产业的形成
IF 0.1 4区 文学 Q4 Arts and Humanities Pub Date : 2021-06-16 DOI: 10.1353/mss.2020.0015
P. Kapp
THROUGHOUT THE FIRST THREE DECADES OF THE TWENTIETH CENTURY, Americans became fascinated with places associated with their country’s past. Spanish missions and fortresses in California and Florida; historic architecture and urban districts in colonial era cities; and Revolutionary War and Civil War battlefields—all became places where Americans not only learned about their history but also reaffirmed their cultural identity. Moreover, they looked at history as entertainment. Cultural geographer John Jakle noted that by the 1930s, “History tended to be packaged as contrived attractions” (286). From Henry Ford’s Greenfield Village in Michigan to John D. Rockefeller’s Colonial Williamsburg, heritage1, not history, was commodified, packaged, and sold to American middle-class families, which were more mobile than before, traveling on improved roads in affordable automobiles. Heritage theorist David Lowenthal distinguishes history and heritage, saying, “History explores and explains pasts grown ever more opaque over time; heritage clarifies pasts so as to infuse them with present purposes” (xv). Public historian James Lindgren reminds us that a significant amount of this heritage was fabricated through “personalism”—a feminine-based historic preservation, which was based on a social group’s application of values and beliefs on a historic monument (42). Ann Pamela Cunningham’s Mount Vernon Ladies Association, the
在二十世纪的头三十年里,美国人对与他们国家的过去有关的地方着迷。西班牙在加利福尼亚和佛罗里达的传教和堡垒;殖民时代城市的历史建筑和城区;独立战争和内战的战场——所有这些都成为美国人不仅了解他们的历史,而且重申他们的文化认同的地方。此外,他们把历史视为娱乐。文化地理学家约翰·贾克尔指出,到20世纪30年代,“历史往往被包装成人为的吸引力”(286)。从亨利·福特在密歇根的格林菲尔德村到约翰·d·洛克菲勒在殖民时期的威廉斯堡,遗产而不是历史被商品化、包装并出售给美国的中产阶级家庭,这些家庭的流动性比以前更强,他们开着负担得起的汽车在改善的道路上旅行。遗产理论家大卫·洛温塔尔(David Lowenthal)区分了历史和遗产,他说:“历史探索并解释了随着时间的推移变得越来越不透明的过去;公共历史学家James Lindgren提醒我们,大量的遗产是通过“个人主义”(personalism)——一种以女性为基础的历史保护,它基于一个社会群体对历史纪念碑的价值观和信仰的应用而编造出来的(42)。安·帕梅拉·坎宁安的弗农山庄妇女协会
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引用次数: 0
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