Böcker utgivna av University Press of Mississippi

Addresses questions of outsider identities and how these identities are shaped by mainstream myths around Chicanx and Latinx young people, particularly with the common stereotype of the struggling, underachieving inner-city teens.

In this state-level history of the war on poverty, Emma Folwell traces the attempts of white and black Mississippians to address the state's dire economic circumstances through antipoverty programs.

A unique volume that is the only book solely about antebellum American fiddling. It includes more than 250 easy-to-read and clearly notated fiddle tunes alongside biographies of fiddlers and careful analysis of their personal tune collections.

Both runaways and castaways formed new societies in the wilderness. But true maroons, escaped slaves, were not cast away; they chose to fly towards the uncertainties of the wild in pursuit of freedom. In effect, this volume gives these maroons proper credit, at the very heart of American history.

While critical and popular attention afforded to twenty-first-century young adult literature has increased in recent years, classroom materials and scholarship have remained static in focus and slight in scope. This volume offers a remedy, bringing together essays about the many subgenres, themes, and character types that have been overlooked.

Brings together scholars from a range of disciplines including literature, cultural studies, religious studies, pedagogy, and communications to engage with a single character, exploring Ms. Marvel's significance for a broad readership.

Mississippi: The WPA Guide to the Magnolia State was part of a nationwide series of guides in the 1930s that created work during the Depression for artists, writers, teachers, librarians, and other professionals. This classic book is a lively collaborative project that covers a distinct era in Mississippi from the hills to the Delta to the Gulf Coast.

By 1860 the South ranked high among the developed countries of the world in per capita income and life expectancy and in the number of railroad miles, telegraph lines, and institutions of higher learning. This book examines the Confederate military's program to govern this prosperous industrial base by a quartermaster system.

Almost a century ago, Annette McConnell Anderson, a New Orleans society woman, vowed that her three sons would become artists. Backed by his mother's passion for art, her oldest son Peter Anderson founded Shearwater Pottery. Drawn by the exquisite work of Shearwater Pottery, the authors discover that painting, poetry, and storytelling are still an essential part of the family's daily life.

For almost a decade Peter Quezada, a prolific self-taught artist, painted murals and lettering on buildings and retaining walls in neighborhoods northeast of downtown Los Angeles. He refers to his work as a "graffiti deterrent" or a "substitute for graffiti," and he targets sites that are favorites of taggers and gang graffiti writers. Often he enlists their assistance and designs his murals to appeal to these youths as well as to discourage them from participating in antisocial behavior.Highlighting the interplay of contemporary life, mass-media images that confront the public, and the use of physical space in the city landscape, "Chicano Graffiti and Murals" shows how such art as Quezada's has become the signature of modern urban culture.

This startling novel depicts the compelling and poignant story of a young woman's obsession with her looks. Defining herself by the reactions of the various and unforgettable men in her life, Martha becomes more an more absorbed in the demands of being physically attractive.

This is the first American publication of Brodber's eagerly awaited third novel. In Louisiana: A Novel she explores her continuing fascination with the power of the past to live in the present. Here, Ella Townsend, a young African American anthropologist whose roots are Caribbean, researches Louisiana folklife and discovers not only the world of voodoo and carnival but also the mystical connection of the living and the dead. With her tape recorder she explores the rich heritage of Creole Louisiana, but Mammy, Ella's primary informant, dies during the project. Then from beyond the grave she continues to transmit messages. Although the academically minded Ella is dubious about the authenticity of the medium, gradually, as she confronts her prejudices, the tapes convey enriching mysteries about the past lives of Mammy and her friend Lowly. From this supernatural experience, Ella learns much about herself and her background. Louisiana celebrates the magico-religious culture of hoodoo, conjure, obeah, and myal. Like Brodber's previous works, Myal: A Novel and Jane and Louisa Will Soon Come Home, Louisiana reveals the author's fascinating gift of myth-making. The Louisiana of her title represents two places sharing the same name-the American state and Brodber's native parish in Jamaica. Through this blending of localities, Brodber shows how elements from the African diaspora are kept alive in the Creole culture of the Americas.

For the past forty years the content of comic books has been governed by an industry self-regulatory code adopted by publishers in 1954 in response to public and governmental pressure. This book examines why comic books were the subject of controversy, beginning with objections that surfaced in the mid-1930s.

The history of Carnival is so intertwined with the history of New Orleans that the story cannot be told without a social, economic, and political context. Lords of Misrule examines the often bloody history of segregation and documents the role of the Carnival fraternity and the controversy aroused by attempts to desegregate Mardi Gras.

Among America's garden cities, one of the most remarkably beautiful is New Orleans. Whether in the Vieux Carre or in the humid hinterlands, anyone hoping to recreate such a romantic spot in the climes of the Gulf Coast region should consult Charlotte Seidenberg's essential handbook.

Mystic meanings behind the flourishing art of modern-day pagans and witches

Jarret Ruminski examines ordinary lives in Confederate-controlled Mississippi to show how military occupation and the ravages of war tested the meaning of loyalty during America's greatest rift. The extent of southern loyalty to the Confederate States of America has remained a subject of historical contention that has resulted in two conflicting conclusions: one, southern patriotism was either strong enough to carry the Confederacy to the brink of victory, or two, it was so weak that the Confederacy was doomed to crumble from internal discord. Mississippi, the home state of Confederate President Jefferson Davis, should have been a hotbed of Confederate patriotism. The reality was much more complicated.Ruminski breaks the weak/strong loyalty impasse by looking at how people from different backgrounds--women and men, white and black, enslaved and free, rich and poor--negotiated the shifting contours of loyalty in a state where Union occupation turned everyday activities into potential tests of patriotism. While the Confederate government demanded total national loyalty from its citizenry, this study focuses on wartime activities such as swearing the Union oath, illegally trading with the Union army, and deserting from the Confederate army to show how Mississippians acted on multiple loyalties to self, family, and nation. Ruminski also probes the relationship between race and loyalty to indicate how an internal war between slaves and slaveholders defined Mississippi's social development well into the twentieth century.

Contributions by Allison Margaret Bigelow, Denise I. Bossy, Alejandra Dubcovsky, Alexandre Dube, Kathleen DuVal, Jonathan Eacott, Travis Glasson, Christopher Morris, Robert Olwell, Joshua Piker, and Joseph P. WardEuropean Empires in the American South examines the process of European expansion into a region that has come to be known as the American South. After Europeans began to cross the Atlantic with confidence, they interacted for three hundred years with one another, with the native people of the region, and with enslaved Africans in ways that made the South a significant arena of imperial ambition. As such, it was one of several similarly contested regions around the Atlantic basin. Without claiming that the South was unique during the colonial era, these essays make clear the region's integral importance for anyone seeking to shed new light on the long-term process of global social, cultural, and economic integration.For those who are curious about how the broad processes of historical change influenced particular people and places, the contributors offer key examples of colonial encounter. This volume includes essays on all three imperial powers, Spain, Britain, and France, and their imperial projects in the American South. Engaging profitably--from the European perspective at least--with Native Americans proved key to these colonial schemes. While the consequences of Indian encounters with European invaders have long remained a principal feature of historical research, this volume advances and expands knowledge of Native Americans in the South amid the Atlantic World.

Contributors to this volume explore several prominent intellectuals, from left-leaning leaders such as W.E.B. Du Bois to conservative intellectuals like Thomas Sowell, from well-known black feminists such as Patricia Hill Collins to Marxists like Claudia Jones, to underscore the variety of black intellectual thought in the United States.

From Walla Walla to Daytona quirky mannikins constructed from discarded automobile mufflers are popping up across America. This colourful book documents the widespread appeal of muffler men as a form of occupational art that enriches the workplace, the local environment, and now the art gallery.

Florencio Morales (1949-1992), a Mexican immigrant and Los Angeles artist, was known as "el hombre de las banderas" because he always flew American, Mexican, and California flags over his home. Illustrated with colour photographs, this vibrant book explores and documents Morale's creative expression as he commemorated a profusion of Mexican and American holidays throughout the year.

A paean to the vanishing family cotton farm

Alcorn State University was founded in 1871 making it the oldest public historically black land-grant institution in the United States. Alcorn State has undergone numerous changes and expansions over the years, and it continues to produce notable alumni and scholars in more than fifty fields.Succeeding against Great Odds covers nearly a quarter of a century since Josephine McCann Posey's first institutional history of Alcorn, Against Great Odds: The History of Alcorn State University. This new book briefly summarizes the first 123 years of Alcorn's history. The volume then explores the tenure of three interim and/or acting presidents, Drs. Rudolph E. Waters Sr., Malvin A. Williams Sr., and Norris A. Edney Sr. (with Edney serving twice), and permanent presidents, Drs. Clinton Bristow Jr., George E. Ross, M. Christopher Brown II, and Alfred Rankins Jr., who have all served since Against Great Odds was published in 1994. This comprehensive narrative shows the university confidently advancing in the twenty-first century, proud of its distinctive heritage and intent on overcoming obstacles to continue a long tradition of excellence.Succeeding against Great Odds includes numerous appendices to document the illustrious history of Alcorn, its accomplishments, and particularly the people who have shaped the institution.

Conflict and trauma remain among the most prevalent themes in film and literature. Comics has never avoided such narratives, and comics artists are writing them in ways that are both different from and complementary to literature and film. In Comics, Trauma, and the New Art of War, Harriet E. H. Earle brings together two distinct areas of research--trauma studies and comics studies--to provide a new interpretation of a long-standing theme. Focusing on representations of conflict in American comics after the Vietnam War, Earle claims that the comics form is uniquely able to show traumatic experience by representing events as viscerally as possible.Using texts from across the form and placing mainstream superhero comics alongside alternative and art comics, Earle suggests that comics are the ideal artistic representation of trauma. Because comics bridge the gap between the visual and the written, they represent such complicated narratives as loss and trauma in unique ways, particularly through the manipulation of time and experience. Comics can fold time and confront traumatic events, be they personal or shared, through a myriad of both literary and visual devices. As a result, comics can represent trauma in ways that are unavailable to other narrative and artistic forms.With themes such as dreams and mourning, Earle concentrates on trauma in American comics after the Vietnam War. Examples include Alissa Torres's American Widow, Doug Murray's The 'Nam, and Art Spiegelman's much-lauded Maus. These works pair with ideas from a wide range of thinkers, including Sigmund Freud, Mikhail Bakhtin, and Fredric Jameson, as well as contemporary trauma theory and clinical psychology. Through these examples and others, Comics, Trauma, and the New Art of War proves that comics open up new avenues to explore personal and public trauma in extraordinary, necessary ways.

Examines how Martin Luther King's life and work had a profound, if unpredictable, impact on the course of the United States since the civil rights era. With unique, multidisciplinary works by scholars from around the US, these pieces explore wide-ranging issues and contemporary social developments through the lens of Dr. King's perceptions, analysis, and prescriptions.

"e;Maybe you won't like steel band. It's possible. But it's been said that the Pied Piper had a steel band helping him on his famous visit to Hamelin."e; When the US Navy distributed this press release, anxieties and tensions of the impending Cold War felt palpable. As President Eisenhower cast his gaze towards Russia, the American people cast their ears to the Atlantic South, infatuated with the international currents of Caribbean music. Today, steelbands have become a global phenomenon; yet, in 1957 the exotic sound and the unique image of the US Navy Steel Band was one-of-a-kind. Could calypso doom rock "e;n"e; roll? Band founder Admiral Daniel V. Gallery thought so and envisioned his steelband knocking "e;rock "e;n"e; roll and Elvis Presley into the ash can."e;From 1957 until their disbandment in 1999, the US Navy Steel Band performed over 20,000 concerts worldwide. In 1973, the band officially moved headquarters from Puerto Rico to New Orleans and found the city and annual Mardi Gras tradition an apt musical and cultural fit. The band brought a significant piece of Caribbean artistic capital--calypso and steelband music--to the American mainstream. Its impact on the growth and development of steelpan music in America is enormous.Steelpan Ambassadors uncovers the lost history of the US Navy Steel Band and provides an in-depth study of its role in the development of the US military's public relations, its promotion of goodwill, its recruitment efforts after the Korean and Vietnam Wars, its musical and technological innovations, and its percussive propulsion of the American fascination with Latin and Caribbean music over the past century.

This collection of interviews provides a revealing self-portrait of Martin Ritt, America's preeminent maker of social films. Although he gave mostly boilerplate interviews to the press when promoting a movie, Ritt provided more revealing interviews for seminars, oral histories, and documentary filmmakers.

The House That Sugarcane Built tells the saga of Jules M. Burguires Sr. and five generations of Louisianans who, after the Civil War, established a sugar empire that has survived into the present. When twenty-seven-year-old Parisian immigrant Eugne D. Burguires landed at the Port of New Orleans in 1831, one of the oldest Louisiana dynasties began. Seen through the lens of one family, this book traces the Burguires from seventeenth-century France, to nineteenth- century New Orleans and rural south Louisiana and into the twenty-first century. It is also a rich portrait of an American region that has retained its vibrant French culture. As the sweeping narrative of the clan unfolds, so does the story of their family-owned sugar business, the J. M. Burguires Company, as it plays a pivotal role in the expansion of the sugar industry in Louisiana, Florida, and Cuba. The French Burguires were visionaries who knew the value of land and its bountiful resources. The fertile soil along the bayous and wetlands of south Louisiana bestowed on them an abundance of sugarcane above its surface, and salt, oil, and gas beneath. Ever in pursuit of land, the Burguires expanded their holdings to include the vast swamps of the Florida Everglades; then, in 2004, they turned their sights to cattle ranches on the great frontier of west Texas. Finally, integral to the story are the complex dynamics and tensions inherent in this family-owned company, revealing both failures and victories in its history of more than 135 years. The J. M. Burguires Company's survival has depended upon each generation safeguarding and nourishing a legacy for the next.

Boom's Blues stands as both a remarkable biography of J. Frank G. Boom (1920-1953) and a recovery of his incredible contribution to blues scholarship originally titled The Blues: Satirical Songs of the North American Negro. Wim Verbei tells how and when the Netherlands was introduced to African American blues music and describes the equally dramatic and peculiar friendship that existed between Boom and jazz critic and musicologist Will Gilbert, who worked for the Kultuurkamer during World War II and had been charged with the task of formulating the Nazi's Jazzverbod, the decree prohibiting the public performance of jazz. Boom's Blues ends with the annotated and complete text of Boom's The Blues, providing the international world at last with an English version of the first book-length study of the blues.At the end of the 1960s, a series of thirteen blues paperbacks edited by Paul Oliver for the London publisher November Books began appearing. One manuscript landed on his desk that had been written in 1943 by a then twenty-three-year-old Amsterdammer Frank (Frans) Boom. Its publication, to which Oliver gave the title Laughing to Keep from Crying, was announced on the back jacket of the last three Blues Paperbacks in 1971 and 1972. Yet it never was published and the manuscript once more disappeared. In October 1996, Dutch blues expert and publicist Verbei went in search of the presumably lost manuscript and the story behind its author. It only took him a couple of months to track down the manuscript, but it took another ten years to glean the full story behind the extraordinary Frans Boom, who passed away in 1953 in Indonesia.