DOCSLIB.ORG

One Or Two Things I Know About Us: Narrative Strategies for Autoethnography, Self-Representation and Healing in Four Memoirs by Poor-White Women from the U.S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
One Or Two Things I Know About Us: Narrative Strategies for Autoethnography, Self-Representation and Healing in Four Memoirs by Poor-White Women from the U.S University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 1-1-2017 One or Two Things I Know About Us: Narrative Strategies for Autoethnography, Self-Representation and Healing in Four Memoirs by Poor-white Women from the U.S. South Joseph Aaron Farmer University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the American Literature Commons Recommended Citation Farmer, Joseph Aaron, "One or Two Things I Know About Us: Narrative Strategies for Autoethnography, Self-Representation and Healing in Four Memoirs by Poor-white Women from the U.S. South" (2017). Electronic Theses and Dissertations. 1395. https://egrove.olemiss.edu/etd/1395 This Dissertation is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. “ONE OR TWO THINGS I KNOW ABOUT US:” NARRATIVE STRATEGIES FOR AUTOETHNOGRAPHY, SELF-REPRESENTATION AND HEALING IN FOUR MEMOIRS BY POOR-WHITE WOMEN FROM THE U.S. SOUTH A Dissertation presented in partial fulfillment of requirements for the degree of Doctor of Philosophy in the Department of English The University of Mississippi by JOSEPH A. FARMER AUGUST 2017 Copyright © 2017 by Joseph A. Farmer All rights reserved ABSTRACT This dissertation examines autobiographical writings by formerly poor white Southern women, who are rarely considered as a group and are more typically studied with “rough South” male writers, which would suggest that few women have contributed their own gendered experience to discussions of class, race, and sexuality vis-à-vis Southern poverty. Correcting this assumption, I examine formative statements by women from poor white backgrounds, including Roxanne Dunbar-Ortiz’s Red Dirt, Janisse Ray’s Ecology of a Cracker Childhood and Wild Card Quilt, Dorothy Allison’s Trash, and Jeannette Walls’s The Glass Castle. Each of these writers engage in narrative strategies that do not defend a violent, masculinist Southern culture from misrepresentation by outsiders, as do male “redneck autobiographers,” but rather re-establish connections with their families, native communities, and natural environments. In the process of writing on Okies, Crackers, and “white trash,” these writers describe their transition from concealing the truth about their families out of shame to considering them autoethnographically. Autoethnography provides the methodology by which Dunbar-Ortiz, Ray, Allison and Walls write about their personal lifeworlds, a concept from phenomenology that considers the body as the locus of one’s natural, social, and cultural environment. In explicating their memoirists’ most salient themes, I employ concepts by theorists in the phenomenological tradition, including Edmund Husserl, Jurgen Habermas, R. D. Laing, Pierre Bourdieu, and Francisco Varela, who all recommend a practice of self-observation as a kind of “portable laboratory” for investigating the intersections of embodiment, habit, and history. I conclude that ii the self-knowledge gained through such a practice enables each of the women in this study to find a voice in the place where she had not had one, and to write authoritatively about her respective Southern culture. iii ACKNOWLEDGMENTS This dissertation would not have been possible without the support of faculty, colleagues, friends, and family. I owe a debt of gratitude to my adviser, Jay Watson. Jay read several drafts and always gave me the full benefit of his vast patience, brilliant insight and matchless knowledge of Southern literature in pushing me to higher levels of thought and critique. His seminar on the poor white in Southern literature that inspired my research interest and this dissertation, have all greatly influenced my own pedagogy and philosophy of teaching. I look forward to working with Jay in the future. Deborah Barker, Annette Trefzer, and Ted Ownby also served on my committee. Deborah’s insights into Southern literature and film made her a natural choice for my dissertation committee. Likewise, Annette’s course on Native American literature encouraged me to expand my purview and to seek connections. I appreciate Ted Ownby’s leadership in his role as director of the Center for the Study of Southern Studies, an interdisciplinary effort that has continually inspired my approach to Southern literary studies. Thanks also to Dr. Ivo Kamps, chair of the English department at the University of Mississippi, for his warm and unwavering support of graduate students and my own career in particular. I am thankful for the instruction and support of other members of the English Department at the University of Mississippi, including Katie McKee, Ben Fisher, Ron Schroeder, and Peter Reed. I am grateful to have been a part of a matchless English department. Thanks to my good friend and fellow graduate student at the University of Mississippi, Dr. Dionne Bailey, for her unflagging friendship and for her assistance in proofreading my fourth iv chapter, and to my fellow teaching assistants, Jordan Youngblood and Ashley Gutierrez-Siler. I would like to thank Dr. Phillip Bridgmon, dean of the College of Liberal Arts at my new home, Northeastern State University, for his unfailing support of my professional career throughout my comprehensive exams and the dissertation process. Thanks also to Dr. Shannon Bridgmon for her support, and specifically for gifting me a copy of Dorothy Allison’s Trash. I would like to thank the former chair of the department of Languages and Literature, Dr. Audell Shelburne, for accommodating my dissertation schedule and moderating my teaching load with a course release. I would also like to thank my friends, colleagues, and happy hour crew at N.S.U, including Dr. Jennifer Edwards, Dr. Ben Kracht, Dr. Dan Savage, and Chris Murphy. I would like to thank my professors at the University of Arkansas Monticello, including my composition instructor and spiritual adviser, Dr. Robert Moore; Dr. Kate Stewart, whose courses in American literature greatly inspired my choice of profession; Dr. Tony Farrington, who taught my first course in critical theory, and Dr. Chauna Craig, who gave me my first writing center job. I would also like to thank my friends and family members outside the academy, such as Jarrett Lamb, Jason and Genevieve Rich, Seth and Kate Norburg, and Brandi and Josef Cook for your emotional support. Thanks to my parents, Betty and David Farmer, for providing me with a good, stable home that enabled me the luxury of pursuing a vocation dedicated to the study of literature, and thanks as well to my grandparents on both sides of the family who provided encouragement during this long journey. I would also like to thank my sister-law, Kimberly; my nephew, Kade; and my niece, Natalee, for helping with house and yard work while I was dissertating, and also for reminding me to relax and have some fun during the last couple years of my program. v Finally, and most importantly, this dissertation is dedicated to my wife, Dr. Suzanne Farmer. I conceived this project with her help and would not have brought it to fruition without her guidance, patience, and understanding of the dissertation process, as well as her professional assistance in reading and editing my chapters. Suzanne provided confidence and emotional support during a challenging period in which she tolerated various books on “white trash” strewn about the house, and my own trash when I was not as helpful as I might have been. Suzanne’s tenure at NSU coincided with my completion of the Ph.D. program, and she has provided me with an exemplar of the great teacher and the mature, responsible adult human being. I owe her my eternal love and gratitude. vi TABLE OF CONTENTS ABSTRACT ........................................................................................................................ ii ACKNOWLEDGEMENTS ............................................................................................... iv CHAPTER I: INTRODUCTION .........................................................................................1 CHAPTER II: “ONE OR TWO THINGS I KNOW ABOUT US:” ................................23 CHAPTER III “WHAT I COME FROM HAS MADE ME WHO I AM” .......................64 CHAPTER IV: “A THIRD LOOK” ................................................................................119 CHAPTER V: “OPERATION BOOKSTRAP” .............................................................175 BIBLIOGRAPHY ............................................................................................................203 VITA ................................................................................................................................214 vii CHAPTER I INTRODUCTION This dissertation examines the autobiographies of four female Southern writers from poor-white backgrounds who have not previously been considered together, but who, as I will argue, merit inclusion in a comparative study. I will consider white Southern women who recount their impoverished childhoods in memoirs, autobiographies, and autobiographical fiction, including Roxanne Dunbar-Ortiz’s Red Dirt (1997), Janisse Ray’s Ecology of a Cracker Childhood (2000) and Wild Card Quilt (2003), Dorothy Allison’s short story collection, Trash (1988), and Jeanette Walls’s The Glass Castle (2005). As this dissertation deals primarily with forms of autobiographical non-fiction writing and how
Load more

Recommended publications
  • Okie Women and Dust Bowl Memories
    Sarah Lawrence College DigitalCommons@SarahLawrence Women's History Theses Women’s History Graduate Program 5-2015 Radical Genealogies: Okie Women and Dust Bowl Memories Carly Fox Sarah Lawrence College Follow this and additional works at: https://digitalcommons.slc.edu/womenshistory_etd Part of the Women's History Commons Recommended Citation Fox, Carly, "Radical Genealogies: Okie Women and Dust Bowl Memories" (2015). Women's History Theses. 1. https://digitalcommons.slc.edu/womenshistory_etd/1 This Thesis - Open Access is brought to you for free and open access by the Women’s History Graduate Program at DigitalCommons@SarahLawrence. It has been accepted for inclusion in Women's History Theses by an authorized administrator of DigitalCommons@SarahLawrence. For more information, please contact [email protected]. Radical Genealogies: Okie Women and Dust Bowl Memories Carly Fox Submitted in Partial Completion of the Master of Arts Degree at Sarah Lawrence College May 2015 CONTENTS Abstract i Dedication ii Acknowledgments iii Preface iv List of Figures vii List of Abbreviations viii Introduction 1 Chapter 1. “The Worst Red-Headed Agitator in Tulare County”: The Life of Lillie Dunn 13 Chapter 2. A Song To The Plains: Sanora Babb’s Whose Names are Unknown 32 Chapter 3. Pick Up Your Name: The Poetry of Wilma Elizabeth McDaniel 54 Conclusion 71 Figures 73 Bibliography 76 i ABSTRACT This paper complicates the existing historiography about dust bowl migrants, often known as Okies, in Depression-era California. Okies, the dominant narrative goes, failed to organize in the ways that Mexican farm workers did, developed little connection with Mexican or Filipino farm workers, and clung to traditional gender roles that valorized the male breadwinner.
    [Show full text]
  • Jeannette Walls and Bill Bradley Complimentary Passes
    November 2010 Inside: A NEWS PUBLICATION FOR THE CITY OF . Holiday Shopping at Nordstrom & Indian Wells Golf Resort Golf Shop . IW Club Restaurant & Bar BULLETIN No. 357 Thanksgiving Menu . Coachella Wine Festival at Miramonte Resort . Cabaret Theatre West at Hyatt Grand Champions . See Special Insert for Jeannette Walls and Bill Bradley Complimentary Passes . Plant Your Own Vegetable Complete Speaker Lineup for Garden and More! 2011 DESERT TOWN HALL-INDIAN WELLS Desert Town Hall-Indian Wells, a nationally recognized lecture series, has announced its final two speakers for the 2011 season, joining previously announced President George W. Bush and CNN host Fareed Zakaria. On Friday, March 18, 2011, journalist Jeannette Walls will take the « Desert Town Hall stage. Walls is the author of the award-winning The Glass Castle, which has spent more than three years on the New York Times best-seller list, and is being made into a movie by Paramount. Her captivating memoir chronicles Walls’ childhood growing up in the American Southwest and then a West Virginia mining town with her three siblings and brilliant, unconventional parents who manage at once to neglect them, love them, and teach them to face their fears. Despite the challenges she faced, Walls left West Virginia for New York City at 16, enrolled in Barnard College, and became a well-known columnist for New York magazine and MSNBC. Her second book, Half Broke Horses: A True Life Novel, was released last year. The esteemed Bill Bradley visits Desert Town Hall-Indian Wells on Thursday, April 7. His topic: American Voices, based on his « award-winning Sirius XM Satellite Radio program, a weekly show in which he interviews well-known personalities, and highlights the achievements of extraordinary people making a difference in their communities.
    [Show full text]
  • 10311.Ch01.Pdf
    © 2007 UC Regents Buy this book University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advanc- ing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philan- thropic contributions from individuals and institutions. For more infor- mation, visit www.ucpress.edu. Chapter 1 is a revised version of “At the Crossroads of Whiteness: Anti- Migrant Activism, Eugenics, and Popular Culture in Depression-Era California,” which originally appeared in Moving Stories: Migration and the American West, 1850–2000, edited by Scott E. Casper and Lu- cinda Long (Reno: Nevada Humanities Committee, 2001). A portion of chapter 4 appeared previously in “All That Glitters: Country Music, Taste, and the Politics of the Rhinestone ‘Nudie’ Suit,” Dress: The An- nual Journal of the Costume Society of America 28 (2001): 3–12. Chap- ter 5 is a revised version of “ ‘Spade Doesn’t Look Exactly Starved’: Country Music and Negotiation of Women’s Domesticity in Cold War Los Angeles,” which originally appeared in A Boy Named Sue: Gender and Country Music, edited by Kristine M. McCusker and Diane Peck- nold (Jackson: University Press of Mississippi, 2004). The epigraph to chapter 1, the poem “My People,” by Woody Guthrie, is © Copyright 1965 (renewed) by Woody Guthrie Publications Inc. All rights reserved. Used by permission. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2007 by The Regents of the University of California Library of Congress Cataloging-in-Publication Data La Chapelle, Peter.
    [Show full text]
  • Heart-Shaped Box Pdf, Epub, Ebook
    HEART-SHAPED BOX PDF, EPUB, EBOOK Joe Hill | 416 pages | 01 May 2008 | Orion Publishing Co | 9780575081864 | English | London, United Kingdom Heart-shaped Box PDF Book It seemed like Hill just wanted to quickly wrap it up, no matter how many questions it either raised or left unanswered. A good old fashioned ghost story. View all 13 comments. He told biographer Michael Azerrad , "Anytime I think about it, it makes me sadder than anything I can think of. US Alternative Songs Billboard [2] [3]. October 16, Just hate our MC and pray that Georgia makes it out with the rest of us. Official Charts Company. The characters are unlika I had pretty big expectations for this novel, since it was somewhat of a happening in the horror genre and was praised by writers such as Harlan Coben and Neil Gaiman. The ghost in this story is Liam Neeson of Ghosts. I'm going to keep this spoiler free, but if you enjoyed NOS4A2, you will probably like this one as well. Thanks for telling us about the problem. New York City: Time, Inc. Unf Imagine a ghost! Aging rock star Judas Coyne spends his retirement collecting morbid memorabilia, including a witch's confession, a real snuff film and, after being sent an email directly about the item online, a dead man's funeral suit. Joe Hill surprised me with his clever plot and seemingly unlovable characters, I was turning the pages like there was no tomorrow for the last pages and didn't guess the ending. We sing together. Read more This book sucks.
    [Show full text]
  • Stabilizing Morality in Trademark Law Christine Haight Farely American University Washington College of Law, [email protected]
    American University Law Review Volume 63 | Issue 4 Article 3 2014 Stabilizing Morality in Trademark Law Christine Haight Farely American University Washington College of Law, [email protected] Follow this and additional works at: http://digitalcommons.wcl.american.edu/aulr Recommended Citation Farely, Christine Haight. " Stabilizing Morality in Trademark Law." American University Law Review 63, no.4 (2014): 1019-1050. This Article is brought to you for free and open access by the Washington College of Law Journals & Law Reviews at Digital Commons @ American University Washington College of Law. It has been accepted for inclusion in American University Law Review by an authorized administrator of Digital Commons @ American University Washington College of Law. For more information, please contact [email protected]. Stabilizing Morality in Trademark Law Keywords Jurisprudence, Law & ethics, Trademark licenses, Lessors of Nonfinancial Intangible Assets (except Copyrighted Works), Trademarks -- Law & legislation -- United States, Law -- Interpretation & construction This article is available in American University Law Review: http://digitalcommons.wcl.american.edu/aulr/vol63/iss4/3 STABILIZING MORALITY IN TRADEMARK LAW CHRISTINE HAIGHT FARLEY* Almost all of the commentary conceming the statutory prohibition on registering offensive trademarks lambasts it as a misguided attempt to enforce civility through trademark law. This Article carefully considers the challenges accompanying section 2(a) of the U.S. Trademark Act and defends it as good policy. There are, however, a few instances in which the jurisprudence under section 2(a) has created more problems than it has solved. To alleviate these problems, this Article proposes judging words per se and abandoning the traditional trademark notion of evaluating words in context.
    [Show full text]
  • A School of Their Own: Educating Okie Children in 1930S California
    California Odyssey: Dust Bowl Migration Archives Special Topics A School of Their Own Educating Okie Children in 1930s California Christy Gavin Librarian, CSUB Dust Bowl Migration Archives February, 2011 Introduction During the Great Depression, nearly 400,000 Oklahomans, Arkansans, Texans, Kansans, and Missourians migrated to California (Gregory 9-10). As a result their children flooded California schools, especially in the farming communities of the San Joaquin and Sacramento valleys, where the newly arrived migrants doubled the population in the 1930s (Stein 47).The population spike was highest in the cotton growing areas, such as Kern County, which added 52,000 residents by 1940 (Gregory 83). As one Kern County educator observed, migrant ̽·ΊΜ͇ι͋Σ ͞Ϯ͋ι͋ ͋ϭ͋ιϴϮ·͋ι͋΂ ̯Σ͇ χ·͋ χ̯͋̽·͋ιν ΊΣ χ·͋ ν΢̯ΜΜ͋ι ν̽·ΪΪΜν ̽ΪϢΜ͇ ·̯Σ͇Μ͋ ΪΣ͋ Ϊι χϮΪ probably, a few like that, but it was getting [to be a quite a problem] in the larger schools͟ (Stanley and McColgan 1). Kern County school principal Jewell Potter reported that for the Edison school district, the average daily attendance jumped from 55 pupils in 1935-36 to more than 140 in 1937-38. During 1937-38, busiest academic year, 1937-38, the enrollment rose from 130 to 325 (J. Potter 26). Depression-era educators probably ϮΪϢΜ͇ ·̯ϭ͋ ̯ͽι͇͋͋ ϮΊχ· ͫ͋νχ͋ι ͩΊιΙ͋Σ͇̯ΜΜ͛ν 1940 assessment that the tremendous influx of Okie children had ͞ι̯Ίν͇͋ ̯ ι͋ͽϢΜ̯ι Ϯ͋Μχ͋ι Ϊ͕ educational problems—most of which are ϢΣνΪΜϭ͇͋͟ (ͩΊιΙ͋Σ͇̯ΜΜ 490)΅ ͸Σ͋ ΢̯ΖΪι ζιΪ̼lem was that schools were fiscally unable to accommodate the multiple needs of migrant students. As Bessie M.
    [Show full text]
  • Program Book
    Thank you to our sponsors: Presenting Sponsor: Supporting Sponsors: Additional support from Struck Catering. Thank you to our sponsors: Presenting Sponsor: mechanics hall worcester, ma Supporting Sponsors: Additional support from Struck Catering. NEFA’S IDEA SWAP You put creativity fi rst. Idea Swap is NEFA’s annual event contents that provides opportunities for New 2 England-based nonprofit presenting schedule organizations to network and share 4 project ideas that may qualify for project presentations: funding from NEFA’s Expeditions part 1 grant program. 7 project presentations: Expeditions grants are made to part 2 nonprofit organizations in New 9 England and support the tour more project ideas planning or touring of high quality and innovative performing arts projects. This booklet includes projects submitted as of October 20, 2014, #NEFAIdeaSwap which have the potential to tour New We put you fi rst. England. These and other projects submitted after press time can be contact Eastern Bank is proud to support the found on nefa.org. Presentation New England Foundation for the Arts. at the Idea Swap or inclusion in adrienne petrillo this booklet does not guarantee program manager Expeditions funding support. 617.951.0010 x527 [email protected] For more information about NEFA’s daniela jacobson Expeditions program or the Idea program coordinator Swap, please visit www.nefa.org or 617.951.0010 x528 call 617.951.0010 x527. [email protected] Member FDIC hereyourefi rst.com 1 schwanze-beast schedule Sara Coffey | Vermont Performance Lab 9:30am–10:00am
    [Show full text]
  • “Mama Tried”--Merle Haggard (1968) Added to the National Registry: 2015 Essay by Rachel Rubin (Guest Post)*
    “Mama Tried”--Merle Haggard (1968) Added to the National Registry: 2015 Essay by Rachel Rubin (guest post)* “Mama Tried” original LP cover When Merle Haggard released “Mama Tried” in 1968, it quickly became his biggest hit. But, although in terms of broad reception, the song would be shortly eclipsed by the controversies surrounding Haggard’s “Okie from Muskogee” (released the next year), “Mama Tried” was a path-breaking song in several significant ways. It efficiently marked important, shaping changes to country music made by the generation of musicians and audiences who came of age post-World War II (as did Haggard, who born in 1937). “Mama Tried,” then, encompasses and articulates developments of both Haggard’s career and artistic focus, and the direction of country music in general. Indeed, Haggard’s own story usefully traces the trajectory of modern country music. Haggard was born near the city of Bakersfield, California, in a converted boxcar. He was born two years after his parents, who were devastated Dust Bowl “Okies,” traveled there from East Oklahoma as part of the migration most famously represented by John Steinbeck in “Grapes of Wrath” (1939)--an important novel that presented and commented on the class-based contempt that “Okies” faced in California. Haggard confronted this contempt throughout his career (and even after his 2016 death, the class- based contempt continues). His family (including Haggard himself) took up a range of jobs, including agricultural work, truck-driving, and oil-well drilling. Labor remained a defining factor of Haggard’s music until he died in 2016, and he frequently found ways to refer to his musicianship as work (making a sharp joke on an album, for instance, about the connection between picking cotton and picking guitar).
    [Show full text]
  • View Our Annual Review 2017
    Annual Review 2017 1 We are one of Britain’s leading building conservation charities. With the help of supporters and grant- In 2017: making bodies we save historic buildings in danger of being lost forever. We carefully restore such 68,055 ‘Landmarks’ and offer them a new future by making guests stayed them available for self-catering holidays. The lettings in Landmarks income from the 200 extraordinary buildings in our care supports their maintenance and survival in our landscape, culture and society. 44 charities benefited from free breaks 15,087 visitors came along on open days 4,651 people donated to support our work PATRON TRUSTEES HRH The Prince of Wales Neil Mendoza, Chairman Dame Elizabeth Forgan Dr Doug Gurr DIRECTOR John Hastings-Bass At Tangy Mill in Kintyre Dr Anna Keay Charles McVeigh III Landmarkers live amongst Pete Smith the carefully preserved Martin Stancliffe FSA Dip Arch RIBA original hoisting and Sarah Staniforth CBE grinding machinery. 3 Our restoration of Purton Green, Within touching distance of the past Suffolk, in 1970-71 rescued it from the brink of ruination. A nation’s heritage not only illuminates its past but has the power to shape its future. That this charity has saved some 200 often crumbling structures has only been possible because Landmark’s supporters believe in a building’s potential. Most recently the Heritage Lottery Fund granted half of the £4.2m needed to save Llwyn Celyn, our medieval house in the Black Mountains. We are also grateful to specialist insurer, Ecclesiastical, who donated £200,000 to revive Cobham Dairy.
    [Show full text]
  • Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
    Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time.
    [Show full text]
  • America's Changing Mirror: How Popular Music Reflects Public
    AMERICA’S CHANGING MIRROR: HOW POPULAR MUSIC REFLECTS PUBLIC OPINION DURING WARTIME by Christina Tomlinson Campbell University Faculty Mentor Jaclyn Stanke Campbell University Entertainment is always a national asset. Invaluable in times of peace, it is indispensable in wartime. All those who are working in the entertainment industry are building and maintaining national morale both on the battlefront and on the home front. 1 Franklin D. Roosevelt, June 12, 1943 Whether or not we admit it, societies change in wartime. It is safe to say that after every war in America’s history, society undergoes large changes or embraces new mores, depending on the extent to which war has affected the nation. Some of the “smaller wars” in our history, like the Mexican-American War or the Spanish-American War, have left little traces of change that scarcely venture beyond some territorial adjustments and honorable mentions in our textbooks. Other wars have had profound effects in their aftermath or began as a result of a 1 Telegram to the National Conference of the Entertainment Industry for War Activities, quoted in John Bush Jones, The Songs that Fought the War: Popular Music and the Home Front, 1939-1945 (Lebanon, NH: University Press of New England, 2006), 31. catastrophic event: World War I, World War II, Vietnam, and the current wars in the Middle East. These major conflicts create changes in society that are experienced in the long term, whether expressed in new legislation, changed social customs, or new ways of thinking about government. While some of these large social shifts may be easy to spot, such as the GI Bill or the baby boom phenomenon in the 1940s and 1950s, it is also interesting to consider the changed ways of thinking in modern societies as a result of war and the degree to which information is filtered.
    [Show full text]
  • Canadian Inclusive Language Glossary the Canadian Cultural Mosaic Foundation Would Like to Honour And
    Lan- guage De- Coded Canadian Inclusive Language Glossary The Canadian Cultural Mosaic Foundation would like to honour and acknowledgeTreaty aknoledgment all that reside on the traditional Treaty 7 territory of the Blackfoot confederacy. This includes the Siksika, Kainai, Piikani as well as the Stoney Nakoda and Tsuut’ina nations. We further acknowledge that we are also home to many Métis communities and Region 3 of the Métis Nation. We conclude with honoring the city of Calgary’s Indigenous roots, traditionally known as “Moh’Kinsstis”. i Contents Introduction - The purpose Themes - Stigmatizing and power of language. terminology, gender inclusive 01 02 pronouns, person first language, correct terminology. -ISMS Ableism - discrimination in 03 03 favour of able-bodied people. Ageism - discrimination on Heterosexism - discrimination the basis of a person’s age. in favour of opposite-sex 06 08 sexuality and relationships. Racism - discrimination directed Classism - discrimination against against someone of a different or in favour of people belonging 10 race based on the belief that 14 to a particular social class. one’s own race is superior. Sexism - discrimination Acknowledgements 14 on the basis of sex. 17 ii Language is one of the most powerful tools that keeps us connected with one another. iii Introduction The words that we use open up a world of possibility and opportunity, one that allows us to express, share, and educate. Like many other things, language evolves over time, but sometimes this fluidity can also lead to miscommunication. This project was started by a group of diverse individuals that share a passion for inclusion and justice.
    [Show full text]