DOCSLIB.ORG

Gone with the Wind and the Imagined Geographies of the American South Taulby H. Edmondson Dissertation Submitt

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gone with the Wind and the Imagined Geographies of the American South Taulby H. Edmondson Dissertation Submitt The Wind Goes On: Gone with the Wind and the Imagined Geographies of the American South Taulby H. Edmondson Dissertation submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy In Social, Political, Ethical, and Cultural Thought Emily M. Satterwhite, Co-Chair David P. Cline, Co-Chair Marian B. Mollin Scott G. Nelson February 13, 2018 Blacksburg, Virginia Keywords: Gone with the Wind, Mass Media and History, US South, Slavery, Civil War, Reconstruction, African American History, Memory, Race Relations, Whiteness, Nationalism, Tourism, Audiences Copyright: Taulby H. Edmondson 2018 The Wind Goes On: Gone with the Wind and the Imagined Geographies of the American South Taulby H. Edmondson ABSTRACT Published in 1936, Margaret Mitchell’s Gone with the Wind achieved massive literary success before being adapted into a motion picture of the same name in 1939. The novel and film have amassed numerous accolades, inspired frequent reissues, and sustained mass popularity. This dissertation analyzes evidence of audience reception in order to assess the effects of Gone with the Wind’s version of Lost Cause collective memory on the construction of the Old South, Civil War, and Lost Cause in the American imagination from 1936 to 2016. By utilizing the concept of prosthetic memory in conjunction with older, still-existing forms of collective cultural memory, Gone with the Wind is framed as a newly theorized mass cultural phenomenon that perpetuates Lost Cause historical narratives by reaching those who not only identify closely with it, but also by informing what nonidentifying consumers seeking historical authenticity think about the Old South and Civil War. In so doing, this dissertation argues that Gone with the Wind is both an artifact of the Lost Cause collective memory that it, more than anything else, legitimized in the twentieth century and a multi-faceted site where memory of the South and Civil War is still created. My research is grounded in the field of memory studies, in particular the work of Pierre Nora, Eric Hobsbawn, Andreas Huyssen, Michael Kammen, and Alison Landsberg. In chapter one, I track the reception of Gone with the Wind among white American audiences and define the phenomenon as rooted in Benedict Anderson’s conception of the nation. I further argue that Gone with the Wind’s Lost Causism provided white national subjects with a collective memory of slavery and the Civil War that made sense of continuing racial tensions during Jim Crow and justified white resistance to African American equality. Gone with the Wind, in other words, reconciled the lingering ideological divisions between white northerners and southerners who then were more concerned with protecting white supremacy. In chapter two and three, I analyze Gone with the Wind’s continuing popularity throughout the twentieth century and its significant influence on other sites of national memory. Chapter four uses contemporary user reviews of Gone with the Wind DVD and Blu-ray collector’s editions to reveal that the phenomenon remains popular. Throughout this study I analyze the history of black resistance to the Gone with the Wind phenomenon. For African Americans, Gone with the Wind’s Lost Causism has always been understood as justification for racism, imbuing the white national conscious with a mythological history of slavery and black inferiority. As I argue, black protestors to Gone with the Wind were correct, as the phenomenon has always resonated most during moments of increased racial tension such as during the civil rights era and following the Charleston Church Massacre in 2015. The Wind Goes On: Gone with the Wind and the Imagined Geographies of the American South Taulby H. Edmondson PUBLIC ABSTRACT This study analyzes the continuing popularity of the popular culture phenomenon Gone with the Wind, from its initial publication as a novel in 1936 to 2016. I first argue that Gone with the Wind is an artifact of the Lost Cause, which is defined as an amalgamation of myths about southern history that relies on negative racial stereotypes, the veneration of the Confederacy, and the position that slavery was unimportant to the causes of the American Civil War. The Lost Cause, as scholars have argued, has always been an ideological justification for anti-black racism, particularly Jim Crow apartheid. As a product of this white supremacist mythology, I further argue that Gone with the Wind is not merely an artifact of the Lost Cause, but its most powerful statement that defined what twentieth-century white Americans believed about southern history. As I reveal, Gone with the Wind resonated most among white audiences during periods of heightened racial tensions, in particular during various points in the civil rights era and following the 2015 Charleston Church Massacre. The Lost Cause remains a potent ideological force that underpins American white supremacy. In chapters one and two, I analyze Gone with the Wind’s popularity in the twentieth century using reviews by readers and viewers. I reveal that Gone with the Wind’s popularity was more due to its Lost Cause mythology rather than its narrative plot, and was widely popular among white audiences across the North and the South. In chapter two, I also look at Gone with the Wind’s influence on later novels and films about the South before, in chapter three, highlighting how Gone with the Wind’s version of the Lost Cause became the primary historical narrative at sites of southern heritage tourism, in particular plantation museums and Georgia’s Civil War sites. In chapter four, I highlight contemporary user reviews of Gone with the Wind’s DVD and Blu-ray collector’s editions to reveal that its version of the Lost Cause remains a potent ideological influence among its fans. Throughout the chapter I also analyze the history of black resistance to the Gone with the Wind phenomenon, including organized pickets during its original theatrical release and the arson of a Gone with the Wind museum. For African Americans, Gone with the Wind’s Lost Causism has always been understood as justification for racism, imbuing the white national conscious with a mythological history of slavery and anti-black stereotypes. Acknowledgements Research funding for this project was generously supplied by the Departments of History and the Department of Religion and Culture at Virginia Tech. Thank you Mark, Linda, Brianna, Brian, and Karen for making it possible. Thank you Francois, Tamara, and the Alliance for Social, Political, Ethical, and Cultural Thought for supplying necessary funding for conference travel that greatly improved the quality of this dissertation. Gratitude is also owed to the folks at the Whitney Plantation Museum, especially Ashley Rogers, who took me on a private tour of the grounds. The work you all are doing is of tremendous importance. Many thanks are owed to my committee, especially Emily Satterwhite, who was the first reader, my mentor, and always dedicated to helping me through the project at every turn, no matter if the issues were personal or professional. There is no way that I could have completed this without you. Thank you David Cline for serving as co-chair and for guiding me through an independent study that laid much of the theoretical groundwork for this project. Thank you Marian Mollin and Scott Nelson for serving as committee members and for the work you did as my former teachers. Your feedback and support has been invaluable. A great deal of gratitude is owed to my former mentors: Julia, Jack, and Judkin. This project is truly a culmination of my work at every academic level. Your influence is clear. Many thanks to my colleagues Jordan, Katie, Sascha, Francine, Jamie, Holly, Christian, Mario, Alex, Melissa, Eli, and Komal for your continued support, and for being there when I needed a break and a drink. Above all, I owe a great debt to my wife, Sheena, for her love, compassion, and understanding. This project could not have been completed otherwise. And, of course, thank you to Trigger, Ember, and Samson for the love, even if you weren’t always the most helpful. To my parents, Tony and Alice: thank you for always supporting me in my endeavors, and for instilling in me a love for history and education at an early age. I would not be where I am today without you. Words cannot express my gratitude. iv Table of Contents Acknowledgements……………………………………………………………………...iv Table of Contents……………………………………………………………………...v-vi Introduction………………………………………………………………………………1 Literature Review: The Lost Cause and Gone with the Wind……………………..2 Gone with the Wind: A Memory Phenomenon…………………………………..20 Methodological Note on Reception Analysis……………………………………28 The Gone with the Wind Phenomenon: 1936-2016……………………………...33 African-American Resistance to the Gone with the Wind Phenomenon………...48 Chapter 1: Origins of—and Resistance to—the Gone with the Wind Phenomenon in Memory and Popular Culture, 1936-1940…………………………………………….55 Margaret Mitchell, Thomas Dixon, The Birth of a Nation, and Gone with the Wind’s Racism…………………………………………………………………...57 White American and the Initial Reception of Gone with the Wind………….......66 Building Resistance to the Production of Gone with the Wind…………..………80 White Contemporaries’ Praise for David Selznick’s Gone with the Wind…........89 Radical African-American Resistance to David Selznick’s Gone with the Wind, 1939-1940………………………………………………………………………..98 Chapter 2: Gone with the Wind’s Pervasive Cultural Influence in Twentieth-century Fiction and Film……………………………………………………………………….115 Record Popularity and Gone with the Wind as a Distinct Memory Phenomenon, 1936-1942 …………………………………………………………………...…116 The Mass Commercialization of Gone with the Wind circa 1937-1942………..122 Margaret Mitchell’s Impact on Southern Literature, 1937-1953……………….125 The Long Cinematic Shadow of Gone with the Wind, 1938-2003……………..129 Rereleases, Brown v.
Load more

Recommended publications
  • LYNNE MACEDO Auteur and Author: a Comparison of the Works of Alfred Hitchcock and VS Naipaul
    EnterText 1.3 LYNNE MACEDO Auteur and Author: A Comparison of the Works of Alfred Hitchcock and V. S. Naipaul At first glance, the subjects under scrutiny may appear to have little in common with each other. A great deal has been written separately about the works of both Alfred Hitchcock and V. S. Naipaul, but the objective of this article is to show how numerous parallels can be drawn between many of the recurrent ideas and issues that occur within their respective works. Whilst Naipaul refers to the cinema in many of his novels and short stories, his most sustained usage of the filmic medium is to be found in the 1971 work In a Free State. In this particular book, the films to which Naipaul makes repeated, explicit reference are primarily those of the film director Alfred Hitchcock. Furthermore, a detailed textual analysis shows that similarities exist between the thematic preoccupations that have informed the output of both men throughout much of their lengthy careers. As this article will demonstrate, the decision to contrast the works of these two men has, therefore, been far from arbitrary. Naipaul’s attraction to the world of cinema can be traced back to his childhood in Trinidad, an island where Hollywood films remained the predominant viewing fare throughout most of his formative years.1 The writer’s own comments in the “Trinidad” section of The Middle Passage bear this out: “Nearly all the films shown, apart from those in the first-run cinemas, are American and old. Favourites were shown again and Lynne Macedo: Alfred Hitchcock and V.
    [Show full text]
  • 31 Days of Oscar® 2010 Schedule
    31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy
    [Show full text]
  • New Arabian Nights
    1882 NEW ARABIAN NIGHTS Robert Louis Stevenson Stevenson, Robert Louis (1850-1894) - Scottish novelist, poet, and essayist, best known for his adventure stories. Stevenson was a sickly man (he died of tuberculosis) who nevertheless led an adventurous life. He spent his last five years on the island of Samoa as a planter and chief of the natives. The New Arabian Nights (1882) - A collection of tales including “The Suicide Club,” “The Rajah’s Diamond,” “The Pavilion on the Links,” and more. This was Stevenson’s first published collection of fiction. TABLE OF CONTENTS NEW ARABIAN NIGHTS . 2 CONTENTS . 2 STORY OF THE YOUNG MAN WITH THE CREAM TARTS . 3 STORY OF THE PHYSICIAN AND THE SARATOGA TRUNK . 16 THE ADVENTURE OF THE HANSOM CABS . 27 THE RAJAH’S DIAMOND, STORY OF THE BANDBOX . 36 STORY OF THE YOUNG MAN IN HOLY ORDERS . 47 STORY OF THE HOUSE WITH THE GREEN BLINDS . 53 THE ADVENTURE OF PRINCE FLORIZEL AND A DETECTIVE . 66 THE PAVILION ON THE LINKS TELLS HOW I CAMPED IN GRADEN SEA-WOOD, AND BEHELD A LIGHTIN THE PAVILION . 69 TELLS OF THE NOCTURNAL LANDING FROM THE YACHT . 73 TELLS HOW I BECAME ACQUAINTED WITH MY WIFE . 75 TELLS IN WHAT A STARTLING MANNER I LEARNED THAT I WAS NOT ALONE IN GRADEN SEA-WOOD . 79 TELLS OF AN INTERVIEW BETWEEN NORTHMOUR, CLARA, AND MYSELF83 TELLS OF MY INTRODUCTION TO THE TALL MAN . 85 TELLS HOW A WORD WAS CRIED THROUGH THE PAVILION WINDOW 88 TELLS THE LAST OF THE TALL MAN . 91 TELLS HOW NORTHMOUR CARRIED OUT HIS THREAT .
    [Show full text]
  • Memory, History, and Entrapment in the Temporal Gateway Film
    Lives in Limbo: Memory, History, and Entrapment in the Temporal Gateway Film Sarah Casey Benyahia A thesis submitted for the Degree of Doctor of Philosophy (PhD) Department of Literature, Film, and Theatre Studies University of Essex October 2018 Abstract This thesis examines the ways in which contemporary cinema from a range of different countries, incorporating a variety of styles and genres, explores the relationship to the past of people living in the present who are affected by traumatic national histories. These films, which I’ve grouped under the term ‘temporal gateway’, focus on the ways in which characters’ experiences of temporality are fragmented, and cause and effect relationships are loosened as a result of their situations. Rather than a recreation of historical events, these films are concerned with questions of how to remember the past without being defined and trapped by it: often exploring past events at a remove through techniques of flashback and mise-en-abyme. This thesis argues that a fuller understanding of how relationships to the past are represented in what have traditionally been seen as different ‘national’ cinemas is enabled by the hybridity and indeterminacy of the temporal gateway films, which don’t fit neatly into existing categories discussed and defined in memory studies. This thesis employs an interdisciplinary approach in order to draw out the features of the temporal gateway film, demonstrating how the central protagonist, the character whose life is in limbo, personifies the experience of living through the past in the present. This experience relates to the specifics of a post-trauma society but also to a wider encounter with disrupted temporality as a feature of contemporary life.
    [Show full text]
  • "Sounds Like a Spy Story": the Espionage Thrillers of Alfred
    University of Mary Washington Eagle Scholar Student Research Submissions 4-29-2016 "Sounds Like a Spy Story": The Espionage Thrillers of Alfred Hitchcock in Twentieth-Century English and American Society, from The Man Who Knew Too Much (1934) to Topaz (1969) Kimberly M. Humphries Follow this and additional works at: https://scholar.umw.edu/student_research Part of the History Commons Recommended Citation Humphries, Kimberly M., ""Sounds Like a Spy Story": The Espionage Thrillers of Alfred Hitchcock in Twentieth-Century English and American Society, from The Man Who Knew Too Much (1934) to Topaz (1969)" (2016). Student Research Submissions. 47. https://scholar.umw.edu/student_research/47 This Honors Project is brought to you for free and open access by Eagle Scholar. It has been accepted for inclusion in Student Research Submissions by an authorized administrator of Eagle Scholar. For more information, please contact [email protected]. "SOUNDS LIKE A SPY STORY": THE ESPIONAGE THRILLERS OF ALFRED HITCHCOCK IN TWENTIETH-CENTURY ENGLISH AND AMERICAN SOCIETY, FROM THE MAN WHO KNEW TOO MUCH (1934) TO TOPAZ (1969) An honors paper submitted to the Department of History and American Studies of the University of Mary Washington in partial fulfillment of the requirements for Departmental Honors Kimberly M Humphries April 2016 By signing your name below, you affirm that this work is the complete and final version of your paper submitted in partial fulfillment of a degree from the University of Mary Washington. You affirm the University of Mary Washington honor pledge: "I hereby declare upon my word of honor that I have neither given nor received unauthorized help on this work." Kimberly M.
    [Show full text]
  • January 27, 2009 (XVIII:3) Samuel Fuller PICKUP on SOUTH STREET (1953, 80 Min)
    January 27, 2009 (XVIII:3) Samuel Fuller PICKUP ON SOUTH STREET (1953, 80 min) Directed and written by Samuel Fuller Based on a story by Dwight Taylor Produced by Jules Schermer Original Music by Leigh Harline Cinematography by Joseph MacDonald Richard Widmark...Skip McCoy Jean Peters...Candy Thelma Ritter...Moe Williams Murvyn Vye...Captain Dan Tiger Richard Kiley...Joey Willis Bouchey...Zara Milburn Stone...Detective Winoki Parley Baer...Headquarters Communist in chair SAMUEL FULLER (August 12, 1912, Worcester, Massachusetts— October 30, 1997, Hollywood, California) has 53 writing credits and 32 directing credits. Some of the films and tv episodes he directed were Street of No Return (1989), Les Voleurs de la nuit/Thieves After Dark (1984), White Dog (1982), The Big Red One (1980), "The Iron Horse" (1966-1967), The Naked Kiss True Story of Jesse James (1957), Hilda Crane (1956), The View (1964), Shock Corridor (1963), "The Virginian" (1962), "The from Pompey's Head (1955), Broken Lance (1954), Hell and High Dick Powell Show" (1962), Merrill's Marauders (1962), Water (1954), How to Marry a Millionaire (1953), Pickup on Underworld U.S.A. (1961), The Crimson Kimono (1959), South Street (1953), Titanic (1953), Niagara (1953), What Price Verboten! (1959), Forty Guns (1957), Run of the Arrow (1957), Glory (1952), O. Henry's Full House (1952), Viva Zapata! (1952), China Gate (1957), House of Bamboo (1955), Hell and High Panic in the Streets (1950), Pinky (1949), It Happens Every Water (1954), Pickup on South Street (1953), Park Row (1952), Spring (1949), Down to the Sea in Ships (1949), Yellow Sky Fixed Bayonets! (1951), The Steel Helmet (1951), The Baron of (1948), The Street with No Name (1948), Call Northside 777 Arizona (1950), and I Shot Jesse James (1949).
    [Show full text]
  • Perestroika and the Proletariat
    PERESTROIKA AND THE PROLETARIAT Leo Panitch and Sam Gindin Like most western leftists of our generation, we became socialists despite the Soviet example of authoritarian Communism. We had little patience with an earlier generation given to be more apologetic for many of the events that amounted to a tragic and terrible aberration of socialist ideals. But while we celebrated the turn to political freedom in the USSR since Gorbachev, and the revolutions in Eastern Europe in 1989, we were at the same time disturbed that the trajectory of change appeared towards capitalism. Was a transition to democratic socialism at all on the agenda, if not in Eastern Europe, then at least in the USSR? The answer mattered in terms of the scope for socialist politics in the West. Having been hamstrung in our politics (among many other reasons) by the negative example afforded by authoritarian Communism in the East ("See what socialist revolution leads to!"), were we now to be hamstrung again by the collapse of authoritarian Communism ("Even they have opted for capitalism! ")? With these questions uppermost in mind, we undertook a visit to the Soviet Union in June 1990. In addition to the perspective afforded by meeting some of the intellectuals, journalists, academicians, political leaders and activists who compose Moscow's political class, we especially wanted to see what impact the process of political and economic change was having on workers, and what role they were playing in the process, as this might be revealed in terms of the activities of the party, the trade unions, the informal workers committees and the relation between managers and workers in the enterprises.
    [Show full text]
  • Gone with the Wind Part 1
    Gone with the Wind Part 1 MARGARET MITCHELL Level 4 Retold by John Escott Series Editors: Andy Hopkins and Jocelyn Potter Pearson Education Limited Edinburgh Gate, Harlow, Essex CM20 2JE, England and Associated Companies throughout the world. ISBN: 978-1-4058-8220-0 Copyright © Margaret Mitchell 1936 First published in Great Britain by Macmillan London Ltd 1936 This adaptation first published by Penguin Books 1995 Published by Addison Wesley Longman Limited and Penguin Books Ltd 1998 New edition first published 1999 This edition first published 2008 3579 10 8642 Text copyright ©John Escott 1995 Illustrations copyright © David Cuzik 1995 All rights reserved The moral right of the adapter and of the illustrator has been asserted Typeset by Graphicraft Ltd, Hong Kong Set in ll/14pt Bembo Printed in China SWTC/02 All rights reserved; no part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the Publishers. Published by Pearson Education Ltd in association with Penguin Books Ltd, both companies being subsidiaries of Pearson Pic For a complete list of the titles available in the Penguin Readers series please write to your local Pearson Longman office or to: Penguin Readers Marketing Department, Pearson Education, Edinburgh Gate, Harlow, Essex CM20 2JE, England. Contents page Introduction V Chapter 1 News of a Wedding 1 Chapter 2 Rhett Butler 7 Chapter 3 Changes 9 Chapter 4 Atlanta 16 Chapter 5 Heroes 23 Chapter 6 Missing 25 Chapter 7 News from Tara 31 Chapter 8 The Yankees Are Coming 36 Chapter 9 Escape from Atlanta 41 Chapter 10 Home 45 Chapter 11 Murder 49 Chapter 12 Peace, At Last 54 Activities 58 Introduction ‘You, Miss, are no lady/ Rhett Butler said.
    [Show full text]
  • Hitchcock's Appetites
    McKittrick, Casey. "The pleasures and pangs of Hitchcockian consumption." Hitchcock’s Appetites: The corpulent plots of desire and dread. New York: Bloomsbury Academic, 2016. 65–99. Bloomsbury Collections. Web. 28 Sep. 2021. <http:// dx.doi.org/10.5040/9781501311642.0007>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 28 September 2021, 16:41 UTC. Copyright © Casey McKittrick 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 3 The pleasures and pangs of Hitchcockian consumption People say, “ Why don ’ t you make more costume pictures? ” Nobody in a costume picture ever goes to the toilet. That means, it ’ s not possible to get any detail into it. People say, “ Why don ’ t you make a western? ” My answer is, I don ’ t know how much a loaf of bread costs in a western. I ’ ve never seen anybody buy chaps or being measured or buying a 10 gallon hat. This is sometimes where the drama comes from for me. 1 y 1942, Hitchcock had acquired his legendary moniker the “ Master of BSuspense. ” The nickname proved more accurate and durable than the title David O. Selznick had tried to confer on him— “ the Master of Melodrama ” — a year earlier, after Rebecca ’ s release. In a fi fty-four-feature career, he deviated only occasionally from his tried and true suspense fi lm, with the exceptions of his early British assignments, the horror fi lms Psycho and The Birds , the splendid, darkly comic The Trouble with Harry , and the romantic comedy Mr.
    [Show full text]
  • Exploring Films About Ethical Leadership: Can Lessons Be Learned?
    EXPLORING FILMS ABOUT ETHICAL LEADERSHIP: CAN LESSONS BE LEARNED? By Richard J. Stillman II University of Colorado at Denver and Health Sciences Center Public Administration and Management Volume Eleven, Number 3, pp. 103-305 2006 104 DEDICATED TO THOSE ETHICAL LEADERS WHO LOST THEIR LIVES IN THE 9/11 TERROIST ATTACKS — MAY THEIR HEORISM BE REMEMBERED 105 TABLE OF CONTENTS Preface 106 Advancing Our Understanding of Ethical Leadership through Films 108 Notes on Selecting Films about Ethical Leadership 142 Index by Subject 301 106 PREFACE In his preface to James M cG regor B urns‘ Pulitzer–prizewinning book, Leadership (1978), the author w rote that ―… an im m ense reservoir of data and analysis and theories have developed,‖ but ―w e have no school of leadership.‖ R ather, ―… scholars have worked in separate disciplines and sub-disciplines in pursuit of different and often related questions and problem s.‖ (p.3) B urns argued that the tim e w as ripe to draw together this vast accumulation of research and analysis from humanities and social sciences in order to arrive at a conceptual synthesis, even an intellectual breakthrough for understanding of this critically important subject. Of course, that was the aim of his magisterial scholarly work, and while unquestionably impressive, his tome turned out to be by no means the last word on the topic. Indeed over the intervening quarter century, quite to the contrary, we witnessed a continuously increasing outpouring of specialized political science, historical, philosophical, psychological, and other disciplinary studies with clearly ―no school of leadership‖with a single unifying theory emerging.
    [Show full text]
  • To Download The
    FREE EXAM Complete Physical Exam Included New Clients Only Must present coupon. Offers cannot be combined Wellness Plans Extended Hours Multiple Locations www.forevervets.com4 x 2” ad Your Community Voice for 50 Years Your Community Voice for 50 Years RRecorecorPONTE VEDVEDRARA dderer entertainmentEEXTRATRA! ! Featuringentertainment TV listings, streaming information, sports schedules,X puzzles and more! September 24 - 30, 2020 INSIDE: has a new home at The latest House & Home THE LINKS! Listings Chris Rock gets 1361 S. 13th Ave., Ste. 140 Page 21 Jacksonville Beach dramatic as Offering: · Hydrafacials ‘Fargo’ returns · RF Microneedling · Body Contouring Chris Rock stars in the Season 4 premiere · B12 Complex / of “Fargo” Sunday on FX. Lipolean Injections Get Skinny with it! (904) 999-0977 www.SkinnyJax.com1 x 5” ad Now is a great time to It will provide your home: List Your Home for Sale • Complimentary coverage while the home is listed • An edge in the local market Kathleen Floryan LIST IT because buyers prefer to purchase a Broker Associate home that a seller stands behind • Reduced post-sale liability with [email protected] ListSecure® 904-687-5146 WITH ME! https://www.kathleenfloryan.exprealty.com BK3167010 I will provide you a FREE https://expressoffers.com/exp/kathleen-floryan America’s Preferred Ask me how to get cash offers on your home! Home Warranty for your home when we put it on the market. 4 x 3” ad BY JAY BOBBIN FX brings Chris Rock to ‘Fargo’ for series’ fourth season What’s Available NOW Though the last visit to “Fargo” was a and pitched him what I wanted to do, and while ago, it’s still on the television map.
    [Show full text]
  • The Excessive Present of Abolition: the Afterlife of Slavery in Law, Literature, and Performance
    iii The Excessive Present of Abolition: The Afterlife of Slavery in Law, Literature, and Performance A Dissertation Presented to the Faculty of the Graduate School Of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Jesse Aaron Goldberg May 2018 iv © 2018 Jesse Aaron Goldberg v THE EXCESSIVE PRESENT OF ABOLITION: THE AFTERLIFE OF SLAVERY IN LAW, LITERATURE, AND PERFORMANCE Jesse Aaron Goldberg, Ph.D. Cornell University The Excessive Present of Abolition reframes timescales of black radical imaginaries, arguing that Black Atlantic literary and performative texts and traditions resist periodization into past, present, and future. Their temporalities create an excessive present, in which the past persists alongside a future that emerges concurrently through forms of daily practice. I intervene in debates in black studies scholarship between a pessimistic view that points backward, arguing that blackness is marked by social death, and an optimistic view that points forward, insisting that blackness exceeds slavery’s reach. Holding both views in tension, I illuminate the “excess” that undermines this binary. The law’s violence in its rendering of black bodies as fungible exceeds its capacity for justice, and yet blackness exceeds the reach of the law, never reducible to only the state of abjection conjured by the structuring power of white supremacy. I theorize the excessive present through literature and performance in contrast to legal discourse – notably the 1783 British case Gregson v Gilbert, which is striking because it records a massacre of 131 people as an insurance case, not a murder case. The 1781 Zong Massacre recurs through each of my chapters, via J.M.W.
    [Show full text]