Through the Lens of Mobility Studies, This Dissertation Reexamines
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“Rising Appalachia” and Traditional Folk/Pop As Social Protest
3.6. Underground music in America’s heartland: “Rising Appalachia” and traditional folk/pop as social protest Michael Saffle1 Jordan Laney 1 Abstract Rising Appalachia, a quasi-folk, quasi-pop activist group fronted by sisters Leah and Chloe Smith of Atlanta, Georgia, strives to stimulate awareness of regional economic and political problems, and to enact changes involving the clear-cutting of forests, mountain top removal, and other ecologically and socially destructive activities. The Smiths and their collaborators stand apart from the increasingly globalized and commodified cultural spaces that surround them. Their do-it- yourself performative roots and style, together with the local musical practices and convictions they embrace, contribute to what might be considered avant-garde and underground character closely associated with one of America’s least prosperous and most neglected cultural heartlands. Several audiovisual recordings, all of them available on YouTube, exemplify the ensemble’s commitment both to traditional and local musical styles as well as to opposition in the face of political and social repression and exploitation. Keywords: Appalachia, traditional music, avant-garde, activism, underground music Rising Appalachia is a quasi-folk, quasi-pop activist group fronted by sisters Leah and Chloe Smith of Atlanta, Georgia. Since their first public performances in 2008 the group, built by the Smiths, has grown rapidly in popularity through social media and an extensive touring schedule; already they have performed in Costa Rica, the Czech Republic, Italy, and several other nations. Unlike most of the performers pro/claiming Appalachia as an identity or allied space, however, Rising Appalachia must be considered radical. -
The Place of Music, Race and Gender in Producing Appalachian Space
University of Kentucky UKnowledge Theses and Dissertations--Geography Geography 2012 PERFORMING COMMUNITY: THE PLACE OF MUSIC, RACE AND GENDER IN PRODUCING APPALACHIAN SPACE Deborah J. Thompson University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Thompson, Deborah J., "PERFORMING COMMUNITY: THE PLACE OF MUSIC, RACE AND GENDER IN PRODUCING APPALACHIAN SPACE" (2012). Theses and Dissertations--Geography. 1. https://uknowledge.uky.edu/geography_etds/1 This Doctoral Dissertation is brought to you for free and open access by the Geography at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Geography by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies. -
The Gilded Age
The Gilded Age Historian Allen Nevins, in The Emergence of Modern America, described the Gilded Age—the era between the end of the Civil War and the Beginning of World War I—as a “period of currency inflation, widespread speculation, overexpansion of industry, loud booming of dubious enterprises, base business and political morals, and flashy manners….” He was correct, but only partially. Greed, fraud, and selfishness were surely widespread, but there occurred also in this age the organization of labor, some regulation of the economy, and an expansion of education. If there were those guilty of gilding society’s face, there were also those who sought to break through the gilt façade to a harder, if darker, reality. Among this group were the writers of this series—Mark Twain, Stephen Crane, Kate Chopin, W. E. B. Du Bois, and Jack London. When Mark Twain and Charles Dudley Warner published The Gilded Age: A Tale of To-day in 1873, they began with a mock apology for their treatment of: “an entirely ideal state of society… where there is no fever of speculation, no inflamed desire for sudden wealth, where the poor are all simple- minded and contented, and the rich are all honest and generous, where society is in a condition of primitive purity, and politics is the occupation of only the capable and the patriotic.” The sardonic social criticism that follows the preface aims to prick many falsehoods of the age. And with realism as a tool, many American writers took up just that aim. With William Dean Howells as its popular and influential spokesman, literary realism ranged from genteel to ruthless, and its targets of reform included a spectrum of social ills. -
The Making of a Eurasian: Writing, Miscegenation, and Redemption in Sui Sin Far/Edith Eaton by Juanita C
Asian American Literature: Discourses and Pedagogies 3 (2012) 14-26. The Making of a Eurasian: Writing, Miscegenation, and Redemption in Sui Sin Far/Edith Eaton by Juanita C. But I have come from a race on my mother’s side which is said to be the most stolid and insensible to feeling of all races, yet I look back over the years and see myself so keenly alive to every shade of sorrow and suffering that is almost pain to live. Fundamentally, I muse, all people are the same. My mother’s race is as prejudiced as my father’s. Sui Sin Far/Edith Maude Eaton1 If there is one persistent struggle that exists in the life of Edith Eaton, also known as Sui Sin Far, it is the coming to terms with her racial identity/identities in an environment of prejudice and intolerance. This lifelong struggle has become the enduring impetus for her writing; it is her intention to create a discursive space for a territory of issues, thoughts, and experiences that remain otherwise repressed in open discussions. There is no doubt that the rough terrain of race relations does not emerge only in her generation. Amidst the numerous discourses advocating segregation and hostility between races in the prolonged history of racism in America—the discriminatory agenda of which was further intensified by the extreme Sinophobia during the late 1800s—she felt the exigency to present an honest and sympathetic account of a group of Chinese immigrants who find themselves in situations of racial strife in a society of different values and tradition. -
Colby Virginia Reed Atkinson James B. Footprints of the Past
Author 1 last name Colby Author 1 first name: Picture Virginia Reed Author 2 last name: Atkinson Author 2 first name James B. title Footprints of the past: images of Cornish,New Hampshire and the Cornish Colony place of publication Concord, New Hampshire publisher New Hampshire Historical Society publication date 1996 donor authors donation date 1996 content Cornish related people, places, and things not in either Child or Rawson;Cornish Colony members;people connected with the Cornish Colony Location Reference Author 1 last name Child Author 1 first name Picture Williiam H. Author 2 last name Author 2 first name title History of the Town of Cornish, New Hampshire, with genealogical record, 1763-1910 in 2 volumes(1975); also reprint in one volume (2004) place of publication nation date Original town history plus genealogy content comments Location Genealogy Corner v. one and Reference Author 1 last name Rawson Author 1 first name Barbara Picture Eastman Author 2 last name Author 2 first name title History of the town of Cornish, New Hampshire, with genealogical record, 1910-1960; two copies place of publication Littleton, New Hampshire publisher The Courier Printing Company publication date 1963 donor contents: updates Child Location Reference and Genealogy Corner Author 1 last name Wade Author 1 first name Hugh Mason Picture Author 2 last name Author 2 first name title Brief History of Cornish, 1763-1974; two copies place of publication Hanover, New Hampshire publisher The University Press of New England publication date 1976; reprinted:1992 donor donation date retells Child more succinctly; updates Cornish Colony section of Child; additional genealogical material by Stephen P. -
Jim Shumate and the Development of Bluegrass Fiddling
JIM SHUMATE AND THE DEVELOPMENT OF BLUEGRASS FIDDLING A Thesis by NATALYA WEINSTEIN MILLER Submitted to the Graduate School Appalachian State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2018 Center for Appalachian Studies JIM SHUMATE AND THE DEVELOPMENT OF BLUEGRASS FIDDLING A Thesis by NATALYA WEINSTEIN MILLER May 2018 APPROVED BY: Sandra L. Ballard Chairperson, Thesis Committee Gary R. Boye Member, Thesis Committee David H. Wood Member, Thesis Committee William R. Schumann Director, Center for Appalachian Studies Max C. Poole, Ph.D. Dean, Cratis D. Williams School of Graduate Studies Copyright by Natalya Weinstein Miller 2018 All Rights Reserved Abstract JIM SHUMATE AND THE DEVELOPMENT OF BLUEGRASS FIDDLING Natalya Weinstein Miller, B.A., University of Massachusetts M.A., Appalachian State University Chairperson: Sandra L. Ballard Born and raised on Chestnut Mountain in Wilkes County, North Carolina, James “Jim” Shumate (1921-2013) was a pioneering bluegrass fiddler. His position at the inception of bluegrass places him as a significant yet understudied musician. Shumate was a stylistic co-creator of bluegrass fiddling, synthesizing a variety of existing styles into the developing genre during his time performing with some of the top names in bluegrass in the 1940s, including Bill Monroe in 1945 and Lester Flatt & Earl Scruggs in 1948. While the "big bang" of bluegrass is considered to be in 1946, many elements of the bluegrass fiddle style were present in Bill Monroe's Blue Grass Boys prior to 1945. Jim Shumate’s innovative playing demonstrated characteristics of this emerging style, such as sliding double-stops (fingering notes on two strings at once) and syncopated, bluesy runs. -
A History of the Augusta Heritage Center in Elkins, West Virginia
EXPLORING “NOSTALGIA FOR THE FUTURE": A HISTORY OF THE AUGUSTA HERITAGE CENTER IN ELKINS, WEST VIRGINIA A Thesis by BRITTANY R. HICKS Submitted to the Graduate School Appalachian State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 Center for Appalachian Studies EXPLORING “NOSTALGIA FOR THE FUTURE”: A HISTORY OF THE AUGUSTA HERITAGE CENTER IN ELKINS, WEST VIRGINIA A Thesis by BRITTANY R. HICKS May 2014 APPROVED BY: Sandra L. Ballard, Ph.D. Chairperson, Thesis Committee Katherine E. Ledford, Ph.D. Program Director, Center for Appalachian Studies Member, Thesis Committee Bruce E. Stewart, Ph.D. Member, Thesis Committee Edelma D. Huntley, Ph.D. Dean, Cratis Williams Graduate School Copyright by Brittany R. Hicks 2014 All Rights Reserved Abstract EXPLORING “NOSTALGIA FOR THE FUTURE”: A HISTORY OF THE AUGUSTA HERITAGE CENTER IN ELKINS, WEST VIRGINIA Brittany R. Hicks B.A., Davis & Elkins College M.A., Appalachian State University Chairperson: Sandra L. Ballard, Ph.D. Since 1973, the Augusta Heritage Center (commonly known as Augusta) of Davis & Elkins College has coordinated traditional arts workshops; organized festivals, concerts, dances, and lectures; produced documentary films, audio recordings, and books; sponsored community projects; and accumulated an extensive archive of folk culture. This research establishes a narrative of Augusta’s history, beginning with the founding of its first craft workshops in the 1970s through the development of the diverse music programs that Augusta is known for today. Tracing Augusta’s connections to social movements—including traditional music and craft revivals and the 1970s back-to-the-land movement—situates the Center in a historical context. -
Reading Sui Sin Far in Jamaica Christine "Xine" Yao
Black-Asian Counterintimacies: Reading Sui Sin Far in Jamaica Christine "Xine" Yao J19: The Journal of Nineteenth-Century Americanists, Volume 6, Number 1, Spring 2018, pp. 197-204 (Article) Published by University of Pennsylvania Press DOI: https://doi.org/10.1353/jnc.2018.0015 For additional information about this article https://muse.jhu.edu/article/693146 Access provided by The University of British Columbia Library (16 Aug 2018 21:48 GMT) Christine “Xine” Yao · Black- Asian Counterintimacies 197 J19 14. “Amer i ca for the Americans,” Putnam’s Monthly (January to July 1855), 533. 15. Ibid., 536. 16. Ibid., 536, 538. 17. For example, in the mid-1930s a San Diego based group called, The National Club of Amer i ca for Americans, “petitioned the Los Angeles City Council to pass an ordinance barring non- naturalized aliens from working in the Los Angeles area,” a move specifically targeted at California’s growing immigrant population from Mexico. See, Natalia Molina, Fit to Be Citizens?: Public Health and Race in Los Angeles, 1879–1939. (University of California Press, 2006), 176. 18. See Hiram Bingham, “The Latin American Attitude toward the Monroe Doctrine,” Pro- ceedings of the American Society of International Law at Its Annual Meeting 8 (April 22–25, 1914), 186. 19. Aimé Césaire, Discourse on Colonialism, trans. Joan Pinkham (New York: Monthly Review Press, 1972), 77. 20. In an editorial for Crisis! magazine, Du Bois said of the US occupation that there was “absolutely no adequate excuse” for the United States to have “made a White Admiral sole and irresponsible dictator of Hayti. -
Chan Han Yen, Chinese Student
10 the stairs to his room, the girl looked up with a smile and bade him not study not him bade and smile a with up looked girl the room, his to stairs the occasionally joined in. When Han Yen finally arose and was about to ascend to about was and arose finally Yen Han When in. joined occasionally daughter. Mrs. Bray had been talking cheerily during the meal and Carrie had Carrie and meal the during cheerily talking been had Bray Mrs. daughter. was unacquainted with the official, was alone with Mrs. Bray and her and Bray Mrs. with alone was official, the with unacquainted was member of the Legation at a Chinese restaurant in the city, and Han Yen, who Yen, Han and city, the in restaurant Chinese a at Legation the of member It was one evening in early spring. The other Chinese students were dining a dining were students Chinese other The spring. early in evening one was It other students in the house. the in students other evenings and Sundays, there was the Chinese Mission. Besides there were there Besides Mission. Chinese the was there Sundays, and evenings attention to Han Yen. Her time was well occupied with housework, and in the in and housework, with occupied well was time Her Yen. Han to attention parents to become his future wife. For seven months Carrie paid little paid Carrie months seven For wife. future his become to parents as the eyes and hair of the little girl who had been adopted by Han Yen’s Han by adopted been had who girl little the of hair and eyes the as Carrie. -
May-June 2014
May-June, 2014 Biblio File ‘Wonderful work is still Dennis Cremin won the 2014 Russell P. Strange book of-the-year award from the Illinois State Historical Society for Grant Park: The Evolution of Chicago's being honored, celebrated’ Front Yard. ... On June 4, Edward BY THOMAS FRISBIE Love” from Selected Poems, the Poetry Gordon was a panelist in a program on he Society of Midland Authors winner that year and a selection from the future of work force development at annual awards banquet is a Harry Mark Petrakis’ The Odyssey of which Vice President Joe Biden spoke Tvaluable forum for recognizing Kostas Volakis, the Adult Fiction winner. and Secretary of Labor Thomas Perez led fine work by Midwest authors, Referring to a poster on display at the the discussion. A report on the discussion emcee Paul Durica said at this year’s dinner that listed SMA winners back to will be issued by Third Way, a Wash- event. 1957, Durica said, “All of you [should] go ington think tank that sponsored the “It is interesting to be here at the back and look it over and hopefully dis- event. Also, Ed reports he is teaming up dinner that marks the 99th anniversary cover some sort of treasure.” with a British historian to write a history of the Society of Midland Authors,” Following Durica’s remarks, former of World War II, said Durica, the founder of “Pocket SMA President James Schwab presented which should be out in Guide to Hell,” a series of free and the Society’s Distinguished Service 2019. -
Read Ebook {PDF EPUB} Art and Life in America by Oliver W. Larkin Harvard Art Museums / Fogg Museum | Bush-Reisinger Museum | Arthur M
Read Ebook {PDF EPUB} Art and Life in America by Oliver W. Larkin Harvard Art Museums / Fogg Museum | Bush-Reisinger Museum | Arthur M. Sackler Museum. In this allegorical portrait, America is personified as a white marble goddess. Dressed in classical attire and crowned with thirteen stars representing the original thirteen colonies, the figure gives form to associations Americans drew between their democracy and the ancient Greek and Roman republics. Like most nineteenth-century American marble sculptures, America is the product of many hands. Powers, who worked in Florence, modeled the bust in plaster and then commissioned a team of Italian carvers to transform his model into a full-scale work. Nathaniel Hawthorne, who visited Powers’s studio in 1858, captured this division of labor with some irony in his novel The Marble Faun: “The sculptor has but to present these men with a plaster cast . and, in due time, without the necessity of his touching the work, he will see before him the statue that is to make him renowned.” Identification and Creation Object Number 1958.180 People Hiram Powers, American (Woodstock, NY 1805 - 1873 Florence, Italy) Title America Other Titles Former Title: Liberty Classification Sculpture Work Type sculpture Date 1854 Places Creation Place: North America, United States Culture American Persistent Link https://hvrd.art/o/228516 Location Level 2, Room 2100, European and American Art, 17th–19th century, Centuries of Tradition, Changing Times: Art for an Uncertain Age. Signed: on back: H. Powers Sculp. Henry T. Tuckerman, Book of the Artists: American Artist Life, Comprising Biographical and Critical Sketches of American Artists, Preceded by an Historical Account of the Rise and Progress of Art in America , Putnam (New York, NY, 1867), p. -
Read Ebook {PDF EPUB} Benjamin Henry Latrobe by Talbot Faulkner Hamlin Benjamin Henry Latrobe by Talbot Faulkner Hamlin
Read Ebook {PDF EPUB} Benjamin Henry Latrobe by Talbot Faulkner Hamlin Benjamin Henry Latrobe by Talbot Faulkner Hamlin. Our systems have detected unusual traffic activity from your network. Please complete this reCAPTCHA to demonstrate that it's you making the requests and not a robot. If you are having trouble seeing or completing this challenge, this page may help. If you continue to experience issues, you can contact JSTOR support. Block Reference: #7fc8aa90-cf51-11eb-a8fa-33e0b1df654c VID: #(null) IP: 116.202.236.252 Date and time: Thu, 17 Jun 2021 09:50:50 GMT. Benjamin Henry Latrobe. Benjamin Henry Latrobe was born in 1764 at Fulneck in Yorkshire. He was the Second son of the Reverend Benjamin Latrobe (1728 - 86), a minister of the Moravian church, and Anna Margaretta (Antes) Latrobe (1728 - 94), a third generation Pennsylvanian of Moravian Parentage. The original Latrobes had been French Huguenots who had settled in Ireland at the end of the 17th Century. Whilst he is most noted for his work on The White House and the Capitol in Washington, he introduced the Greek Revival as the style of American National architecture. He built Baltimore cathedral, not only the first Roman Catholic Cathedral in America but also the first vaulted church and is, perhaps, Latrobes finest monument. Hammerwood Park achieves importance as his first complete work, the first of only two in this country and one of only five remaining domestic buildings by Latrobe in existence. It was built as a temple to Apollo, dedicated as a hunting lodge to celebrate the arts and incorporating elements related to Demeter, mother Earth, in relation to the contemporary agricultural revolution.