George Washington Cable
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
And Type the TITLE of YOUR WORK in All Caps
RACE, REGION, AND REALISM IN THE POSTBELLUM FICTION OF ALBION TOURGÉE, CHARLES CHESNUTT, GEORGE WASHINGTON CABLE, AND MARK TWAIN by KATHERINE BROWN BARROW (Under the Direction of James Nagel) ABSTRACT In the literary movements of Regionalism and Realism that emerged in the wake of the Civil War, Albion Tourgée (1838-1905), Mark Twain (1835-1910), George Washington Cable (1844-1925), and Charles Chesnutt (1858-1932) contributed to the growing field of Southern fiction within these traditions. With varying degrees of verisimilitude, romance, and satire, all four of these authors placed issues of race and nationhood at the thematic center of their most influential novels. In many of their postbellum works of fiction, such as The Grandissimes, Adventures of Huckleberry Finn, Pudd’nhead Wilson and Those Extraordinary Twins, A Fool’s Errand, Bricks without Straw, Mandy Oxendine, The Conjure Woman, The House Behind the Cedars, and The Marrow of Tradition, they explored the persisting racial problems of American life in the last quarter of the nineteenth-century and developed themes that suggested that the nation was still mired in the problems of its past. Perhaps the most significant aspect their postwar novels share is the manner in which they present African American protagonists who actively pursue a better life for themselves by challenging the white patriarchal order. Through various methods of empowerment, such as verbal trickery, escaping slavery, passing into white life, educational and economic advancement, as well as the subversive acts of protest, violence, and revenge, these characters refuse to submit to the social hierarchy to which they are bound by either custom or law. -
The Serpent of Lust in the Southern Garden: the Theme of Miscegenation in Cable, Twain, Faulkner and Warren
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1973 The eS rpent of Lust in the Southern Garden: the Theme of Miscegenation in Cable, Twain, Faulkner and Warren. William Bedford Clark Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Clark, William Bedford, "The eS rpent of Lust in the Southern Garden: the Theme of Miscegenation in Cable, Twain, Faulkner and Warren." (1973). LSU Historical Dissertations and Theses. 2451. https://digitalcommons.lsu.edu/gradschool_disstheses/2451 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. -
View / Download 5.1 Mb
Nourishing Networks: The Public Culture of Food in Nineteenth-Century America by Ashley Rose Young Department of History Duke University Date:_______________________ Approved: ___________________________ Laura Edwards, Supervisor ___________________________ Priscilla Wald ___________________________ Laurent Dubois ___________________________ Adriane Lentz-Smith Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of Duke University 2017 i v ABSTRACT Nourishing Networks: The Public Culture of Food in Nineteenth-Century America by Ashley Rose Young Department of History Duke University Date:_______________________ Approved: ___________________________ Laura Edwards, Supervisor ___________________________ Priscilla Wald ___________________________ Laurent Dubois ___________________________ Adriane Lentz-Smith An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of Duke University 2017 Copyright by Ashley Rose Young 2017 Abstract “Nourishing Networks: The Public Culture of Food in Nineteenth-Century America” examines how daily practices of food production and distribution shaped the development of New Orleans’ public culture in the long nineteenth century, from the colonial era through the mid-twentieth century. During this period, New Orleans’ vendors labored in the streets of diverse neighborhoods where they did more than sell a vital commodity. As “Nourishing Networks” demonstrates, the food economy provided the disenfranchised—people of color, women, and recent migrants—a means to connect themselves to the public culture of the city, despite legal prohibitions intended to keep them on the margins. Those who were legally marginalized exercised considerable influence over the city’s public culture, shaping both economic and social interactions among urban residents in the public sphere. -
Degas in New Orleans: Encounters in the Creole World of Kate Chopin and George Washington Cable'
H-Urban Long on Benfey, 'Degas in New Orleans: Encounters in the Creole World of Kate Chopin and George Washington Cable' Review published on Friday, January 1, 1999 Christopher Benfey. Degas in New Orleans: Encounters in the Creole World of Kate Chopin and George Washington Cable. New York: Alfred A. Knopf, 1998. xii + 294 pp. $27.50 (cloth), ISBN 978-0-679-43562-4. Reviewed by Alecia P. Long (Louisiana State Museum) Published on H-Urban (January, 1999) As one might surmise from the main title, Christopher Benfey's ostensible subject inDegas in New Orleans is the painter Edgard Degas and the time he spent visiting the city and his relatives during his only American sojourn. From October of 1872 through March of 1873 Degas lived with and began paintings of many of his Louisiana relations. But one needs carefully to consider Benfey's subtitle, Encounters in the Creole World of Kate Chopin and George Washington Cable in order to have even an inkling of what Benfey, who teaches American literature at Mount Holyoke, is up to in this engaging, thought-provoking, but sometimes frustrating book. Benfey contends that the period of Degas' visit was also a "key moment in the cultural history of this most exotic of American cities "and notes that New Orleans subjects inspired Degas at the very same time Kate Chopin and George Washington Cable "were beginning to mine the resources of New Orleans" for their literary creations. One of Benfey's central research questions is "[w]hat was it about this war-torn, diverse, and conflicted city that elicited from Degas some his finest works (p. -
Black Creoles in New Orleans (1700-1971): the Life of the Educated, Talented, and Civilized Black Creoles
Bard College Bard Digital Commons Senior Projects Spring 2016 Bard Undergraduate Senior Projects Spring 2016 Black Creoles in New Orleans (1700-1971): the life of the educated, talented, and civilized black Creoles Troy Lenard Simon Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2016 Part of the Teacher Education and Professional Development Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Simon, Troy Lenard, "Black Creoles in New Orleans (1700-1971): the life of the educated, talented, and civilized black Creoles" (2016). Senior Projects Spring 2016. 108. https://digitalcommons.bard.edu/senproj_s2016/108 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Simon 1 Black Creoles in New Orleans (1700-1971): the life of the educated, talented, and civilized black Creoles “There is no State in the Union, hardly any spot of like size on the globe where the man of color has lived so intensely, made so much progress, been of such historical importance [as in Louisiana] and yet about whom so comparatively little is known.” —Alice Dunbar-Nelson 1916 Senior Project submitted to: The Division of Language and Literature Of Bard College By Troy Simon Annandale-on-Hudson, New York May 2016 Simon 2 Simon 3 Dedication For my family, for my friends, for me, And for the Free People of Color about whom so comparatively little is known. -
African Music Vol 2 No 3(Seb)
GEORGE W. CABLE AND TWO SOURCES OF JAZZ 59 GEORGE W. CABLE AND TWO SOURCES OF JAZZ b Dr. HUGH L. SMITH Reprinted by kind permission of “The Second Line”, organ of the New Orleans Jazz Club. The effect of the Creole song on jazz has been noted in nearly every historical jazz study. Goffin, Borneman, Blesh, and Finkelstein are among those who have treated the matter, while Marshall Stearns’ comment in The Story of is a recent example: “As might be expected, the French influence is perhaps the greatest European influence on New Orleans jazz. It merged with rhumba rhythms to produce Creole songs . -” 1 George Washington Cable, the great New Orleans novelist, was a literary figure who sought out Creole songs with a collector’s zeal and used them repeatedly in his novels; he also sang them from the lecture platform in just about every section of America and even in England. Cable showed as well an avid interest in a better known jazz source, that of slave songs, rhythms and dances. Employing the transcendent powers of observation necessary to an important novelist, he wrote of Creole and slave music in both fiction and magazine articles in such a way as to suggest, and even stress, musical qualities which were later to become of interest to jazz as inherent elements of jazz. Cable was a writer who in his time was thought by some critics to be the equal of Nathaniel Hawthorne, and he still enjoys a prominent position among the local colorists of American literature. Recent biographical studies by Arlin Turner and Philip Butcher indicate, in fact, a resurgence of interest in Cable. -
Unstable Narratives of New Orleans in George Washington Cable's Old
O WEN R O BINS O N City of Exiles: Unstable Narratives of New Orleans in George Washington Cable’s Old Creole Days Near the beginning of “‘Posson Jone’’,” the fourth story in George Washington Cable’s 1879/81 collection Old Creole Days, the “elegant little heathen” Jules St.-Ange and his “yellow body-servant” Baptiste are discussing the upcoming bullfight in Place Congo, when they encounter a growing commotion:1 Two or three persons ran to the opposite corner, and commenced striking at some- thing with their canes. Others followed. Can M. St.-Ange and servant, who hasten forward – can the Creoles, Cubans, Spaniards, San Domingo refugees, and other loungers – can they hope it is a fight? They hurry forward. Is a man in a fit? The crowd pours in from the side-streets.2 When the hopeful multitude finally discover the cause of their throng- ing, they are disgruntled to discover only that a man’s hat has blown into the gutter. Furthermore, the man is, in the words of one onlook- er, “Humph! an Américain – a West-Floridian; bah!”3 Notwithstanding this particular American being gigantic and quite literally having a roll of banknotes on his newly-uncovered head, he is not so exciting as a fight would have been. Happily, he will later make up for this deficiency by playing a leading role in a spectacular riot at the bull- fight. In the meantime, this initial appearance is nicely indicative of Cable’s depiction of the attitudes and tensions in New Orleans in the years following the Louisiana Purchase of 1803. -
Department of English Summer 2019 Course Descriptions
DEPARTMENT OF ENGLISH SUMMER 2019 COURSE DESCRIPTIONS Successful completion of English 1158 is a prerequisite to all courses numbered 2000 and above. Successful completion of 45 hours of coursework, including six hours of 2000-level literature courses, is a prerequisite for all courses numbered 3000 and above. ENGL 2041: MAJOR AMERICAN WRITERS *This course satisfies the General Education Literature Requirement. English majors should not take this course, as it duplicates material covered in 2031 and 2032. SECTION 476 ONLINE E. LEWIS The online course is designed to give students an overview of the major American writers from the colonial to the contemporary period that emphasizes both content and the formal elements of style and structure. We will be looking at different genres and subgenres such as creation myths, slave narratives, essays, autobiographies, plays, short stories, novels and poetry. This course will also introduce students to the terms that categorize the various literary movements during the periods, for example, Puritanism, romanticism, realism, regionalism, naturalism and modernism. The cultural and historical context of these periods will be an important focus of our study. In this regard, you will become familiar with the terms that define the various historical periods, such as the Enlightenment, the American Renaissance, the Roaring Twenties, the Jazz Age, the Harlem Renaissance, the Southern Renaissance, etc. REQUIREMENTS: Two exams, two formal papers and scheduled quizzes are required for this course, as well as participation in Discussion Board assignments. TEXT: The Norton Anthology of American Literature, shorter 8th edition. ISBN 10: 0393918858 / ISBN 13: 9780393918854. ENGL 2043: NEW ORLEANS LITERATURE *This course satisfies the General Education Literature Requirement. -
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions by Ned Hémard
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions By Ned Hémard The Creole Virtues … and Vices Much has been brought up, grown up or arisen in New Orleans, the metropolis known as the Crescent City. The word crescent itself is derived from the Latin crescere, a form of the verb meaning “to grow, to become visible, to spring from, to come forth, to increase, to thrive or to augment.” This came to apply to the “increasing” form of the waxing moon (luna crescens). In English, the word is now commonly used to refer to either the moon’s waxing, or waning, shape. From there, it was only a matter of time before it would be used to describe other things with that shape, such as croissants or bends in the river, as in the case of New Orleans. But the crescent symbol was in use long before that, appearing on Akkadian seals as early as 2300 BC. That’s Akkadian, not Acadian, chèr. A crescent sail on the Mississippi, March 30, 1861, Harper’s Weekly: “one can perceive the peculiar conformation from which New Orleans derives its popular appellation of ‘The Crescent City.’” The word Créole has “brought up” quite a bit of controversy in its “upbringing”. Confusion continues to exist as to its meaning with regard to race or European heritage. The French word créole, from the Spanish criollo, meaning a person native to a locality, comes from the Portuguese crioulo, the diminutive of cria, a person raised in the house, especially a servant, from criar, to bring up, ultimately from the Latin verb creare, meaning to create or beget. -
European Journal of American Studies, 9-3 | 2014 Down the River, out to Sea: Mobility, Immobility, and Creole Identity in New
European journal of American studies 9-3 | 2014 Special Issue: Transnational Approaches to North American Regionalism Down the River, Out to Sea: Mobility, Immobility, and Creole Identity in New Orleans Regionalist Fiction (1880-1910) Amy Doherty Mohr Electronic version URL: https://journals.openedition.org/ejas/10412 DOI: 10.4000/ejas.10412 ISSN: 1991-9336 Publisher European Association for American Studies Electronic reference Amy Doherty Mohr, “Down the River, Out to Sea: Mobility, Immobility, and Creole Identity in New Orleans Regionalist Fiction (1880-1910)”, European journal of American studies [Online], 9-3 | 2014, document 6, Online since 23 December 2014, connection on 08 July 2021. URL: http:// journals.openedition.org/ejas/10412 ; DOI: https://doi.org/10.4000/ejas.10412 This text was automatically generated on 8 July 2021. Creative Commons License Down the River, Out to Sea: Mobility, Immobility, and Creole Identity in New ... 1 Down the River, Out to Sea: Mobility, Immobility, and Creole Identity in New Orleans Regionalist Fiction (1880-1910) Amy Doherty Mohr 1. Louisiana Creoles and the “Third Space” 1 To explore the intersection of regionalism and transnationalism in New Orleans fiction of the late nineteenth and early twentieth centuries, this essay will focus on the Creole characters in George Washington Cable’s The Grandissimes (1880), Kate Chopin’s The Awakening (1899), and Alice Dunbar-Nelson’s “The Stones of the Village” (1900-1910). i Very broadly, “in the early colonial period … Creole signified the offspring of Old World progenitors born and raised in the New World” (Stewart 1). In New Orleans, Creoles represent the fraught transition from signifying French or Spanish heritage to the inclusion of African ancestry, lending New Orleans a distinct regional identity through their inherently transnational mixture (Davis 195-98; Disheroon-Green and Abney 2-3). -
Playing the Big Easy: a History of New Orleans in Film and Television
PLAYING THE BIG EASY: A HISTORY OF NEW ORLEANS IN FILM AND TELEVISION Robert Gordon Joseph A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2018 Committee: Cynthia Baron, Advisor Marlise Lonn Graduate Faculty Representative Clayton Rosati Andrew Schocket © 2018 Robert Joseph All Rights Reserved iii ABSTRACT Cynthia Baron, Advisor Existing cultural studies scholarship on New Orleans explores the city’s exceptional popular identity, often focusing on the origins of that exceptionality in literature and the city’s twentieth century tourism campaigns. This perceived exceptionality, though originating from literary sources, was perpetuated and popularized in the twentieth and twenty-first centuries by film and television representations. As Hollywood’s production standards evolved throughout the twentieth century, New Orleans’ representation evolved with it. In each filmmaking era, representations of New Orleans reflected not only the production realities of that era, but also the political and cultural debates surrounding the city. In the past two decades, as the aftermath of Hurricane Katrina and the passage of film tax credits by the Louisiana Legislature increased New Orleans’ profile, these debates have been more present and driven by New Orleans’ filmed representations. Using the theoretical framework of Guy Debord’s spectacle and the methodology of New Film History and close “to the background” textual analysis, this study undertakes an historical overview of New Orleans’ representation in film and television. This history starts in the era of Classical Hollywood (1928-1947) and continues through Transitional Hollywood (1948-1966), New Hollywood (1967-1975), and the current Age of the Blockbuster (1975-). -
EVIDENCE of INFLUENCES on JOHN KENNEDY TOOLE's a CONFEDERACY of DUNCES, INCLUDING GEOFFREY CHAUCER Version 2.1 (2 June 2014)
EVIDENCE OF INFLUENCES ON JOHN KENNEDY TOOLE'S A CONFEDERACY OF DUNCES, INCLUDING GEOFFREY CHAUCER Version 2.1 (2 June 2014) H. Vernon Leighton Dedicated to Richard E. Smith Abstract This study uses the evidence held in John Kennedy Toole’s papers located at Tulane University to investigate many literary works and authors who may have been possible influences on his novel A Confederacy of Dunces (Confederacy). Part one is a catalog of evidence about authors, texts, and characters to which Confederacy has been compared, including Boethius, Chaucer, John Lyly, Edmund Spenser, Cervantes, Shakespeare’s Falstaff, John Milton, various authors of picaresque novels, Jonathan Swift, the Romantic Poets, Mark Twain, Herman Melville, Joseph Conrad, T.S. Eliot, various ethnic melee dramas, Walker Percy, J. D. Salinger, and Flannery O’Connor. Part two then analyzes themes common to both Chaucer’s Canterbury Tales and Toole’s Confederacy, such as the use of the grotesque, the dynamics within intimate relationships, and the parody of romance. In Confederacy, Ignatius Reilly is an agent of Fortuna and fulfills a role occupied by the planetary god Saturn in Chaucer’s Knight’s Tale. Some critics have called Toole’s outlook deterministic. This study argues that he was not a determinist, and that his Boethian position on free will was derived indirectly through the influence of Chaucer. EVIDENCE OF INFLUENCES ON J. K. TOOLE — 2 of 46 Introduction1 Prior to the posting of version 1.0 of this study in July of 2010, efforts to study John Kennedy Toole’s intellectual development and how it may have influenced his A Confederacy of Dunces (Confederacy) had been remarkably weak, especially considering the critical attention paid to the text.