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Genealogy of early well-known southern families.
Includes entries for maps and atlases.
The Southern States were settled by three great waves of emigration, -Cavalier, Scotch-Irish and Huguenot. - These types retain their characteristics to this day, perhaps, largely, because groups of relatives, friends or neighbors settled in one section and gave a dominant tinge in creed, and church, and custom. The sons and daughters of these families married, and creed and custom grew stronger from year to year. Thus the Scotch-Irish, a people of Scotch origin, though living in Ireland for many years before the American emigration, settled in certain parts of Virginia, North and South Carolina, and, what is now, East Tennessee, in great numbers and impressed their Presbyterian faith upon their posterity. In the chapters of this book examples will be given of each of these groups-Cavalier, Scotch-Irish and Huguenot. The early history of these well-known Southern families is here presented, being published, at least in collected form, for the first time. The compiler takes no credit for authorship, as genealogy is not a science of invention. The facts, however, are clearly stated, and in the case of each family each line may be brought down to the present day from the earliest settler in America. The Colonial, Revolutionary, War of 1812 and War Between the States record of each family is set forth succinctly. No space has been given to tradition, though many traditions in the families mentioned are interesting and doubtless could be followed up and proved. Many histories have been consulted and many family documents studied, only reliable records being used. Though the chief endeavor of these chapters is to show the Colonial or Revolutionary settler and his posterity, a brief line of his progenitors is given in some cases, as the origin of name and family is always interesting. Among those to whom credit must be given fur valuable assistance are: Robert A. J. Armstrong, S. G. Heiskall, Richard Lee Kelton who prepared the Kelton data and a portion of the Wear article; John A. Kelly, Mrs. Anna Belle Hardwick Brown, who prepared the Hardwick and Montgomery data; Mrs. J. P. Stephenson, who prepared the Donelson data; Mrs. C. R. Greer, who prepared the Rhea record; Mrs. Sally Strother Hollingsworth who prepared the Hollingsworth line; Mrs. Louise Wilson Reynolds who wrote the Bean, Magill, Carter and Williams, and a part of the Wear; Mrs. Alice Vance Robinson who wrote the Vance record; Mrs. Berths Brien who prepared the Brien and Holliday data; Mrs. Charles Polk McGuire who prepared the Shelby story; Miss Lucy M. Ball, Mrs. C. L. Hardwick, Mrs. J. E. Johnston; the late Oscar K. Lyle, the late James A. Caldwell, Mrs. Robert Houston. Stickley, Mrs. Metta Andrews Green. Mrs. A. S. Bowen, C. K. Hill, Mrs. Joseph C. Vance and others. Hundreds of histories, court records, Bibles and family documents have also been consulted. This volume, Volume II, includes genealogies of the families of Bean, Boone, Borden, Bryan, Carter, Davis, Donaldson, Hardwick, Haywood, Holliday, Hollingsworth, Houston, Johnston, Kelton, Magill, Rhea, Montgomery, Shelby, Vance, Wear, and Williams.
The Southern States were settled by three great waves of emigration, -Cavalier, Scotch-Irish and Huguenot. - These types retain their characteristics to this day, perhaps, largely, because groups of relatives, friends or neighbors settled in one section and gave a dominant tinge in creed, and church, and custom. The sons and daughters of these families married, and creed and custom grew stronger from year to year. Thus the Scotch-Irish, a people of Scotch origin, though living in Ireland for many years before the American emigration, settled in certain parts of Virginia, North and South Carolina, and, what is now, East Tennessee, in great numbers and impressed their Presbyterian faith upon their posterity. In the chapters of this book examples will be given of each of these groups-Cavalier, Scotch-Irish and Huguenot. The early history of these well-known Southern families is here presented, being published, at least in collected form, for the first time. The compiler takes no credit for authorship, as genealogy is not a science of invention. The facts, however, are clearly stated, and in the case of each family each line may be brought down to the present day from the earliest settler in America. The Colonial, Revolutionary, War of 1812 and War Between the States record of each family is set forth succinctly. No space has been given to tradition, though many traditions in the families mentioned are interesting and doubtless could be followed up and proved. Many histories have been consulted and many family documents studied, only reliable records being used. Though the chief endeavor of these chapters is to show the Colonial or Revolutionary settler and his posterity, a brief line of his progenitors is given in some cases, as the origin of name and family is always interesting. Hundreds of histories, court records and family documents have been examined in the preparation of this volume, and the following family authorities have been consulted: Robert A. J. Armstrong, Mrs. Martha Turnley Armstrong, Mrs. Penelope J. Allen (who prepared the Deadrick and VanDyke data), Pearson Banning (who prepared the Banning data), Mrs. Virginia E. McNaught (who prepared the Gaines data), Mrs. Louise Sevier Giddings, Mrs. J. F. Alexander, S. G. Heiskell, Calvin M. McClung (who prepared the McGhee data), John A. Kelly, the late Parmenas Taylor Turnley, John Bell Brownlow (who prepared the Brownlow data), the late Oscar K. Lyle, and many others. This volume, Volume III, includes genealogies of the families of Armstrong ("Trooper"), Cockrill, Duke, Elston, Lea, Park, Parkes, and Tunnell.
Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.