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Listen to the artists of the Brazilian Northeast. Their work, they say, comes of continuity and creativity. Continuity runs along lines of learning toward social coherence. Creativity brings challenges and deep personal satisfaction. What they say and do in Brazil aligns with ethnographic evidence from New Mexico and North Carolina; from Ireland, Portugal, and Italy; from Nigeria, Turkey, India, and Bangladesh; from China and Japan. This book is about that, about folk art as a sign of human unity.
Published just days before America’s entry into World War II, Ozark Country is Otto Ernest Rayburn’s love letter to his adopted region. One of several chronicles of the Ozarks that garnered national attention during the Depression and war years, when many Americans craved stories about people and places seemingly untouched by the difficulties of the times, Rayburn’s colorful tour takes readers from the fictional village of Woodville into the backcountry of a region teeming with storytellers, ballad singers, superstitions, and home remedies. Rayburn’s tales—fantastical, fun, and unapologetically romantic—portray a world that had already nearly disappeared by the time they were written. Yet Rayburn’s depiction of the Ozarks resonates with notions of the region that have persisted in the American consciousness ever since.
Includes eye-opening information on yarb doctors, charms, spells, witches, ghosts, weather magic, crops and livestock, courtship and marriage, pregnancy and childbirth, animals and plants, death and burial, and more.
The people who live in the Ozark country of Missouri and Arkansas were, until very recently, the most deliberately unprogressive people in the United States. Descended from pioneers who came West from the Southern Appalachians at the beginning of the nineteenth century, they made little contact with the outer world for more than a hundred years. They seem like foreigners to the average urban American, but nearly all of them come of British stock, and many families have lived in America since colonial days. Their material heirlooms are few, but like all isolated illiterates they have clung to the old songs and obsolete sayings and outworn customs of their ancestors. Sophisticated visitors sometimes regard the “hillbilly” as a simple child of nature, whose inmost thoughts and motivations may be read at a glance. Nothing could be farther from the truth. The hillman is secretive and sensitive beyond anything that the average city dweller can imagine, but he isn’t simple. His mind moves in a tremendously involved system of signs and omens and esoteric auguries. He has little interest in the mental procedure that the moderns call science, and his ways of arranging data and evaluating evidence are very different from those currently favored in the world beyond the hilltops. The Ozark hillfolk have often been described as the most superstitious people in America. It is true that some of them have retained certain ancient notions which have been discarded and forgotten in more progressive sections of the United States. It has been said that the Ozarker got his folklore from the Negro, but the fact is that Negroes were never numerous in the hill country, and there are many adults in the Ozarks today who have never even seen a Negro. Another view is that the hillman’s superstitions are largely of Indian origin, and there may be a measure of truth in this; the pioneers did mingle freely with the Indians, and some of our best Ozark families still boast of their Cherokee blood. My own feeling is that most of the hillman’s folk beliefs came with his ancestors from England or Scotland. I believe that a comparison of my material with that recorded by British antiquarians will substantiate this opinion.
Volume I. Quilts and textiles, Ceramics, Silver, Weaponry, Furniture, Vernacular architecture, Native American art -- volume II. Photography, Fine art.
A granddaughter of master quilter Talula Gilbert Bottoms traces her grandmother's life, discusses the artistry of her quilts, and provides a look at life in the South in the late nineteenth century and early twentieth century.
Between the world wars, America embraced an image of the Ozarks as a remote land of hills and hollers. The popular imagination stereotyped Ozarkers as ridge runners, hillbillies, and pioneers—a cast of colorful throwbacks hostile to change. But the real Ozarks reflected a more complex reality. Brooks Blevins tells the cultural history of the Ozarks as a regional variation of an American story. As he shows, the experiences of the Ozarkers have not diverged from the currents of mainstream life as sharply or consistently as the mythmakers would have it. If much of the region seemed to trail behind by a generation, the time lag was rooted more in poverty and geographic barriers than a conscious rejection of the modern world and its progressive spirit. In fact, the minority who clung to the old days seemed exotic largely because their anachronistic ways clashed against the backdrop of the evolving region around them. Blevins explores how these people’s disproportionate influence affected the creation of the idea of the Ozarks, and reveals the truer idea that exists at the intersection of myth and reality. The conclusion to the acclaimed trilogy, The History of the Ozarks, Volume 3: The Ozarkers offers an authoritative appraisal of the modern Ozarks and its people.