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A rich portrait of Black life in South Carolina's Upstate Encyclopedic in scope, yet intimate in detail, African American Life in South Carolina's Upper Piedmont, 1780–1900, delves into the richness of community life in a setting where Black residents were relatively few, notably disadvantaged, but remarkably cohesive. W. J. Megginson shifts the conventional study of African Americans in South Carolina from the much-examined Lowcountry to a part of the state that offered a quite different existence for people of color. In Anderson, Oconee, and Pickens counties—occupying the state's northwest corner—he finds an independent, brave, and stable subculture that persevered for more than a century in the face of political and economic inequities. Drawing on little-used state and county denominational records, privately held research materials, and sources available only in local repositories, Megginson brings to life African American society before, during, and after the Civil War. Orville Vernon Burton, Judge Matthew J. Perry Jr. Distinguished Professor of History at Clemson University and University Distinguished Teacher/Scholar Emeritus at the University of Illinois, provides a new foreword.
Cities were the core of a changing economy and culture that penetrated the rural hinterland and remade the South in the decades following the Civil War. In New Men, New Cities, New South, Don Doyle argues that if the plantation was the world the slaveholders made, the urban centers of the New South formed the world made by merchants, manufacturers, and financiers. The book's title evokes the exuberant rhetoric of New South boosterism, which continually extolled the "new men" who dominated the city-building process, but Doyle also explores the key role of women in defining the urban upper class. Doyle uses four cities as case studies to represent the diversity of the region and to illuminate the responses businessmen made to the challenges and opportunities of the postbellum South. Two interior railroad centers, Atlanta and Nashville, displayed the most vibrant commercial and industrial energy of the region, and both cities fostered a dynamic class of entrepreneurs. These business leaders' collective efforts to develop their cities and to establish formal associations that served their common interests forged them into a coherent and durable urban upper class by the late nineteenth century. The rising business class also helped establish a new pattern of race relations shaped by a commitment to economic progress through the development of the South's human resources, including the black labor force. But the "new men" of the cities then used legal segregation to control competition between the races. Charleston and Mobile, old seaports that had served the antebellum plantation economy with great success, stagnated when their status as trade centers declined after the war. Although individual entrepreneurs thrived in both cities, their efforts at community enterprise were unsuccessful, and in many instances they remained outside the social elite. As a result, conservative ways became more firmly entrenched, including a system of race relations based on the antebellum combination of paternalism and neglect rather than segregation. Talent, energy, and investment capital tended to drain away to more vital cities. In many respects, as Doyle shows, the business class of the New South failed in its quest for economic development and social reform. Nevertheless, its legacy of railroads, factories, urban growth, and changes in the character of race relations shaped the world most southerners live in today.
How FBI surveillance influenced African American writing Few institutions seem more opposed than African American literature and J. Edgar Hoover's white-bread Federal Bureau of Investigation. But behind the scenes the FBI's hostility to black protest was energized by fear of and respect for black writing. Drawing on nearly 14,000 pages of newly released FBI files, F.B. Eyes exposes the Bureau’s intimate policing of five decades of African American poems, plays, essays, and novels. Starting in 1919, year one of Harlem’s renaissance and Hoover’s career at the Bureau, secretive FBI "ghostreaders" monitored the latest developments in African American letters. By the time of Hoover’s death in 1972, these ghostreaders knew enough to simulate a sinister black literature of their own. The official aim behind the Bureau’s close reading was to anticipate political unrest. Yet, as William J. Maxwell reveals, FBI surveillance came to influence the creation and public reception of African American literature in the heart of the twentieth century. Taking his title from Richard Wright’s poem "The FB Eye Blues," Maxwell details how the FBI threatened the international travels of African American writers and prepared to jail dozens of them in times of national emergency. All the same, he shows that the Bureau’s paranoid style could prompt insightful criticism from Hoover’s ghostreaders and creative replies from their literary targets. For authors such as Claude McKay, James Baldwin, and Sonia Sanchez, the suspicion that government spy-critics tracked their every word inspired rewarding stylistic experiments as well as disabling self-censorship. Illuminating both the serious harms of state surveillance and the ways in which imaginative writing can withstand and exploit it, F.B. Eyes is a groundbreaking account of a long-hidden dimension of African American literature.
Shakespeare has never been more ubiquitous, not only on the stage and in academic writing, but in film, video and the popular press. On television, he advertises everything from cars to fast food. His birthplace, the tiny Warwickshire village of Stratford-Upon-Avon, has been transformed into a theme park of staggering commercialism, and the New Globe, in its second season, is already a far bigger business than the old Globe could ever have hoped to be. If popular culture cannot do without Shakespeare, continually reinventing him and reimagining his drama and his life, neither can the critical and scholarly world, for which Shakespeare has, for more than two centuries, served as the central text for analysis and explication, the foundation of the western literary canon and the measure of literary excellence.The Shakespeare the essays collected in these volumes reveal is fully as multifarious as the Shakespeare of theme parks, movies and television. Indeed, it is part of the continuing reinvention of Shakespeare. The essays are drawn for the most part from work done in the past three decades, though a few essential, enabling essays from an earlier period have been included. They not only chart the directions taken by Shakespeare studies in the recent past, but they serve to indicate the enormous and continuing vitality of the enterprise, and the extent to which Shakespeare has become a metonym for literary and artistic endeavor generally.
Robert Greene holds a significant place in our understanding of Elizabethan literature. This book offers the most rigorous attempt yet undertaken to determine the scope of the playwright’s canon through analyses of Greene’s verse style, vocabulary, rhyming habits, and the dramatist’s phraseology in his attested plays and in comparison to four plays that have long been on the margins of Greene’s corpus: Locrine, Selimus, George a Greene, and A Knack to Know a Knave. The book defines the ranges for Greene’s stylistic habits for the very first time and proceeds to identify parallels of thought, language, and overall dramaturgy that reveal a single author’s creative consciousness. This volume also casts light on Greene as a more collaborative dramatist than has hitherto been acknowledged. Through emphasizing the immediate surroundings in which Greene was writing – the flourishing of popular theatres in two compact areas of London, in which each theatre company and their dra-matists kept a close eye on what their competitors were producing – Greene emerges as an influential playwright, whose restored oeuvre enables us to establish new ways in which his dramatic methods impacted other writers of the period, including Shakespeare.