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Explores how novelists of the mid-century US South invented small towns to aesthetically undermine racial segregationInvestigates the role of writing in the civil right movementExplores neglected writersUncovers new readings of canonical textsModels a new form of critical reading based on close textual analysisInterrogates the relationship between literary production and social protestAnalysing the ubiquity of the small town in fiction of the mid-century US South, Living Jim Crow is the first extended scholarly study to explore how authors mobilised this setting as a tool for racial resistance. With innovative close readings of Zora Neale Hurston, Richard Wright, Lillian Smith, Byron Herbert Reece, Carson McCullers, William Faulkner and William Melvin Kelley, the book traces the relationship between activism and aesthetics during the long civil rights movement. Lennon reframes a narrative of southern literature during the period as one as one characterised by an aesthetics of protest, identifying a new mode of reading racial resistance and the US South.
In America Noir David Cochran details how ten writers and filmmakers challenged the social pieties prevalent during the Cold War, such as the superiority of the American democracy, the benevolence of free enterprise, and the sanctity of the suburban family. Rod Serling's The Twilight Zone featured victims of vast, faceless, bureaucratic powers. Jim Thompson's noir thrillers, such as The Grifters, portrayed the ravages of capitalism on those at the bottom of the social ladder. Patricia Highsmith, in The Talented Mr. Ripley, placed an amoral con man in an international setting, implicitly questioning America's fitness as leader of the free world. Charles Willeford's pulp novels, such as Wild Wives and Woman Chaser, depicted the family as a hotbed of violence and chaos. These artists pioneered a detached, ironic sensibility that radically juxtaposed cultural references and blurred the distinctions between “high” and “low” art. Their refusal to surrender to the pressures for political conformity and their unflinching portrayal of the underside of American life paved the way for the emergence of a 1960s counterculture that forever changed the way America views itself.
Dualism is a motif that runs through literature of all genres and historical contexts, inspiring argumentation at the highest level and showing the formation of ideas in association as a creative exchange. It arises with special pertinence in western literature since the Renaissance and Reformation. In Dualisms, noted scholar Ricardo J. Quinones considers four major intellectual encounters: Erasmus and Luther, Voltaire and Rousseau, Turgenev and Dostoevsky, and Sartre and Camus. These four instances, Quinones argues, are important for what they are and what they represent: major intellectual contests that created the modern era and remain the 'agons' of our time. Through in-depth analysis, this study looks at the clarifications that emerged from four famous polemics. Discerning an 'itinerary of their encounters,' Quinones suggests a shared paradigm of development that is true for each of the examples of dualism. In all four cases, the two participants represented the vanguard of their time, and all of the debates started from shared intellectual positions until subsequent events revealed substantially different temperaments. It is the inescapable tension and connection between prior affinities and the discord of debate that continue to intrigue us. Dualisms is a tour-de-force, encompassing intellectual history, philosophy, theology, and literary criticism. It provides fresh perspectives on some of the most famous intellectual debates in all of literature, and considers the implications that they continue to have for the study of the humanities in the modern world.
The tradition of supernatural horror fiction runs deep in Anglo-American literature. From the Gothic novels of the eighteenth century to such contemporary authors as Stephen King and Anne Rice, writers have employed horror fiction to unearth many disquieting truths about the human condition, ranging from mistreatment of women and minorities to the ever-present dangers of modern city life. In Journeys into Darkness: Critical Essays on Gothic Horror, James Goho analyzes many significant writers and trends in American and British horror fiction. Beginning with Charles Brockden Brown’s disturbing novels of terror and madness, Goho proceeds to discuss the influence of Edgar Allan Poe’s “The Fall of the House of Usher” on H. P. Lovecraft, who is treated in several penetrating essays. Lovecraft was a uniquely philosophical writer, and Goho approaches his work through the lens of existentialist philosopher Søren Kierkegaard, while also probing Lovecraft’s racism as exhibited in several tales about Native Americans. Goho also discusses the Welsh writer Arthur Machen’s tortured tales of suffering and evil and Algernon Blackwood’s numerous stories set in the wilds of the Canadian backwoods. The book concludes with a centuries-spanning essay on the witchcraft theme in the American Gothic tradition and a comprehensive essay on Fritz Leiber’s invention of the urban Gothic. In this wide-ranging study, James Goho examines the varied ways in which supernatural fiction can address the deepest moral, social, and political concerns of the human experience. Journeys into Darkness will be of interest to readers and scholars of horror fiction and to students of literary history and culture in general.
Martin Luther KingÕs 1965 address from Montgomery, Alabama, the center of much racial conflict at the time and the location of the well-publicized bus boycott a decade earlier, is often considered by historians to be the culmination of the civil rights era in American history. In his momentous speech, King declared that segregation was Òon its deathbedÓ and that the movement had already achieved significant milestones. Although the civil rights movement had won many battles in the struggle for racial equality by the mid-1960s, including legislation to guarantee black voting rights and to desegregate public accommodations, the fight to implement the new laws was just starting. In reality, KingÕs speech in Montgomery represented a new beginning rather than a conclusion to the movement, a fact that King acknowledged in the address. After the Dream: Black and White Southerners since 1965 begins where many histories of the civil rights movement end, with KingÕs triumphant march from the iconic battleground of Selma to Montgomery. Timothy J. Minchin and John Salmond focus on events in the South following the passage of the 1964 Civil Rights Act and the 1965 Voting Rights Act. After the Dream examines the social, economic, and political implications of these laws in the decades following their passage, discussing the empowerment of black southerners, white resistance, accommodation and acceptance, and the nationÕs political will. The book also provides a fascinating history of the often-overlooked period of race relations during the presidential administrations of Ford, Carter, Reagan, and both George H. W. and George W. Bush. Ending with the election of President Barack Obama, this study will influence contemporary historiography on the civil rights movement.
This volume fulfills the author's career-long reflections on radical otherness in literature. J. Hillis Miller investigates otherness through ten nineteenth- and twentieth-century authors: Friedrich Schlegel, Charles Dickens, George Eliot, Anthony Trollope, Joseph Conrad, W. B. Yeats, E. M. Forster, Marcel Proust, Paul de Man, and Jacques Derrida. From the exquisite close readings for which he is celebrated, Miller reaps a capacious understanding of otherness--one reachable not through theory but through literature itself. Otherness has wide valence in contemporary literary and cultural studies and is often understood as a misconception by hegemonic groups of subaltern ones. In a pleasing counter to this, Others conceives of otherness as something that inhabits sameness. Instances of the ''wholly other'' within the familiar include your sense of self or your beloved, your sense of your culture as such, or your experience of literary, theoretical, and philosophical works that belong to your own culture--works that are themselves haunted by otherness. Though Others begins and ends with chapters on theorists, the testimony they offer about otherness is not taken as more compelling than that of such literary works as Dicken's Our Mutual Friend, Conrad's ''The Secret Sharer,'' Yeats's ''Cold Heaven,'' or Proust's Remembrance of Things Past. Otherness, as this book finds it in the writers read, is not an abstract concept. It is an elusive feature of specific verbal constructs, different in each case. It can be glimpsed only through close readings that respect this diversity, as the plural in the title--Others--indicates. We perceive otherness in the way that the unseen--and the characters' emotional responses to it--ripples the conservative ideological surface of Howard's End. We sense it as chaos in Schlegel's radical concept of irony. And we gaze at it in the multiple personifications of Heart of Darkness. Each testifies in its own way to the richness and tangible weight of an otherness close at hand.
I read this book based on my reading of General Walker and the Murder of President Kennedy by Dr. Jeffry Caulfield. As portrayed in the Caulfield book, Dombrowski was in the eye of the segregationist hurricane which swept the South in the 1950's and 1960's following the Brown decision by the Supreme Court. This book gives a different perspective on the civil rights movement in the South. Such classics as Where Rebels Roost by Susan Klopfer and Gothic Politics in the Deep South by Robert Sherrill tend to give a condescending attitude toward the South. By contrast, Dombrowski describes a different version of events, a version which shows that the "behind the scenes" activities for Southern liberalization were very methodical and proceeded at a businesslike pace and with very steady progress all the way from the New Deal right up until the more radical 1970's. The book makes a case that, if there were actually such a thing as The New South, then Dombrowski had a very strong case for its paternity. Dombrowski, as many may already know, had close personal links to Justice Hugo Black of Alabama who was himself a pioneer of a more open-minded attitude to the race problem in the South.