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Fitzpatrick analyzes Johnson's commentary on the Scopes trial, denunciation of the Ku Klux Klan, defense of President Franklin Roosevelt's New Deal, criticism of Senator Joseph McCarthy, and battles with the Republican Party during President Eisenhower's two terms. He was, to borrow his own phrase, a "disturber of the peace."".
In 1912, a group of ambitious young men, including future Supreme Court justice Felix Frankfurter and future journalistic giant Walter Lippmann, became disillusioned by the sluggish progress of change in the Taft Administration. The individuals started to band together informally, joined initially by their enthusiasm for Theodore Roosevelt's Bull Moose campaign. They self-mockingly called the 19th Street row house in which they congregated the "House of Truth," playing off the lively dinner discussions with frequent guest (and neighbor) Oliver Wendell Holmes, Jr. about life's verities. Lippmann and Frankfurter were house-mates, and their frequent guests included not merely Holmes but Louis Brandeis, Herbert Hoover, Herbert Croly - founder of the New Republic - and the sculptor (and sometime Klansman) Gutzon Borglum, later the creator of the Mount Rushmore monument. Weaving together the stories and trajectories of these varied, fascinating, combative, and sometimes contradictory figures, Brad Snyder shows how their thinking about government and policy shifted from a firm belief in progressivism - the belief that the government should protect its workers and regulate monopolies - into what we call liberalism - the belief that government can improve citizens' lives without abridging their civil liberties and, eventually, civil rights. Holmes replaced Roosevelt in their affections and aspirations. His famous dissents from 1919 onward showed how the Due Process clause could protect not just business but equality under the law, revealing how a generally conservative and reactionary Supreme Court might embrace, even initiate, political and social reform. Across the years, from 1912 until the start of the New Deal in 1933, the remarkable group of individuals associated with the House of Truth debated the future of America. They fought over Sacco and Vanzetti's innocence; the dangers of Communism; the role the United States should play the world after World War One; and thought dynamically about things like about minimum wage, child-welfare laws, banking insurance, and Social Security, notions they not only envisioned but worked to enact. American liberalism has no single source, but one was without question a row house in Dupont Circle and the lives that intertwined there at a crucial moment in the country's history.
Gutzon Borglum, the sculptor of Mount Rushmore National Memorial, hoped that ten thousand years from now, when archaeologists came upon the four sixty-foot presidential heads carved in the Black Hills of South Dakota, they would have a clear and graphic understanding of American civilization. Borglum, the child of Mormon polygamists, had an almost Ahab-like obsession with Colossalism--a scale that matched his ego and the era. He learned how to be a celebrity from Auguste Rodin; how to be a political bully from Teddy Roosevelt. He ran with the Ku Klux Klan and mingled with the rich and famous from Wall Street to Washington. Mount Rushmore was to be his crowning achievement, the newest wonder of the world, the greatest piece of public art since Phidias carved the Parthenon. But like so many episodes in the saga of the American West, what began as a personal dream had to be bailed out by the federal government, a compromise that nearly drove Borglum mad. Nor in the end could he control how his masterpiece would be received. Nor its devastating impact on the Lakota Sioux and the remote Black Hills of South Dakota. Great White Fathers is at once the biography of a man and the biography of a place, told through travelogue, interviews, and investigation of the unusual records that one odd American visionary left behind. It proves that the best American stories are not simple; they are complex and contradictory, at times humorous, at other times tragic.
Breaking the Bronze Ceiling uncovers a glaring omission in our global memorial landscape—the conspicuous absence of women. Exploring this neglected narrative, the book emerges as the foremost guide to women's memorialization across diverse cultures and ages. As global memorials come under intense examination, with metropolises vying for a more inclusive recognition of female contributions, this book stands at the forefront of contemporary discussion. The book’s thought-provoking essays artfully traverse the complex terrains of gender portrayal, urban tales, ancestral practices, and grassroots activism—all anchored in the bedrock of cultural remembrance. Rich in the range of cases discussed, the book sifts through multifaceted representations of women, from Marians to Liberties, to handmaidens, to particular historical women. Breaking the Bronze Ceiling offers a panoramic view of worldwide memorials, critically analyzing grandiose tributes while also honoring subtle gestures—be it evocative plaques, inspiring namesakes, or dynamic demonstrations. The book will be of interest to historians of art and architecture, as well as to activists, governmental bodies, urban planners, and NGOs committed to regional history and memory. More than a mere compilation, Breaking the Bronze Ceiling epitomizes a movement. The book comprehensively assesses the portrayal of women in public art and offers a fervent plea to address the severe underrepresentation of women in memorials. Contributors: Carolina Aguilera, Manuela Badilla, Daniel E. Coslett, Erika Doss, Tania Gutiérrez-Monroy, Daniel Herwitz, Katherine Hite, Lauren Kroiz, Ana María León, Fernando Luis Martínez Nespral, Pía Montealegre, Sierra Rooney, Daniela Sandler, Kirk Savage, Susan Slyomovics, Marita Sturken, Amanda Su, Dell Upton, Nathaniel Robert Walker, and Mechtild Widrich
This volume of The New Encyclopedia of Southern Culture addresses the cultural, social, and intellectual terrain of myth, manners, and historical memory in the American South. Evaluating how a distinct southern identity has been created, recreated, and performed through memories that blur the line between fact and fiction, this volume paints a broad, multihued picture of the region seen through the lenses of belief and cultural practice. The 95 entries here represent a substantial revision and expansion of the material on historical memory and manners in the original edition. They address such matters as myths and memories surrounding the Old South and the Civil War; stereotypes and traditions related to the body, sexuality, gender, and family (such as debutante balls and beauty pageants); institutions and places associated with historical memory (such as cemeteries, monuments, and museums); and specific subjects and objects of myths, including the Confederate flag and Graceland. Together, they offer a compelling portrait of the "southern way of life" as it has been imagined, lived, and contested.
While much has been written about hate groups and extreme right political movements, this book will be the first that addresses the crucial role that place and context play in generating and shaping them. Ranging across geographical scales the essays start with the home, and then move from the local to the regional, to the national to-finally-the global. In this collection, much of the focus is on the U.S., as the contributors consider a variety of hate activity and hate groups across the country, including; rural white supremacist and neo-Nazi movements; anti-black sentiment directed towards cities; anti-gay activity in cities and rural areas and the resurgent Southern nationalist movement. Closing with pieces from those who combat hate activity, the intention of Spaces of Hate is to recognize specific geographic settings likely to foster hate activity.
Referred to by some as The Eighth Wonder of the World, Stone Mountain, located 16 miles from Atlanta, Georgia, is the largest exposed mass of granite in the world. Freeman, a freelance historian, narrates the development of the mountain from the days that it served as a Native American domain, through the carving of an historic Confederate monument, to its present status as a tourist attraction and recreational area. Enhanced with bandw photographs. Annotation copyrighted by Book News, Inc., Portland, OR