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Voices of the American South is a comprehensive survey of pivotal works in the Southern literary tradition. The historical organization of the text, the lively and contextualized introductions and headnotes, and the inclusion of clustered selections inform readers about relevant themes of Southern literature, while providing the historically uninformed reader with various and interesting entry points into the text. Those interested in reading and learning more about southern literature.
Eyewitness accounts intended to introduce readers to a wide variety of primary literary sources for studying the Old South.
A Voice from the South was published in 1892 by Anna Julia Cooper, an educator who was one of the first two African-American women to be awarded a master’s degree. Since then it has been recognized as one of the first works of Black feminist theory. Setting forth a perspective that would be described as “intersectional” in contemporary terms, Cooper explores her own lived experience as an educated African-American woman, and advocates for the education of African-American women as a necessary means of achieving racial equality. However, her marked emphasis on women’s roles in the household has been critiqued by later theorists as a concession to the 19th century “cult of domesticity”—or, alternatively, a strategic engagement with the dominant cultural view towards women in her time. A Voice from the South continues to be read and analyzed today for its pioneering role in African-American female scholarship. This book is part of the Standard Ebooks project, which produces free public domain ebooks.
In eighteenth-century New Orleans, the legal testimony of some 150 enslaved women and men--like the testimony of free colonists--was meticulously recorded and preserved. Questioned in criminal trials as defendants, victims, and witnesses about attacks, murders, robberies, and escapes, they answered with stories about themselves, stories that rebutted the premise on which slavery was founded. Focusing on four especially dramatic court cases, Voices of the Enslaved draws us into Louisiana's courtrooms, prisons, courtyards, plantations, bayous, and convents to understand how the enslaved viewed and experienced their worlds. As they testified, these individuals charted their movement between West African, indigenous, and colonial cultures; they pronounced their moral and religious values; and they registered their responses to labor, to violence, and, above all, to the intimate romantic and familial bonds they sought to create and protect. Their words--punctuated by the cadences of Creole and rich with metaphor--produced riveting autobiographical narratives as they veered from the questions posed by interrogators. Carefully assessing what we can discover, what we might guess, and what has been lost forever, Sophie White offers both a richly textured account of slavery in French Louisiana and a powerful meditation on the limits and possibilities of the archive.
"This book contains essays from twelve leading Southern historians, activists, civil rights attorneys, law professors, and theologians. They discuss militarism, religion, the environment, voting rights, the Patriot Act, the economy, prisons and crime, and other subjects significant to the South and the Nation in the ongoing debate about the future of the United States. The writers come from, or have been active in the affairs of, each of the former Confederate states."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
In the late 1920s, Reverend A. W. Nix (1880–1949), an African American Baptist minister born in Texas, made fifty-four commercial recordings of his sermons on phonographs in Chicago. On these recordings, Nix presented vocal traditions and styles long associated with the southern, rural Black church as he preached about self-help, racial uplift, thrift, and Christian values. As southerners like Nix fled into cities in the North to escape the rampant racism in the South, they contested whether or not African American vocal styles of singing and preaching that had emerged during the slavery era were appropriate for uplifting the race. Specific vocal characteristics, like those on Nix’s recordings, were linked to the image of the “Old Negro” by many African American leaders who favored adopting Europeanized vocal characteristics and musical repertoires into African American churches in order to uplift the modern “New Negro” citizen. Through interviews with family members, musical analyses of the sounds on Nix’s recordings, and examination of historical documents and relevant scholarship, Terri Brinegar argues that the development of the phonograph in the 1920s afforded preachers like Nix the opportunity to present traditional Black vocal styles of the southern Black church as modern Black voices. These vocal styles also influenced musical styles. The “moaning voice” used by Nix and other ministers was a direct connection to the “blues moan” employed by many blues singers including Blind Willie, Blind Lemon, and Ma Rainey. Both Reverend A. W. Nix and his brother, W. M. Nix, were an influence on the “Father of Gospel Music,” Thomas A. Dorsey. The success of Nix’s recorded sermons demonstrates the enduring values African Americans placed on traditional vocal practices.
This book uses 27 firsthand accounts from actual participants to help readers experience what life was like between 1775 and 1782.
The literature of the antebellum South has often been described in literary histories as little more than glorified propaganda for the aristocratic, slave-owning class. While this might pertain to the region’s historical romances that feature a dashing, resolute hero committed to upholding the dearly held institutions of slave-holding society and that relegate women and African Americans to roles as meek supporters or loyal comic sideshows, this view does not describe all of the South’s literature from this period.In Unwelcome Voices: Subversive Fiction in the Antebellum South, Paul C. Jones argues that there was a subversive group of voices that dared challenge cherished southern traditions and raised questions about the issues facing the South in the years leading up to the Civil War, including slavery, democracy, and women’s rights.Jones examines the work of five southern writers from that era: James Heath, Frederick Douglass, Edgar Allan Poe, John Pendleton Kennedy, and E.D.E.N. Southworth. Each author was subversive in different ways: Heath featured a progressive hero who ignored the aristocratic assumptions of the South; Douglass presented a rebellious slave hero and made the slave-owning class his villains; Poe used horror to highlight the South’s hidden anxieties; Kennedy challenged the romantic visions of the South by opposing them with realistic depictions of the region; and Southworth employed abolitionist rhetoric to undermine traditionalist discourse. Jones clearly shows that the fiction of these writers diverged sharply from the South’s dominant literary formula.Unwelcome Voices represents a major turning point in the study of the literature of the antebellum South. It recognizes those authors who produced the counterweight to the writing meant to prop up the region’s elite class and slaveholding way of life. Unwelcome Voices will be a welcome and needed addition to the libraries of anyone interested in Southern history or the literature of the antebellum period.
It started with a question about the blues: what makes the music of the downtrodden black man so alluring to white middle-class ears? And that’s where it gets interesting. Because blues is more than a musical genre: it’s a cultural phenomenon that spans several centuries on both sides of the Atlantic, from slavery to Black Lives Matter, from Jan van Riebeeck to Fees Must Fall, from Robert Johnson to Abdullah Ibrahim. In Blues for the White Man, Fred de Vries looks for answers in America’s Deep South, drawing historical parallels with South Africa’s experience of colonialism, slavery, racism, civil war, segrega¬tion and protest. Travelling to Atlanta, Memphis, Nashville, New Orleans and the Mississippi Delta, De Vries speaks to musicians, Black Lives Matter activists and Trump supporters. He continues the conversation in South Africa, interviewing student protesters, white farmers and political thought-leaders to develop an understanding of white supremacy and black anger, white fear and black pain. A fascinating, insightful journey through time and space, Blues for the White Man is a cele¬bration of multiculturalism and a plea for white people to do some ‘second line dancing’ for a change.
The first detailed linguistic history of South Carolina, with a new preface by the author In Voices of Our Ancestors Patricia Causey Nichols offers the first detailed linguistic history of South Carolina as she explores the contacts between distinctive language cultures in the colonial and early federal eras and studies the dialects that evolved even as English became paramount in the state. As language development reflects historical development, Nichols's work also serves as a new avenue of inquiry into South Carolina's social history from the epoch of Native American primacy to the present day. Because Charleston was among the foremost colonial American seaports, South Carolina experienced a diverse influx of cultures and languages from the onset, drawing influences from Native Americans, enslaved African Americans, and a plethora of European peoples—Scots-Irish, English, Jewish, German, and French Huguenot chief among them. Nichols tells the richly complex story of language contact from groups representing three continents and myriad cultures. In examining how South Carolinians spoke in public and private we glean much about how they developed a common culture while still honoring as best they could the heritages and tongues of their ancestors. Nichols pays particular attention to the development of the Gullah language among the coastal African American peoples and the ways in which this language—and others of South Carolina's early inhabitants—continues to influence the communication and culture of the state's current populations. Nichols's synthetic treatment of language history makes expert use of primary source materials and is further enhanced by the author's field research with Gullah-speaking African Americans and with descendants of Native Americans, as well as her keen observation of her own European American community in South Carolina. Through her deft analysis of contemporary language variations and regional and ethnic speech communities, she advances our understanding of how diverse the South Carolina experience has been, from the lowcountry to the upcountry and all points in between, and yet how the need to communicate shared experiences and values has united the state's population with a common meaningful language in which the diverse voices of our ancestors can still be heard. In a new preface, Nichols reflects on the growing diversity of the United States as a whole and how relationships across communities shape language and culture.