(Tarpleywick description) “When Tarpley Early Taylor came of age on August 2, 1858, his father gave him a horse, a saddle, and a bridle and wished him well…His first independent move was to go on horseback to Louisiana, Missouri, to visit his maternal grandparents, the Zumwalts. He stayed with them for some time, probably through the winter…We do not know what he did from the spring of 1859 to the spring of 1860 except that he had been earning money and saving it. We do know that he had returned to Van Buren County by Juy 24, 1860, because on that date he paid $800 for sixty acres of land a mile south of his father’s house…This was the beginning of Tarpleywick.” Born in Iowa in 1873, he was 96 years old when he died in May 1969. Taylor received his undergraduate training from Drake University and Iowa State University, his M.S. degree from Iowa State, and his Ph.D. degree from the University of Wisconsin. He was the first professor of agricultural economics in a land grant institution, the author of the first American textbook dealing with the principles of agricultural economics, the organizer and first Chief of the Bureau of Agricultural Economics in the USDA, and the first Managing Director of the Farm Foundation.
The people of Taquile Island on the Peruvian side of beautiful Lake Titicaca, the highest navigable lake in the Americas, are renowned for the hand-woven textiles that they both wear and sell to outsiders. One thousand seven hundred Quechua-speaking peasant farmers, who depend on potatoes and the fish from the lake, host the forty thousand tourists who visit their island each year. Yet only twenty-five years ago, few tourists had even heard of Taquile. In Weaving a Future: Tourism, Cloth, and Culture on an Andean Island, Elayne Zorn documents the remarkable transformation of the isolated rocky island into a community-controlled enterprise that now provides a model for indigenous communities worldwide.
Over the course of three decades and nearly two years living on Taquile Island, Zorn, who is trained in both the arts and anthropology, learned to weave from Taquilean women. She also learned how gender structures both the traditional lifestyles and the changes that tourism and transnationalism have brought. In her comprehensive and accessible study, she reveals how Taquileans used their isolation, landownership, and communal organizations to negotiate the pitfalls of globalization and modernization and even to benefit from tourism. This multi-sited ethnography set in Peru, Washington, D.C., and New York City shows why and how cloth remains central to Andean society and how the marketing of textiles provided the experience and money for Taquilean initiatives in controlling tourism.
The first book about tourism in South America that centers on traditional arts as well as community control, Weaving a Future will be of great interest to anthropologists and scholars and practitioners of tourism, grassroots development, and the fiber arts.
Between 1890 and 1915, a predominately African American state convict crew built Clemson University on John C. Calhoun’s Fort Hill Plantation in upstate South Carolina. Calhoun’s plantation house still sits in the middle of campus. From the establishment of the plantation in 1825 through the integration of Clemson in 1963, African Americans have played a pivotal role in sustaining the land and the university. Yet their stories and contributions are largely omitted from Clemson’s public history.
This book traces “Call My Name: African Americans in Early Clemson University History,” a Clemson English professor’s public history project that helped convince the university to reexamine and reconceptualize the institution’s complete and complex story from the origins of its land as Cherokee territory to its transformation into an increasingly diverse higher-education institution in the twenty-first century. Threading together scenes of communal history and conversation, student protests, white supremacist terrorism, and personal and institutional reckoning with Clemson’s past, this story helps us better understand the inextricable link between the history and legacies of slavery and the development of higher education institutions in America.
Before Euro-American settlement, graceful prairies and prairie-wetland complexes dominated Iowa's rolling landscape, with forest communities hugging rivers and streams and savannas or forests covering the southern and eastern portions of the state. During the last 150 years these original natural communities have nearly been eliminated by conversion of over 95 percent of the land to agricultural and urban uses.
This timely, practical book combines a nontechnical natural history of each native community with a how-to manual for lay restorationists dedicated to reconstructing prairies, forests, and wetlands. Thompson intelligently presents the collective experience of professionals active in restoring the splendid natural areas of Iowa and the greater Midwest—discussing site selection, site preparation, plant species, planting techniques, costs, and maintenance of restoration areas. She includes a useful list of sources for plant materials in and near Iowa as well as information on the birds and mammals, reptiles and amphibians of these landscapes. Prairies, Forests, and Wetlands will help individual landowners, farmers, landscape architects, D.O.T. engineers, teachers, botanists, county conservation boards, and wildlife area managers in their private and professional campaigns to reclaim Iowa's land.
After the second World War, the term “technology” came to signify both the anxieties of possible annihilation in a rapidly changing world and the exhilaration of accelerating cultural change. Technomodern Poetics examines how some of the most well-known writers of the era described the tensions between technical, literary, and media cultures at the dawn of the Digital Age. Poets and writers such as Allen Ginsberg, Charles Olson, Jack Kerouac, and Frank O’Hara, among others, anthologized in Donald Allen’s iconic The New American Poetry, 1945–1960, provided a canon of work that has proven increasingly relevant to our technological present. Elaborating on the theories of contemporaneous technologists such as Norbert Wiener, Claude Shannon, J. C. R. Licklider, and a host of noteworthy others, these artists express the anxieties and avant-garde impulses they wrestled with as they came to terms with a complex array of issues raised by the dawning of the nuclear age, computer-based automation, and the expansive reach of electronic media. As author Todd Tietchen reveals, even as these writers were generating novel forms and concerns, they often continued to question whether such technological changes were inherently progressive or destructive.
With an undeniable timeliness, Tietchen’s book is sure to appeal to courses in modern English literature and American studies, as well as among fans of Beat writers and early Cold War culture.
The Follinglo Dog Book both is and is not about dogs. The dogs are certainly here: from Milla to Chip the Third, we encounter a procession of heroic if often unfortunate creatures who, along with their immigrant masters, led a hard life on the nineteenth-century American frontier. However, if you pick up this book thinking it will offer a heartwarming read about canine experiences, you will find yourself reinformed by the way it unfolds.
Instead, these are the stories of a Norwegian pioneer family that came in 1860 to settle the Iowa prairie on a homestead called Follinglo Farm in Story County, Iowa. In the Tjernagels' experience one may read a chronicle of the state, the region, and the nation. Arriving in Iowa in what was still the age of wooden equipment and animal power, the Tjernagels witnessed each successive revolution on the land. They built homes and barns, cultivated the land, and encountered every manner of natural disaster from prairie fires to blizzards. Through all the struggles and setbacks, Peder Gustav Tjernagel's stories sparkle with boyhood pranks and adventures, in which the family dogs frequently play a role.
Readers will discover a wonderful cast of Norwegian relatives and neighbors, including a Herculean uncle, Store Per (Big Pete), who could lift a cow by its horns; a mysterious aunt, Stora Fastero (Big Sister), whose arrival signaled that a baby was soon to be born; and Elling Eilson, the walking Lutheran apostle. And, of course, there are the dogs who shepherd, protect, and even baby-sit the residents of Follinglo Farm.
Complex Sleep, Tony Tost’s ambitious second book of poems, leaps upward with an astounding multiplicity of voices, utterances, and bursts. Each leap marks a sure and precise entry into a world of images, ideas, and sensations that is brand new—the true accomplishment of any poetic work.
The octet of poems that compose Complex Sleep comprises a complex organism, audacious in scope, swiping at meaning via language as fragmented music. Tost takes on the problem of physical shape, reorchestrates phrases according to the alphabet, and writes himself into the hypnagogic state between waking and dreaming. Informed by their own procedural constraints, these poems invent forms that tap the unconscious poetic, the very complexity embodied in sleep. All the while, Tost reforms utterance beyond the mere epistemology of much contemporary poetry.
Devising an innovative formalism rather than concerning itself with discovering the what, Complex Sleep is about discovering how to say what needs to be said. Skip the opera, this book performs.
The Young Adult novel is ordinarily characterized as a coming-of-age story, in which the narrative revolves around the individual growth and maturation of a character, but Roberta Trites expands this notion by chronicling the dynamics of power and repression that weave their way through YA books. Characters in these novels must learn to negotiate the levels of power that exist in the myriad social institutions within which they function, including family, church, government, and school.
Trites argues that the development of the genre over the past thirty years is an outgrowth of postmodernism, since YA novels are, by definition, texts that interrogate the social construction of individuals. Drawing on such nineteenth-century precursors as Little Women and Adventures of Huckleberry Finn, Disturbing the Universe demonstrates how important it is to employ poststructuralist methodologies in analyzing adolescent literature, both in critical studies and in the classroom. Among the twentieth-century authors discussed are Blume, Hamilton, Hinton, Le Guin, L'Engle, and Zindel.
Trites' work has applications for a broad range of readers, including scholars of children's literature and theorists of post-modernity as well as librarians and secondary-school teachers.
Disturbing the Universe: Power and Repression in Adolescent Literature by Roberta Seelinger Trites is the winner of the 2002 Children's Literature Association's Book Award. The award is given annually in order to promote and recognize outstanding contributions to children's literature, history, scholarship, and criticisim; it is one of the highest academic honors that can accrue to an author of children's literary criticism.
Scholars traditionally distinguish Mark Twain from Louisa May Alcott based on gender differences, but Roberta Seelinger Trites argues that there are enough similarities between the two authors’ intellectual lives that their novels share interconnected social agendas. Trites does not imply that Twain and Alcott influenced each other—indeed, they had little effect on each other—but, paradoxically, they wrote on similar topics because they were so deeply affected by the Civil War, by cataclysmic emotional and ?nancial losses in their families, by their cultural immersion in the tenets of Protestant philosophy, and by sexual tensions that may have stimulated their interest in writing for adolescents.
Trites demonstrates how the authors participated in a cultural dynamic that marked the changing nature of adolescence in America, provoking a literary sentiment that continues to inform young adult literature. Both intuited that the transitory nature of adolescence makes it ripe for expressions about human potential for change and reform. Twain, Alcott, and the Birth of the Adolescent Reform Novel explores the effects these authors’ extraordinary popularity had in solidifying what could be called the adolescent reform novel. The factors that led Twain and Alcott to write for youth, and the effects of their decisions about how and what to write for that audience, involve the literary and intellectual history of two people—and the nation in which they lived.
The Sleeping Beauty in Roberta Seelinger Trites' intriguing text is no silent snoozer passively waiting for Prince Charming to energize her life. Instead she wakes up all by herself and sets out to redefine the meaning of “happily ever after.” Trites investigates the many ways that Sleeping Beauty's newfound voice has joined other strong female voices in feminist children's novels to generate equal potentials for all children.
Waking Sleeping Beauty explores issues of voice in a wide range of children's novels, including books by Virginia Hamilton, Patricia MacLachlan, and Cynthia Voight as well as many multicultural and international books. Far from being a limiting genre that praises females at the expense of males, the feminist children's novel seeks to communicate an inclusive vision of politics, gender, age, race, and class. By revising former stereotypes of children's literature and replacing them with more complete images of females in children's books, Trites encourages those involved with children's literature—teachers, students, writers, publishers, critics, librarian, booksellers, and parents—to be aware of the myriad possibilities of feminist expression.
Roberta Trites focuses on the positive aspects of feminism: on the ways females interact through family and community relationships, on the ways females have revised patriarchal images, and on the ways female writers use fictional constructs to transmit their ideologies to readers. She thus provides a framework that allows everyone who enters a classroom with a children's book in hand to recognize and communicate—with an optimistic, reality-based sense of “happily ever after”—the politics and the potential of that book.
Originally published in the June 11, 1984, New Yorker, this lengthy essay is a sharp-edged inquiry into the generational institutions of our national life. With the same iconoclastic spirit and multilayered prose that he interwove in his classic Within the Context of No Context, George Trow tells the story of upstate New York’s Black Rock Forest—a thirty-eight-hundred-acre site overlooking the Hudson River—through the lives of the men who were connected to it and through the larger histories of Harvard University, U.S. conservation policies, and physics and biology.
The men: banker James Stillman; his son, Ernest Stillman, a medical doctor who inherited the land that would become the Black Rock Forest in 1928 and who wanted to make it healthy and useful; the legendary Gifford Pinchot, appointed chief forester of the U.S. in 1898; and Richard Thornton Fisher, for many years the head of the Harvard Forest and the man who suggested to Ernest Stillman that he turn his inherited land into another demonstration forest. Harvard University: a more financially focused, less collegial environment than the one that had accepted the gift of the forest in 1949, now looking to shed responsibility for the forest without shedding the money its sale would bring. The challenge: How to manage, how to value, a wilderness area of great biological diversity.
In his brilliantly elastic fashion, Trow maneuvers images, symbols, ambiguities, ethics, journalistic wordplay, advertising tricks, and corporate doublespeak to create an intensely perceptive analysis of the cultural, political, and scientific communities. His richly developed story of the Harvard Black Rock Forest is ultimately a symbolic tale that bears upon some of the most significant institutions, professions, and legacies in contemporary American life.
A publisher’s note reveals the fate of the forest.
“There was so much space.” These words epitomize ecologist Joe Truett's boyhood memories of the Angelina River valley in East Texas. Years and miles later, back home for the funeral of his grandfather, Truett began a long meditation on the world Corbett Graham had known and he himself had glimpsed, a now-vanished world where wild hogs and countless other animals rustled through the leaves, cows ate pinewoods grass instead of corn, oaks and hickories and longleaf pines were untouched by the corporate ax, and the river flowed freely. Truett's meditation resulted in this clear-sighted portrait of a place over time, its layers revealed by his love and care and curiosity.Truett celebrates his family's heritage and the unspoiled natural world of the Piney Woods without nostalgia. He recreates an older, simpler, more worthy age, but he knows that we have lost touch with it because we wanted to: he laments the loss but understands it. What makes his prose so moving and so redeeming is this precise combination of honesty and sorrow, overlaid by a quiet passion for both the natural and the human worlds.
With a focus on the canonical institutions of Shakespeare and Chekhov, John Tulloch brings together for the first time new concepts of “the theatrical event” with live audience analysis. Using mainstream theatre productions from across the globe that were highly successful according to both critics and audiences, this book of case studies—ethnographies of production and reception—offers a combined cultural and media studies approach to analyzing theatre history, production, and audience.
Tulloch positions these concepts and methodologies within a broader current theatrical debate between postmodernity and risk modernity. He also describes the continuing history of Shakespeare and Chekhov as a series of stories “currently and locally told” in the context of a blurring of academic genres that frames the two writers. Drawn from research conducted over nearly a decade in Australia, Britain, and the U.S., Shakespeare and Chekhov in Production and Reception will be of interest to students and scholars of theatre studies, media studies, and audience research.
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In 2005 literary and film critic Edward Turk immersed himself in New York City’s ACT FRENCH festival, a bold effort to enhance American contact with the contemporary French stage. This dizzying crash course on numerous aspects of current French theatre paved the way for six months of theatregoing in Paris and a month’s sojourn at the 2006 Avignon Festival. In French Theatre Today he turns his yearlong involvement with this rich topic into an accessible, intelligent, and comprehensive overview of contemporary French theatre. Situating many of the nearly 150 stage pieces he attended within contexts and timeframes that stretch backward and forward over a number of years, he reveals French theatre during the first decade of the twenty-first century to be remarkably vital, inclined toward both innovation and concern for its audience, and as open to international influence as it is respectful of national tradition.
French Theatre Today provides a seamless mix of critical analysis with lively description, theoretical considerations with reflexive remarks by the theatremakers themselves, and matters of current French and American cultural politics. In the first part, “New York,” Turk offers close-ups of French theatre works singled out during the ACT FRENCH festival for their presumed attractiveness to American audiences and critics. The second part, “Paris,” depicts a more expansive range of French theatre pieces as they play out on their own soil. In the third part, “Avignon,” Turk captures the subject within a more fluid context that is, most interestingly, both eminently French and resolutely international. The Paris and Avignon chapters contain valuable and well-informed contextual and background information as well as descriptions of the milieus of the Avignon Festival and the various neighborhoods in Paris where he attended performances, information that readers cannot find easily elsewhere. Finally, in the spirit of inclusiveness that characterizes so much new French theatre and to give a representative account of his own experiences as a spectator, Turk rounds out his survey with observations on Paris’s lively opera scene and France’s wealth of circus entertainments, both traditional and newly envisioned
With his shrewd assessments of contemporary French theatre, Turk conveys an excitement and an affection for his topic destined to arouse similar responses in his readers. His book’s freshness and openness will reward theatre enthusiasts who are curious about an aspect of French culture that is inadequately known in this country, veteran scholars and students of contemporary world theatre, and those American theatre professionals who have the ultimate authority and good fortune to determine which new French works will reach audie
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