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Conversations with Maya Angelou - - Bog - University Press of Mississippi - Plusbog.dk

Conversations with Maya Angelou - - Bog - University Press of Mississippi - Plusbog.dk

One of so many talents could only be expected to talk superbly, too. Here in over two dozen interviews is the voice of Maya Angelou (1928-2014) telling with strength, warmth, honesty, and dignified pride of her impact upon a difficult world and ultimately of her triumph. She has written poetry and a stream of dynamic autobiographies that include I Know Why the Caged Bird Sings; Gather Together in My Name; Singin'' and Swingin'' and Gettin'' Merry Like Christmas; and Oh Pray My Wings Are Gonna Fit Me Well.In Conversations with Maya Angelou she spreads out the facts of her remarkable history for our examination and in sharing these conveys a salubrious philosophy and a zest for life.Jeffrey M. Elliot was a professor of political science at North Carolina Central University. His books include The State and Local Government Political Dictionary, Urban Society, and many others. He conducted over 350 interviews, including interviews with Jimmy Carter, Fidel Castro, and Contra leader Adolfo Calero.

DKK 263.00
1

Ethnic Heritage in Mississippi - - Bog - University Press of Mississippi - Plusbog.dk

Ethnic Heritage in Mississippi - - Bog - University Press of Mississippi - Plusbog.dk

Contributions by Linda Pierce Allen, Carl L. Bankston III, Barbara Carpenter, Milburn J. Crowe, Vy Thuc Dao, Bridget Anne Hayden, Joyce Marie Jackson, Emily Erwin Jones, Tom Mould, Frieda Quon, Celeste Ray, Stuart Rockoff, Devparna Roy, Aimée L. Schmidt, James Thomas, Shana Walton, Lola Williamson, and Amy L. Young Throughout its history, Mississippi has seen a small, steady stream of immigrants, and those identities--sometimes submerged, sometimes hidden--have helped shape the state in important ways. Amid renewed interest in identity, the Mississippi Humanities Council has commissioned a companion volume to its earlier book that studied ethnicity in the state from the period 1500-1900. This new book, Ethnic Heritage in Mississippi: The Twentieth Century , offers stories of immigrants overcoming obstacles, immigrants newly arrived, and long-settled groups witnessing a revitalized claim to membership. The book examines twentieth-century immigration trends, explores the reemergence of ethnic identity, and undertakes case studies of current ethnic groups. Some of the groups featured in the volume include Chinese, Latino, Lebanese, Jewish, Filipino, South Asian, and Vietnamese communities. The book also examines Biloxi as a city that has long attracted a diverse population and takes a look at the growth in identity affiliation among people of European descent. The book is funded in part by a "We the People" grant from the National Endowment for the Humanities.

DKK 321.00
1

George P. Knauff's Virginia Reels and the History of American Fiddling - Chris Goertzen - Bog - University Press of Mississippi - Plusbog.dk

George P. Knauff's Virginia Reels and the History of American Fiddling - Chris Goertzen - Bog - University Press of Mississippi - Plusbog.dk

George P. Knauff's Virginia Reels (1839) was the first collection of southern fiddle tunes and the only substantial one published in the nineteenth century. Knauff's activity could not anticipate our modern contest-driven fiddle subcultures. But the fate of the Virginia Reels pointed in that direction, suggesting that southern fiddling, after his time, would happen outside of commercial popular culture even though it would sporadically engage that culture. Chris Goertzen uses this seminal collection as the springboard for a fresh exploration of fiddling in America, past and present. He first discusses the life of the arranger. Then he explains how this collection was meant to fit into the broad stream of early nineteenth-century music publishing. Goertzen describes the character of these fiddle tunes' names (and such titles in general), what we can learn about antebellum oral tradition from this collection, and how fiddling relates to blackface minstrelsy. Throughout the book, the author connects the evidence concerning both repertoire and practice found in the Virginia Reels with current southern fiddling, encompassing styles ranging from straightforward to fancy--old-time styles of the Upper South, exuberant West Virginia styles, and the melodic improvisations of modern contest fiddling. Twenty-six song sheets assist in this discovery. Goertzen incorporates performance descriptions and music terminology into his accessible, engaging prose. Unlike the vast majority of books on American fiddling--regional tune collections or histories--this book presents an extended look at the history of southern fiddling and a close examination of current practices.

DKK 312.00
1

George P. Knauff's Virginia Reels and the History of American Fiddling - Chris Goertzen - Bog - University Press of Mississippi - Plusbog.dk

George P. Knauff's Virginia Reels and the History of American Fiddling - Chris Goertzen - Bog - University Press of Mississippi - Plusbog.dk

George P. Knauff�s Virginia Reels (1839) was the first collection of southern fiddle tunes and the only substantial one published in the nineteenth century. Knauff�s activity could not anticipate our modern contest-driven fiddle subcultures. But the fate of the Virginia Reels pointed in that direction, suggesting that southern fiddling, after his time, would happen outside of commercial popular culture even though it would sporadically engage that culture. Chris Goertzen uses this seminal collection as the springboard for a fresh exploration of fiddling in America, past and present. He first discusses the life of the arranger. Then he explains how this collection was meant to fit into the broad stream of early nineteenth-century music publishing. Goertzen describes the character of these fiddle tunes� names (and such titles in general), what we can learn about antebellum oral tradition from this collection, and how fiddling relates to blackface minstrelsy. Throughout the book, the author connects the evidence concerning both repertoire and practice found in the Virginia Reels with current southern fiddling, encompassing styles ranging from straightforward to fancy�old-time styles of the Upper South, exuberant West Virginia styles, and the melodic improvisations of modern contest fiddling. Twenty-six song sheets assist in this discovery. Goertzen incorporates performance descriptions and music terminology into his accessible, engaging prose. Unlike the vast majority of books on American fiddling�regional tune collections or histories�this book presents an extended look at the history of southern fiddling and a close examination of current practices.

DKK 858.00
1

Barbara Stanwyck - Dan Callahan - Bog - University Press of Mississippi - Plusbog.dk

Barbara Stanwyck - Dan Callahan - Bog - University Press of Mississippi - Plusbog.dk

Barbara Stanwyck (1907-1990) rose from the ranks of chorus girl to become one of Hollywood''s most talented leading women--and America''s highest-paid woman in the mid-1940s. Shuttled among foster homes as a child, she took a number of low-wage jobs while she determinedly made the connections that landed her in successful Broadway productions. Stanwyck then acted in a stream of high-quality films from the 1930s through the 1950s. Directors such as Cecil B. DeMille, Fritz Lang, and Frank Capra treasured her particular magic. A four-time Academy Award nominee, winner of three Emmys and a Golden Globe, she was honored with a Lifetime Achievement Award by the Academy. Dan Callahan considers both Stanwyck''s life and her art, exploring her seminal collaborations with Capra in such great films as Ladies of Leisure , The Miracle Woman , and The Bitter Tea of General Yen ; her Pre-Code movies Night Nurse and Baby Face ; and her classic roles in Stella Dallas , Remember the Night , The Lady Eve , and Double Indemnity . After making more than eighty films in Hollywood, she revived her career by turning to television, where her role in the 1960s series The Big Valley renewed her immense popularity. Callahan examines Stanwyck''s career in relation to the directors she worked with and the genres she worked in, leading up to her late-career triumphs in two films directed by Douglas Sirk, All I Desire and There''s Always Tomorrow , and two outrageous westerns, The Furies and Forty Guns . The book positions Stanwyck where she belongs--at the very top of her profession--and offers a close, sympathetic reading of her performances in all their range and complexity.

DKK 231.00
1

Barbara Stanwyck - Dan Callahan - Bog - University Press of Mississippi - Plusbog.dk

Barbara Stanwyck - Dan Callahan - Bog - University Press of Mississippi - Plusbog.dk

Barbara Stanwyck (1907-1990) rose from the ranks of chorus girl to become one of Hollywood''s most talented leading women-and America''s highest paid woman in the mid-1940s. Shuttled among foster homes as a child, she took a number of low-wage jobs while she determinedly made the connections that landed her in successful Broadway productions. Stanwyck then acted in a stream of high-quality films from the 1930s through the 1950s. Directors such as Cecil B. DeMille, Fritz Lang, and Frank Capra treasured her particular magic. A four-time Academy Award nominee, winner of three Emmys and a Golden Globe, she was honored with a Lifetime Achievement Award by the Academy. Dan Callahan considers both Stanwyck''s life and her art, exploring her seminal collaborations with Capra in such great films as Ladies of Leisure , The Miracle Woman , and The Bitter Tea of General Yen ; her Pre-Code movies Night Nurse and Baby Face ; and her classic roles in Stella Dallas , Remember the Night , The Lady Eve , and Double Indemnity . After making more than eighty films in Hollywood, she revived her career by turning to television, where her role in the 1960s series The Big Valley renewed her immense popularity. Callahan examines Stanwyck''s career in relation to the directors she worked with and the genres she worked in, leading up to her late-career triumphs in two films directed by Douglas Sirk, All I Desire and There''s Always Tomorrow , and two outrageous westerns, The Furies and Forty Guns . The book positions Stanwyck where she belongs-at the very top of her profession-and offers a close, sympathetic reading of her performances in all their range and complexity.

DKK 357.00
1

Quentin Tarantino - - Bog - University Press of Mississippi - Plusbog.dk

Quentin Tarantino - - Bog - University Press of Mississippi - Plusbog.dk

Not since Martin Scorsese with Mean Streets in the mid-1970s has a young American filmmaker made such an instant impact on international cinema as Quentin Tarantino. In many ways, Tarantino is the paradigmatic 1990s success story: from high school dropout, toiling anonymously in a California video store, taking acting lessons, to world acclaim, with Pulp Fiction as the Grand Prix winner at Cannes.With his first film, Reservoir Dogs, the then 29-year-old became an inspiration for filmmakers even younger than himself on how to produce stylish, subterranean cinema. (Not that his extra-violent imitators, labeled "Tarantino school," could match the wit of his scripts, his talent with actors, and the vivacity, energy, and originality of his shooting style.)Tarantino, turning famous, remains the same manic talker who is obsessed with American pop culture and is endlessly enthusiastic about his favorite movies and moviemakers. Informal, gregarious, accessible, he has been a journalist''s dream, for his wonderfully expressive, almost stream-of-consciousness chatter.This collection is the first book of Tarantino interviews to be published. The selections are his most uninhibited, far reaching, and revealing. They demonstrate conclusively that the source of his world-renowned pop-culture dialogue is his own brash, vivid, virtuosic conversation."I realized I didn''t want to be an actor," he says. "I wanted to be a director. My favorite actors were character actors and I realized they still had to read for parts. I didn''t want to be fifty years old and still reading for parts. I wanted some control over my destiny, and it seemed to me that directors did."Gerald Peary is a film critic and columnist for the Boston Phoenix, a professor of journalism and communications at Suffolk University, and a lecturer at Boston University. He is also Acting Curator of the Harvard University Film Archive.

DKK 858.00
1

The Road to West 43rd Street - Nash K. Burger - Bog - University Press of Mississippi - Plusbog.dk

The Road to West 43rd Street - Nash K. Burger - Bog - University Press of Mississippi - Plusbog.dk

The Road to West 43rd Street by Nash K. Burger with Pearl A. McHaneyAfterword by Eudora WeltyFor nearly thirty years and through the tenure of five editors-in-chief, Nash K. Burger was on the editorial staff of the New York Times Book Review. In this engaging reminiscence he explores the route that took him to that bastion of the book world, headquartered in New York City on West 43rd Street.Burger is a natural raconteur whose ease with the word enhances this appealing narrative. His point of view, though particularly southern, has been honed for a national audience who will be entertained and enlightened by his personal perspective. Burger grew up in a circle of talented adolescents in Jackson, Mississippi that includes one of his oldest friends, the author Eudora Welty, who preceded him at the Book Review during one summer when she served as copy editor.By 1945 Burger joined a few other distinguished Mississippians, such as Turner Catledge, at the New York Times, and in the stream of years that followed he reviewed more than 1,300 books. From his earliest days Burger was a reader and a writer. Instinctively drawn to books, he moved on to editing. From his position at the Book Review he wrote frequently but not exclusively on his favorite subjects: the Civil War, religion, and the literature of the American South.The trail he has left from West 43rd Street is that of the intelligent, mindful southern gentleman. Twenty years after his departure, as his friend Miss Welty proclaimed for his retirement party, his is "a mind both clear and wise, responsive and reflective, that has yet to be amazed for the first time at the human comedy around him. He won''t stop living with books; whatever he does, he''ll write or edit or publish."Nash K. Burger (deceased) was an author, editor, and book reviewer.Pearl A. McHaney is a professor of English at Georgia State University and editor of several books on Eudora Welty.Eudora Welty (deceased) is the author of many critically acclaimed novels and short stories.

DKK 312.00
1

Samuel Fuller - - Bog - University Press of Mississippi - Plusbog.dk

Samuel Fuller - - Bog - University Press of Mississippi - Plusbog.dk

In the early twentieth century, the art world was captivated by the imaginative, original paintings of Henri Rousseau, who, without formal art training, produced works that astonished not only the public but great artists such as Pablo Picasso. Samuel Fuller (1912–1997) is known as the "Rousseau of the cinema," a mostly "B" genre Hollywood moviemaker deeply admired by "A" filmmakers as diverse as Jim Jarmusch, Martin Scorsese, Francois Truffaut, Jean-Luc Godard, and John Cassavetes, all of them dazzled by Fuller’s wildly idiosyncratic primitivist style. A high school dropout who became a New York City tabloid crime reporter in his teens, Fuller went to Hollywood and made movies post-World War II that were totally in line with his exploitative newspaper work—bold, blunt, pulpy, excitable. The images were as shocking, impolite, and in-your-face as a Weegee photograph of a gangster bleeding on a sidewalk. Fuller, who made twenty-three features between 1949 and 1989, is the very definition of a "cult" director, appreciated by those with a certain bent of subterranean taste, a penchant for what critic Manny Farber famously labeled as "termite art." Here are some of the crazy, lurid, comic book titles of his movies: Shock Corridor, The Naked Kiss, Verboten!, and Pickup on South Street. Fuller isn’t for everybody. His fans have to appreciate low-budget genre films, including westerns and war movies, and make room for some hard-knuckle, ugly bursts of violence. They also have to make allowance for lots of broad, crass acting, and scripts (all Fuller-written) that can be stiff, sometimes campy, often laboriously didactic. Fuller is for those who love cinema—images that jump, shout, and dance. As he put it in his famous cigar-chomping cameo, acting in Jean-Luc Godard’s Pierrot le fou (1965): "Film is like a battleground . . . love, hate, violence, death. In a single word: emotion." After directing, Fuller's greatest skill was conversation. He could talk, talk, talk, from his amazing experiences fighting in World War II to the time his brother-in-law dated Marilyn Monroe, and vivid stories about his moviemaking. Samuel Fuller: Interviews is not only informative about the filmmaker’s career but sheer fun, following the wild, uninhibited stream of Fuller’s chatter. He was an incredible storyteller, and no matter what the interview was, he had stories galore for all sorts of readers, not just for academics and film historians.

DKK 287.00
1