Renaissance Europe was the scene of flourishing and innovative dramatic art, and seventeenth-century Spain enjoyed its own Golden Age of the stage. According to traditional studies of this period, however, men seemed to be the only participants. Now in Dramas of Distinction, Teresa Scott Soufas offers the first book-length critical study of five important women playwrights: Angela de Azevedo, Ana Caro Mallen de Soto, Leonor de la Cueva y Silva, Feliciana Enriquez de Guzman, and Marfa de Zayas y Sotomayor. By locating the plays within their period, Soufas avoids universalizing women without regard to history. Her approach transcends the simple measurement of women authors against male models. Confronting the issue of female silence demanded by seventeenth-century Spanish patriarchy, Soufas compares the drive to limit and contain theater space to Renaissance society's efforts to limit and contain women. Yet these dramatists still found ways to question their own roles and male authority. Caro and Cueva investigate the difficult relationship between women and monarchy. Azevedo explores the ways Renaissance women become commodities in the marriage market. Cross-dressed women characters add carnivalesque implications to three plays in which gender identities are unstable. Finally, Enrfquez challenges the precepts of Lope de Vega's comedia nueva as she attempts to adhere to classical formal principles and reject the public playhouse.As a companion to the recently published anthology Women's Acts, also edited by Soufas, this study significantly contributes not only to Hispanic studies but also to women's studies, Renaissance studies, and comparative literature.

The Puritans condemned war profiteering as a "Provoking Evil," George Washington feared that it would ruin the Revolution, and Franklin D. Roosevelt promised many times that he would never permit the rise of another crop of "war millionaires." Yet on every occasion that American soldiers and sailors served and sacrificed in the field and on the sea, other Americans cheerfully enhanced their personal wealth by exploiting every opportunity that wartime circumstances presented. In Warhogs, Stuart D. Brandes masterfully blends intellectual, economic, and military history into a fascinating discussion of a great moral question for generations of Americans: Can some individuals rightly profit during wartime while others sacrifice their lives to protect the nation?Drawing upon a wealth of manuscript sources, newspapers, contemporary periodicals, government reports, and other relevant literature, Brandes traces how each generation in financing its wars has endeavored to assemble resources equitably, to define the ethical questions of economic mobilization, and to manage economic sacrifice responsibly. He defines profiteering to include such topics as price gouging, quality degradation, trading with the enemy, plunder, and fraud, in order to examine the different guises of war profits and the degree to which they have existed from one era to the next.This far-reaching discussion moves beyond a linear narrative of the financial schemes that have shaped this nation's capacity to make war to an in-depth analysis of American thought and culture. Those scholars, students, and general readers interested in the interaction of legislative, economic, social, and technological events with the military establishment will find no other study that so thoroughly surveys the story of war profits in America.

Conventional wisdom informs us that "only Nixon could go to China." In fact, in 1944, nearly thirty years before his historic trip, the American military established the first liaison and intelligence-gathering mission with the Chinese Communists in Yenan. Commonly referred to as the Dixie Mission, the detached military unit sent to Yenan was responsible for transmitting weather information, assisting the Communists in their rescue of downed American flyers, and laying the groundwork for an eventual rapprochement between the Communists and Nationalists, the two sides struggling in the ongoing Chinese Civil War. Following extensive use of archival sources and numerous interviews with the men who traveled and served in Yenan, Carolle Carter argues that while Dixie fulfilled its assignment, the members steered the mission in different directions from its original, albeit loosely described, intent. As the months and years passed, the Dixie Mission increasingly emphasized intelligence gathering over evaluating their Communist hosts' contribution to the war effort against Japan.Some American politicians in the 1950s portrayed the participants in the Dixie Mission as too sympathetic to the Chinese Communists. But during the 1970s many looked back at these individuals as wise but ignored oracles who could have prevented the "loss of China." Carter strips away these simplistic portrayals to reveal a diverse and dedicated collection of soldiers, diplomats, and technicians who had ongoing contact with the Chinese Communists longer than any other group during World War II, but who were destined to be a largely unused resource during the Cold War.

Actress, playwright, and novelist, Elizabeth Griffith (1727-1793) won fame in England with the publication in 1757 of the first two volumes of Letters Between Henry and Frances, letters from her own courtship with Richard Griffith whom she secretly married in 1751. Her first novel, The Delicate Distress (1769), focuses on the problems women encounter after marriage -- the issue of financial independence for wives, the consequences of interfaith relationships, and the promiscuity of their husbands.Against a backdrop of rural England and Paris of the ancien regime, Griffith reimagines the epistolary novel of sensibility in the tradition of Samuel Richardson and Jean-Jacques Rousseau from a feminist perspective that centers on strong, intelligent, and virtuous women. Two sisters exchange letters about urgent ethical questions concerning love, marriage, morality, art, the duties of wives and husbands, and passion versus reason, while two men correspond about the same subjects. At the story's center is the deep distress of Emily Woodville, a virtuous young newlywed who suspects her husband of infidelity with a French marchioness from his past.The third volume in the series Eighteenth-Century Novels by Women, The Delicate Distress contributes to our understanding of the development of the novel. As Cynthia Ricciardi and Susan Staves show, Griffith's exploration of the psychology of characters who observe and reflect but engage in no grand public actions anticipates Henry James. The editors' introduction places The Delicate Distress firmly in the tradition of the English novel, provides the most complete biography available on Griffith's life, and brings together the most important eighteenth- and twentieth-century criticism of the novelist's work.

If the Renaissance was the Golden Age of English comedy, the Restoration was the Silver. These comedies are full of tricksters attempting to gain estates, the emblem and the reality of power in late feudal England. The tricksters appear in a number of guises, such as heroines landing their men, younger brothers seeking estates, or Cavaliers threatened with dispossession. The hybrid nature of these plays has long posed problems for critics, and few studies have attempted to deal with their diversity in a comprehensive way. Now one of the leading scholars of Restoration drama offers a cultural history of the period's comedy that puts the plays in perspective and reveals the ideological function they performed in England during the latter half of the seventeenth century.To explain this function, J. Douglas Canfield groups the plays into three categories: social comedy, which underwrites Stuart ideology; subversive comedy, which undercuts it; and comical satire, which challenges it as fundamentally immoral or amoral. Through play-by-play analysis, he demonstrates how most of the comedies support the ideology of the Stuart monarchs and the aristocracy, upholding what they regarded as their natural right to rule because of an innate superiority over all other classes. A significant minority of comedies, however, reveal cracks in class solidarity, portray witty heroines who inhabit the margins of society, or give voice to folk tricksters who embody a democratic force nearly capable of overwhelming class hierarchy. A smaller yet but still significant minority end in no resolution, no restoration, but, at their most radical, playfully portray Stuart ideology as empty rhetoric.Tricksters and Estates is a truly comprehensive work, offering serious critical readings of many plays that have never before received close attention and fresh insights into more familiar works. By juxtaposing the comedies of such lesser-known playwrights as Orrery, Lacy, and Rawlins with those of more familiar figures like Behn, Wycherley, and Dryden, the author invites a greater appreciation than has previously been possible of the meaning and function of Restoration comedy. This intelligent and wide-ranging study promises is a standard work in its field.

Jean Ritchie is the best known and most respected singer of traditional ballads in the United States. The youngest daughter of one of the most famous American ballad-singing families, the Ritchie family of Perry County, Kentucky, Jean carries on her family's legacy as a singer of folk songs and traditional ballads. The music found here tells the story of the ""Singing Ritchie Family. "" Built upon a foundation of balladry inherited from old-world Scotland, the family's repertoire was certainly eclectic but not haphazard. The Child ballads, lyric folksongs, play party or frolic songs, Old Regular Baptist lined hymns, Native American ballads, "hant" songs, and carols brought together in this collection were assembled by family members who actively sought out fragments of tunes and completed them by adding or embellishing verses and melodies. This new edition has faithfully retained all seventy-seven line scores of the songs and added four new ones, Loving Hannah, Lovin' Henry, Her Mantle So Green, and The Reckless and Rambling Boy. The original headnotes and photographs tell the history of the song as well as how it became a part of the family's life. Chords are indicated for accompainment, and a new audiography and videography have been added to this edition.

While James Joyce was a central figure of high modernism, Malcom Lowry spoke for the next generation of modernist writers and, despite his denials, was almost certainly influenced by Joyce. Wherever the truth lies, there are correspondences and differences to be explored between Joyce and Lowry that are far more interesting than the question of direct influence. Despite numerous differences, their works have much in common: verbal richness, experimentation with narrative structure and perspective, a fascination with cultural and historical forces as well as with the process of artistic creation, and the inclusion of artist figures who are in varying degrees ironic self-portrayals. The contributors to Joyce/Lowry examine the relationship of these two expatriates writers, both to each other and to broader issues in the study of literary modernism and its aftermath. This collection embraces a variety of approaches. The volume begins with a consideration of Joyce and Lowry as practitioners of Expressionist art and concludes with an essay on John Huston's cinematic interpretation of works by both writers. In between are explorations of nationalism, anti-Semitism, syphilis, mental illness, and authorial design.

For more than 35 years, the Peace Corps has pursued John F. Kennedy's vision of helping people of the Third World build a better life. Yet with the exception of a few celebrations of its early years, little effort has been made to document that organization's history. Now a former deputy director of the Peace Corps offers a first-hand look at life in the agency -- both in the field and at headquarters -- and a radical reinterpretation of its history during the Nixon and Ford administrations.By the end of the 1960s, the Peace Corps was in disarray. Debate raged over its effectiveness, and many new volunteers embraced the antiestablishment behavior of the day's youth. When President Nixon appointed Joseph Blatchford as director in 1969, some insiders felt the agency's days were numbered -- especially when Blatchford set about re-evaluating the Peace Corps' mission and initiated a program called New Directions to reorient its work.Many observers simply lump Blatchford's efforts with the failures and faults of the Nixon administration. David Searles, however, contends that the new director's initiatives revitalized the Peace Corps and made it a more relevant organization. Searles faithfully relates the history of these policies and their implementation in the field, drawing on his personal experience as country director for the Peace Corps in the Philippines. He shows how, despite constant carping from veterans of the early Peace Corps and much furor at headquarters, New Directions reenergized the agency and renewed and reaffirmed the Peace Corps' mission.Searles's descriptions of political maneuverings are incisively observed, and his firsthand characterizations of Peace Corps life richly impart the joys and frustrations of volunteer work. The Peace Corps Experience will give historians a new perspective on the agency and will also interest anyone who has served in the Peace Corps or who wants to understand it.

This charming account of life in Appalachia at the turn of the century is one of the three most important books from the early twentieth century that, as Dwight Billings writes in his foreword, have "had a profound and lasting impact on how we think about Appalachia and, indeed, on the fact that we commonly believe that such a place and people can be readily identified."Originally published in 1924, it was advertised as a "racy book, full of the thrill of mountain adventure and the delicious humor of vigorously human people." James Watt Raine provides eyewitness accounts of mountain speech and folksinging, education, religion, community, politics, and farming. In a conscious effort to dispel the negative stereotype of the drunken, slothful, gun-toting hillbilly prone to violence, Raine presents positive examples from his own experiences among the region's native inhabitants.

In Appalachia's Path to Dependency, Paul Salstrom examines the evolution of economic life over time in southern Appalachia. Moving away from the colonial model to an analysis based on dependency, he exposes the complex web of factors -- regulation of credit, industrialization, population growth, cultural values, federal intervention -- that has worked against the region.Salstrom argues that economic adversity has resulted from three types of disadvantages: natural, market, and political. The overall context in which Appalachia's economic life unfolded was one of expanding United States markets and, after the Civil War, of expanding capitalist relations.Covering Appalachia's economic history from early white settlement to the end of the New Deal, this work is not simply an economic interpretation but draws as well on other areas of history. Whereas other interpretations of Appalachia's economy have tended to seek social or psychological explanations for its dependency, this important work compels us to look directly at the region's economic history. This regional perspective offers a clear-eyed view of Appalachia's path in the future.

Almost forgotten in the haze of events that followed Nagasaki and Hiroshima, the summer of 1945 witnessed an intense public debate over how best to end the war against Japan. Weary of fighting, the American people were determined to defeat the imperial power that had so viciously attacked them in December 1941, but they were uncertain of the best means to accomplish this goal. Certain of victory -- the "inevitable triumph" promised by Franklin Roosevelt immediately after Pearl Harbor -- Americans became increasingly concerned about the human cost of defeating Japan. Particularly after the brutal Iwo Jima and Okinawa campaigns, syndicated columnists, newspaper editorialists, radio commentators, and others questioned the necessity of invasion. A lengthy naval and aerial siege would have saved lives but might have protracted the war beyond the public's patience. Advertisers filled the media with visions of postwar affluence even as the government was exhorting its citizens to remain dedicated to the war effort. There was heated discussion as well about the morality of firebombing Japanese cities and of using poison gas and other agents of chemical warfare.Chappell provides a balanced assessment of all these debates, grounding his observations in a wealth of primary sources. He also discusses the role of racism, the demand for unconditional surrender, and the government's reaction to public opinion in the decision to drop the atomic bomb. Compelling and controversial, this is the first work to examine the confusing and contradictory climate of the American home front in the months leading up to V-J Day.

Emily Dickinson's life and art have fascinated -- and perplexed -- the poet's admirers for more than a century. One of the most hotly debated elements of Dickinson's poetry has been her unconventional use of punctuation. Now, in Inflections of the Pen, Paul Crumbley unravels many of these stylistic mysteries in his careful examination of manuscript versions of her poems -- including selections from the fascicles, Dickinson's own hand-bound gatherings of her poems -- and of Dickinson's letters. Crumbley argues that the dash is the key to deciphering the poet's complex experiments with poetic voice.From the time of Dickinson's first editors, Mabel Loomis Todd and Thomas Wentworth Higginson, standard versions of her poetry have tended to normalize the poems. Designated as either em- or en-dashes in print by all but a few recent editors, Dickinson's dash marks in the holography versions vary tremendously in length, height, and angle. According to Crumbley, these varied dashes suggest subtle gradations of inflection and syntactic disjunction. The printed poems give the impression of a unified voice, whereas the dashes that appear in the manuscripts disrupt conventional thought patterns and suggest multiple voices.The dash, therefore, becomes Dickinson's most expressive visual signal. Crumbley believes that Dickinson's unorthodox practice grants her readers the right to question linguistic authority. No one voice seems to have primacy in Dickinson's poetry. Instead, the poems provoke multiple readings that simultaneously affirm and challenge the dominant social and political values of nineteenth-century America.

Frances Brooke (1724-1789), journalist, translator, playwright, novelist, and even co-manager of a theater, was described as "perhaps the first female novel-writer who attained a perfect purity and polish of style." Today, Brooke is known primarily for The History of Emily Montague, one of the earliest novels about Canada, where she lived for a number of years. But it is her third novel, The Excursion, that is an important example of the fashionable and popular English novels of the late 1770s. Written for the very audience it portrays, this novel introduces the heroine, Maria Villiers, to London's "gentle" society and its glittering pastimes. Brooke drew upon the English courtship novel in the tradition of Eliza Haywood, Henry Fielding, and Frances Burney for her novel's overarching plot structure. But instead of concentrating on Maria's romantic adventures, she experiments with unusual treatments of subplots and unconventional characters.The most interesting aspect of her story is the development of Maria's ambition to win fame and fortune as a writer; it is one of the few portraits of a woman with literary ambitions by an early woman writer. Brooke's wry narrative voice foreshadows that of Jane Austen.The editors' introduction places The Excursion firmly in the tradition of the English novel, provides a fresh biography of Brooke, and brings together the most important eighteenth- and twentieth-century criticism of Brooke's work.The second volume in the series Eighteenth-Century Novels by Women, The Excursion contributes to our understanding of the development of the novel and offers a lively view of women's position in eighteenth-century English society.

" First published in 1978, The Klan is considered the best book on the grandfather of all extremist hate groups. Now, in the wake of the Oklahoma City bombing and other domestic terrorist activities that are the legacy of Klan violence, it is more timely than ever. Realizing the continuing relevance of this book, Patsy Sims has revised it for the first time since its initial publication, adding a new preface and updating the individual chapters. An award-winning journalist, Sims drove more than 1,200 miles over the back roads of the South to begin this book. During two years of research and writing she talked, rallied, and kept in almost constant telephone contact with Klan leaders and members. The result was more than 150n hours of taped interviews revealing the personal experiences of the Klanspeople and their victims. These she wove together with history and contemporary news events for a riveting look inside the organization at the peak of it power.

This volume of twelve original essays is the first comprehensive study of feminist issues in Restoration drama. The late seventeenth century marks a pivotal era in the history of feminism, when Renaissance assumptions about gender and patriarchy were being directly challenged. For the first time, women appeared onstage as actresses, made their presence felt as spectators and patrons, and wrote a number of the plays produced in theaters. In an unusually direct and probing way, drama of the Restoration period raised radical questions about the place of women in the family and in society, and about the essential nature of men and women. The essays examine feminist issues from a variety of historical and theoretical approaches across a spectrum of plays -- comedies, tragedies, tragicomedies, and heroic drama. By addressing the acute questions of gender raised in the drama, Broken Boundaries presents a vivid portrait of the uncertainties and changing perceptions in all areas of intellectual, political, and social life during the last decades of the seventeenth century.

The Conversational Circle offers a model for exploring a range of novels that experiment with narrative patterns. It makes a compelling case that teleological approaches to novel history that privilege the conflict between the individual and society are, quite simply, ahistorical. Twentieth-century historians of the early novel, most prominently Ian Watt, Mikhail Bakhtin, and Terry Castle, have canonized fictions that portray the individual in sustained tension with the social environment. Such fictions privilege a strongly linear structure. Recent reexaminations of the canon, however, have revealed a number of early novels that do not fit this mold.Betty Schellenberg identifies another kind of plot, one that focuses on the social group -- the "conversational circle" -- as a model that can affirm traditional values but just as often promotes an alternative sense of community. Schellenberg selects a group of mid-eighteenth-century novels that experiment with this alternative plot structure, embodied by the social circle. Both satirical and sentimental, canonical and non-canonical, these novels demonstrate a concern that individualistic desire threatened to destabilize society. Writing that reflects a circular structure emphasizes conversation and consensus over individualism and conquest. As a discourse that highlights negotiation and harmony, conversation privileges the social group over the individual.These fictions of the conversation circle include lesser-known works by canonical authors (Henry Fielding's Amelia and Richards's Sir Charles Grandison as well as his sequel to Pamela), long-neglected novels by women (Sarah Fielding's David Simple and its sequel Volume the Last, and Sarah Scott's Millenium Hall), and Tobias Smollet's last novel, Humphrey Clinker. Because they do not fit the linear model, such works have long been dismissed as ideologically flawed and irrelevant.