The music of celebrated composer Stephen Foster--whose two hundred songs include 'Camptown Races' and 'My Old Kentucky Home' as well as 'Susanna, ' 'Jeanie with the Light Brown Hair, ' and 'The Old Folks at Home'--has influenced such famous composers and popular singers as Antonin Dvorak, Charles Ives, George Gershwin, Pete Seeger, and Ray Charles. Now, more than one hundred years after they were written, these songs are still popular. William Austin shows how generations of Americans have kept them alive, weaving them into the changing fabric of American life.

The music of celebrated composer Stephen Foster--whose two hundred songs include 'Camptown Races' and 'My Old Kentucky Home' as well as 'Susanna, ' 'Jeanie with the Light Brown Hair, ' and 'The Old Folks at Home'--has influenced such famous composers and popular singers as Antonin Dvorak, Charles Ives, George Gershwin, Pete Seeger, and Ray Charles. Now, more than one hundred years after they were written, these songs are still popular. William Austin shows how generations of Americans have kept them alive, weaving them into the changing fabric of American life.

Naslagwerk van de liedkunst en de literatuur hierover.

The image of the Irish in the United States changed drastically over time, from that of hard-drinking, rioting Paddies to genial, patriotic working-class citizens. In 'Twas Only an Irishman's Dream, William H. A. Williams traces the change in this image through more than 700 pieces of sheet music--popular songs from the stage and for the parlor--to show how Americans' opinions of Ireland and the Irish went practically from one extreme to the other. Because sheet music was a commercial item it had to be acceptable to the broadest possible song-buying public. "Negotiations" about their image involved Irish songwriters, performers, and pressured groups, on the one hand, and non-Irish writers, publishers, and audiences on the other. Williams ties the contents of song lyrics to the history of the Irish diaspora, suggesting how ethnic stereotypes are created and how they evolve within commercial popular culture.

Cultures of United States Imperialism represents a major paradigm shift that will remap the field of American Studies. Pointing to a glaring blind spot in the basic premises of the study of American culture, leading critics and theorists in cultural studies, history, anthropology, and literature reveal the "denial of empire" at the heart of American Studies. Challenging traditional definitions and periodizations of imperialism, this volume shows how international relations reciprocally shape a dominant imperial culture at home and how imperial relations are enacted and contested within the United States. Drawing on a broad range of interpretive practices, these essays range across American history, from European representations of the New World to the mass media spectacle of the Persian Gulf War. The volume breaks down the boundary between the study of foreign relations and American culture to examine imperialism as an internal process of cultural appropriation and as an external struggle over international power. The contributors explore how the politics of continental and international expansion, conquest, and resistance have shaped the history of American culture just as much as the cultures of those it has dominated. By uncovering the dialectical relationship between American cultures and international relations, this collection demonstrates the necessity of analyzing imperialism as a political or economic process inseparable from the social relations and cultural representations of gender, race, ethnicity, and class at home. Contributors. Lynda Boose, Mary Yoko Brannen, Bill Brown, William Cain, Eric Cheyfitz, Vicente Diaz, Frederick Errington, Kevin Gaines, Deborah Gewertz, Donna Haraway, Susan Jeffords, Myra Jehlen, Amy Kaplan, Eric Lott, Walter Benn Michaels, Donald E. Pease, Vicente Rafael, Michael Rogin, José David Saldívar, Richard Slotkin, Doris Sommer, Gauri Viswanathan, Priscilla Wald, Kenneth Warren, Christopher P. Wilson

Devil’s Mile tells the rip-roaring story of New York’s oldest and most unique street The Bowery was a synonym for despair throughout most of the 20th century. The very name evoked visuals of drunken bums passed out on the sidewalk, and New Yorkers nicknamed it “Satan’s Highway,” “The Mile of Hell,” and “The Street of Forgotten Men.” For years the little businesses along the Bowery—stationers, dry goods sellers, jewelers, hatters—periodically asked the city to change the street’s name. To have a Bowery address, they claimed, was hurting them; people did not want to venture there. But when New York exploded into real estate frenzy in the 1990s, developers discovered the Bowery. They rushed in and began tearing down. Today, Whole Foods, hipster night spots, and expensive lofts have replaced the old flophouses and dive bars, and the bad old Bowery no longer exists. In Devil’s Mile, Alice Sparberg Alexiou tells the story of the Bowery, starting with its origins, when forests covered the surrounding area, and through the pre–Civil War years, when country estates of wealthy New Yorkers lined this thoroughfare. She then describes the Bowery’s deterioration in stunning detail, starting in the post-bellum years. She ends her historical exploration of this famed street in the present, bearing witness as the old Bowery buildings, and the memories associated with them, are disappearing.

These texts represent both the formation of visual culture, and the ways in which it has transformed, and continues to transform, our understanding and experience of the world as a visual domain.

In December 1863, Civil War soldiers took refuge from the dismal conditions of war and weather. They made their winter quarters in the Piedmont region of central Virginia: the Union’s Army of the Potomac in Culpeper County and the Confederacy’s Army of Northern Virginia in neighboring Orange County. For the next six months the opposing soldiers eyed each other warily across the Rapidan River. In Music Along the Rapidan James A. Davis examines the role of music in defining the social communities that emerged during this winter encampment. Music was an essential part of each soldier’s personal identity, and Davis considers how music became a means of controlling the acoustic and social cacophony of war that surrounded every soldier nearby. Music also became a touchstone for colliding communities during the encampment—the communities of enlisted men and officers or Northerners and Southerners on the one hand and the shared communities occupied by both soldier and civilian on the other. The music enabled them to define their relationships and their environment, emotionally, socially, and audibly.

In 1864, Union soldier Charles George described a charge into battle by General Phil Sheridan: "Such a picture of earnestness and determination I never saw as he showed as he came in sight of the battle field . . . What a scene for a painter!" These words proved prophetic, as Sheridan’s desperate ride provided the subject for numerous paintings and etchings as well as songs and poetry. George was not alone in thinking of art in the midst of combat; the significance of the issues under contention, the brutal intensity of the fighting, and the staggering number of casualties combined to form a tragedy so profound that some could not help but view it through an aesthetic lens, to see the war as a concert of death. It is hardly surprising that art influenced the perception and interpretation of the war given the intrinsic role that the arts played in the lives of antebellum Americans. Nor is it surprising that literature, music, and the visual arts were permanently altered by such an emotional and material catastrophe. In The Arts and Culture of the American Civil War, an interdisciplinary team of scholars explores the way the arts – theatre, music, fiction, poetry, painting, architecture, and dance – were influenced by the war as well as the unique ways that art functioned during and immediately following the war. Included are discussions of familiar topics (such as Ambrose Bierce, Peter Rothermel, and minstrelsy) with less-studied subjects (soldiers and dance, epistolary songs). The collection as a whole sheds light on the role of race, class, and gender in the production and consumption of the arts for soldiers and civilians at this time; it also draws attention to the ways that art shaped – and was shaped by – veterans long after the war.