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Punk Rock Warlord explores the relevance of Joe Strummer within the
continuing legacies of both punk rock and progressive politics. It
is aimed at scholars and general readers interested in The Clash,
punk culture, and the intersections between pop music and politics,
on both sides of the Atlantic. Contributors to the collection
represent a wide range of disciplines, including history,
sociology, musicology, and literature; their work examines all
phases of Strummer's career, from his early days as 'Woody' the
busker to the whirlwind years as front man for The Clash, to the
'wilderness years' and Strummer's final days with the Mescaleros.
Punk Rock Warlord offers an engaging survey of its subject, while
at the same time challenging some of the historical narratives that
have been constructed around Strummer the Punk Icon. The essays in
Punk Rock Warlord address issues including John Graham Mellor's
self-fashioning as 'Joe Strummer, rock revolutionary'; critical and
media constructions of punk; and the singer's complicated and
changing relationship to feminism and anti-racist politics. These
diverse essays nevertheless cohere around the claim that Strummer's
look, style, and musical repertoire are so rooted in both English
and American cultures that he cannot finally be extricated from
either.
Punk Rock Warlord explores the relevance of Joe Strummer within the
continuing legacies of both punk rock and progressive politics. It
is aimed at scholars and general readers interested in The Clash,
punk culture, and the intersections between pop music and politics,
on both sides of the Atlantic. Contributors to the collection
represent a wide range of disciplines, including history,
sociology, musicology, and literature; their work examines all
phases of Strummer's career, from his early days as 'Woody' the
busker to the whirlwind years as front man for The Clash, to the
'wilderness years' and Strummer's final days with the Mescaleros.
Punk Rock Warlord offers an engaging survey of its subject, while
at the same time challenging some of the historical narratives that
have been constructed around Strummer the Punk Icon. The essays in
Punk Rock Warlord address issues including John Graham Mellor's
self-fashioning as 'Joe Strummer, rock revolutionary'; critical and
media constructions of punk; and the singer's complicated and
changing relationship to feminism and anti-racist politics. These
diverse essays nevertheless cohere around the claim that Strummer's
look, style, and musical repertoire are so rooted in both English
and American cultures that he cannot finally be extricated from
either.
In this volume experienced and new college- and university-level
teachers will find practical, adaptable strategies for designing or
updating courses in western American literature and western
studies. Teaching Western American Literature features the latest
developments in western literary research and cultural studies as
well as pedagogical best practices in course development.
Contributors provide practical models and suggestions for courses
and assignments while presenting concrete strategies for teaching
works both inside and outside the canon. In addition, Brady
Harrison and Randi Lynn Tanglen have assembled insights from
pioneering western studies instructors with workable strategies and
practical advice for translating this often complex material for
classrooms from freshman writing courses to graduate seminars.
Teaching Western American Literature reflects the cutting edge of
western American literary study, featuring diverse approaches
allied with women's, gender, queer, environmental, disability, and
Indigenous studies and providing instructors with entree into
classrooms of leading scholars in the field.
This wide-ranging collection of essays addresses a diverse and
expanded vision of Montana literature, offering new readings of
both canonical and overlooked texts. Although a handful of Montana
writers such as Richard Hugo, A. B. Guthrie Jr., D'Arcy McNickle,
and James Welch have received considerable critical attention,
sizable gaps remain in the analysis of the state's ever-growing and
ever-evolving canon. The twelve essays in "All Our Stories Are
Here" not only build on the exemplary, foundational work of other
writers but also open further interpretative and critical
conversations. Expanding on the critical paradigms of the past and
bringing to bear some of the latest developments in literary and
cultural studies, the contributors engage issues such as queer
ambivalence in Montana writing, representations of the state in
popular romances, and the importance of the University of Montana's
creative writing program in fostering the state's literary corpus.
The contributors also explore the work of writers who have not yet
received their critical due, take new looks at old friends, and
offer some of the first explorations of recent works by
well-established artists. "All Our Stories Are Here" conveys a
sense of continuity in the field of Western literary criticism,
while at the same time challenging conventional approaches to
regional literature.
"Agent of Empire is a detailed study of creative works inspired by
the escapades of the American soldier of fortune William Walker.
The leader of several fractious, bloody forays into Mexico and
Central America in the 1850s, Walker was executed in 1860 by a
Honduran firing squad. Brady Harrison looks at a dozen works, such
as Bret Harte's novel "The Crusade of Excelsior (1887) and Alex
Cox's film "Walker (1987), to show how Walker's life and legacy
have been explored in journalism, poetry, fiction, drama, and
cinema for over a century. At the heart of our ongoing interest in
Walker, says Harrison, is the need to understand the ever-shifting
ambitions and arguments that have driven American economic,
military, and paramilitary ventures around the globe over the past
150 years. Harrison discusses how the mercenary romance, an
understudied subgenre of the historical romance first popularized
by Bret Harte and Richard Harding Davis, owes its conception to
William Walker. Engaging the work of other scholars such as Quentin
Anderson and Judith Butler, Harrison places Walker in the company
of Aaron Burr, Theodore Roosevelt, Oliver North, and other American
conquistadors. Walker and such fellow agents of empire, Harrison
argues, exemplify a peculiar merging of Emersonian inner mastery
and the American habit of equating self with nation. Inward looking
at first, they soon set their sights, as special agents of
providence or the state, on such places as Mexico, Nicaragua, Cuba,
the Philippines, and more recently, Vietnam and Iraq. "Agent of
Empire is a timely exploration of American imperialism and its
troubling components of hypermasculinity, racism, and ambition.
Harrison shows how literaturehelps us gauge the ever-shifting
desires, fantasies, arguments, and ideologies that continue to
underwrite our imperial ventures, private and public.
A romance of America's nascent imperial power, Richard Harding
Davis's Soldiers of Fortune recounts the adventures of Robert Clay,
a mining engineer and sometime mercenary, and Hope Langham, the
daughter of a wealthy American industrialist, as they become caught
up in a coup in Olancho, a fictional Latin American republic. When
the coup, organized by corrupt politicians and generals, threatens
the American-owned Valencia Mining Company, Clay organizes his
workers and the handful of Americans visiting the mine into a
counter-coup force. Written on the eve of the Spanish-American War,
Soldiers of Fortune casts the young American as the dashing,
hypermasculine hero of the new military and economic. A huge
best-seller, the novel did its part to push the nation into war
against Spain, and stands as one of the most important texts in the
literature of American imperialism. The appendices, which bring
together primary materials by writers and politicians such as
Rebecca Harding Davis, Theodore Roosevelt, Jose Marti, Mark Twain,
Herbert Spencer, and others, address such issues as social
Darwinism, masculinity, and ideas of Anglo-American superiority.
A compelling critical investigation into Gilman's conception of
setting and place. Charlotte Perkins Gilman and a Woman's Place in
America is a pioneering collection that probes how depictions of
space, confinement, and liberation establish both the difficulty
and necessity of female empowerment. Turning Victorian notions of
propriety and a woman's place on its ear, this finely crafted essay
collection studies Gilman's writings and the manner in which they
push back against societal norms and reject male-dominated confines
of space. The contributors present fascinating and innovative
readings of some of Gilman's most significant works. By examining
the settings in ""The Yellow Wallpaper"" and Herland, for example,
the volume analyzes Gilman's construction of place, her
representations of male dominance and female subjugation, and her
analysis of the rules and obligations that women feel in conforming
to their assigned place: the home. Additionally, this volume
delineates female resistance to this conformity. Contributors
highlight how Gilman's narrators often choose resistance over
obedient captivity, breaking free of the spaces imposed upon them
in order to seek or create their own habitats. Through biographical
interpretations of Gilman's work that focus on the author's own
renouncement of her ""natural"" role of wife and mother,
contributors trace her relocation to the American West in an
attempt to appropriate the masculinized spaces of work and social
organization. Engaging, well-researched, and deftly written, the
essays in this collection will appeal to scholars of Gilman,
literature, and gender issues alike.
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