Bücher veröffentlicht von University Press of Mississippi

Jerry W. Ward Jr. (b. 1943) has published nonfiction, literary criticism, encyclopedias, anthologies, and poetry. Ward is also a highly respected scholar with a specialty in African American literature and has been recognized internationally as one of the leading experts on Richard Wright. Ward was Lawrence Durgin Professor of Literature at Tougaloo College, served as a member of both the Mississippi Humanities Council and the Mississippi Advisory Committee for the US Commission on Civil Rights, and cofounded the Richard Wright Circle and the Richard Wright Newsletter. He has won numerous awards, and in 2001 he was inducted into the International Literary Hall of Fame for Writers of African Descent. Conversations with Jerry W. Ward Jr. aims to add an indispensable source to American literature and African American studies. It offers an account of Ward's intelligent and thoughtful responses to questions about literature, literary criticism, teaching, writing, civil rights, Black aesthetics, race, and culture. Throughout the fourteen interviews collected in this volume that range from 1995 to 2021, Ward demonstrates his responsibilities as a contemporary scholar, professor, writer, and social critic. His charming personality glimmers through these interviews, which, in a sense, are inner views that allow us to see into his mind, understand his heart, and appreciate his wit.

140 tales collected by the extraordinary Russian "Grimm"Up to now, there has been no complete English-language version of the Russian folktales of A. N. Afanas'ev. This translation is based on L. G. Barag and N. V. Novikov's edition, widely regarded as the authoritative Russian-language edition. The present edition includes commentaries to each tale as well as its international classification number. This second volume of 140 tales continues the work started in Volume I, also published by University Press of Mississippi. A third planned volume will complete the first English-language set.The folktales of A. N. Afanas'ev represent the largest single collection of folktales in any European language and perhaps in the world. Widely regarded as the Russian Grimm, Afanas'ev collected folktales from throughout the Russian Empire in what are now regarded as the three East Slavic languages, Byelorusian, Russian, and Ukrainian. The result of his own collecting, the collecting of friends and correspondents, and in a few cases his publishing of works from earlier and forgotten collections is truly phenomenal. In his lifetime, Afanas'ev published more than 575 tales in his most popular and best known work, Narodnye russkie skazki. In addition to this basic collection, he prepared a volume of Russian legends, many on religious themes; a collection of mildly obscene tales, Russkie zavetnye skazki; and voluminous writings on Slavic folk life and mythology. His works were subject to the strict censorship of ecclesiastical and state authorities that lasted until the demise of the Soviet Union in the 1990s. Overwhelmingly, his particular emendations were stylistic, while those of the censors mostly concerned content. The censored tales are generally not included in this volume.

Named a Notable Scholarly Publication of 2015 by the Comics Studies SocietyContributions by Georgiana Banita, Lan Dong, Ann D'Orazio, Kevin C. Dunn, Alexander Dunst, Jared Gardner, Edward C. Holland, Isabel Macdonald, Brigid Maher, Ben Owen, Rebecca Scherr, Maureen Shay, Marc Singer, Richard Todd Stafford, and oyvind VagnesThe Comics of Joe Sacco addresses the range of his award-winning work, from his early comics stories as well as his groundbreaking journalism Palestine (1993) and Safe Area to Gorazde (2000), to Footnotes in Gaza (2009) and his most recent book The Great War (2013), a graphic history of World War I.First in the series, Critical Approaches to Comics Artists, this edited volume explores Sacco's comics journalism and features established and emerging scholars from comics studies, cultural studies, geography, literary studies, political science, and communication studies. Sacco's work has already found a place in some of the foundational scholarship in comics studies, and this book solidifies his role as one of the most important comics artists today.Sections focus on how Sacco's comics journalism critiques and employs the standard of objectivity in mainstream reporting, what aesthetic principles and approaches to lived experience can be found in his comics, how Sacco employs the space of the comics page to map history and war, and the ways that his comics function in the classroom and as human rights activism. The Comics of Joe Sacco offers definitive, exciting approaches to some of the most important--and necessary--comics today, by one of the most acclaimed journalist-artists of our time.

Throughout the 1940s, Zachary Scott (1914-1965) was the model for sophisticated, debonair villains in American film. His best-known roles include a mysterious criminal in The Mask of Dimitrios and the indolent husband in Mildred Pierce. He garnered further acclaim for his portrayal of villains in Her Kind of Man, Danger Signal, and South of St. Louis. Although he earned critical praise for his performance as a heroic tenant farmer in Jean Renoir's The Southerner, Scott never quite escaped typecasting. In Zachary Scott: Hollywood's Sophisticated Cad, Ronald L. Davis writes an appealing biography of the film star. Scott grew up in privileged circumstances-his father was a distinguished physician; his grandfather was a pioneer cattle baron-and was expected to follow his father into medical practice. Instead, Scott began to pursue a career in theater while studying at the University of Texas and subsequently worked his way on a ship to England to pursue acting. Upon his return to America, he began to look for work in New York. Excelling on stage and screen throughout the 1940s, Scott seemed destined for stardom. By the end of 1950, however, he had suffered through a turbulent divorce. A rafting accident left him badly shaken and clinically depressed. His frustration over his roles mounted, and he began to drink heavily. He remarried and spent the rest of his career concentrating on stage and television work. Although Scott continued to perform occasionally in films, he never reclaimed the level of stardom that he had in the mid-1940s. To reconstruct Scott's life, Davis uses interviews with Scott and colleagues and reviews, articles, and archival correspondence from the Scott papers at the University of Texas and from the Warner Brothers Archives. The result is a portrait of a talented actor who was rarely allowed to show his versatility on the screen.

From the late 1930s to the mid-1950s, five big movie studios-Paramount, Warner Bros., Twentieth Century-Fox, Metro-Goldwyn-Mayer (MGM), and RKO-dominated Hollywood's film industry. This "big studio system" operated primarily as a series of assembly-line production factories. Ideally, each churned out fifty-two movies a year, enough to supply showcase theaters across the country with a new lineup each week-with profit being the overriding goal.Of this era, veteran screenwriter Julius Epstein (Casablanca) said: "It was not called the motion picture industry for nothing. [It] was like working at belts in a factory."Studios assigned the majority of the lower-tier screenplays to directors under long-term contract and expected them to stick to the script and keep productions within the budget. These filmmakers, known as "house directors," often made films quickly, inexpensively, and with limited resources. Just Making Movies: Company Directors on the Studio System collects twelve interviews with house directors from this era, all conducted by the author during the 1980s. These previously unpublished interviews provide a clear picture of how the big studio system operated, as told by those who knew it best.Despite limitations, house directors sometimes made enduring film classics, such as Charles Walters's Easter Parade, Henry Koster's The Bishop's Wife, George Sidney's The Three Musketeers, and Vincent Sherman's The Hasty Heart. In these interviews the filmmakers talk candidly about working with such superstars as Joan Crawford, Errol Flynn, Richard Burton, Bette Davis, Judy Garland, Cary Grant, Esther Williams, and Lana Turner.

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, Aimee L. Schmidt, James Thomas, Shana Walton, Lola Williamson, and Amy L. YoungThroughout 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 "e;We the People"e; grant from the National Endowment for the Humanities.

On the strength of a National Book Award for his novel Going After Cacciato and a widely acclaimed short-story cycle, The Things They Carried, Tim O'Brien (b. 1946) cemented his reputation as one of the most compelling chroniclers of Vietnam--and, in the process, was cast as a "Vietnam writer." But to confine O'Brien to a single piece of ground or a particular style is to ignore the broad sweep of a career spanning nearly four decades. In addition to detailed discussions of all of O'Brien's work--a memoir, If I Die in a Combat Zone, and seven books of fiction--the sixteen interviews and profiles in Conversations with Tim O'Brien explore common themes, with subtle differences. Looming large is the experience of Vietnam and its influence as well as O'Brien's youth in Minnesota and the expectations of a midwestern upbringing. Interviews allowed the writer to fully examine the shifting boundaries of truth and identity, memory, and imagination in fiction; the role of war in society; gender issues; and the craft of writing. O'Brien approaches each of these topics and a host of others with a directness and an evident passion that will resonate with both readers and prospective writers.

Surveys the various ways New Orleans confronted the demands of World War I under the supervision of a dynamic political machine boss. Author Brian Altobello analyzes the mobilization of the local population in terms of enlistments and war bond sales and addresses the anti-vice crusade meant to safeguard the American war effort.

When Jimmy Carter (b. 1924) lost the presidency in 1980, it would have been reasonable to think his public life was coming to an end. The moderate, evangelical, blue-jeans-wearing peanut farmer made an unlikely governor of Georgia, and an even less likely winner of the vicious 1976 Democratic presidential primary. Coming into an era of American politics where evangelical and rural voters became increasingly identified with the Reagan revolution, and the Democratic Party's identity became increasingly secular and urban, he did not fit neatly into the political categories of the emerging decade. But it was not politics that would define President Carter in the end: it would be his humble Christian faith and his enduring commitment to the poor, to peace, and to human rights. In Conversations with Jimmy Carter, ten interviews, drawn from Carter's five decades as a national public figure and author, capture the complexities and contradictions that have defined him--and that have helped to both reflect and shape the highest aspirations of the American experiment.

Christian Petzold (b. 1960) is the best-known filmmaker associated with the "Berlin School" of postunification German cinema. Identifying as an intellectual, Petzold self-consciously approaches his work for both the big and the small screen by weaving critical reflection on the very conditions of contemporary filmmaking into his approach. Archeologically reconstructing genre filmmaking in a national film production context that makes the production of genre cinema virtually impossible, he repeatedly draws on plots from classic films, including Alfred Hitchcock's, in order to provide his viewers with the distinct pleasures only cinema can instill without, however, allowing his audience the comforts the "cinema of identification" affords them. Including thirty-five interviews, Christian Petzold: Interviews is the first book in any language to document how one of Germany's best-known director's thinking about his work has evolved over the course of a quarter of a century, spanning his days as a flailing student filmmaker in the early 1990s in postunified Germany to 2020, when his reputation as one of world cinema's most respected auteurs has been firmly enshrined. The interviews collected here--thirty of which are published in English for the first time--highlight Petzold's career-long commitment to foregrounding how economic operations affect individual lives. The volume makes for a rich resource for readers interested in Petzold's work or contemporary German cinema but also those looking for theoretically challenging and sophisticated commentary offered by one of global art cinema's leading figures.

Jerry W. Ward Jr. (b. 1943) has published nonfiction, literary criticism, encyclopedias, anthologies, and poetry. Ward is also a highly respected scholar with a specialty in African American literature and has been recognized internationally as one of the leading experts on Richard Wright. Ward was Lawrence Durgin Professor of Literature at Tougaloo College, served as a member of both the Mississippi Humanities Council and the Mississippi Advisory Committee for the US Commission on Civil Rights, and cofounded the Richard Wright Circle and the Richard Wright Newsletter. He has won numerous awards, and in 2001 he was inducted into the International Literary Hall of Fame for Writers of African Descent. Conversations with Jerry W. Ward Jr. aims to add an indispensable source to American literature and African American studies. It offers an account of Ward's intelligent and thoughtful responses to questions about literature, literary criticism, teaching, writing, civil rights, Black aesthetics, race, and culture. Throughout the fourteen interviews collected in this volume that range from 1995 to 2021, Ward demonstrates his responsibilities as a contemporary scholar, professor, writer, and social critic. His charming personality glimmers through these interviews, which, in a sense, are inner views that allow us to see into his mind, understand his heart, and appreciate his wit.

The cinephile community knows Abbas Kiarostami (1940-2016) as one of the most important filmmakers of the previous decades. This volume illustrates why the Iranian filmmaker achieved critical acclaim around the globe and details his many contributions to the art of filmmaking. Kiarostami began his illustrious career in his native Iran in the 1970s, although European and American audiences did not begin to take notice until he released his 1987 feature Where's the Friend's House? His films defy established conventions, placing audiences as active viewers who must make decisions about actions and characters while watching the narratives unfold. He asks viewers to question the genre construct (Close-Up) and challenges them to determine how to watch and imagine a narrative (Ten and Shirin). In recognition for his approach to the craft, Kiarostami was awarded many honors during his lifetime, including the top prize at the Cannes Film Festival in 1997 for Taste of Cherry. In Abbas Kiarostami: Interviews, editor Monika Raesch collects eighteen interviews (several translated into English for the first time), lectures, and other materials that span Kiarostami's career in the film industry. In addition to exploring his expertise, the texts provide insight into his life philosophy. This volume offers a well-rounded picture of the filmmaker through his conversations with journalists, film scholars, critics, students, and audience members.

With roots in the American South, Beth Henley (b. 1952) has for four decades been a working playwright and screenwriter. Winner of the Pulitzer Prize in 1981 at the age of twenty-eight, Henley so far has written twenty-five produced plays that are always original, usually darkly comic, and often experimental. In these interviews, Henley speaks of the plays, from her early crowd-pleasers, Crimes of the Heart and The Miss Firecracker Contest, to her more experimental plays, including The Debutante Ball and Control Freaks, to her brilliant and time-bending play, The Jacksonian. Henley is a master at writing about the duality of human experience--the beautiful and the grotesque, the cruel and the loving. This duality provokes in Henley both amazement and compassion. She discusses here not only her admiration for Chekhov and other influences, but also her process of bringing a play from notebooks of images and bits of dialogues through rumination, writing, and rewriting to rehearsals and previews. The interviews range from 1981, just before she won the Pulitzer Prize, to 2020 and cover nearly forty years of a creative life, which, as Henley remarks in the most recent interview, is "such a life worth living: to be in tune with the creative process."

Ken Kesey (1935-2001) is the author of several works of well-known fiction and other hard-to-classify material. These interviews trace his arc through success, fame, prison, farming, and tragedy. These conversations make clear Kesey's central place in American culture and offer his enduring lesson that the freedom exists to create lives as wildly as can be imagined.

At the beginning of the eighteenth century, over twenty different American Indian tribal groups inhabited present-day Mississippi. Today, Mississippi is home to only one tribe, the Mississippi Band of Choctaw Indians. In Mississippi's American Indians, author James F. Barnett Jr. explores the historical forces and processes that led to this sweeping change in the diversity of the state's native peoples. The book begins with a chapter on Mississippi's approximately 12,000-year prehistory, from early hunter-gatherer societies through the powerful mound building civilizations encountered by the first European expeditions. With the coming of the Spanish, French, and English to the New World, native societies in the Mississippi region connected with the Atlantic market economy, a source for guns, blankets, and many other trade items. Europeans offered these trade materials in exchange for Indian slaves and deerskins, currencies that radically altered the relationships between tribal groups. Smallpox and other diseases followed along the trading paths. Colonial competition between the French and English helped to spark the Natchez rebellion, the Chickasaw-French wars, the Choctaw civil war, and a half-century of client warfare between the Choctaws and Chickasaws. The Treaty of Paris in 1763 forced Mississippi's pro-French tribes to move west of the Mississippi River. The Diaspora included the Tunicas, Houmas, Pascagoulas, Biloxis, and a portion of the Choctaw confederacy. In the early nineteenth century, Mississippi's remaining Choctaws and Chickasaws faced a series of treaties with the United States government that ended in destitution and removal. Despite the intense pressures of European invasion, the Mississippi tribes survived by adapting and contributing to their rapidly evolving world.