Bøker utgitt av University Press of Mississippi

Contributions by Emma Frances Bloomfield, Sheila Bock, Kristen Bradley, Hannah Chapple, James Deutsch, Máirt Hanley, Christine Hoffmann, Kate Parker Horigan, Shelley Ingram, John Laudun, Jordan Lovejoy, Lena Marander-Eklund, Jennifer Morrison, Willow G. Mullins, Anne Pryor, Todd Richardson, and Claire Schmidt The weather governs our lives. It fills gaps in conversations, determines our dress, and influences our architecture. No matter how much our lives may have moved indoors, no matter how much we may rely on technology, we still monitor the weather. Wait Five Minutes: Weatherlore in the Twenty-First Century draws from folkloric, literary, and scientific theory to offer up new ways of thinking about this most ancient of phenomena. Weatherlore is a concept that describes the folk beliefs and traditions about the weather that are passed down casually among groups of people. Weatherlore can be predictive, such as the belief that more black than brown fuzz on a woolly bear caterpillar signals a harsh winter. It can be the familiar commentary that eases daily social interactions, such as asking, "Is it hot (or cold) enough for you?" Other times, it is simply ubiquitous: "If you don't like the weather, wait five minutes and it will change." From detailing personal experiences at picnics and suburban lawns to critically analyzing storm stories, novels, and flood legends, contributors offer engaging multidisciplinary perspectives on weatherlore. As we move further into the twenty-first century, an increasing awareness of climate change and its impacts on daily life calls for a folkloristic reckoning with the weather and a rising need to examine vernacular understandings of weather and climate. Weatherlore helps us understand and shape global political conversations about climate change and biopolitics at the same time that it influences individual, group, and regional lives and identities. We use weather, and thus its folklore, to make meaning of ourselves, our groups, and, quite literally, our world.

Contributions by Emma Frances Bloomfield, Sheila Bock, Kristen Bradley, Hannah Chapple, James Deutsch, Máirt Hanley, Christine Hoffmann, Kate Parker Horigan, Shelley Ingram, John Laudun, Jordan Lovejoy, Lena Marander-Eklund, Jennifer Morrison, Willow G. Mullins, Anne Pryor, Todd Richardson, and Claire Schmidt The weather governs our lives. It fills gaps in conversations, determines our dress, and influences our architecture. No matter how much our lives may have moved indoors, no matter how much we may rely on technology, we still monitor the weather. Wait Five Minutes: Weatherlore in the Twenty-First Century draws from folkloric, literary, and scientific theory to offer up new ways of thinking about this most ancient of phenomena. Weatherlore is a concept that describes the folk beliefs and traditions about the weather that are passed down casually among groups of people. Weatherlore can be predictive, such as the belief that more black than brown fuzz on a woolly bear caterpillar signals a harsh winter. It can be the familiar commentary that eases daily social interactions, such as asking, "Is it hot (or cold) enough for you?" Other times, it is simply ubiquitous: "If you don't like the weather, wait five minutes and it will change." From detailing personal experiences at picnics and suburban lawns to critically analyzing storm stories, novels, and flood legends, contributors offer engaging multidisciplinary perspectives on weatherlore. As we move further into the twenty-first century, an increasing awareness of climate change and its impacts on daily life calls for a folkloristic reckoning with the weather and a rising need to examine vernacular understandings of weather and climate. Weatherlore helps us understand and shape global political conversations about climate change and biopolitics at the same time that it influences individual, group, and regional lives and identities. We use weather, and thus its folklore, to make meaning of ourselves, our groups, and, quite literally, our world.

International Convention of Asia Scholars 2019 Book Prize - Best Art Publication In the most comprehensive and authoritative source on this subject, Comics Art in China covers almost all comics art forms in mainland China, providing the history from the nineteenth century to the present as well as perspectives on both the industry and the art form. This volume encompasses political, social, and gag cartoons, lianhuanhua (picture books), comic books, humorous drawings, cartoon and humor periodicals, and donghua (animation) while exploring topics ranging from the earliest Western-influenced cartoons and the popular, often salacious, 1930s humor magazines to cartoons as wartime propaganda and comics art in the reform. Coupling a comprehensive review of secondary materials (histories, anthologies, biographies, memoirs, and more) in English and Chinese with the artists' actual works, the result spans more than two centuries of Chinese animation. Structured chronologically, the study begins with precursors in early China and proceeds through the Republican, wartime, Communist, and market economy periods. Based primarily on interviews senior scholar John A. Lent and Xu Ying conducted with over one hundred cartoonists, animators, and other comics art figures, Comics Art in China sheds light on tumult and triumphs. Meticulously, Lent and Xu describe the evolution of Chinese comics within a global context, probing the often-tense relationship between expression and government, as well as proving that art can be a powerful force for revolution. Indeed, the authors explore Chinese comics art as it continues to grow and adapt in the twenty-first century. Enhanced with over one hundred black-and-white and color illustrations, this book stands out as not only the first such survey in English, but perhaps the most complete one in any language.

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.

A treatment of cinema's long and fraught relations with the monstrous symbols of Soviet communism

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."

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.

Offers the first composite of histories from the entire colonial period in the land now called Mississippi. Christian Pinnen and Charles Weeks reveal stories spanning over three hundred years and featuring a diverse array of individuals and peoples from America, Europe, and Africa.

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.