Course Reserves: Hattiesburg

Brain for A&P

Eye for A&P

Heart for A&P

Skull, Neck, Thorax, Back and Abdominal Muscles for A&P

Early in the Civil War, Louisiana's Confederate government sanctioned a militia unit of black troops, the Louisiana Native Guards. Intended as a response to demands from members of New Orleans' substantial free black population that they be permitted to participate in the defense of their state, the unit was used by Confederate authorities for public display and propaganda purposes but was not allowed to fight. After the fall of New Orleans, General Benjamin F. Butler brought the Native Guards into Federal military service and increased their numbers with runaway slaves. He intended to use the troops for guard duty and heavy labor. His successor, Nathaniel P. Banks, did not trust the black Native Guard officers, and as he replaced them with white commanders, the mistreatment and misuse of the black troops steadily increased. The first large-scale deployment of the Native Guards occurred in May, 1863, during the Union siege of Port Hudson, Louisiana, when two of their regiments were ordered to storm an impregnable hilltop position. Although the soldiers fought valiantly, the charge was driven back with extensive losses. The white officers and the northern press praised the tenacity and fighting ability of the black troops, but they were still not accepted on the same terms as their white counterparts. After the war, Native Guard veterans took up the struggle for civil rights - in particular, voting rights - for Louisiana's black population. The Louisiana Native Guards is the first account to consider that struggle. By documenting their endeavors through Reconstruction, James G. Hollandsworth places the Native Guards' military service in the broader context of a civil rights movement thatpredates more recent efforts by a hundred years. This remarkable work presents a vivid picture of men eager to prove their courage and ability to a world determined to exploit and demean them.

"A 1960s American Studies classic for cultural studies at the millennium."--Susan Gilman, University of California, Berkeley. Reprinted without change, Gossett's powerful study ranges from colonial race theory and its European antecedents, through eighteenth- and nineteenth-century race pseudoscience, to the racialist dimension of American thought and literature emerging against backgrounds such as Anglo-Saxonism, westward expansion, and xenophobia.

At Camp Treehouse, Nancy's bunkmate Lauren is having a crummy time, because someone has stolen her camera. Nancy investigates, follows the clues, and helps her new friend.

This volume guides readers through one of William Faulkner's most complex novels. By common consent The Sound and the Fury is a seminal document of twentieth-century literature. Almost from the beginning it has been a litmus test for critical approaches -- from New Criticism to biography and manuscript analysis. In the past two decades nearly all of the newest critical theories have come calling -- deconstruction and new historicism, as well as culture, gender, and race studies.Yet the novel resists or evades even the most ardent theorists' efforts to contain it, and much of its total accomplishment remains unplumbed. Many of its smaller parts are still mysteries, and the novel remains a formidable challenge not just for beginners but for more sophisticated readers as well.This volume, like others in the Reading Faulkner series, provides line-by-line interpretation, concentrating on individual words and sentences, visual dimensions, time shifts, intricacies of narration, and other obscurities. It explores Faulkner's words as they appear on the page, deciphering an responding to them in their linear progression and in their cumulating resonances inside and outside the text. Important allusions and references are identified, as are dates and historical personages. For many passages alternative readings are offered. The pagination is keyed to the definitive text of the Vintage edition.

For most people, film adaptation of literature can be summed up in one sentence: "The movie wasn't as good as the book." This volume undertakes to show the reader that not only is this evaluation not always true but sometimes it is intrinsically unfair. Movies based on literary works, while often billed as adaptations, are more correctly termed translations. A director and his actors translate the story from the written page into a visual presentation. Depending on the form of the original text and the chosen method of translation, certain inherent difficulties and pitfalls are associated with this change of medium. So often our reception of a book-based movie has more to do with our expectations and reading of the literature than with the job that the movie production did or did not do. Avoiding these biases and fairly evaluating any particular literary-based film takes an awareness of certain factors. Written with a formalistic rather than historical approach, this work presents a comprehensive guide to literature-based films, establishing a contextual and theoretical basis to help the reader understand the relationships between such movies and the original texts as well as the reader's own individual responses to these productions. To this end, it focuses on recognizing and appreciating the inherent difficulties encountered when basing a film on a literary work, be it a novel, novella, play or short story. Individual chapters deal with the specific issues and difficulties raised by each of these genres, providing an overview backed up by case studies of specific film translations. Films and literary works receiving this treatment include The Unbearable Lightness of Being, The Manchurian Candidate (1962), Lady Windemere's Fan by Oscar Wilde and Shakespeare's Henry V. Interspersed throughout the text are suggestions for activities the film student or buff can use to enhance his or her appreciation and understanding of the films. Instructors considering this book for use in a course may request an examination copy here.