Recent Changes

1. Menke, Pamela Glenn: "Chopin's Sensual Sea and Cable's Ravished Land: Sexts, Signs, and Gender Narrative" Cross Roads: A Journal of Southern Culture, (3:1), 1994 Fall-1995 Winter, 78-102. (1994) (link: Chopin and Cable.pdf)
Thomas Dixon The Clansman (1905)
In 1911, the Kinemacolor Company of America began shooting a
feature-length color version of The Clansman under the direction of
William Haddock - after spending approximately $25,000 the project was
abandoned because of the inherent (production-company imposed) problem
of matching footage from different location performances of the
touring company of The Clansman - the project was abandoned before
shooting was completed. Frank Woods was then the editor of the Motion
Picture News and saw the Kinemacolor footage; he later worked on
Griffith's version. Von Stroheim appeared in the film in blackface.
Original sequences were presented with color by the Max Handschiegl
hand color engraving process. The final production cost was
approximately $100,000. In 1916, an illegal three reel version of the
film was released as In the Clutches of the Ku Klux Klan - a
successful lawsuit stopped further distribution. New music score for
the 1921 rerelease arranged by S.L. Rothafel, Erno Rapée, William Axt
and Hermann Hand. The film was rereleased by United Artists
Corporation on 15 February 1923. D.W. Griffith and Walter Huston
appear in a brief interview prologue shot for the 1930 sound reissue.
The Museum of Modern Art film archive holds the negative previously
owned by D.W. Griffith. American Film Institute later restored the
sound prologue and a color toned print. Surviving footage of outtakes
and behind-the-scenes shots are in the Library of Congress film
archive.
Kinemacolor was the first successful colour motion picture process,
used commercially from 1908 to 1914. It was invented by George Albert
Smith of Brighton, England in 1906, and launched by Charles Urban's
Urban Trading Co. of London in 1908. From 1909 on, the process was
known as Kinemacolor. It was a two-colour additive colour process,
photographing and projecting a black-and-white film behind alternating
red and green filters.
The Handschiegl color process (U.S. Patent 1,303,836, App: Nov 20,
1916, Iss: May 13, 1919) was a stencil color technique used on motion
picture film to give the effect of real color. Using the process,
aniline dyes are applied to a black and white print using gelatin
imbibition matrices.
Film tinting is the process of adding color to black and white film,
usually by means of soaking the film in dye and staining the film
emulsion. The effect is that all of the light shining through is
filtered, so that what would be white light is, in fact, another
color.
Film toning is the process of replacing the silver particles in the
emulsion with colored, silver salts, by means of chemicals.
Griffith's budget started at US$40,000, but the film finally cost
$112,000[4] (the equivalent of $2.2 million in 2007[5]). As a result,
Griffith had to seek new sources of capital for his film. A ticket to
the film cost a record $2 (the equivalent of $40 in 2007[5]). It
remained the most profitable film of all time until it was dethroned
by Snow White and the Seven Dwarfs in 1937.
Zora Neale Huston Mules and Men (1935)
{ClemensCableAutogr.jpg} Ambrose Bierce (1842-1914?) : "AN INFRACTION OF THE RULES"

Charles Chesnutt The Conjure Woman (1899)
1. Silver, Andrew: "Minstrelsy and Murder: The Crisis of Southern Humor, 1835-1925" Baton Rouge, LA: Louisiana State UP, 2006. xii, 221 pp.. ( Baton Rouge, LA: Southern Literary Studies ). (2006) (Chap 4- "Making Murder of Minstrelsy: Charles Chesnutt's Ha'nts")
2.
The Social and Political Views of Charles Chestnutt: Reflections on His Major Writings
The Social and Political Views of Charles Chestnutt: Reflections on His Major Writings
Cynthia L. Lehman Journal of Black Studies, Vol. 26, No. 3 (Jan., 1996), pp. 274-286
Kate Chopin The Awakening (1899)
1. Menke, Pamela Glenn: "Chopin's Sensual Sea and Cable's Ravished Land: Sexts, Signs, and Gender Narrative" Cross Roads: A Journal of Southern Culture, (3:1), 1994 Fall-1995 Winter, 78-102. (1994) (link: Chopin and Cable.pdf)

Author: Jeremy Gerrard, MA student of English (Literature) at CSU Chico.
Title: The American Dream and the European Bildungsroman: How Clyde Griffiths Came to Run the Treadmill
>> >
Abstract: This essay dissects the blueprint of the Bildungsroman subgenre as discussed by a very accomplished literary critic, Franco Moretti. It does so in a way that allows one to see which of those elements were able to work in American Bildungsromans, and which ones were not. The result is an apparent correlation between the protagonists of the novels and the social/political structures in which the author is writing. This essay ultimately demonstrates how the dark side of the American Dream and the Siren Song of capitalism were able to borrow some elements of the European Bildungsroman, but more importantly how and why the American counterpart had to redefine itself. An American Tragedy by Theodore Dreiser acts as the guineea pig for this thesis.
Title: “The Singular Magic of a Place”: Finding Bret Harte’s “Dream World of the Sierra”
Abstract: Bret Harte’s stories are recognized as being primary mythmakers of the American West. Yet, beginning in the 1870s, critics in California began to imply that Harte had “borrowed heavily” from others when writing his Gold Rush tales. Likewise, Harte has been characterized as having written a “dream world of the Sierra, in which clocks and calendars were startlingly unreliable” (O’Conner 161). Since then, a large part of the history of Harte scholarship has been to come to terms with the origins of his work and an attempt to establish a degree of verisimilitude within the corpus of his literary output. “The singular magic of a place is evident from what happens there, from what befalls oneself or others when in its vicinity. To tell of such events is implicitly to tell of the particular power of that site, and indeed to participate in its expressive potency” (Abrams 182). In this essay I contend that the rightful setting of Harte’s most significant work is in the Northern Lode rather than in the Southern Sierra, where it is currently placed. I base my belief on Harte’s close friendship with Ina Coolbrith, first poet laureate of California, who was Harte’s intimate literary confidant when he was writing his most famous Gold Rush tales. Coolbrith, as an emigrant child, had spent two formative summers very close to Poker Flat, in Northern California, and it’s my assertion that Harte derived his knowledge of place names and the landscape from his association with her. In my project I use historic and contemporary maps and trail guides to match Coolbrith’s Gold Rush experience to Harte’s fictional overlay. In addition, I analyze documents verifying Coolbrith’s presence in the region. I move through close readings of “The Outcasts of Poker Flat” and related stories, and I employ evidence from Coolbrith’s private papers to identify her direct fundamental relationship to Harte’s “dream world.”
Abstract: My paper compares Baz Luhrmann’s 1997 film, William Shakespeare’s Romeo and Juliet, with the original play by William Shakespeare. I focus mainly on the film, referencing the play as an intertext, to establish the dramatic changes in meaning asserted by Luhrmann’s representation. My main focus is an analysis of the religious imagery employed by Luhrmann, which gives religion a more dominant role in the movie than it had in Shakespeare’s play. Luhrmann not only develops religion as the focal point of the character’s lives, but also shows how the Montagues and the Capulets (and indeed the society of Verona at large) have corrupted their religion with “sinful” behavior, an aspect that was not present in Shakespeare’s play. The additional importance he gives to religion makes the outcomes of the play even more tragic and turns several of the characters into Jesus figures. My conclusions account for Luhrmann’s more contemporary views on corruption that are read into the original scenario presented by Shakespeare, and which are offered by Luhrmann as a critique of his own contemporary society.
Title: Can This Pilate Fly? A Study of The Androgynous Vision of Toni Morrison
writing itself.
Title: Nurtured from the treasure veins of this fair land: Ina Coolbrith in the West; Reinvention and Identity
Abstract: Ina Coolbrith, former poet laureate of California, will be the focus of this project. I intend to produce a feminist analysis of Coolbrith’s life and work; in particular, I am concerned with the role of the West as source of freedom and place of reinvention, and with how the western landscape affected the lives of women. Coolbrith’s work deals with the landscape of the West in terms of the interaction between psychological scarring and, alternately, healing. I believe that Coolbrith’s life and work provide an excellent study of the complications associated with the keeping of secrets, the shedding of one’s past, and the reinvention of one’s identity. A fascinating examination can be made of the conflicting forces at work on an artistic, intelligent woman living and creating in boomtown San Francisco during the Victorian Age. Why, if equally gifted and well-connected, did Coolbrith choose not to enjoy the same brief fame her contemporaries and friends Bret Harte, Charles Warren Stoddard, and Joaquin Miller did? Why, if prized for her beauty and eagerly sought after, did she choose to live her life alone? Why, when accepted by her male contemporaries as a true peer did she make the choices she did professionally, personally and emotionally? Through close examination of selected Coolbrith texts, scrutiny of formative biographical experiences, and by making use of related histories providing contextual insight, I intend to produce evidence that may unravel some portion of the origins, effects, and importance of secrets, guilt and the vanished life associated with the shedding of one’s past and the effects they had on writing the woman’s perspective at the time.

Title: “Two Houses Divided: The Changing Status of Religion, Corruption, and Sin in Luhrmann’s Filmatic Adaptation of Shakespeare’s Romeo and Juliet ”
Abstract: My paper compares Baz Luhrmann’s 1997 film, William Shakespeare’s Romeo and Juliet, with the original play by William Shakespeare. I focus mainly on the film, referencing the play as an intertext, to establish the dramatic changes in meaning asserted by Luhrmann’s representation. My main focus is an analysis of the religious imagery employed by Luhrmann, which gives religion a more dominant role in the movie than it had in Shakespeare’s play. Luhrmann not only develops religion as the focal point of the character’s lives, but also shows how the Montagues and the Capulets (and indeed the society of Verona at large) have corrupted their religion with “sinful” behavior, an aspect that was not present in Shakespeare’s play. The additional importance he gives to religion makes the outcomes of the play even more tragic and turns several of the characters into Jesus figures. My conclusions account for Luhrmann’s more contemporary views on corruption that are read into the original scenario presented by Shakespeare, and which are offered by Luhrmann as a critique of his own contemporary society.
Title: Can This Pilate Fly? A Study of The Androgynous Vision of Toni Morrison
Abstract: In the final moments of Milkman Dead’s experience with the loving and compassionate Pilate Dead in Toni Morrison’s Song of Solomon he realizes Pilate’s ability to fly away as it is embodied by the presence of a small, mischievous bird that picks up Pilate’s earring and as result one could say he finds the ability to fly away also. “For now he knew what Shalimar knew: If you surrender to the air, you could ride it.” Yet, it seems odd that, even in a text employing the mystery of magical realism, men are physically capable of flying when women are not. The freedom that is symbolized by the act of flying then might become one that is attributable only to the men who can leave their world behind as we see it symbolically addressing the commonality of a culture where men tend to abandon their family duties. Yet, when one considers the idea of freedom and mobility in flight, it calls to attention the freedom of Pilate throughout this narrative and the role of gender is once again questioned. When thinking about the roles attributed to men and women in Toni Morrison’s novel it becomes necessary to consider the theories of Virginia Wolf and Judith Butler regarding the androgyny of writing. There is a distinct correlation between the consideration of gender and the role of writing and these theorists propose a concept of gender studies which suggests that good writing is androgynous. It also becomes necessary to observe the role of writing and gender as is addressed often in Journals like Feminist Review which seek to understand the role of gender in writing as well. This examination, in consideration of the above topics, seeks to observe the ways in which the ideas of Wolf and Butler may have informed the writing of Toni Morrison in Song of Solomon and hopes to acknowledge the difference between the androgynous characterization of Pilate and the “androgynous vision” that is present in the writing itself.
Title: Nurtured from the treasure veins of this fair land: Ina Coolbrith in the West; Reinvention and Identity
Abstract: Ina Coolbrith, former poet laureate of California, will be the focus of this project. I intend to produce a feminist analysis of Coolbrith’s life and work; in particular, I am concerned with the role of the West as source of freedom and place of reinvention, and with how the western landscape affected the lives of women. Coolbrith’s work deals with the landscape of the West in terms of the interaction between psychological scarring and, alternately, healing. I believe that Coolbrith’s life and work provide an excellent study of the complications associated with the keeping of secrets, the shedding of one’s past, and the reinvention of one’s identity. A fascinating examination can be made of the conflicting forces at work on an artistic, intelligent woman living and creating in boomtown San Francisco during the Victorian Age. Why, if equally gifted and well-connected, did Coolbrith choose not to enjoy the same brief fame her contemporaries and friends Bret Harte, Charles Warren Stoddard, and Joaquin Miller did? Why, if prized for her beauty and eagerly sought after, did she choose to live her life alone? Why, when accepted by her male contemporaries as a true peer did she make the choices she did professionally, personally and emotionally? Through close examination of selected Coolbrith texts, scrutiny of formative biographical experiences, and by making use of related histories providing contextual insight, I intend to produce evidence that may unravel some portion of the origins, effects, and importance of secrets, guilt and the vanished life associated with the shedding of one’s past and the effects they had on writing the woman’s perspective at the time.

Stable URL: http://www.jstor.org/stable/20078033
7. http://etext.virginia.edu/railton/wilson/pwsouthn.html
8. http://etext.virginia.edu/etcbin/twainrev2www?specfile=/lv6/workspace/railton/reviews/twainreview.o2w
(This page is pretty cool because you can sift through articles based on where (geographically) the article is from, when it was written, and whether it's favorable, unfavorable, or mixed.)
Charles Chesnutt The Conjure Woman (1899)
1. Silver, Andrew: "Minstrelsy and Murder: The Crisis of Southern Humor, 1835-1925" Baton Rouge, LA: Louisiana State UP, 2006. xii, 221 pp.. ( Baton Rouge, LA: Southern Literary Studies ). (2006) (Chap 4- "Making Murder of Minstrelsy: Charles Chesnutt's Ha'nts")

The Southern Literary Journal, Vol. 24, No. 1 (Fall, 1991), pp. 88-97 Published by: University of North Carolina Press
Stable URL: http://www.jstor.org/stable/20078033
7. http://etext.virginia.edu/railton/wilson/pwsouthn.html
Charles Chesnutt The Conjure Woman (1899)
1. Silver, Andrew: "Minstrelsy and Murder: The Crisis of Southern Humor, 1835-1925" Baton Rouge, LA: Louisiana State UP, 2006. xii, 221 pp.. ( Baton Rouge, LA: Southern Literary Studies ). (2006) (Chap 4- "Making Murder of Minstrelsy: Charles Chesnutt's Ha'nts")

4. [[http://findarticles.com/p/search?qa=Skandera-Trombley, Laura|Skandera-Trombley, Laura]], "Mark Twain's cross-dressing oeuvre"
5. Moore, Scott: "The Code Duello and the Reified Self in Mark Twain's Pudd'nhead Wilson" American Transcendental Quarterly, (22:3), 2008 Sept, 499-515. (link: Code Duello and Twain.pdf)
6.
Flawed Communities and the Problem of Moral Choice in the Fiction of Mark TwainDaniel L. Wright
The Southern Literary Journal, Vol. 24, No. 1 (Fall, 1991), pp. 88-97 Published by: University of North Carolina Press
Stable URL: http://www.jstor.org/stable/20078033
Charles Chesnutt The Conjure Woman (1899)
1. Silver, Andrew: "Minstrelsy and Murder: The Crisis of Southern Humor, 1835-1925" Baton Rouge, LA: Louisiana State UP, 2006. xii, 221 pp.. ( Baton Rouge, LA: Southern Literary Studies ). (2006) (Chap 4- "Making Murder of Minstrelsy: Charles Chesnutt's Ha'nts")

3. Camfield, Gregg: "Sentimental Liberalism and the Problems of Race in Huckleberry Finn"
Nineteenth-Century Literature, (46:1), 1991 June, 96-113. (1991)
4.
Flawed Communities and the Problem of Moral Choice in the Fiction of Mark TwainDaniel L. Wright
The Southern Literary Journal, Vol. 24, No. 1 (Fall, 1991), pp. 88-97 Published by: University of North Carolina Press
Stable URL: http://www.jstor.org/stable/20078033
Mark Twain Puddn’head Wilson (1894)
1. Ladd, Barbara: "Nationalism and the Color Line in George W. Cable, Mark Twain, and William Faulkner" Baton Rouge: Louisiana State UP, 1996x. xi, 197 pp.. (1996) (Chapter 3- "Mark Twain, American Nationalism, and the Color Line")

Augustus Baldwin Longstreet Georgia Scenes (1840)
1. Wegmann, Jessica: "'Playing in the Dark' with Longstreet's Georgia Scenes: Critical Reception and Reader Response to Treatments of Race and Gender"
13-26. (1997) (available in files "Longstreet(link: Longstreet Playing in the Dark Article.pdf")Article.pdf)
2. Silver, Andrew: "Minstrelsy and Murder: The Crisis of Southern Humor, 1835-1925" Baton Rouge, LA: Louisiana State UP, 2006. xii, 221 pp.. ( Baton Rouge, LA: Southern Literary Studies ). (2006) (Chap 1- "Faithless Signs and Pandaemonian Piots: The Amphibious Politics of Longstreet's Dialect Humor")
3. Nimeiri, Ahmed: "Play in Augustus Baldwin Longstreet's Georgia Scenes"
South Dakota Review (43:1/2) 2005, 88-104. (2005)
3. Jones, Gavin: "Signifying Songs: The Double Meaning of Black Dialect in the Work of George Washington Cable" American Literary History, (9:2), 1997 Summer, 244-67. (1997) (available on JSTOR)
507-19. (1980) (available on JSTOR)(link: Cable Article Manners.pdf)
5. Fick, 68-86. (2001) (available in files "Mulatto(link: Mulatto in Grandissimes.pdf")Grandissimes.pdf)
6. Ladd, Barbara: "Nationalism and the Color Line in George W. Cable, Mark Twain, and William Faulkner" Baton Rouge: Louisiana State UP, 1996x. xi, 197 pp.. (1996) (Chapter 2- "George W Cable and American Nationalism")
78-102. (1994) (available in files "Chopin(link: Chopin and Cable.pdf")Cable.pdf)
8. Swann, 81-88. (1988) (available in files "Heroines(link: Heroines of Grandissimes.pdf")Grandissimes.pdf)
Katie's discussion notes (from 2/18) are posted under "Navigation" on the left. There are many page number references for important points in the last half of the text (for paper writing purposes? or whatever you need them for.)
Mark Twain The Adventures of Huckleberry Finn (1884)
3. Morris, Linda A.: "Gender Play in Mark Twain"
4. [[http://findarticles.com/p/search?qa=Skandera-Trombley, Laura|Skandera-Trombley, Laura]], "Mark Twain's cross-dressing oeuvre"
Sept, 499-515. (available in files "Code(link: Code Duello and Twain.pdf")Twain.pdf)
Charles Chesnutt The Conjure Woman (1899)
1. Silver, Andrew: "Minstrelsy and Murder: The Crisis of Southern Humor, 1835-1925" Baton Rouge, LA: Louisiana State UP, 2006. xii, 221 pp.. ( Baton Rouge, LA: Southern Literary Studies ). (2006) (Chap 4- "Making Murder of Minstrelsy: Charles Chesnutt's Ha'nts")
Kate Chopin The Awakening (1899)
78-102. (1994) (available in files "Chopin(link: Chopin and Cable.pdf")Cable.pdf)
Thomas Dixon The Clansman (1905)
Zora Neale Huston Mules and Men (1935)