Reviews of Books:These Fiery Frenchified Dames: Women and Political Culture in Early National Philadelphia Susan Branson

2002 ◽  
Vol 107 (2) ◽  
pp. 538-538
Author(s):  
Jean V. Matthews
2001 ◽  
Vol 58 (3) ◽  
pp. 764
Author(s):  
Elizabeth R. Varon ◽  
Susan Branson ◽  
Catherine Allgor

1974 ◽  
Vol 68 (2) ◽  
pp. 473-487
Author(s):  
Ronald P. Formisano

The concepts of “party” and “party system” may be obscuring the nature of early national political culture. The presence of a modern party ethos before the 1830s seems to be taken for granted, as are assumptions regarding the alleged benefits of party. Historians have not yet demonstrated, however, the many dimensions of institutionalized party behavior. Focus is recommended on three observable elements of party (after Sorauf): as organization, in office, in the electorate. Studies of party self-consciousness developing over the entire 1789–1840 period are necessary in various political units. Evidence is inconclusive, but weighs on balance against a first party system of Federalists and Republicans (1790s–1820s). While relatively stable elite coalitions and even mass cleavage patterns perhaps developed at staggered intervals in different arenas, especially during the war crisis period of 1809–1816, the norms of party did not take root and pervade the polity. The era to the 1820s was transitional, a deferential-participant phase of mixed political culture roughly comparable to England's after 1832. Theories relating party to democratization, national integration, and political development, should be reconsidered.


PMLA ◽  
2008 ◽  
Vol 123 (2) ◽  
pp. 358-374 ◽  
Author(s):  
Lauren Coats ◽  
Matt Cohen ◽  
John David Miles ◽  
Kinohi Nishikawa ◽  
Rebecca Walsh

American literary studies has shown that the symbolic exclusion of Native Americans from the Puritan and early national imaginaries was an essential component of the making of an American identity. This argument builds on reading practices that stress literary-historical contextualization. Our essay considers how M. Night Shyamalan's film The Village (2004) addresses the continuing relevance of Native American exclusion from the national imaginary not by faithfully representing “history” but by layering its narrative with multiple historical registers. Realized through editing, cinematography, and set design, these registers—seventeenth-century Puritan, turn-of-the-twentieth-century utopian, and “the present”—are stage-managed by a group of idealistic elders who wish to protect their community from the evils of the world outside. While most critics have reduced The Village to an allegory of post-9/11 United States political culture, we propose a viewing of the film as parable that marks historical collapses and exclusions as the limits of utopia.


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