Southern Realism

2020 ◽  
pp. 77-98
Author(s):  
Charlotte E. Howell
Keyword(s):  
American South ◽  
Television Drama ◽  
Southern Culture ◽  
Television Production ◽  
Cultural Specificity ◽  
Christian Culture ◽  
The American South ◽  
Night Lights ◽  
Characteristic Part ◽  
Friday Night

Friday Night Lights (NBC, 2006–2011) and Rectify (SundanceTV, 2013–2016) exemplified containing Christianity’s middlebrow appeal through displacement onto the cultural specificity of a realistically portrayed American South within a quality television drama. These two shows represent Christianity as both the dominant faith of their characters and as a characteristic part of Southern culture. Creatives used the milieu of an “authentic” American South to shift religion away from themselves and their quality-audience expectations, maintaining acceptability within the dominant non-Christian culture of television production. This displacement safely contained religion within the creatives’ production culture, allowing them to acknowledge Christianity’s religious content, but only within the peculiar particularity of the American South.

scholarly journals Protecting the spirit of the American South: Representations of New Orleans Culture in Contemporary Children’s Picture Books

2019 ◽  
pp. 281-292
Author(s):  
Ewa Klęczaj-Siara
Keyword(s):  
New Orleans ◽  
Picture Books ◽  
American South ◽  
Body Movement ◽  
Southern Culture ◽  
Cultural Elements ◽  
Visual Elements ◽  
Children's Picture Books ◽  
The American South ◽  
Children's Stories

This article explores selected aspects of southern culture as presented in contemporary children’s picture books. It analyzes children’s stories which celebrate New Orleans’ residents and their traditions. Unlike many scholars who point to the end of the New Orleans spirit due to recent economic and demographic changes, children’s authors perceive the culture as a resource which regenerates the city. By means of writing for children they keep the city’s distinct black culture from disappearing. The aim of this article is to examine to what extent the spirit of the South has survived in the minds of contemporary authors and artists addressing young generations of readers. It discusses the presence of such cultural elements as jazz music, body movement and the ritual of parading in selected children’s picture books set in New Orleans. Among others, it analyzes such titles as Freedom in Congo Square (2016) by C. Weatherford, and Trombone Shortly (2015) and The 5 O’ Clock Band (2018) by Troy Andrews. The article focuses on the interaction between the verbal and the visual elements of the books, and the ways they convey the meaning of the stories.

7. Hybrid sounds

2020 ◽  
pp. 100-113
Author(s):  
Charles Reagan Wilson
Keyword(s):  
African American ◽  
American South ◽  
Sacred Music ◽  
American Music ◽  
Southern Culture ◽  
African American Music ◽  
Southern Music ◽  
The American South ◽  
Minstrel Shows ◽  
Musical Genres

‘Hybrid sounds’ highlights southern music. The first association of music with the American South came from the presence of African American slaves. The pre-Civil War blackface minstrel shows displayed southern connections in its imagery of the plantation. After emancipation, African Americans gained employment in such groups as the Georgia Minstrels, as they moved to New Orleans, Memphis, and St. Louis, where they adopted the trumpet, the piano, and other instruments that soon became familiar in the music of black southerners. Sacred music, blues music, jazz, and folk music were all important musical genres which shaped Southern culture and the importance of the commercialization of African American music played a role.

Southern Gothic and the Queer Male Body

2018 ◽  
pp. 221-240
Keyword(s):  
Civil Rights ◽  
American South ◽  
Black Body ◽  
Male Body ◽  
Southern Gothic ◽  
Southern Culture ◽  
Homosexual Male ◽  
Homophobic Violence ◽  
Historical Fact ◽  
The American South

The homosexual male body as a threatening transmitter of social and libidinal disquiet is addressed by Thomas Long in relation to writing of the American South. He argues that argues that in the post-1945 period, and particularly prior to the Stonewall riots of 1969, the gay male body has increasingly replaced the black body in Southern culture as the abject Other, drawing down on it homophobic violence as a consequence. Working with Eve Sedgwick’s premise that, as a genre, the gothic codifies a form of ‘homophobic thematics’, Long considers how the specific religious, geographical and political intensities of Southern culture are grafted onto that base. The tensions between normative moralities and reactive deviancies that characterise the gothic tradition are heightened by the historical fact of slavery in the American South, which creates a tradition of scapegoating the black body as symbolic of social fears. Underlying that, and more evident in the integrationist period of Civil Rights protest, is a deeply confused struggle between homosocial and homosexual relations. In a range of texts that straddle Stonewall, Long detects a quarrel between what he calls a ‘blazoning’ attitude towards self-expression and the repressive demonisation of the queer body through homophobic discourse.

Slavery and Class in the American South

2019 ◽  
Author(s):  
William L. Andrews
Keyword(s):  
Nineteenth Century ◽  
African American ◽  
African Americans ◽  
American South ◽  
Frederick Douglass ◽  
Harriet Jacobs ◽  
Slave Narrative ◽  
William Wells Brown ◽  
The American South ◽  
Work Family

In this study of an entire generation of slave narrators, more than sixty mid-nineteenth-century narratives reveal how work, family, skills, and connections made for social and economic differences among the enslaved of the South. Slavery and Class in the American South explains why social and economic distinctions developed and how they functioned among the enslaved. Andrews also reveals how class awareness shaped the views and values of some of the most celebrated African Americans of the nineteenth century. Slave narrators discerned class-based reasons for violence between “impudent,” “gentleman,” and “lady” slaves and their resentful “mean masters.” Status and class played key roles in the lives and liberation of the most celebrated fugitives from US slavery, such as Frederick Douglass, Harriet Jacobs, William Wells Brown, and William and Ellen Craft. By examining the lives of the most- and least-acclaimed heroes and heroines of the African American slave narrative, Andrews shows how the dividing edge of social class cut two ways, sometimes separating upper and lower strata of slaves to their enslavers’ advantage, but at other times fueling convictions among even the most privileged of the enslaved that they deserved nothing less than complete freedom.

The Sociology of Country Music

2017 ◽  
Author(s):  
Richard Lloyd
Keyword(s):  
American South ◽  
The United States ◽  
Country Music ◽  
Ethnic Relations ◽  
Geographic Mobility ◽  
Sociological Study ◽  
Race And Ethnic Relations ◽  
Sociological Approach ◽  
The American South ◽  
Political Realignment

How can a sociological approach improve our understanding of country music? This chapter answers this question by focusing on the intersections between country music history and the core sociological theme of modernity. Challenging standard interpretations of country music as folk culture, it shows how the emergence of the popular commercial genre corresponds to the increasing modernization of the American South. The genre’s subsequent growth and evolution tracks central objects of sociological study including industrialization, geographic mobility, race and ethnic relations, the changing social class structure, political realignment in the United States, and (paradoxically) urbanization. Country music is comparatively understudied in the sociology of music despite its rich history and massive popularity; this chapter shows that the genre and the discipline nevertheless mutually illuminate one another in robust and often surprising ways.

Case Study: The Southern Oral History Program

2012 ◽  
Author(s):  
Jacquelyn Dowd Hall ◽  
Kathryn Nasstrom
Keyword(s):  
Oral History ◽  
American South ◽  
New Era ◽  
Chapel Hill ◽  
Integral Role ◽  
The American South ◽  
And Gender ◽  
History Department ◽  
The University

A case study of the southern oral history program is the essence of this chapter. From its start in 1973 until 1999, the Southern Oral History Program (SOHP) was housed by the history department at the University of North Carolina at Chapel Hill (UNC), rather than in the library or archives, where so many other oral history programs emerged. The SOHP is now part of UNC's Center for the Study of the American South, but it continues to play an integral role in the department of history. Concentrating on U.S. southern racial, labor, and gender issues, the program offers oral history courses and uses interviews to produce works of scholarship, such as the prize-winning book Like a Family: The Making of a Southern Cotton Mill World. The folks at the Institute for Southern Studies tried to combine activism with analysis, trying to figure out how to take the spirit of the movement into a new era.

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