Whose Country Music?: Genre, Identity, and Belonging in Twenty-First-Century Country Music Culture Edited by Paula J. Bishop and Jada E. Watson. Cambridge: Cambridge University Press, 2023.

Keeping It Real? Authenticity, Commercialisation and Family in Australian Country Music

Introduction One of the ways in which ‘country’ is made to work discursively is in ‘country music’ – defining a genre and sensibility in music production, marketing and consumption. This article seeks to excavate one small niche in the historical geography of country music to explore exactly how discursive antecedents emerged, and crucially, how images associated with ‘country’ surfaced and travelled internationally via one of the new ‘global’ media of the first half of the twentieth century – sheet music. My central arguments are twofold: first, that alongside aural qualities and lyrical content, the visual elements of sheet music were important and thus far have been under-acknowledged. Sheet music diffused the imagery connecting ‘country’ to music, to particular landscapes, and masculinities. In the literature on country music much emphasis has been placed on film, radio and television (Tichi; Peterson). Yet, sheet music was for several decades the most common way people bought personal copies of songs they liked and intended to play at home on piano, guitar or ukulele. This was particularly the case in Australia – geographically distant, and rarely included in international tours by American country music stars. Sheet music is thus a rich text to reveal the historical contours of ‘country’. My second and related argument is that that the possibilities for the globalising of ‘country’ were first explored in music. The idea of transnational discourses associated with ‘country’ and ‘rurality’ is relatively new (Cloke et al; Gorman-Murray et al; McCarthy), but in music we see early evidence of a globalising discourse of ‘country’ well ahead of the time period usually analysed. Accordingly, my focus is on the sheet music of country songs in Australia in the first half of the twentieth century and on how visual representations hybridised travelling themes to create a new vernacular ‘country’ in Australia. Creating ‘Country’ Music Country music, as its name suggests, is perceived as the music of rural areas, “defined in contrast to metropolitan norms” (Smith 301). However, the ‘naturalness’ of associations between country music and rurality belies a history of urban capitalism and the refinement of deliberate methods of marketing music through associated visual imagery. Early groups wore suits and dressed for urban audiences – but then altered appearances later, on the insistence of urban record companies, to emphasise rurality and cowboy heritage. Post-1950, ‘country’ came to replace ‘folk’ music as a marketing label, as the latter was considered to have too many communistic references (Hemphill 5), and the ethnic mixing of earlier folk styles was conveniently forgotten in the marketing of ‘country’ music as distinct from African American ‘race’ and ‘r and b’ music. Now an industry of its own with multinational headquarters in Nashville, country music is a ‘cash cow’ for entertainment corporations, with lower average production costs, considerable profit margins, and marketing advantages that stem from tropes of working class identity and ‘rural’ honesty (see Lewis; Arango). Another of country music’s associations is with American geography – and an imagined heartland in the colonial frontier of the American West. Slippages between ‘country’ and ‘western’ in music, film and dress enhance this. But historical fictions are masked: ‘purists’ argue that western dress and music have nothing to do with ‘country’ (see truewesternmusic.com), while recognition of the Spanish-Mexican, Native American and Hawaiian origins of ‘cowboy’ mythology is meagre (George-Warren and Freedman). Similarly, the highly international diffusion and adaptation of country music as it rose to prominence in the 1940s is frequently downplayed (Connell and Gibson), as are the destructive elements of colonialism and dispossession of indigenous peoples in frontier America (though Johnny Cash’s 1964 album The Ballads Of The American Indian: Bitter Tears was an exception). Adding to the above is the way ‘country’ operates discursively in music as a means to construct particular masculinities. Again, linked to rural imagery and the American frontier, the dominant masculinity is of rugged men wrestling nature, negotiating hardships and the pressures of family life. Country music valorises ‘heroic masculinities’ (Holt and Thompson), with echoes of earlier cowboy identities reverberating into contemporary performance through dress style, lyrical content and marketing imagery. The men of country music mythology live an isolated existence, working hard to earn an income for dependent families. Their music speaks to the triumph of hard work, honest values (meaning in this context a musical style, and lyrical concerns that are ‘down to earth’, ‘straightforward’ and ‘without pretence’) and physical strength, in spite of neglect from national governments and uncaring urban leaders. Country music has often come to be associated with conservative politics, heteronormativity, and whiteness (Gibson and Davidson), echoing the wider politics of ‘country’ – it is no coincidence, for example, that the slogan for the 2008 Republican National Convention in America was ‘country first’. And yet, throughout its history, country music has also enabled more diverse gender performances to emerge – from those emphasising (or bemoaning) domesticity; assertive femininity; creative negotiation of ‘country’ norms by gay men; and ‘alternative’ culture (captured in the marketing tag, ‘alt.country’); to those acknowledging white male victimhood, criminality (‘the outlaw’), vulnerability and cruelty (see Johnson; McCusker and Pecknold; Saucier). Despite dominant tropes of ‘honesty’, country music is far from transparent, standing for certain values and identities, and yet enabling the construction of diverse and contradictory others. Historical analysis is therefore required to trace the emergence of ‘country’ in music, as it travelled beyond America. A Note on Sheet Music as Media Source Sheet music was one of the main modes of distribution of music from the 1930s through to the 1950s – a formative period in which an eclectic group of otherwise distinct ‘hillbilly’ and ‘folk’ styles moved into a single genre identity, and after which vinyl singles and LP records with picture covers dominated. Sheet music was prevalent in everyday life: beyond radio, a hit song was one that was widely purchased as sheet music, while pianos and sheet music collections (stored in a piece of furniture called a ‘music canterbury’) in family homes were commonplace. Sheet music is in many respects preferable to recorded music as a form of evidence for historical analysis of country music. Picture LP covers did not arrive until the late 1950s (by which time rock and roll had surpassed country music). Until then, 78 rpm shellac discs, the main form of pre-recorded music, featured generic brown paper sleeves from the individual record companies, or city retail stores. Also, while radio was clearly central to the consumption of music in this period, it obviously also lacked the pictorial element that sheet music could provide. Sheet music bridged the music and printing industries – the latter already well-equipped with colour printing, graphic design and marketing tools. Sheet music was often literally crammed with information, providing the researcher with musical notation, lyrics, cover art and embedded advertisements – aural and visual texts combined. These multiple dimensions of sheet music proved useful here, for clues to the context of the music/media industries and geography of distribution (for instance, in addresses for publishers and sheet music retail shops). Moreover, most sheet music of the time used rich, sometimes exaggerated, images to convince passing shoppers to buy songs that they had possibly never heard. As sheet music required caricature rather than detail or historical accuracy, it enabled fantasy without distraction. In terms of representations of ‘country’, then, sheet music is perhaps even more evocative than film or television. Hundreds of sheet music items were collected for this research over several years, through deliberate searching (for instance, in library archives and specialist sheet music stores) and with some serendipity (for instance, when buying second hand sheet music in charity shops or garage sales). The collected material is probably not representative of all music available at the time – it is as much a specialised personal collection as a comprehensive survey. However, at least some material from all the major Australian country music performers of the time were found, and the resulting collection appears to be several times larger than that held currently by the National Library of Australia (from which some entries were sourced). All examples here are of songs written by, or cover art designed for Australian country music performers. For brevity’s sake, the following analysis of the sheet music follows a crudely chronological framework. Country Music in Australia Before ‘Country’ Country music did not ‘arrive’ in Australia from America as a fully-finished genre category; nor was Australia at the time without rural mythology or its own folk music traditions. Associations between Australian national identity, rurality and popular culture were entrenched in a period of intense creativity and renewed national pride in the decades prior to and after Federation in 1901. This period saw an outpouring of art, poetry, music and writing in new nationalist idiom, rooted in ‘the bush’ (though drawing heavily on Celtic expressions), and celebrating themes of mateship, rural adversity and ‘battlers’. By the turn of the twentieth century, such myths, invoked through memory and nostalgia, had already been popularised. Australia had a fully-established system of colonies, capital cities and state governments, and was highly urbanised. Yet the poet

Review| April 01 2023 Queer Country, by Shana Goldin-Perschbacher Queer Country, by Shana Goldin-Perschbacher. Music in American Life. Urbana: University of Illinois Press, 2022. x, 268 pp. Kristine M. McCusker Kristine M. McCusker KRISTINE M. McCUSKER is Professor in the Department of History at Middle Tennessee State University. She is the author of Just Enough to Put Him Away Decent: Death Care, Life Extension, and the Making of a Healthier South, 1900–1955 (University of Illinois Press, forthcoming 2023) and of the essay “‘Dixie Chicked’: Sony vs. the Chicks and the Regendering of Country Music in the Early Twenty-First Century” in the edited volume Whose Country Music? Genre, Identity, and Belonging in Twenty-First-Century Country Music Culture (Cambridge University Press, 2023). Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (2023) 76 (1): 238–242. https://doi.org/10.1525/jams.2023.76.1.238 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Kristine M. McCusker; Queer Country, by Shana Goldin-Perschbacher. Journal of the American Musicological Society 1 April 2023; 76 (1): 238–242. doi: https://doi.org/10.1525/jams.2023.76.1.238 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the American Musicological Society Search I love Lil Nas X—an odd thing, perhaps, for a cisgender white woman in her fifties to admit. But his brilliance in bending genre boundaries, utilizing new technologies, and blending different musical strands is nothing short of genius. His phenomenally successful “Old Town Road,” recorded haphazardly and uploaded to TikTok, merges a Nine Inch Nails sample with trap music, which is, in itself, musically interesting. What is really interesting, however, is his use of nostalgia and cowboy imagery—both core themes in the country music genre and both associated with white, mostly male, conservative listeners. To make the country music connection even more obvious, Billy Ray Cyrus of “Achy Breaky Heart” fame sings the chorus. Other country artists, too, sing “Old Town Road” with Lil Nas X, as when, for example, Keith Urban appeared on stage with Lil Nas X and Cyrus at the 2019 CMA Fest.1 Through this appearance,... You do not currently have access to this content.

Pamela Fox. 2009. Natural Acts: Gender, Race, and Rusticity in Country Music. Ann Arbor: University of Michigan Press. What constitutes authenticity in country music? Artists' claims to realness might be based on the sincerity of their performances, rural upbringing, or working-class credentials. Authenticity in country music is often established via the performance of rusticity--a performance is deemed authentic if it is unrefined and unsophisticated, if the performer is acting naturally. It is also the case, however, that factors such as changing economies, migrations, and contemporaneous shifts in social norms and hierarchies all contribute to varied definitions of authenticity and those definitions change over time. In Natural Acts: Gender, Race, and Rusticity in Country Music, Pamela Fox shows some of country's natural are predicated on complex and changing definitions of authenticity produced and circulated by artists, listeners, critics, and the country music broadcast and recording industries. Through her astute analysis of several country archetypes and modes of performance, Fox demonstrates gender and race, in addition to class, have informed these notions of authenticity in country music over the course of the twentieth century. As Fox explores how the uneven coalescence of gender, class, and race positionalities fuels country's claims to authenticity and its concomitant performative (4), the chronologically and often conceptually distinct musical subjects of the book come together to form alternative history of country authenticity as a gendered and racialized class (11). Fox focuses primarily on four phases/performative models within country: blackface and hillbilly comedy acts that appeared side-by-side in early twentieth century barn dance programs, post-war honky-tonk and the answer songs of female honky-tonk performers, memoirs of women country stars, and the alt.country (alternative country) movement of recent decades. Fox's critical approach is informed by multiple theories of gender, race, and class; the result of applying her approach to this variety of subjects is an insightful, multi-faceted history of the construction of country authenticity, one that recognizes the compound influences contributing to the formation of the notion of country authenticity over time. Fox's scholarly background is in literary and cultural studies and feminist theory, with a focus on working-class literature and culture. Tier prior publications include work on female country star autobiographies and women in alt.country, and this book represents a deeper investigation of the historically racialized and gendered elements of authenticity construction that continue to influence these more recent developments in country music culture. As she delves into the different performative models of each chapter, Fox analyzes radio scripts, song lyrics, memoirs, and publicity materials, employing feminist theory, contemporary scholarship on blackface minstrelsy, and cultural materialist theory to flesh out her approach. A large portion of her book focuses on women in country music, and Fox is indebted to the feminist country music scholars who precede her, namely Mary Bufwack and Robert Oermann, Joli Jensen, Barbara Ching, Kristine McCusker, and Diane Pecknold. (1) She is primarily interested, however, in not only recognizing gender as a significant dynamic of country music culture, but in moving beyond basic identity politics to examine the intersection of race, class, and gender at various moments in country music history. Employing a framework devised by sociologist Joan Acker, Fox investigates racialized and gendered practices embedded in a class structure governed by white middle-to-upper-class men yet almost exclusively associated with Southern white rustic or working-class imagery, lowbrow cultural taste, and artists who convincingly represent both in their personal histories (6). …

Changing Ways of Death in Twentieth Century Australia. By Pat Jalland. Sydney: UNSW Press, 2006. Pp. 409. $39.95 paper. A Different Sort of War: Australians in Korea, 1950–53. By Richard Trembath. Melbourne: Australian Scholarly Publishing, 2005. Pp. 266. $34.95 paper. New Zealand and the Vietnam War: Politics and Diplomacy. By Roberto Rabel. Auckland: Auckland University Press, 2005. Pp. xi + 443. NZ$49.99 paper. The Encyclopedia of Melbourne. Edited by Andrew Brown‐May and Shurlee Swain. Melbourne: Cambridge University Press, 2005. Pp. 816. $150 cloth. Go! Melbourne in the Sixties. Edited by Seamus O'Hanlon and Tanja Luckins. Melbourne: Circa, 2005. Pp. 304. $34.95 paper. Dirt: Filth and Decay in a New World Arcadia. By Pamela Wood. Auckland: Auckland University Press, 2005. Pp. 264. $54.95 paper. The Pursuit of Wonder: How Australia's Landscape was Explored, Nature Discovered and Tourism Unleashed. By Julia Horne. Melbourne: Miegunyah Press, 2005. Pp. 349. $39.95 cloth. Babes in the Bush: The Making of an Australian Image. By Kim Torney. Fremantle: Curtin University Books, 2005. Pp. 270. $35 paper. Singing Australian: A History of Folk and Country Music. By Graeme Smith. Melbourne: Pluto Press, 2005. Pp. 249. $35.95 paper. Contesting Assimilation. Edited by Tim Rowse. Perth: API Network, 2005. Pp. x + 352. $34.95 paper. Indigenous Peoples and Religious Change. Edited by Peggy Brock. Leiden: Brill, 2005. Pp. x + 292. US$129 cloth. Eye Contact: Photographing Indigenous Australians. By Jane Lydon. Durham and London: Duke University Press, 2006. Pp. 336. $22.95 paper. Isabel Flick: The Many Lives of an Extraordinary Aboriginal Woman. By Isabel Flick and Heather Goodall. Sydney: Allen & Unwin, 2004. Pp. xviii + 270. $35 paper. One Bright Spot. By Victoria K. Haskins. Palgrave‐Macmillan: Hampshire and New York, 2005. Pp. 281. $35 paper. Bluff Rock: Autobiography of a Massacre. By Katrina Schlunke. Perth: Curtin University Books, 2005. Pp. 268. $29.95 paper. Historical Frictions: Maori Claims & Reinvented Histories. By Michael Belgrave. Auckland: Auckland University Press, 2005. Pp. 388. $49.50 paper. Longitude and Empire: How Captain Cook's Voyages Changed the World. By Brian Richardson. Vancouver: University of British Columbia Press, 2005. Pp. 256. CA$29.95 paper. A Concise History of New Zealand. By Philippa Mein Smith. Cambridge: Cambridge University Press, 2005. Pp. 302. $36.95 cloth. Pacific Journeys: Essays in Honour of John Dunmore. Edited by Glynnis M. Cropp, Noel R. Watts, Roger D. F. Collins and K. R. Howe. Wellington: Victoria University Press, 2005. Pp. 232. $39.95 paper. City of Enterprise: Perspectives on Auckland Business History. Edited by Ian Hunter and Diana Morrow. Auckland: Auckland University Press, 2006. Pp. 272. $65.95 cloth. New Rights, New Zealand: Myths, Moralities and Markets. By Dolores Janiewski and Paul Morris. Auckland: Auckland University Press, 2005. Pp. vii + 206. NZ$39.95 paper. A Trial Separation: Australia and the Decolonisation of Papua New Guinea. By Donald Denoon. Canberra: Pandanus Books, Australian National University, 2005. Pp. xix + 228. $45 paper. Behind the News: A Biography of Peter Russo. By Prue Torney‐Parlicki. Perth: University of Western Australia Press, 2005. Pp. 412. $39.95 paper. Memoirs of a Rebel Journalist: The Autobiography of Wilfred Burchett. Edited by George Burchett and Nick Shimmin. Sydney: UNSW Press, 2005. Pp. xxv + 785. $59.95 cloth. The Jews in Australia. By Suzanne Rutland. Cambridge: Cambridge University Press, 2005. Pp. 203. $39.95 paper. Croatians in Australia: Pioneers, Settlers and Their Descendants. By Ilija Sutalo. Adelaide: Wakefield Press, 2004. Pp. x + 342. $80 cloth. So Monstrous a Travesty: Chris Watson and the World's First National Labour Government. By Ross McMullin. Melbourne: Scribe, 2004. Pp. 200. $29.95 cloth. Jack Lang and the Great Depression. By Frank Cain. Melbourne: Australian Scholarly Publishing, 2005. Pp x + 393. $34.95 paper. The Premiers of New South Wales 1856–2005: Volume 1, 1856–1901; Volume 2, 1901–2005. Edited by David Clune and Ken Turner. Sydney: The Federation Press, 2006. Pp. 256 (vol. 1), 539 (vol. 2). $39.95 each, cloth. Decision and Deliberation: The Parliament of New South Wales, 1856–2003. By David Clune and Gareth Griffith. Sydney: The Federation Press, 2006. Pp. xv + 736. $59.95 cloth.

Reviewed by: The Country Music Reader by Travis D. Stimeling J. Michael Butler The Country Music Reader. By Travis D. Stimeling. ( New York and other cities: Oxford University Press, 2016. Pp. xvi, 382. Paper, $39.95, ISBN 978-0-19-931492-8; cloth, $99.00, ISBN 978-0-19-931491-1.) The Country Music Reader, assembled for "students of music history" by Travis D. Stimeling, is a wonderful collection of primary sources whose purpose is to present the subject "not simply as the result of musicians' work but also as a product of many figures, often with competing interests and goals" (p. ix). The variety of sources that Stimeling has accumulated achieves his primary objective and is the strength of this volume. The text features the mainstream magazine and newspaper articles that often dominate such anthologies, but Stimeling also pulls from trade publications, memoirs, biographies, music criticism, academic journals, archived interviews with musicians, and fan literature to provide a diverse sampling of the types of sources available to scholars who study popular music. Early "songcatcher" Cecil B. Sharp, The Talking Machine World,and Cash: The Autobiography (New York, 1997) are some examples of the variety of sources the work features. As a result, the collection satisfies Stimeling'sgoalof "providing access to the voices of people who have created country music culture over the course of the genre's nine-decade history" (p. ix). The volume would work best as an ancillary text in a college-level course on country music and related topics, or as an accompaniment to narrative histories on the genre such as Bill C. Malone's Country Music, U.S.A. (3rd ed. [with Jocelyn R. Neal]; Austin, 2010) or Jocelyn R. Neal's Country Music: A Cultural and Stylistic History (New York, 2012). Yet even more experienced scholars of country music, popular culture, and southern history will find much to appreciate about The Country Music Reader. First, Stimeling provides an introduction to each document he has included in the volume. The brief background narratives allow teachers to use different sources in their courses without the loss of context that often comes with a selective use of documents from one text. Furthermore, the detailed footnotes and number of suggested readings at the end of each source provide ample materials for those who want to learn more about a particular person, theme, or topic. Second, Stimeling's reader gives a nice overview of the major trends and key personalities that populate country music history. Hillbilly fiddlers, the Bristol sessions, barn dance programs, Bill Monroe, Sun Records, Chet Atkins, the 1960s folk revival, "outlaw country," Urban Cowboy (1980), and Garth Brooks are all profiled in key documents. Finally, scholars will find that many common themes resurface at different points in [End Page 755] the work, which present the potential for future research. The most interesting topics from a cultural historian's perspective are the constant struggle between artistic respectability and authenticity within the genre; the public fascination with the hillbilly, outlaw, and country stereotypes; and the globalization of country music. Despite the numerous strengths The Country Music Reader possesses, there are some shortcomings that potential users should recognize. There is no introduction or conclusion to the work, and only a brief preface provides a modest overview of the book's objectives. It seems odd to give each document an introduction but not the entire volume, and the work ends in a rather anticlimactic way when the final selection is followed by only an index. The absence of a comprehensive narrative, which an introduction would establish and a conclusion could reflect, makes documents that pertain to the 1990s and beyond rather hard to synthesize. What does the author hope to accomplish by highlighting the rise of country dance clubs and the MuzikMafia, of classic country radio, and of Miranda Lambert? Finally, there is only passing reference to the role that African Americans and feminism have played in country music history. Slim entries on the domestic life of Kitty Wells, Loretta Lynn's 1975 song "The Pill," and Charley Pride pose more questions than they address. Still, these concerns should not deter scholars from giving The Country Music Reader strong consideration...

Language learning

Karl R. Popper. The demarcation between science and metaphysics. A reprint of XXXVI 533. The philosophy of Rudolf Carnap, edited by Paul Arthur Schilpp, The library of living philosophers, vol. 11, Open Court, La Salle, Ill., and Cambridge University Press, London, 1963, pp. 183–226. - John G. Kemeny. Carnap's theory of probability and induction. The philosophy of Rudolf Carnap, edited by Paul Arthur Schilpp, The library of living philosophers, vol. 11, Open Court, La Salle, Ill., and Cambridge University Press, London, 1963, pp. 711–738. - Arthur W. Burks. On the significance of Carnap's system of inductive logic for the philosophy of induction. The philosophy of Rudolf Carnap, edited by Paul Arthur Schilpp, The library of living philosophers, vol. 11, Open Court, La Salle, Ill., and Cambridge University Press, London, 1963, pp. 739–759. - Hilary Putnam. “Degree of confirmation” and inductive logic. The philosophy of Rudolf Carnap, edited by Paul Arthur Schilpp, The library of living philosophers, vol. 11, Open Court, La Salle, Ill., and Cambridge University Press, London, 1963, pp. 761–783. - Ernest Nagel. Carnap's theory of induction. The philosophy of Rudolf Carnap, edited by Paul Arthur Schilpp, The library of living philosophers, vol. 11, Open Court, La Salle, Ill., and Cambridge University Press, London, 1963, pp. 785–825. - Rudolf Carnap. K. R. Popper on the demarcation between science and metaphysics. The philosophy of Rudolf Carnap, edited by Paul Arthur Schilpp, The library of living philosophers, vol. 11, Open Court, La Salle, Ill., and Cambridge University Press, London, 1963, pp. 877–881. - Rudolf Carnap. Probability and induction. The philosophy of Rudolf Carnap, edited by Paul Arthur Schilpp, The library of living philosophers, vol. 11, Open Court, La Salle, Ill., and Cambridge University Press, London, 1963, pp. 966–998. - Volume 37 Issue 3

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Contemporary Australian country music is marked by a fascination with the past — both its own and the nation’s. This paper will examine how that fascination grew with the construction of the NSW regional town of Tamworth as ‘Country Music Capital’ from 1973 to 2010. It will argue that the city — and by extension country music culture — began to see itself as the repository of an authentic Australian rural culture. In particular, Tamworth has sought to preserve what it saw as a stylistically pure and distinctive musical form: the bush ballad. It has done this in a variety of theatres: museums, awards for ‘bush ballads’ and ‘heritage’ songs, halls of fame and in the songs of popular performers.This article will examine how the past has been interpreted by country music in the late twentieth and early twenty-first centuries. It will ask whether country music interrogates or celebrates the past. It will also ask whose and what heritage does country music respect. In doing so, it will consider the role of patriotism in country music and the place of alternative narratives, particularly Aboriginal narratives, within this patriotism.This article has been peer reviewed.

Language learning

Bilingual education &amp; bilingualism

Book Reviews

Kesper-Biermann, Sylvia, Staat und Schule in Kurhessen 1813-1866 (Vandenhoeck & Ruprecht, 2001). Lehning, James, To Be a Citizen. The Political Culture of the Early French Third Republic (Cornell University Press, 2001). Reddy, William, The Navigation of Feeling (Cambridge University Press, 2001). Romani, Roberto, National Character and Public Spirit in Britain and France, 1750-1914 (Cambridge University Press, 2002). Rose, James, Duquesne and the Rise of Steel Unionism (University of Illinois Press, 2001). Rosenfeld, Sophia, A Revolution in Language. The Problem of Signs in Late Eighteenth-Century France (Stanford University Press, 2001). Ruble, Blair, Second Metropolis. Pragmatic Pluralism in Gilded Age Chicago, Silver Age Moscow, and Meiji Osaka (Cambridge University Press, 2001). Ruff, Julius, Violence in Early Modem Europe (Cambridge University Press, 2001). Rumbaut, Ruben and Portes, Alejandro (eds), Ethnicities. Children of Immigrants in America (University of California Press, 2001). Sautman, Francesca Canada and Sheingorn, Pamela (eds), Same Sex Love and Desire among Women in the Middle Ages (Palgrave, 2001). Scranton, Philip (ed.), The Second Wave. Southern Industrialization from the 19405 to the 19705 (University of Georgia Press, 2001). Lilley, Keith, Urban Life in the Middle Ages 1000-1430 (Palgrave, 2001). McCarthy, Justin, The Ottoman Peoples and the End of Empire (Arnold, 2001). Mendie, Michael (ed.), The Putney Debates of 1647. The Army, the Levellers, and the English State (Cambridge University Press, 2001). Michels, George, At War with the Church. Religious Dissent in Seventeenth-century Russia (Stanford University Press, 2001). Mills, Dennis, Rural Community History from Trade Directories (Local Population Studies, 2001). Packer, Ian, Lloyd George, Liberalism and the Land. The Land Issue and Party Politics in England, 1906-1914 (Royal Historical Society, 2001). Parrott, David, Richelieu's Army. War, Government and Society in France, 1624-1642 (Cambridge University Press, 2001). Popkin, Jeremy, Press, Revolution and Social Identities in France, 1830-1835 (Penn State University Press, 2001). Rasmussen, Birgit Brander, Klinenberg, Eric, Nexica, Irene and Wray, Matt (eds), The Making and Unmaking of Whiteness (Duke University Press, 2001). Schechter, Patricia, Ida B. Wells-Bamett and American Reform, 1880-1930 (University of North Carolina Press, 2001). Schulten, Susan, The Geographical Imagination in America, 1880-1930 (University of Chicago Press, 2001). Scott, Tom, Society and Economy in Germany, 1300-1600 (Palgrave, 2001). Shackel,Paul (ed.), Myth, Memory, and the Making of the American Landscape (University Press of Florida, 2001). Smith, John (ed.), When Did Southern Segregation Begin? (Palgrave, 2002). Sokoll, Thomas (ed.), Essex Pauper Letters 1731-1831 (Oxford University Press, 2001). Spraggs, Gillian, Outlaws and Highway men.The Cult of the Robber in England from the Middle Ages to the Nineteenth Century (Pimlico, 2001). Steffen, Lisa, Defining a British State. Treason and National Identity, 1608-1820 (Palgrave, 2001). Stengers, Jean and van Neck, Anne, Masturbation. The History of a Great Terror (St Martin's Press, 2001). Sweeney, Regina, Singing Our Way to Victory. French Cultural Politics and Music during the Great War (Wesleyan University Press, 2001). Veenendaal, Augustus, Railways in the Netherlands. A Brief History, 1834-1994 (Stanford University Press, 2001). Vickeiy, Amanda (ed.), Women, Privilege and Power. British Politics, 1750 to the Present (Oxford University Press, 2001). Vigarello, Georges, A History of Rape. Sexual Violence in France from the 16th to the 20th Century (Polity Press, 2001). Vinson, Ben, Bearing Arms for His Majesty. The Free-Colored Militia in Colonial Mexico (Stanford University Press, 2001). Waldinger, Roger (ed.), Strangers at the Gates. New Immigrants in Urban America (University of California Press, 2001). Worobec, Christine, Possessed. Women, Witches and Demons in Imperial Russia (Northern Illinois University Press, 2001). Xu, Xiaoqun, Chinese Professionals and the Republican State. The Rise of Professional Associations in Shanghai 1912-1937 (Cambridge University Press, 2000). Aron, Cindy, Working at Play. A History of Vacations in the United States (Oxford University Press, 2001). Baron, Samuel, Bloody Saturday in the Soviet Union. Novocherkassk, 1962 (Stanford University Press, 2001). Bielenberg, Andy (ed.), The Irish Diaspora (Longman, 2000). Blok, Anton, Honour and Violence (Polity Press, 2001). Braddick, Michael, State Formation in Early Modem England, c. 1550-1700 (Cambridge University Press, 2001). Brading,D. A.,Mexican Phoenix. Our Lady of Guadalupe:Image andTradition across Five Centuries (Cambridge University Press, 2001). Carney, Judith, Black Rice. The African Origins of Rice Cultivation in the Americas (Harvard University Press, 2001). Carter, Ian, Railways and Culture in Britain. The Epitome of Modernity (Manchester University Press, 2001). Cayton, Andrew and Gray, Susan (eds), The American Midwest. Essays on Regional History (Indiana University Press, 2001). Charle, Christophe, La Crise des sociétés impériales. Allemagne, France, Grande-Bretagne. Essai d'histoire sociale comparée (Seuil, 2001). Chojnacka, Monica, Working Women in Early Modem Venice (Johns Hopkins University Press, 2001). Cohen, Deborah, The War Come Home. Disabled Veterans in Britain and Germany, 1914-1939 (University of California Press, 2001). Cook, James, The Arts of Deception. Playing with Fraud in the Age of Burman (Harvard University Press, 2001). Cowling, Maurice, Religion and Public Doctrine in Modern England, vol. 3 (Cambridge University Press, 2001). Crubaugh, Anthony, Balancing the Scales of Justice. Local Courts and Rural Society in Southwest France, 1730-1800 (Penn State University Press, 2001). Dalley, Bronwyn and Phillips, Jock (eds), Going Public.The Changing Face of New Zealand History (Auckland University Press, 2001). Delaney, Enda, Demography, State and Society. Irish Migration to Britain, 1921-1971 (Liverpool University Press, 2000). Doyle, William (ed.), Old Regime France (Oxford University Press, 2001). Elazar, Dahlia, The Making of Fascism. Class, State, and Counter-Revolution, Italy 1919-1922 (Greenwood Publishing, 2001). Epstein, Steven, Speaking of Slavery. Color, Ethnicity and Human Bondage in Italy (Cornell University Press, 2001). Feldman, Gerald, Allianz and the German Insurance Business, 1933-1943 (Cambridge University Press, 2001). Foot, John, Milan Since the Miracle. City, Culture and Identity (Berg, 2001). Fragnito, Gigliola (ed.), Church, Censorship and Culture in Early Modem Italy (Cambridge University Press, 2001). Jones, Emrys (ed.), The Welsh in London, 1300-2000 (University of Wales Press, 2001). Karpat, Kemal, The Politicization of Islam. Reconstructing Identity, State, Faith, and Community in the Late Ottoman State (Oxford University Press, 2001). Gayot, Gérard and Minard, Philippe (eds), Les ouvriers qualifiés de l'industrie (XVF-XX si碬e) (Revue du Nord, 2001). Gildart, Keith, North Wales Miners. A Fragile Unity, 1943-1996 (University of Wales Press, 2001). Gonick, Cy, A Very Red Life. The Story of Bill Walsh (Canadian Committee on Labor History, 2001). Halliday, Stephen, Underground to Everywhere. London's Underground Railway in the Life of the Capital (Sutton, 2001). Hatcher, John and Bailey, Mark, Modelling the Middle Ages. The History and Theory of England's Economic Development (Oxford University Press, 2001). Hewitt, Nancy, Southern Discomfort. Women's Activism in Tampa, Florida, 18805-19205 (University of Illinois Press, 2001). Heywood, Colin, A History of Childhood (Polity, 2001). Johansen, Shawn, Family Men. Middle-Class Fatherhood in Early Industrializing America (Routledge, 2001). Johnson, Patricia, Hidden Hands. Working-Class Women and Victorian Social-Problem Fiction (University of Ohio Press, 2001).

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