Christopher Morris – författare

In The Big Muddy, the first long-term environmental history of the Mississippi, Christopher Morris offers a brilliant tour across five centuries as he illuminates the interaction between people and the landscape, from early hunter-gatherer bands to present-day industrial and post-industrial society. Morris shows that when Hernando de Soto arrived at the lower Mississippi Valley, he found an incredibly vast wetland, forty thousand square miles of some of the richest, wettest land in North America, deposited there by the big muddy river that ran through it. But since then much has changed, for the river and for the surrounding valley. Indeed, by the 1890s, the valley was rapidly drying. Morris shows how centuries of increasingly intensified human meddling--including deforestation, swamp drainage, and levee construction--led to drought, disease, and severe flooding. He outlines the damage done by the introduction of foreign species, such as the Argentine nutria, which escaped into the wild and are now busy eating up Louisiana's wetlands. And he critiques the most monumental change in the lower Mississippi Valley--the reconstruction of the river itself, largely under the direction of the Army Corps of Engineers. Valley residents have been paying the price for these human interventions, most visibly with the disaster that followed Hurricane Katrina. Morris also describes how valley residents have been struggling to reinvigorate the valley environment in recent years--such as with the burgeoning catfish and crawfish industries--so that they may once again live off its natural abundance.Morris concludes that the problem with Katrina is the problem with the Amazon Rainforest, drought and famine in Africa, and fires and mudslides in California--it is the end result of the ill-considered bending of natural environments to human purposes.

A collection of 34 anthems covering all seasons of the church's year.

Mississippi represented the Old South and all that it stood for perhaps more than any other state. Christopher Morris takes a close look at one of those "typically" southern communities, Jefferson Davis's Warren County, the northern-most of the five old river counties located in the state's southwestern corner. By exploring Warren County's history Morris traces the evolution of Old South society from its pioneer origins to its end at the onset of the Civil War. This is a study of a society's development, a snapshot of the people and their community in crisis and demonstrates the significance of change over time in the antebellum South.

Mississippi represented the Old South and all that it stood for perhaps more than any other state. Christopher Morris takes a close look at one of those "typically" southern communities, Jefferson Davis's Warren County, the northern-most of the five old river counties located in the state's southwestern corner. By exploring Warren County's history Morris traces the evolution of Old South society from its pioneer origins to its end at the onset of the Civil War. This is a study of a society's development, a snapshot of the people and their community in crisis and demonstrates the significance of change over time in the antebellum South.

In the first long-term environmental history of the Mississippi, Christopher Morris offers a brilliant tour across five centuries as he illuminates the interaction between people and the landscape, from early hunter-gatherer bands to present-day industrial and post-industrial society. Morris shows that when Hernando de Soto arrived at the lower Mississippi Valley, he found an incredibly vast wetland, the largest in North America, but by the 1890s, the valley was rapidly drying. Morris reveals how centuries of increasingly intensified human meddling--including deforestation, swamp drainage, the introduction of foreign species of animals and plants, and levee construction--led to drought, disease, and severe flooding. Valley residents have been paying the price ever since, most visibly with the disaster that followed Hurricane Katrina. Morris concludes that the problem with Katrina is the problem with the Amazon Rainforest, drought and famine in Africa, and fires and mudslides in California--it is the end result of the ill-considered bending of natural environments to human purposes.

Mississippi represented the Old South and all that it stood for--perhaps more so than any other state. Tracing its long histories of economic, social, and cultural evolution, Morris takes a close and richly detailed look at a representative Southern community: Jefferson Davis''s Warren County, in the state''s southwestern corner. Drawing on many wills, deeds, court records, and manuscript materials, he reveals the transformation of a loosely knit, typically Western community of pioneer homesteaders into a distinctly Southern society based on plantation agriculture, slavery, and a patriarchal social order."This thoughtful, well-written study doubtless will be widely read and deservedly influential."--American Historical Review.

In The Big Muddy, the first long-term environmental history of the Mississippi, Christopher Morris offers a brilliant tour across five centuries as he illuminates the interaction between people and the landscape, from early hunter-gatherer bands to present-day industrial and post-industrial society. Morris shows that when Hernando de Soto arrived at the lower Mississippi Valley, he found an incredibly vast wetland, forty thousand square miles of some of the richest, wettest land in North America, deposited there by the big muddy river that ran through it. But since then much has changed, for the river and for the surrounding valley. Indeed, by the 1890s, the valley was rapidly drying. Morris shows how centuries of increasingly intensified human meddling--including deforestation, swamp drainage, and levee construction--led to drought, disease, and severe flooding. He outlines the damage done by the introduction of foreign species, such as the Argentine nutria, which escaped into the wild and are now busy eating up Louisiana''s wetlands. And he critiques the most monumental change in the lower Mississippi Valley--the reconstruction of the river itself, largely under the direction of the Army Corps of Engineers. Valley residents have been paying the price for these human interventions, most visibly with the disaster that followed Hurricane Katrina. Morris also describes how valley residents have been struggling to reinvigorate the valley environment in recent years--such as with the burgeoning catfish and crawfish industries--so that they may once again live off its natural abundance.Morris concludes that the problem with Katrina is the problem with the Amazon Rainforest, drought and famine in Africa, and fires and mudslides in California--it is the end result of the ill-considered bending of natural environments to human purposes.

In The Big Muddy, the first long-term environmental history of the Mississippi, Christopher Morris offers a brilliant tour across five centuries as he illuminates the interaction between people and the landscape, from early hunter-gatherer bands to present-day industrial and post-industrial society. Morris shows that when Hernando de Soto arrived at the lower Mississippi Valley, he found an incredibly vast wetland, forty thousand square miles of some of the richest, wettest land in North America, deposited there by the big muddy river that ran through it. But since then much has changed, for the river and for the surrounding valley. Indeed, by the 1890s, the valley was rapidly drying. Morris shows how centuries of increasingly intensified human meddling--including deforestation, swamp drainage, and levee construction--led to drought, disease, and severe flooding. He outlines the damage done by the introduction of foreign species, such as the Argentine nutria, which escaped into the wild and are now busy eating up Louisiana''s wetlands. And he critiques the most monumental change in the lower Mississippi Valley--the reconstruction of the river itself, largely under the direction of the Army Corps of Engineers. Valley residents have been paying the price for these human interventions, most visibly with the disaster that followed Hurricane Katrina. Morris also describes how valley residents have been struggling to reinvigorate the valley environment in recent years--such as with the burgeoning catfish and crawfish industries--so that they may once again live off its natural abundance.Morris concludes that the problem with Katrina is the problem with the Amazon Rainforest, drought and famine in Africa, and fires and mudslides in California--it is the end result of the ill-considered bending of natural environments to human purposes.

An ambitious study of the ways opera has sought to ensure its popularity by keeping pace with changes in media technology.From the early days of television broadcasts to today’s live streams, opera houses have embraced technology as a way to reach new audiences. But how do these new forms of remediated opera extend, amplify, or undermine production values, and what does the audience gain or lose in the process? In Screening the Operatic Stage, Christopher Morris critically examines the cultural implications of opera’s engagement with screen media.Foregrounding the potential for a playful exchange and self-awareness between stage and screen, Morris uses the conceptual tools of media theory to understand the historical and contemporary screen cultures that have transmitted the opera house into living rooms, onto desktops and portable devices, and across networks of movie theaters. If these screen cultures reveal how inherently “technological” opera is as a medium, they also highlight a deep suspicion among opera producers and audiences toward the intervention of media technology. Ultimately, Screening the Operatic Stage shows how the conventions of televisual representation employed in opera have masked the mediating effects of technology in the name of fidelity to live performance.

An ambitious study of the ways opera has sought to ensure its popularity by keeping pace with changes in media technology. From the early days of television broadcasts to today’s live streams, opera houses have embraced technology as a way to reach new audiences. But how do these new forms of remediated opera extend, amplify, or undermine production values, and what does the audience gain or lose in the process? In Screening the Operatic Stage, Christopher Morris critically examines the cultural implications of opera’s engagement with screen media. Foregrounding the potential for a playful exchange and self-awareness between stage and screen, Morris uses the conceptual tools of media theory to understand the historical and contemporary screen cultures that have transmitted the opera house into living rooms, onto desktops and portable devices, and across networks of movie theaters. If these screen cultures reveal how inherently “technological” opera is as a medium, they also highlight a deep suspicion among opera producers and audiences toward the intervention of media technology. Ultimately, Screening the Operatic Stage shows how the conventions of televisual representation employed in opera have masked the mediating effects of technology in the name of fidelity to live performance.

An ambitious study of the ways opera has sought to ensure its popularity by keeping pace with changes in media technology.From the early days of television broadcasts to today’s live streams, opera houses have embraced technology as a way to reach new audiences. But how do these new forms of remediated opera extend, amplify, or undermine production values, and what does the audience gain or lose in the process? In Screening the Operatic Stage, Christopher Morris critically examines the cultural implications of opera’s engagement with screen media.Foregrounding the potential for a playful exchange and self-awareness between stage and screen, Morris uses the conceptual tools of media theory to understand the historical and contemporary screen cultures that have transmitted the opera house into living rooms, onto desktops and portable devices, and across networks of movie theaters. If these screen cultures reveal how inherently “technological” opera is as a medium, they also highlight a deep suspicion among opera producers and audiences toward the intervention of media technology. Ultimately, Screening the Operatic Stage shows how the conventions of televisual representation employed in opera have masked the mediating effects of technology in the name of fidelity to live performance.

In a radical new interpretation of the works of Alfred Hitchcock, Christopher Morris argues that suspense—the fundamental component of Hitchcock's cinema—is best understood through deconstruction of the very meaning of the word, which relates to dependence or hanging. He analyzes its portrayal first in painting and sculpture and then in Hitchcock's body of work. In this iconographic tradition, hanging figures challenge the significance of human identity and rationality, and further imply that closure, or an end to suspense, is all but illusory.This work represents the first deconstructive approach to suspense, and the first-ever survey of the iconography of the hanging figure. Hitchcock's films provide ample opportunity for such discussion, with their constant use of the tool of suspense, and Morris argues that, essentially, all of human existence is in this very state, a state embodied particularly well by the films he discusses. Drawing on the work of Jacques Derrida, Paul de Man, and J. Hillis Miller, this cross-disciplinary study of an important cinematic oeuvre establishes the advantage of a deconstructive and figurative approach to an often-studied directorial style, one that nearly embodies a genre unto itself.

Biotraffic explores the complex world of biological resource trade. It takes readers inside the contemporary Ciskei region of South Africa, a once-notorious apartheid “homeland” turned extractive hub for wild medicinal plants. Drawing from in-depth ethnographic and archival research, Christopher Morris examines the region’s trade in Pelargonium sidoides, a plant once contested as a tuberculosis treatment in early twentieth-century Europe and now an internationally marketed remedy for the common cold. The story of this trade links past and present, encapsulating a larger tale about colonial legacies and their intersection with global environmental governance ambitions. It also teems with a diverse cast of actors, from plant harvesters and pharmaceutical companies to activist NGOs and the chiefs who have become business partners with multinational drug firms. The book’s analysis extends beyond considering merely the extraction and commercialization of plant resources and offers a critical examination of how demand for therapeutics intertwines with broader struggles over land and political power in South Africa. Biotraffic illuminates how a distance-defying trade is reshaping the sociopolitical landscape of a region—a region grappling with apartheid's afterlives and the challenges of environmental and economic justice.

Biotraffic explores the complex world of biological resource trade. It takes readers inside the contemporary Ciskei region of South Africa, a once-notorious apartheid “homeland” turned extractive hub for wild medicinal plants. Drawing from in-depth ethnographic and archival research, Christopher Morris examines the region’s trade in Pelargonium sidoides, a plant once contested as a tuberculosis treatment in early twentieth-century Europe and now an internationally marketed remedy for the common cold. The story of this trade links past and present, encapsulating a larger tale about colonial legacies and their intersection with global environmental governance ambitions. It also teems with a diverse cast of actors, from plant harvesters and pharmaceutical companies to activist NGOs and the chiefs who have become business partners with multinational drug firms. The book’s analysis extends beyond considering merely the extraction and commercialization of plant resources and offers a critical examination of how demand for therapeutics intertwines with broader struggles over land and political power in South Africa. Biotraffic illuminates how a distance-defying trade is reshaping the sociopolitical landscape of a region—a region grappling with apartheid's afterlives and the challenges of environmental and economic justice.

Biotraffic explores the complex world of biological resource trade. It takes readers inside the contemporary Ciskei region of South Africa, a once-notorious apartheid “homeland” turned extractive hub for wild medicinal plants. Drawing from in-depth ethnographic and archival research, Christopher Morris examines the region’s trade in Pelargonium sidoides, a plant once contested as a tuberculosis treatment in early twentieth-century Europe and now an internationally marketed remedy for the common cold. The story of this trade links past and present, encapsulating a larger tale about colonial legacies and their intersection with global environmental governance ambitions. It also teems with a diverse cast of actors, from plant harvesters and pharmaceutical companies to activist NGOs and the chiefs who have become business partners with multinational drug firms. The book’s analysis extends beyond considering merely the extraction and commercialization of plant resources and offers a critical examination of how demand for therapeutics intertwines with broader struggles over land and political power in South Africa. Biotraffic illuminates how a distance-defying trade is reshaping the sociopolitical landscape of a region—a region grappling with apartheid's afterlives and the challenges of environmental and economic justice.

A characteristic feature of Wagnerian and post-Wagnerian opera is the tendency to link scenes with numerous and often surprisingly lengthy orchestral interludes, frequently performed with the curtain closed. Often taken for granted or treated as a filler by audiences and critics, these interludes can take on very prominent roles, representing dream sequences, journeys and sexual encounters, and in some cases becoming a highlight of the opera. Christopher Morris investigates the implications of these important but strangely overlooked passages. Combining close readings of individual musical texts with an investigation of the critical discourse surrounding the operas, Morris shows how the interludes shed light not only on the representational and narrative capacities of the orchestra, but also on the supposed 'absolute' realm of instrumental music, a concept to which many critics appealed when they associated the interludes with 'purely musical' and 'symphonic' qualities.

A characteristic feature of Wagnerian and post-Wagnerian opera is the tendency to link scenes with numerous and often surprisingly lengthy orchestral interludes, frequently performed with the curtain closed. Often taken for granted or treated as a filler by audiences and critics, these interludes can take on very prominent roles, representing dream sequences, journeys and sexual encounters, and in some cases becoming a highlight of the opera. Christopher Morris investigates the implications of these important but strangely overlooked passages. Combining close readings of individual musical texts with an investigation of the critical discourse surrounding the operas, Morris shows how the interludes shed light not only on the representational and narrative capacities of the orchestra, but also on the supposed 'absolute' realm of instrumental music, a concept to which many critics appealed when they associated the interludes with 'purely musical' and 'symphonic' qualities.

Adopting and transforming the Romantic fascination with mountains, modernism in the German-speaking lands claimed the Alps as a space both of resistance and of escape. This new 'cult of mountains' reacted to the symptoms and alienating forces associated with modern culture, defining and reinforcing models of subjectivity based on renewed wholeness and an aggressive attitude to physical and mental health. The arts were critical to this project, none more so than music, which occupied a similar space in Austro-German culture: autonomous, pure, sublime. In Modernism and the Cult of Mountains opera serves as a nexus, shedding light on the circulation of contesting ideas about politics, nature, technology and aesthetics. Morris investigates operatic representations of the high mountains in German modernism, showing how the liminal quality of the landscape forms the backdrop for opera's reflexive engagement with the identity and limits of its constituent media, not least music. This operatic reflexivity, in which the very question of music's identity is repeatedly restaged, invites consideration of musical encounters with mountains in other genres, and Morris shows how these issues resonate in Strauss's Alpine Symphony and in the Bergfilm (mountain film). By using music and the ideology of mountains to illuminate aspects of each other, Morris makes an original and valuable contribution to the critical study of modernism.

Adopting and transforming the Romantic fascination with mountains, modernism in the German-speaking lands claimed the Alps as a space both of resistance and of escape. This new 'cult of mountains' reacted to the symptoms and alienating forces associated with modern culture, defining and reinforcing models of subjectivity based on renewed wholeness and an aggressive attitude to physical and mental health. The arts were critical to this project, none more so than music, which occupied a similar space in Austro-German culture: autonomous, pure, sublime. In Modernism and the Cult of Mountains opera serves as a nexus, shedding light on the circulation of contesting ideas about politics, nature, technology and aesthetics. Morris investigates operatic representations of the high mountains in German modernism, showing how the liminal quality of the landscape forms the backdrop for opera's reflexive engagement with the identity and limits of its constituent media, not least music. This operatic reflexivity, in which the very question of music's identity is repeatedly restaged, invites consideration of musical encounters with mountains in other genres, and Morris shows how these issues resonate in Strauss's Alpine Symphony and in the Bergfilm (mountain film). By using music and the ideology of mountains to illuminate aspects of each other, Morris makes an original and valuable contribution to the critical study of modernism.

Adopting and transforming the Romantic fascination with mountains, modernism in the German-speaking lands claimed the Alps as a space both of resistance and of escape. This new ''cult of mountains'' reacted to the symptoms and alienating forces associated with modern culture, defining and reinforcing models of subjectivity based on renewed wholeness and an aggressive attitude to physical and mental health. The arts were critical to this project, none more so than music, which occupied a similar space in Austro-German culture: autonomous, pure, sublime. In Modernism and the Cult of Mountains opera serves as a nexus, shedding light on the circulation of contesting ideas about politics, nature, technology and aesthetics. Morris investigates operatic representations of the high mountains in German modernism, showing how the liminal quality of the landscape forms the backdrop for opera''s reflexive engagement with the identity and limits of its constituent media, not least music. This operatic reflexivity, in which the very question of music''s identity is repeatedly restaged, invites consideration of musical encounters with mountains in other genres, and Morris shows how these issues resonate in Strauss''s Alpine Symphony and in the Bergfilm (mountain film). By using music and the ideology of mountains to illuminate aspects of each other, Morris makes an original and valuable contribution to the critical study of modernism.

Adopting and transforming the Romantic fascination with mountains, modernism in the German-speaking lands claimed the Alps as a space both of resistance and of escape. This new ''cult of mountains'' reacted to the symptoms and alienating forces associated with modern culture, defining and reinforcing models of subjectivity based on renewed wholeness and an aggressive attitude to physical and mental health. The arts were critical to this project, none more so than music, which occupied a similar space in Austro-German culture: autonomous, pure, sublime. In Modernism and the Cult of Mountains opera serves as a nexus, shedding light on the circulation of contesting ideas about politics, nature, technology and aesthetics. Morris investigates operatic representations of the high mountains in German modernism, showing how the liminal quality of the landscape forms the backdrop for opera''s reflexive engagement with the identity and limits of its constituent media, not least music. This operatic reflexivity, in which the very question of music''s identity is repeatedly restaged, invites consideration of musical encounters with mountains in other genres, and Morris shows how these issues resonate in Strauss''s Alpine Symphony and in the Bergfilm (mountain film). By using music and the ideology of mountains to illuminate aspects of each other, Morris makes an original and valuable contribution to the critical study of modernism.

Six scholars consider important aspects of American antebellum expansion in this collection of studies newly available in paperback.Robert W. Johannsen of the University of Illinois at Urbana offers fresh insight into the meaning of the term ""manifest destiny,"" arguing for a broader definition.John M. Belohlavek of the University of South Florida takes a close look at the expansionist attitudes of Caleb Cushing, a Massachusetts politician, diplomat, reformer, and intellectual.Thomas R. Hietala of Grinnell College examines the complicated clash of cultures (the result of Manifest Destiny) and how it was viewed by observant individuals such as George Catlin, a painter who traveled and lived among Native Americans just prior to the expansionist surge of the 1840s.Winner of the Webb essay competition for 1996, Samuel J. Watson of Rice University studies U.S. Army officers' responses to territorial expansionism between 1815 and 1846. Sam W. Haynes uncovers the social and political complexities, including a widespread fear of Great Britain, that made Texas' annexation the most divisive issue of its day. Finally, Robert E. May of Purdue University offers a compelling examination of American filibustering during the Manifest Destiny era.

With the recent election of the nation’s first African American president—an individual of blended Kenyan and American heritage who spent his formative years in Hawaii and Indonesia—the topic of transnational identity is reaching the forefront of the national consciousness in an unprecedented way. As our society becomes increasingly diverse and intermingled, it is increasingly imperative to understand how race and heritage impact our perceptions of and interactions with each other. Assumed Identities constitutes an important step in this direction.However, “identity is a slippery concept,” say the editors of this instructive volume. This is nowhere more true than in the melting pot of the early trans-Atlantic cultures formed in the colonial New World during the seventeenth, eighteenth, and nineteenth centuries. As the studies in this volume show, during this period in the trans-Atlantic world individuals and groups fashioned their identities but also had identities ascribed to them by surrounding societies. The historians who have contributed to this volume investigate these processes of multiple identity formation, as well as contemporary understandings of them.Originating in the 2007 Walter Prescott Webb Memorial Lectures presented at the University of Texas at Arlington, Assumed Identities: The Meanings of Race in the Atlantic World examines, among other topics, perceptions of racial identity in the Chesapeake community, in Brazil, and in Saint-Domingue (colonial-era Haiti). As the contributors demonstrate, the cultures in which these studies are sited helped define the subjects’ self-perceptions and the ways others related to them.

The work of E.L. Doctorow is most often seen as a political and cultural critique of eras of American history, like the settlement of the West, the Gilded Age, the Depression, or the beginnings of the Cold War. In his fiction critics have found searching and subversive questions concerning received national values. At the same time, they have seen him as a literary experimentor, comparing his with the work of such modernist writers as Faulkner and Hemingway. Models of Misrepresentation, an original and comprehensive reading of Doctorow's work, considers both these views under a broader rubric, the struggle for representation in art. The author of this penetrating and persuasive study considers this theme from a philosophical standpoint: How can the writer depict America, or how can the reader interpret its values, when the very capacity of language to represent is put in doubt, as it is in Doctorow's fiction? From this perspective, Doctorow's works form part of this century's continuing intellectual crisis over the possibility of meaning in art. The understanding of this crisis in the work of Nietzsche, Heidegger, and Derrida shows how the broader issue of representation underpins both Doctorow's political-cultural critiques and his literary experimentalism. This vantage-point sheds new light on some perennial questions that intrigue Doctorow's readers: Who are the narrators of Ragtime and Loon Lake? Why do the novels' left-wing critiques also undermine left-wing solutions? What is the significance of repeated leitmotifs in his work? Who does Doctorow's later fiction seem to return to simpler literary forms? In Models of Misrepresentation the answers to these questions are discovered in the novels' continuing preoccupation is also apparent in Doctorow's book reviews, interviews, and essays. It is animated by an intransigent despair. Looking at Doctorow's novels as models of misrepresentation reveals doubts in them more dangerous than those usually associated with social satire or avant-gardism, for they extend to the heart of writing itself.

Clinics in Developmental Medicine No. 175 Orthoses are externally applied medical devices used to prevent or correct musculoskeletal deformities and improve physical functioning; these devices are typically custom made. This is one of very few books on the subject of orthotics published in recent years and the only book focusing solely on the orthotic management of children. The first part of the book considers the principles that are fundamental to orthotic management, including a review of biomechanics, consideration of clinical assessment methods, and the materials and fabrication techniques used to make orthoses. The second part of the book comprises several condition-specific chapters that consider the appropariate orthotic management of the more common conditions in childhood in the context of multidisciplinary care. The chapters include neuromuscular conditions such as cerebral palsy, myelomeningocoele and muscular dystrophy; and also congenital deformities and conditions arising in childhood. One chapter considers orthotic intervention for idiopathic scoliosis and another considers the sometimes controversial issue of protective and corrective headwear. Whist by no means exhaustive, Paediatric Orthotics provides both a basic grounding in the subject together with practical guidance to help clinical practice. Paediatric Orthotics will be of use, not only to orthotists but also to physical and occupational therapists, paediatricians, paediatric orthopaedic surgeons and physiatrists. The book is also essential reading for all students and clinicians involved in the physical management of children with disabilities.