From the accounts of 18th-century travelers to the interpretations of 21st-century historians, Jumonville lists more than 6,800 books, chapters, articles, theses, dissertations, and government documents that describe the rich history of America's 18th state. Here are references to sources on the Louisiana Purchase, the Battle of New Orleans, Carnival, and Cajuns. Less-explored topics such as the rebellion of 1768, the changing roles of women, and civic development are also covered. It is a sweeping guide to the publications that best illuminate the land, the people, and the multifaceted history of the Pelican State. Arranged according to discipline and time period, chapters cover such topics as the environment, the Civil War and Reconstruction, social and cultural history, the people of Louisiana, local, parish, and sectional histories, and New Orleans. It also lists major historical sites and repositories of primary materials. As the only comprehensive bibliography of the secondary sources about the state, ^ILouisiana History^R is an invaluable resource for scholars and researchers.

Mardi Gras festivities don’t end after the parades roll through the streets; rather, a large part of the celebration continues unseen by the general public. Retreating to theaters, convention centers, and banquet halls, krewes spend the post-parade evening at lavish balls, where members cultivate a sense of fraternity and reinforce the organization’s shared values through pageantry and dance. In New Orleans Carnival Balls, Jennifer Atkins draws back the curtain on the origin of these exclusive soirees, bringing to light unique traditions unseen by outsiders. The oldest Carnival organizations—the Mistick Krewe of Comus, Twelfth Night Revelers, Krewe of Proteus, Knights of Momus, and Rex—emerged in the mid-nineteenth century. These old-line krewes ruled Mardi Gras from the Civil War until World War I, and the traditions of their private balls reflected a need for group solidarity amidst a world in flux. For these organizations, Carnival balls became magical realms where krewesmen reinforced their elite identity through sculpted tableaux vivants performances, mock coronations, and romantic ballroom dancing. This world was full of possibilities: krewesmen became gods, kings, and knights, while their daughters became queens and maids. As the old-line krewes cultivated a sense of brotherhood, they used costume and movement to reaffirm their group identity, and the crux of these performances relied on a specific mode of expression—dancing. Using the concept of dance as a lens for examining Carnival balls, Atkins delves deeper into the historical context and distinctive rituals of Mardi Gras in New Orleans. Beyond presenting readers with a new means of thinking about Carnival traditions, Atkins’s work situates dance as a vital piece of historical inquiry and a mode of study that sheds new light on the hidden practices of some of the best-known krewes in the Big Easy.

"Exquisite in design and craftsmanship, Mardi Gras jewelry, offered as favors by krewe members, are cherished gifts, proudly worn year after year by the lucky recipients. As is everything related to Mardi Gras, these specially designed and crafted keepsakes are unique to the celebration and reveal the intricate detail observed in carrying out the annual tradition. Mardi Gras crowns, scepters, and mantels, designed exclusively for each krewe, dazzle with brilliant rhinestones and are truly fit for a king. In the last of his series, Henri Schindler recounts the splendor of the old-line krewes during the golden age of carnival (1870-1930) and the jewelry associated with them -- publisher website (March 2007).

Contributions by Catherine Clinton, Joseph Crespino, Jane Dailey, Lisa Lindquist Dorr, Anya Jabour, John F. Kasson, Jennifer Ritterhouse, and Charles F. Robinson II The concept of southern manners may evoke images of debutantes being introduced to provincial society or it might conjure thoughts of the humiliating behavior white supremacists expected of African Americans under Jim Crow. The essays in Manners and Southern History analyze these topics and more. Scholars here investigate the myriad ways in which southerners from the Civil War through the civil rights movement understood manners. Contributors write about race, gender, power, and change. Essays analyze the ways southern white women worried about how to manage anger during the Civil War, the complexities of trying to enforce certain codes of behavior under segregation, and the controversy of college women's dating lives in the raucous 1920s. Writers study the background and meaning of Mardi Gras parades and debutante balls, the selective enforcement of anti-miscegenation laws, and arguments over the form that opposition to desegregation should take. Concluding essays by Jane Dailey and John F. Kasson summarize and critique the other articles and offer a broader picture of the role that manners played in the social history of the South.

Westward expansion in the United States was deeply intertwined with the technological revolutions of the nineteenth century, from telegraphy to railroads. Among the most important of these, if often forgotten, was the lithograph. Before photography became a dominant medium, lithography—and later, chromolithography—enabled inexpensive reproduction of color illustrations, transforming journalism and marketing and nurturing, for the first time, a global visual culture. One of the great subjects of the lithography boom was an emerging Euro-American colony in the Americas: Texas. The most complete collection of its kind—and quite possibly the most complete visual record of nineteenth-century Texas, period—Texas Lithographs is a gateway to the history of the Lone Star State in its most formative period. Ron Tyler assembles works from 1818 to 1900, many created by outsiders and newcomers promoting investment and settlement in Texas. Whether they depict the early French colony of Champ d’Asile, the Republic of Texas, and the war with Mexico, or urban growth, frontier exploration, and the key figures of a nascent Euro-American empire, the images collected here reflect an Eden of opportunity—a fairy-tale dream that remains foundational to Texans’ sense of self and to the world’s sense of Texas.