The family surname is derived from the Italian first name Paladino. The first recorded Paladino was a medieval knight and the nephew to the Holy Roman Emperor Charlemagne, 742-814 AD. Many romantic fables are told of Charlemagne and his paladins. The most famous of the paladins was Roland, the favorite nephew of Charlemagne. It is Roland, the Italian, bestowed by Charlemagne with the name Paladin, who may be our famous ancestral noble Cavaliere that all Palladino's and modern-day Pauldine's are descended from. genealogy and objective interpretation of these topics can spell the difference between real family history and fanciful family folklore. It is in a whimsical and fanciful vein that I portend that the Palladino and modern-day Pauldine clan is in some way related to the famous Holy Roman Emperor Charlemagne and his equally famous nephew, Roland the Paladin. But, who knows! Perhaps a future Palladino explorer with the inclination and, more importantly, possessing very deep pockets, might one day embark on the eternal quest for the truth and in the process even perchance recover Roland's magical sword, Durandal.

ce the word was coined, they've reshaped American language and culture in countless ways. In this fascinating book, the author of the prize-winning Another Civil War tells how this influential group came about. Photos.C.

An incisive, multidisciplinary look at the American family over the past 200 years, written by respected scholars and researchers. Family in America offers two powerful antidotes to popular misconceptions about American family life: historical perspective and scientific objectivity. When we look back at our early history, we discover that the idealized 1950s family—characterized by a rising birthrate, a stable divorce rate, and a declining age of marriage—was a historical aberration, out of line with long-term historical trends. Working mothers, we learn, are not a 20th century invention; most families throughout American history have needed more than one breadwinner. In the exciting new scholarship described here, readers will learn precisely what is new in American family life and what is not, and acquire the perspective they need to appreciate both the genuine improvements and the losses that come with change.

In Making Catholic America, William S. Cossen shows how Catholic men and women worked to prove themselves to be model American citizens in the decades between the Civil War and the Great Depression. Far from being outsiders in American history, Catholics took command of public life in the early twentieth century, claiming leadership in the growing American nation. They produced their own version of American history and claimed the power to remake the nation in their own image, arguing that they were the country's most faithful supporters of freedom and liberty and that their church had birthed American independence. Making Catholic America offers a new interpretation of American life in the Gilded Age and Progressive Era, demonstrating the surprising success of an often-embattled religious group in securing for itself a place in the national community and in profoundly altering what it meant to be an American in the modern world.

In his previous landmark book on youth culture and teen angst, the award-winning England's Dreaming, Jon Savage presented the "definitive history of the English punk movement" (The New York Times). Now, in Teenage, he explores the secret prehistory of a phenomenon we thought we knew, in a monumental work of cultural investigative reporting. Beginning in 1875 and ending in 1945, when the term "teenage" became an integral part of popular culture, Savage draws widely on film, music, literature high and low, fashion, politics, and art and fuses popular culture and social history into a stunning chronicle of modern life.

In the thirty years after World War II, American intellectual and artistic life changed as dramatically as did the rest of society. Gone were the rebellious lions of modernism—Joyce, Picasso, Stravinsky—and nearing exhaustion were those who took up their mantle as abstract expressionism gave way to pop art, and the barren formalism associated with the so-called high modernists wilted before the hothouse cultural brew of the 1960s. According to conventional thinking, it was around this time that postmodernism with its characteristic skepticism and relativism was born. In Late Modernism, historian Robert Genter remaps the landscape of American modernism in the early decades of the Cold War, tracing the combative debate among artists, writers, and intellectuals over the nature of the aesthetic form in an age of mass politics and mass culture. Dispensing with traditional narratives that present this moment as marking the exhaustion of modernism, Genter argues instead that the 1950s were the apogee of the movement, as American practitioners—abstract expressionists, Beat poets, formalist critics, color-field painters, and critical theorists, among others—debated the relationship between form and content, tradition and innovation, aesthetics and politics. In this compelling work of intellectual and cultural history Genter presents an invigorated tradition of late modernism, centered on the work of Kenneth Burke, Ralph Ellison, C. Wright Mills, David Riesman, Jasper Johns, Norman Brown, and James Baldwin, a tradition that overcame the conservative and reactionary politics of competing modernist practitioners and paved the way for the postmodern turn of the 1960s.

List of members in v. 1, 6, 12.