The Southwestern Historical Quarterly, Volume 81, July 1977 - April, 1978 Page: 113
The following text was automatically extracted from the image on this page using optical character recognition software:
Gutman's findings is to negate the suggestion of the Moynihan thesis that
social engineering to enhance the staus of the black male demanded direct
intervention into the cultural structure of the black family. Gutman shows
that the need for such intervention was not supported by the record even
should the effects of racism and unemployment be admitted. He sees no
necessity for alternative development patterns for the black family.
As is the case with so many of the new studies on blacks that are pouring
out of the research centers, Gutman is concerned more with process than
with substance. One does not have to side with Moynihan about post-
depression or postwar milieus to understand that black males as family
heads among the black masses faired poorly, in slavery or out, when com-
pared functionally with whites. In a caste society where open competition
by the black male was the ultimate insult, his family realistically saw him
at best as a "client" man, dependant upon permissive good will rather than
the positive assertion of his own manhood. The honest scholar, white or
black, must admit that from the standpoint of institutional stability and
cultural continuity, social engineering as public policy must begin with the
establishment of the black male as functional (not titular) family head
Prairie View A&M University GEORGE R. WOOLFOLK
Fort Davis and the Texas Frontier: Paintings by Captain Arthur T. Lee,
Eighth U.S. Infantry. Text by W. Stephen Thomas. (College Sta-
tion: Texas A&M University Press, 1976. Pp. x+ og9. Plates, bibli-
ography, index. $2o.)
Arthur Tracy Lee (1814-1879) was an experienced and cultured regu-
lar army officer who saw extensive service on the southwestern frontier
prior to the Civil War. He arrived in Texas in I849, at the age of thirty-
four, and he spent the next twelve years building forts, guarding emigrants,
chasing Indians, and, time permitting, sketching and painting his impres-
sions of the frontier. The bulk of Lee's artistic production consists of I54
sketches on drawing paper averaging five by eight inches in size. Most of
the works are in watercolor and only a few are in pencil. Subjects range
from landscapes and river scenery to buildings and military outposts in
locations such as Mexico, Texas, Wisconsin, Pennsylvania, New York, and
Florida. At least thirty of the pictures are views in Texas of which nine are
scenes of Fort Davis.
The bulk of the pictures in this book were given by Miss Mary Janet
Ashley of Rochester, New York (Lee's granddaughter and sole surviving
Here’s what’s next.
This issue can be searched. Note: Results may vary based on the legibility of text within the document.
Tools / Downloads
Get a copy of this page or view the extracted text.
Citing and Sharing
Basic information for referencing this web page. We also provide extended guidance on usage rights, references, copying or embedding.
Reference the current page of this Periodical.
Texas State Historical Association. The Southwestern Historical Quarterly, Volume 81, July 1977 - April, 1978, periodical, 1977/1978; Austin, Texas. (texashistory.unt.edu/ark:/67531/metapth101205/m1/131/: accessed November 24, 2017), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; crediting Texas State Historical Association.