The Southwestern Historical Quarterly, Volume 86, July 1982 - April, 1983 Page: 586

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cause their "deeds have so struck the public imagination that they
have become archetypes" (p. xi), larger-than-life symbols of cultural
values. Consequently, some articles in the book are factual accounts
of the lives of real women while others clearly are folklore, such as
La Llorona, who, it is said in the El Paso area, weeps for her drowned
children, or Aunt Dicey, the strong assertive black woman who has
only one vice-dipping snuff. Yet each woman, fictional or real, had
enough impact on her times that stories were told about her that
were woven into the tapestry of Texan popular culture.
Although the contributions of the various authors are somewhat
uneven, the book is delightful reading and provides a rich account of
legendary feminine exploits. It is not, however, history. Women's
history, as a field of research, has progressed far beyond biographies
of the remarkable and bizarre, and now seeks to analyze the experi-
ence of the aggregate-ordinary women who bore and reared chil-
dren, worked in and out of the home, participated in voluntary as-
sociations, and, by the twentieth century, entered the political arena.
Historians have barely scratched the surface in uncovering the rich
factual material that would allow all Texas women the place they
deserve in the historical record. As much as we enjoy these tales of
women larger than life, we need to balance them with careful research
on real lives-the actual experience of the many women who have
made invaluable daily contributions to the growth and development
of their state.
Texas Tech University JACQUELINE S. REINIER
The Unpretentious Pose: The Work of E. O. Goldbeck, A People's
Photographer. By Marguerite Davenport. (San Antonio: Trinity
University Press, 1981. Pp. 191. Introduction, photographs, bibli-
ographical essay, index. $25.)
Eugene Omar Goldbeck got his first Cirkut camera in 1916, when
he was eighteen years old. This large, unwieldly camera, mounted on
a tripod with a revolving turntable, allowed him to make photographs
up to 121/ feet long with a full exposure of 3600. A commercial pho-
tographer in San Antonio, Goldbeck quickly adapted the camera to
meet his specific needs and began his extraordinary career as the mas-
ter of the large panoramic view.
With his special camera, Goldbeck could easily capture the postwar
Americans' penchant for belonging to large groups. He photographed

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Texas State Historical Association. The Southwestern Historical Quarterly, Volume 86, July 1982 - April, 1983, periodical, 1982/1983; Austin, Texas. (texashistory.unt.edu/ark:/67531/metapth101209/m1/644/ocr/: accessed July 30, 2016), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; crediting Texas State Historical Association.