When originally published, Charles Vincent's scholarship shed new light on the achievements of black legislators in the state legislatures in post-Civil War Louisiana-a state where black people were a majority in the state population but a minority in the legislature. Now updated with a new preface, this volume endures as an important work that illustrates the strength of minorities in state government during Reconstruction. It focuses on the achievements of the black representatives and senators in the Louisiana legislature who, through tireless fighting, were able to push forward many progressive reforms, such as universal public education, and social programs for the less fortunate.
A rural village that was once the entry point for the slave trade and home to a cotton plantation, Scotlandville became the largest majority African American town in Louisiana. Located in the northern part of East Baton Rouge Parish, Scotlandville's history is intricately tied to Southern University and A&M College System, the only historically black university system in the United States. Southern University relocated from New Orleans to the bluff of the Mississippi River on the western edge of Scotlandville in 1914. The story of the university and town is a tale of triumph and struggle in the midst of racism, inequality, and oppression. Presented through the theme of firsts in businesses, churches, schools, residential developments, environmental issues, politics, social organizations, and community service, Images of America: Scotlandville focuses on the people who shaped the community economically, politically, socially, and culturally.
Provides a state-of-the-science overview of arthropods affecting grape production around the world. Vineyard pest management is a dynamic and evolving field, and the contributed chapters provide insights into arthropods that limit this important crop and its products. Written by international experts from the major grape-growing regions, it provides a global overview of arthropods affecting vines and the novel strategies being used to prevent economic losses, including invasive pests affecting viticulture. The book contains reviews of the theoretical basis of integrated pest management, multiple chapters on biological control, current status of chemical control, as well as in-depth and well-illustrated reviews of the major arthropod pests affecting grape production and how they are being managed worldwide. This text will serve as a primary resource for applied entomologists, students, growers, and consultants with interests at the intersection of viticulture and applied entomology.
Pesticide resistance is becoming more frequent and widespread with more than 500 insect species known to have become resistance to synthetic insecticides. On the other hand, consumers increasingly demand agricultural products without any pesticide residues. This book shows the alternative: soley physical methods for plant protection by means of thermal, electromagnetic, mechanical and vacuum processes."--COVER.
This volume provides a balanced and even-handed review of the evidence and assesses the claims of both advocates and critics of complementary medicine. It draws the empirical literature together and examines the effectiveness of complementary medicine for both patients and practitioners by providing an overview of the major alternative therapies, together with their methods and philosophies; explaining the appeal of complementary medicine to patients; investigating its relationship with the medical profession; analysing methods of evaluation and the role of placebo effects; reviewing the evidence for each of the major therapies; and seeking out a research agenda for the future.
In the "Life As I See It: Meditations Of A Universalist" series, Charles Ojochide Vincent (Chaojovin) presents to the reader "meditations" born of deep philosophical reflections and metaphysical research done from a nondenominational Universalist worldview. Each "meditation" focuses on a particular subject of profound relevance to the human experience of being. There are pages containing "meditations" on such subjects as atheism God, atheism, agnosticism, sex/sexual intercourse, death, spirit/soul, love, religion, marriage, heaven and hell, unity and oneness, healing, the self, prayer, beauty, peace, evil and good, stillness, the law of karma, spiritual awakening, cosmology, time, yin-yang balance, faith, the power of the spoken word, the Divine Masculine and Feminine principles of Creation, power, self-mastery, perfection, forgiveness, spiritual growth, giving and receiving, the human body, male and female, gender equality, relationships, the power of thought, self-image, sexual energy, the elements, friendship, self-knowledge/realization, family, Mother Earth, salvation, amongst others. This book contains profound spiritual knowledge which would greatly aid you in your soul growth. With each "meditation", the author invites you to see life as he sees it, and hopes that you will profit from what you "see" in his mirrors of spiritual cum metaphysical meditation.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Vincent van Gogh’s life and work are so intertwined that it is hardly possible to observe one without thinking of the other. Van Gogh has indeed become the incarnation of the suffering, misunderstood martyr of modern art, the emblem of the artist as an outsider. An article, published in 1890, gave details about van Gogh’s illness. The author of the article saw the painter as “a terrible and demented genius, often sublime, sometimes grotesque, always at the brink of the pathological.” Very little is known about Vincent’s childhood. At the age of eleven he had to leave “the human nest”, as he called it himself, for various boarding schools. The first portrait shows us van Gogh as an earnest nineteen year old. At that time he had already been at work for three years in The Hague and, later, in London in the gallery Goupil & Co. In 1874 his love for Ursula Loyer ended in disaster and a year later he was transferred to Paris, against his will. After a particularly heated argument during Christmas holidays in 1881, his father, a pastor, ordered Vincent to leave. With this final break, he abandoned his family name and signed his canvases simply “Vincent”. He left for Paris and never returned to Holland. In Paris he came to know Paul Gauguin, whose paintings he greatly admired. The self-portrait was the main subject of Vincent’s work from 1886c88. In February 1888 Vincent left Paris for Arles and tried to persuade Gauguin to join him. The months of waiting for Gauguin were the most productive time in van Gogh’s life. He wanted to show his friend as many pictures as possible and decorate the Yellow House. But Gauguin did not share his views on art and finally returned to Paris. On 7 January, 1889, fourteen days after his famous self-mutilation, Vincent left the hospital where he was convalescing. Although he hoped to recover from and to forget his madness, but he actually came back twice more in the same year. During his last stay in hospital, Vincent painted landscapes in which he recreated the world of his childhood. It is said that Vincent van Gogh shot himself in the side in a field but decided to return to the inn and went to bed. The landlord informed Dr Gachet and his brother Theo, who described the last moments of his life which ended on 29 July, 1890: “I wanted to die. While I was sitting next to him promising that we would try to heal him. [...], he answered, ‘La tristesse durera toujours (The sadness will last forever).’”
Vincent van Gogh’s life and work are so intertwined that it is hardly possible to see his pictures without reading in them the story of his life, a life which has been described so many times that it is by now the stuff of legend. Van Gogh is the incarnation of the suffering, the misunderstood martyr of modern art, the emblem of the artist as an outsider. “When one lives with others and is bound by feelings of affection, then one realises that one has a reason for living, that one may not be utterly worthless and expendable, but is perhaps good for something, since we need one another and are journeying together as compagnons de voyage. But our proper sense of self-esteem is also highly dependent upon our relationship with others. A prisoner who is condemned to solitude, who is prevented from working, etc., will in the long run, especially if the run is too long, suffer from the effects as surely as one who has gone hungry too long. Like everyone else, I need friendly or affectionate relationships or intimate companionship, and am not made of stone or iron like a pump or a lamppost…”
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