Alfred Fredrick John Knight was born in Yeovil to his mother Amelia and father George. When Alfred was three years old, George his father left Amelia telling her that he was taking their son Alfred with him. George took Alfred and in secret eloped with his lover to Wales. Alfred was later adopted and lived with his adopted family talking to the family about emigrating to Canada. He told his family that he wanted to stay in England and try and find his birth mother. He left home and went back to Yeovil, but there was no trace of his mother, he did manage to find his grandmother Mary, who was still alive. While looking for a job, he saw a sign which read, ‘YOUR COUNTRY NEEDS YOU!’ Alfred then decided that he wanted to become a soldier and join the British Army. After joining up with Prince Albert’s light infantry, the Somerset Light Infantry was sent out to India to fight the rebellion. Will Alfred ever find his birth mother?
Alfred Fredrick John Knight was born in Yeovil to his mother Amelia and father George. When Alfred was three years old, George his father left Amelia telling her that he was taking their son Alfred with him. George took Alfred and in secret eloped with his lover to Wales. Alfred was later adopted and lived with his adopted family talking to the family about emigrating to Canada. He told his family that he wanted to stay in England and try and find his birth mother. He left home and went back to Yeovil, but there was no trace of his mother, he did manage to find his grandmother Mary, who was still alive. While looking for a job, he saw a sign which read, ‘YOUR COUNTRY NEEDS YOU!’ Alfred then decided that he wanted to become a soldier and join the British Army. After joining up with Prince Albert’s light infantry, the Somerset Light Infantry was sent out to India to fight the rebellion. Will Alfred ever find his birth mother?
This book offers the first concentrated examination of the representation of the black female subject in Western art through the lenses of race/color and sex/gender. Charmaine A. Nelson poses critical questions about the contexts of production, the problems of representation, the pathways of circulation and the consequences of consumption. She analyzes not only how, where, why and by whom black female subjects have been represented, but also what the social and cultural impacts of the colonial legacy of racialized western representation have been. Nelson also explores and problematizes the issue of the historically privileged white artistic access to black female bodies and the limits of representation for these subjects. This book not only reshapes our understanding of the black female representation in Western Art, but also furthers our knowledge about race and how and why it is (re)defined and (re)mobilized at specific times and places throughout history.
Nineteenth-century neoclassical sculpture was a highly politicized international movement. Based in Rome, many expatriate American sculptors created works that represented black female subjects in compelling and problematic ways. Rejecting pigment as dangerous and sensual, adherence to white marble abandoned the racialization of the black body by skin color. In The Color of Stone, Charmaine A. Nelson brilliantly analyzes a key, but often neglected, aspect of neoclassical sculpture--color. Considering three major works--Hiram Powers's Greek Slave, William Wetmore Story's Cleopatra, and Edmonia Lewis's Death of Cleopatra--she explores the intersection of race, sex, and class to reveal the meanings each work holds in terms of colonial histories of visual representation as well as issues of artistic production, identity, and subjectivity. She also juxtaposes these sculptures with other types of art to scrutinize prevalent racial discourses and to examine how the black female subject was made visible in high art. By establishing the centrality of race within the discussion of neoclassical sculpture, Nelson provides a model for a black feminist art history that at once questions and destabilizes canonical texts. Charmaine A. Nelson is assistant professor of art history at McGill University.
The first Europeans to settle on the Aboriginal land that would become know as Australia arrived in 1788. From the first these colonists were accused of ineptitude when it came to feeding themselves: as legend has it they nearly starved to death because they were hopeless agriculturists and ignored indigenous foods. As the colony developed Australians developed a reputation as dreadful cooks and uncouth eaters who gorged themselves on meat and disdained vegetables. By the end of the nineteenth century the Australian diet was routinely described as one of poorly cooked mutton, damper, cabbage, potatoes and leaden puddings all washed down with an ocean of saccharine sweet tea: These stereotypes have been allowed to stand as representing Australia’s colonial food history. Contemporary Australians have embraced ‘exotic’ European and Asian cuisines and blended elements of these to begin to shape a distinctive “Australian” style of cookery but they have tended to ignore, or ridicule, what they believe to be the terrible English cuisine of their colonial ancestors largely because of these prevailing negative stereotypes. The Colonial Kitchen: Australia 1788- 1901 challenges the notion that colonial Australians were all diabolical cooks and ill-mannered eaters through a rich and nuanced exploration of their kitchens, gardens and dining rooms; who was writing about food and what their purpose might have been; and the social and cultural factors at play on shaping what, how and when they at ate and how this was represented.
Buster, The Big Yellow School Bus, is a delightful story about a school bus named Buster and his favorite driver, Miss Lilly. The author adds a twist to the story when she creates Buster, who has a mind of his own. Buster could not only hear the children, but he could see them as well, and he also knew how to talk! Buster encounters three students aboard his bus as he teaches them a delicate lesson. Chug, chug, chug, down the winding roads of Thomasville County goes Buster with a big smile on his face.
In India, we all have our own herbal cures that we swear by. But wouldn’t it be a relief if you never caught a cold, could prevent getting a stomach infection while on holiday, and generally stayed healthy? The truth is you can. And it doesn’t cost the earth to do so. With a host of celebrity clients like Avanti and Yash Birla, Natasha and Adar Poonawala, Neetu Singh Kapoor, Rani Mukerji, Karan Johar, Siddharth Malhotra, Anita and Naresh Goyal, Ekta Raheja, Manav Gangwani and many others who swear by her, Charmaine D’Souza, for the first time ever, tells us her secrets to good health. How to: • avoid minor ailments like colds, menstrual cramps, headaches; • control and prevent major illnesses like heart disease, cancer, and stabilize diabetes. Kitchen Clinic is a comprehensive and holistic approach to herbal healing that can be done in the comfort of your home.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.