First published in 1955, this is a fascinating biography of General James Birdseye McPherson (1828-1864), a career United States Army officer who served as a general in the Union Army during the American Civil War. The story carries McPherson from his birth near Clyde, Ohio in 1828 to his sudden death during the Battle for Atlanta in 1864. Son of pioneer parents who migrated to northern Ohio from upstate New York in the 1820’s, McPherson, showing promise in school and at his store job, won an appointment to West Point, where he graduated top of the class of 1853. There followed a year of teaching mathematics at the military academy and then assignments with the corps of engineers, first at New York, where he served with William T. Sherman, then at San Francisco, where his task was strengthening the Alcatraz Island fortifications. Shortly after the onset of the Civil War, McPherson requested a transfer to the Corps of Engineers to further his career and, departing California in August 1861, he requested a position on the staff of Maj.-Gen. Halleck. McPherson’s career began to flourish after this assignment, rising through the ranks and battles to become Major-General and given command of Grant’s Army of Tennessee in March 1864. Sherman began his Atlanta Campaign in May 1864, with McPherson and his army constituting the right flank, and it was during the Battle of Atlanta in July 1864 that McPherson left his permanent mark on the history of his country when he lost his life as the second highest-ranking Union officer killed during the war. “In presenting this story of his life, I have tried to bring out an officer whose dynamic personality was reflected in the results of many engagements on the battlefield; a gentleman whose talent for friendship and love for people endeared him to thousands; a leader whose quick decisions and wise, cool judgments were needed after the noise of battle had subsided.”—Elizabeth J. Whaley
“You don’t have to use the exact same words.... But it has to mean exactly what I said.” Thus began the ten-year collaboration between Innu elder and activist Tshaukuesh Elizabeth Penashue and Memorial University professor Elizabeth Yeoman that produced the celebrated Nitinikiau Innusi: I Keep the Land Alive, an English-language edition of Penashue’s journals, originally written in Innu-aimun during her decades of struggle for Innu sovereignty. Exactly What I Said: Translating Words and Worlds reflects on that collaboration and what Yeoman learned from it. It is about naming, mapping, and storytelling; about photographs, collaborative authorship, and voice; about walking together on the land and what can be learned along the way. Combining theory with personal narrative, Yeoman weaves together ideas, memories, and experiences––of home and place, of stories and songs, of looking and listening––to interrogate the challenges and ethics of translation. Examining what it means to relate whole worlds across the boundaries of language, culture, and history, Exactly What I Said offers an accessible, engaging reflection on respectful and responsible translation and collaboration.
In Couched in Death, Elizabeth P. Baughan offers the first comprehensive look at the earliest funeral couches in the ancient Mediterranean world. These sixth- and fifth-century BCE klinai from Asia Minor were inspired by specialty luxury furnishings developed in Archaic Greece for reclining at elite symposia. It was in Anatolia, however—in the dynastic cultures of Lydia and Phrygia and their neighbors—that klinai first gained prominence not as banquet furniture but as burial receptacles. For tombs, wooden couches were replaced by more permanent media cut from bedrock, carved from marble or limestone, or even cast in bronze. The rich archaeological findings of funerary klinai throughout Asia Minor raise intriguing questions about the social and symbolic meanings of this burial furniture. Why did Anatolian elites want to bury their dead on replicas of Greek furniture? Do the klinai found in Anatolian tombs represent Persian influence after the conquest of Anatolia, as previous scholarship has suggested? Bringing a diverse body of understudied and unpublished material together for the first time, Baughan investigates the origins and cultural significance of kline-burial and charts the stylistic development and distribution of funerary klinai throughout Anatolia. She contends that funeral couch burials and banqueter representations in funerary art helped construct hybridized Anatolian-Persian identities in Achaemenid Anatolia, and she reassesses the origins of the custom of the reclining banquet itself, a defining feature of ancient Mediterranean civilizations. Baughan explores the relationships of Anatolian funeral couches with similar traditions in Etruria and Macedonia as well as their "afterlife" in the modern era, and her study also includes a comprehensive survey of evidence for ancient klinai in general, based on analysis of more than three hundred klinai representations on Greek vases as well as archaeological and textual sources.
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