What is the function of painting in a commercial society? This text describes how British artists of the late-18th and early-19th centuries attempted to answer this question.
Although much is known about the political stance of the military at large during the Civil War, the political party affiliations of individual soldiers have received little attention. Drawing on archival sources from twenty-five generals and 250 volunteer officers and enlisted men, John Matsui offers the first major study to examine the ways in which individual politics were as important as military considerations to battlefield outcomes and how the experience of war could alter soldiers’ political views. The conservative war aims pursued by Abraham Lincoln’s generals (and to some extent, the president himself) in the first year of the American Civil War focused on the preservation of the Union and the restoration of the antebellum status quo. This approach was particularly evident in the prevailing policies and attitudes toward Confederacy-supporting Southern civilians and slavery. But this changed in Virginia during the summer of 1862 with the formation of the Army of Virginia. If the Army of the Potomac (the major Union force in Virginia) was dominated by generals who concurred with the ideology of the Democratic Party, the Army of Virginia (though likewise a Union force) was its political opposite, from its senior generals to the common soldiers. The majority of officers and soldiers in the Army of Virginia saw slavery and pro-Confederate civilians as crucial components of the rebel war effort and blamed them for prolonging the war. The frustrating occupation experiences of the Army of Virginia radicalized them further, making them a vanguard against Southern rebellion and slavery within the Union army as a whole and paving the way for Abraham Lincoln to issue the Emancipation Proclamation.
#1 NEW YORK TIMES BESTSELLER The undisputed master returns with his first Smiley novel in more than twenty-five years--a #1 New York Times bestseller and ideal holiday gift. Peter Guillam, staunch colleague and disciple of George Smiley of the British Secret Service, otherwise known as the Circus, is living out his old age on the family farmstead on the south coast of Brittany when a letter from his old Service summons him to London. The reason? His Cold War past has come back to claim him. Intelligence operations that were once the toast of secret London, and involved such characters as Alec Leamas, Jim Prideaux, George Smiley and Peter Guillam himself, are to be scrutinized by a generation with no memory of the Cold War and no patience with its justifications. Interweaving past with present so that each may tell its own intense story, John le Carré has spun a single plot as ingenious and thrilling as the two predecessors on which it looks back: The Spy Who Came in from the Cold and Tinker Tailor Soldier Spy. In a story resonating with tension, humor and moral ambivalence, le Carré and his narrator Peter Guillam present the reader with a legacy of unforgettable characters old and new.
After more than a century of study, we know more about Keats than we do about most writers of the past, but we still cannot frilly grasp the magical processes by which he created some of the most celebrated poems in all of English literature. This volume, containing 140 photographs of Keats's own manuscripts, offers the most concrete evidence we have of the way in which his thoughts and feelings were transmuted into art. The rough first drafts in particular are frill of information about what occurred, if not in Keats's mind, at least on paper when he had pen in hand: the headlong rush of ideas coming so fast that he had no time to punctuate or even form the letters of his words; the stumbling places where he had to begin again several times before the words resumed their flow; the efforts to integrate story, character, and theme with the formal requirements of rhyme and meter. Each revision teaches the inquiring reader something about Keats's poetic practice. Several of the manuscripts are unique authoritative sources, while others constitute our best texts among multiple existing versions. They reveal much about the maturation of the poet's creativity during four years of his brief life, between "On Receiving a Curious Shell" (1815) and "To Autumn" (1819). Above all, they show us what is lost when penmanship yields to the printed page: what Helen Vendler, in her insightfiul essay on the manuscripts, calls "the living hand of Keats." These sharply reproduced facsimiles provide compelling visual evidence of a mortal author in the act ofcomposing immortal works.
On 4 April 1862, Major General George McClellan marched his 121,500-strong Army of the Potomac from Fort Monroe toward Richmond. Blocking his path were Major General John B. Magruder's Warwick-Yorktown Line fortifications and the Confederate ironclad CSS Virginia. Despite outnumbering Magruder almost four to one, McClellan was tricked by Magruder's bluff of strength and halted his advance. Yorktown, the scene of Washington's 1781 victory over Cornwallis, was once again besieged. It was the Civil War's first siege and lasted for twenty-nine terrible days. Just as McClellan was ready to bombard Yorktown, the Confederates slipped away because of his delays, McClellan lost the opportunity to quickly capture Richmond and end the war. Historians John V. Quarstein and J. Michael Moore chronicle the Siege of Yorktown and explore its role in the 1862 Peninsula Campaign and the final battles surrounding Richmond.
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