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1830s architecture Books LLC, Reference Series
Książki / Literatura obcojęzyczna
Source: Wikipedia. Pages: 460. Chapters: 1830 architecture, 1830s architecture in the United States, 1831 architecture, 1832 architecture, 1833 architecture, 1834 architecture, 1835 architecture, 1836 architecture, 1837 architecture, 1838 architecture, 1839 architecture, Arc de Triomphe, Palace of Westminster, National Gallery, Abbey Road Studios, Green-Wood Cemetery, Canton Viaduct, Rideau Hall, Chenango Canal, Euston railway station, Almeida Theatre, Bouchout Castle, Washington Bottom Farm, Euston Arch, Sailors' Snug Harbor, Church of St John sub Castro, Lewes, St Mark's Church, Hadlow Down, West Norwood Cemetery, Dutch Reformed Church (Newburgh, New York), Lyceum Theatre, London, National Theatre (Boston, Massachusetts), Old Stone Barracks, Apple River Fort, Samuel May Williams House, Ohio Statehouse, Tower Building of the Little Rock Arsenal, Cobblestone Historic District, Ponce Cathedral, Arnolfini, B&O Railroad Museum, Holy Trinity Church, Trowbridge, Altes Museum, Old Main, Rizong Monastery, St Mary's Church, Goring-by-Sea, Church of St. Mary of the Spring, Colonnade Row, Exeter Hall, Christ Episcopal Church (Tarrytown, New York), Jarvis Hall, Steyning, Birmingham Town Hall, Sauganash Hotel, Alte Pinakothek, Old Whaler's Church, Marischal College, Lewis Mumford House, St Andrew's Church, Church Road, Hove, Ford's Theatre, Centinela Adobe, Stanmer Church, Broadfield House, Crawley, Broadway United Church of Christ, Rotch-Jones-Duff House and Garden Museum, Alexander Classical School, Curzon Street railway station, Ferry Plantation House, Millwood (Richland County, South Carolina), Terwilliger-Smith Farm, St James's Theatre, Woodburn (Pendleton, South Carolina), Armenian Church, Singapore, 2 Rossi Street, Bonar Hall, St Lawrence's Church, Evesham, St John the Baptist's Church, Brighton, Riverside, The Farnsley-Moremen Landing, Batavia Club, United States Customhouse (New Bedford, Massachusetts), Tomb of Lę Van Duyżt, Benjamin Franklin Gates House, Rose Bay Cottage, Government Street Presbyterian Church, Wigwam, St Dunstan-in-the-West, Lampert-Wildflower House, Trinity Cathedral, Saint Petersburg, Commandant's Quarters (Dearborn, Michigan), Merchant's House Museum, Basilica di San Marino, Bremo Slave Chapel, Charborough House, East Dereham Windmill, McRaven House, The Reformed Church of Newtown, Heckington Windmill, Wylie House, Sycamore Dale, St Afan's Church, Llanafan, Pepper Pot, Brighton, Sunnyside (Tarrytown, New York), Stoney Creek Independent Presbyterian Chapel of Prince William Parish, Rock Island Arsenal, Lyndhurst, Wadsley Parish Church, St. James Chapel (Hyde Park, New York), Old City Hall, Servoss House, Royal Strand Theatre, Millford Plantation, Cathedral of the Holy Trinity, Gibraltar, Chatham Theatre, Belle Tout lighthouse, Edgar Allan Poe House and Museum, St Mary's Church, Coddington, Gaston's Mill-Lock No. 36, Sandy and Beaver Canal District, La Fenice, Harlaxton Manor, St Mark's Church, Blackburn, Drumthwacket, Beaver Creek Plantation, Argos Hill Mill, Mayfield, St. Paul's Church, Landour, Waioli Mission District, Cornelius Carman House, John Shelp Cobblestone House, Denver Windmill, Glyptothek, Pakenham Windmill, Pennsylvania Hall (Gettysburg, Pennsylvania), Cromwell Manor, Carlton House Terrace, Point Lookout Light, Milton Mausoleum, Pemaquid Point Light, La Casa Primera de Rancho San Jose, Presidential Palace, Vilnius, Tranby House, Shadows-on-the-Teche, Lockington Locks, Little Red Schoolhouse (Brunswick, New...
Scarlett Doesn't Live Here Anymore University of Illinois Press
Książki / Literatura obcojęzyczna
"Scarlett Doesn't Live Here Anymore" is a dramatic history of the South in the years leading up to and following the Civil War: a history that focuses on the women, black and white, rich and poor, who made up the fabric of southern life before the war and remade themselves and their world after it. Positing the household as the central institution of southern society, Edwards delineates the inseparable links between domestic relations and civil and political rights in ways that highlight women's active political role throughout the nineteenth century. She draws on diaries, letters, newspaper accounts, government records, legal documents, court proceedings, and other primary sources to explore the experiences and actions of individual women in the changing South, demonstrating how family, kin, personal reputation, and social context all merged with gender, race, and class to shape what particular women could do in particular circumstances. Meet Harriet Jacobs, the escaped slave who hid in a tiny, unheated attic on her master's property for seven years until she could free her children and herself. Marion Singleton Deveaux Converse, the southern belle who leaped out a second-story window to escape her second husband's 'discipline' and received temporary shelter from her slaves. Sarah Guttery, a white, poor, unwed mother of two, whose hard work and clean living earned her community's respect despite her youthful transgressions. Aunt Lucy, who led her fellow slaves in taking over her master's abandoned plantation and declared herself the new mistress. Through vivid portraits of these and other slaves, free blacks, common whites, and the white elite, Edwards shows how women's domestic situations determined their lives before the war and their responses to secession and armed conflict. She also documents how women of various classes entered into the process of rebuilding, asserting new rights and exploring new roles after the war. An ideal basic text on society in the Civil War era, "Scarlett Doesn't Live Here Anymore" demonstrates how women on every step of the social ladder worked actively throughout the period to shape southern society in ways that fulfilled their hopes for the future. They used the resources at their disposal to fashion their own positive identities, to create the social bonds that sustained them in difficult times, and to express powerful social critiques that helped them make sense of their lives.
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