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For visitors to the Martin's Cove historic site in Wyoming, Patience Loader has become an icon of the disastrous winter entrapment of the Martin and Willie handcart companies. Her record of those events is important, but there is much else of interest in her autobiography. In fact, it is a bit unusual that someone such as her would have left such an engaging record of her life. The daughter of an English gardener, Patience Loader became a boarding house servant, domestic maid, and seamstress. Converted to Mormonism, she shipped with her parents to America. They joined the ill-fated Martin company, which because of poor planning and a late start west, was caught poorly prepared by severe high plains snowstorms in October and November 1856. The combined fatalities of the Martin and Willie companies made this the worst disaster in the history of overland travel. Patience = s father was one of those who died. After reaching Utah, Patience took the unusual step for a Mormon of marrying a soldier, John Rozsa, stationed at Camp Floyd. The troops there had made up the Utah Expedition, sent to ensure federal authority over the Mormons. Rozsa was a Hungarian immigrant and Mormon convert. When the Utah troops were recalled for the Civil War, Patience accompanied her husband, as an army laundress, to Washington, D.C., running a boarding house while Rozsa fought. After the war, he died at Fort Leavenworth of consumption, and Patience returned alone to Utah, where she became a cook at a mining camp in American Fork Canyon. Her autobiography ends there in 1872, though she lived till 1922.
An electric portrait of the artist as a young woman that asks how a writer finds her voice in a society that prefers women to be silent In Recollections of My Nonexistence, Rebecca Solnit describes her formation as a writer and as a feminist in 1980s San Francisco, in an atmosphere of gender violence on the street and throughout society and the exclusion of women from cultural arenas. She tells of being poor, hopeful, and adrift in the city that became her great teacher; of the small apartment that, when she was nineteen, became the home in which she transformed herself; of how punk rock gave form and voice to her own fury and explosive energy. Solnit recounts how she came to recognize the epidemic of violence against women around her, the street harassment that unsettled her, the trauma that changed her, and the authority figures who routinely disdained and disbelieved girls and women, including her. Looking back, she sees all these as consequences of the voicelessness that was and still is the ordinary condition of women, and how she contended with that while becoming a writer and a public voice for women's rights. She explores the forces that liberated her as a person and as a writer--books themselves, the gay men around her who offered other visions of what gender, family, and joy could be, and her eventual arrival in the spacious landscapes and overlooked conflicts of the American West. These influences taught her how to write in the way she has ever since, and gave her a voice that has resonated with and empowered many others.
Art merchant recounts selling the works of Cézanne; partying with Renoir, Forain, Degas, and Rodin; the studios of Manet, Matisse, Picasso, and Rousseau; encounters with Gertrude Stein, Zola, others. 33 illustrations.
Since the 1980s, France has experienced a vigorous revival of interest in its past and cultural heritage. This has been expressed as part of a movement of remembering through museums and festivals as well as via elaborate commemorations, most notably those held to celebrate the bi-centenary of the Revolution in 1989 and can be interpreted as part of a re-examinaton of what it means to be French in the context of ongoing Europeanization. This study brings together scholars from multidisciplinary backgrounds and engages them in debate with professionals from France, who are working in the fields of museology, heritage and cultural production. Addressing subjects such as war and memory, gastronomy and regional identity, maritime culture and urban societies, they throw fresh light on the process by which France has been conceptualized and packaged as a cultural object.
Reprint of the original, first published in 1872. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.
How do museums and cinema shape the image of the Communist past in today’s Central and Eastern Europe? This volume is the first systematic analysis of how visual techniques are used to understand and put into context the former regimes. After history “ended” in the Eastern Bloc in 1989, museums and other memorials mushroomed all over the region. These efforts tried both to explain the meaning of this lost history, as well as to shape public opinion on their society’s shared post-war heritage. Museums and films made political use of recollections of the recent past, and employed selected museum, memorial, and media tools and tactics to make its political intent historically credible. Thirteen essays from scholars around the region take a fresh look at the subject as they address the strategies of fashioning popular perceptions of the recent past.