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This three-volume set is a valuable resource for researching the history of American television. An encyclopedic range of information documents how television forever changed the face of media and continues to be a powerful influence on society. What are the reasons behind enduring popularity of television genres such as police crime dramas, soap operas, sitcoms, and "reality TV"? What impact has television had on the culture and morality of American life? Does television largely emulate and reflect real life and society, or vice versa? How does television's influence differ from that of other media such as newspapers and magazines, radio, movies, and the Internet? These are just a few of the questions explored in the three-volume encyclopedia TV in the USA: A History of Icons, Idols, and Ideas. This expansive set covers television from 1950 to the present day, addressing shows of all genres, well-known programs and short-lived series alike, broadcast on the traditional and cable networks. All three volumes lead off with a keynote essay regarding the technical and historical features of the decade(s) covered. Each entry on a specific show investigates the narrative, themes, and history of the program; provides comprehensive information about when the show started and ended, and why; and identifies the star players, directors, producers, and other key members of the crew of each television production. The set also features essays that explore how a particular program or type of show has influenced or reflected American society, and it includes numerous sidebars packed with interesting data, related information, and additional insights into the subject matter.
In 1837, while charting the Amazonian country of Guiana for Great Britain, German naturalist Robert Schomburgk discovered an astounding "vegetable wonder"--a huge water lily whose leaves were five or six feet across and whose flowers were dazzlingly white. In England, a horticultural nation with a mania for gardens and flowers, news of the discovery sparked a race to bring a live specimen back, and to bring it to bloom. In this extraordinary plant, named Victoria regia for the newly crowned queen, the flower-obsessed British had found their beau ideal. In The Flower of Empire, Tatiana Holway tells the story of this magnificent lily, revealing how it touched nearly every aspect of Victorian life, art, and culture. Holway's colorful narrative captures the sensation stirred by Victoria regia in England, particularly the intense race among prominent Britons to be the first to coax the flower to bloom. We meet the great botanists of the age, from the legendary Sir Joseph Banks, to Sir William Jackson Hooker, director of the Royal Botanic Gardens at Kew, to the extravagant flower collector the Duke of Devonshire. Perhaps most important was the Duke's remarkable gardener, Joseph Paxton, who rose from garden boy to knight, and whose design of a series of ever-more astonishing glass-houses--one, the Big Stove, had a footprint the size of Grand Central Station--culminated in his design of the architectural wonder of the age, the Crystal Palace. Fittingly, Paxton based his design on a glass-house he had recently built to house Victoria regia. Indeed, the natural ribbing of the lily's leaf inspired the pattern of girders supporting the massive iron-and-glass building. From alligator-laden jungle ponds to the heights of Victorian society, The Flower of Empire unfolds the marvelous odyssey of this wonder of nature in a revealing work of cultural history.
In 1755 Benjamin Franklin observed "a man without a wife is but half a man" and since then historians have taken Franklin at his word. In Citizen Bachelors, John Gilbert McCurdy demonstrates that Franklin's comment was only one side of a much larger conversation. Early Americans vigorously debated the status of unmarried men and this debate was instrumental in the creation of American citizenship. In a sweeping examination of the bachelor in early America, McCurdy fleshes out a largely unexamined aspect of the history of gender. Single men were instrumental to the settlement of the United States and for most of the seventeenth century their presence was not particularly problematic. However, as the colonies matured, Americans began to worry about those who stood outside the family. Lawmakers began to limit the freedoms of single men with laws requiring bachelors to pay higher taxes and face harsher penalties for crimes than married men, while moralists began to decry the sexual immorality of unmarried men. But many resisted these new tactics, including single men who reveled in their hedonistic reputations by delighting in sexual horseplay without marital consequences. At the time of the Revolution, these conflicting views were confronted head-on. As the incipient American state needed men to stand at the forefront of the fight for independence, the bachelor came to be seen as possessing just the sort of political, social, and economic agency associated with citizenship in a democratic society. When the war was won, these men demanded an end to their unequal treatment, sometimes grudgingly, and the citizen bachelor was welcomed into American society. Drawing on sources as varied as laws, diaries, political manifestos, and newspapers, McCurdy shows that in the course of the seventeenth and eighteenth centuries the bachelor was a simultaneously suspicious and desirable figure: suspicious because he was not tethered to family and household obligations yet desirable because he was free to study, devote himself to political office, and fight and die in battle. He suggests that this dichotomy remains with us to this day and thus it is in early America that we find the origins of the modern-day identity of the bachelor as a symbol of masculine independence. McCurdy also observes that by extending citizenship to bachelors, the founders affirmed their commitment to individual freedom, a commitment that has subsequently come to define the very essence of American citizenship.