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The Civil War Journal of Private Heyward Emmel is a primary source documenting one man's experiences on the front line of the American Civil War. For three years, first as an infantryman in the 7th Regiment, New Jersey Volunteers, and later as a stretcher bearer in the Ambulance Corps, Emmell reports on virtually all the major campaigns of the Army of the Potomac between October 1861 and October 1864. Devoid of political editorializing, usual and unusual aspects of battles, marching and maneuvers, and camp life are described. This is the only published account of the experiences of a member of the Ambulance Corps.
In what may be the longest, and most poignant, letter to a relative from a soldier in the Civil War, this authoritative book recounts the bloody, three-day battle in the summer of 1863. Haskell's descriptions of the wounded, of skirmishes, attacks and counterattacks, estimates of losses, and burials are all vividly described. 2 maps.
In 1845, an estimated 2,500 emigrants left Independence and St. Joseph, Missouri, for the Willamette Valley in what was soon to become the Oregon Territory. It was general knowledge that the route of the Oregon Trail through the Blue Mountains and down the Columbia River to The Dalles was grueling and dangerous. About 1,200 men, women, and children in over two hundred wagons accepted fur trapper and guide Stephen Meek's offer to lead them on a shortcut across the trackless high desert of eastern Oregon. Those who followed Meek experienced a terrible ordeal when his memory of the terrain apparently failed. Lost for weeks with little or no water and a shortage of food, the Overlanders encountered deep dust, alkali lakes, and steep, rocky terrain. Many became ill and some died in the forty days it took to travel from the Snake River in present-day Idaho to the Deschutes River near Bend, Oregon. Stories persist that children in the group found gold nuggets in a small, dry creek bed along the way. From 2006 to 2011, Brooks Ragan and a team of specialists in history, geology, global positioning, metal detecting, and aerial photography spent weeks every spring and summer tracing the Meek Cutoff. They located wagon ruts, gravesites, and other physical evidence from the most difficult part of the trail, from Vale, Oregon, to the upper reaches of the Crooked River and to a location near Redmond where a section of the train reached the Deschutes. The Meek Cutoff moves readers back and forth in time, using surviving journals from members of the 1845 party, detailed day-to-day maps, aerial photographs, and descriptions of the modern-day exploration to document an extraordinary story of the Oregon Trail.
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Originally published in 1994, asks how moral theories, whether traditional or feminist are made a reality. Using detailed examples to bring moral norms to light, the book addresses historical cases and contemporary social problems such as teen pregnancy, contraception, abortion and gay rights. Her in-depth study of Margaret Sanger's early work on birth control shows how the knowledge of birth control as well as the action of abortion was (and still is) declared deviant and reveals the collective nature of both morality and knowledge.
Considers (81) S. 2015.
Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.
Zeke Armstrong goes to New York for an inline skate-off. After another racer robs an aging heiress in Central Park, the police call it a mugging. 13 year old Zeke suspects that it's a more sinister plot.