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A sweeping history of the Lower Mississippi Valley and its central role in abolishing slavery in the American South.
This biographical dictionary of some 3,000 photographers (and workers in related trades), active in a vast area of North America before 1866, is based on extensive research and enhanced by some 240 illustrations, most of which are published here for the first time. The territory covered extends from central Canada through Mexico and includes the United States from the Mississippi River west to, but not including, the Rocky Mountain states. Together, this volume and its predecessor, Pioneer Photographers of the Far West: A Biographical Dictionary, 1840-1865, comprise an exhaustive survey of early photographers in North America and Central America, excluding the eastern United States and eastern Canada. This work is distinguished by the large number of entries, by the appealing narratives that cover both professional and private lives of the subjects, and by the painstaking documentation. It will be an essential reference work for historians, libraries, and museums, as well as for collectors of and dealers in early American photography. In addition to photographers, the book includes photographic printers, retouchers, and colorists, and manufacturers and sellers of photographic apparatus and stock. Because creators of moving panoramas and optical amusements such as dioramas and magic lantern performances often fashioned their works after photographs, the people behind those exhibitions are also discussed.
By the end of 1849, an estimated thirty-nine thousand gold-seekers had arrived in San Francisco by sea, and some thirty thousand others had crossed the continent on land. Another eighty-six thousand would arrive in 1850. According to the census for that year. there were twelve men for every woman in California. But who would want them? The words "gold rush" generate at best an image of raucous, all-male camaraderie, at worst a storm of lawless and irredeemable violence. Eliza Wood Burhans Farnham, a young widow who had already generated considerable attention for herself as the matron of Sing Sing prison, had a vision for California. "Woman, with all her kindly cares and powers, so peculiarly conservative to man under such circumstances," would bring a civilizing influence to the state. Farnham's vision went beyond gentility however, to a society in which individuals -- male or female -- could fulfill their potential, and virtues championed by free-thinking New England philosophers would reign supreme. The realities of everyday life in gold-rush California were daunting, but when Farnham's friend Georgiana Bruce (later Kirby) joined her the following year, hope returned in full measure: "She fills up a great place in my dark world and comes to me like a pleasant breeze or a bright sun after one of our long rains. We are going to be very independent and free...dashing about at our discretion." The stories of these "sisters on the way to the vast Beyond," as Farnham called them, could not be told separately. With insight, wit, and telling detail, JoAnn Levy relates the scope and outcome of their quest for human perfectibility in this account of two remarkable and redoubtable women in frontier California. Book jacket.
In The Scars We Carve: Bodies and Wounds in Civil War Print Culture, Allison M. Johnson considers the ubiquitous images of bodies—white and black, male and female, soldier and civilian—that appear throughout newspapers, lithographs, poems, and other texts circulated during and in the decades immediately following the Civil War. Rather than dwelling on the work of well-known authors, The Scars We Carve uncovers a powerful archive of Civil War–era print culture in which the individual body and its component parts, marked by violence or imbued with rhetorical power, testify to the horrors of war and the lasting impact of the internecine conflict. The Civil War brought about vast changes to the nation’s political, social, racial, and gender identities, and Johnson argues that print culture conveyed these changes to readers through depictions of nonnormative bodies. She focuses on images portrayed in the pages of newspapers and journals, in the left-handed writing of recent amputees who participated in penmanship contests, and in the accounts of anonymous poets and storytellers. Johnson reveals how allegories of the feminine body as a representation of liberty and the nation carved out a place for women in public and political realms, while depictions of slaves and black soldiers justified black manhood and citizenship in the midst of sectional crisis. By highlighting the extent to which the violence of the conflict marked the physical experience of American citizens, as well as the geographic and symbolic bodies of the republic, The Scars We Carve diverges from narratives of the Civil War that stress ideological abstraction, showing instead that the era’s print culture contains a literary and visual record of the war that is embodied and individualized.