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Jim Nichols was a lively, vigorous frontiersman who came to Texas about the time of its Revolution. As with many men of that day, Nichols' formal education was lacking, but he was a born writer with a vivid way of saying things. He had an abundance of exciting events to write about: fighting against Mexicans and Indians, Ranger activities, an attack by wolves, a buffalo stampede, and many other colorful episodes. Nichols' account is fast-moving, fascinating frontier history by a man who was really there.
This excellent piece of work brings a new and fascinating seventeenth-century voice to twenty-first-century readers interested in women's studies, literature, and history. Book M by the London widow Katherine Austen lends itself well to modernization, which Professor Hammons has handled in a light and tactful manner. This book will be an excellent choice for classes on life writing in general and on early modern women's writing in particular, and it will be a great contextual reading for courses on British Restoration culture and literature. --Margaret J. M. Ezell Distinguished Professor of English and John and Sara Lindsay Chair of Liberal Arts Texas A&M University
Girl of New Zealand presents a nuanced insight into the way violence and colonial attitudes shaped the representation of Māori women and girls. Michelle Erai examines more than thirty images of Māori women alongside the records of early missionaries and settlers in Aotearoa, as well as comments by archivists and librarians, to shed light on how race, gender, and sexuality have been ascribed to particular bodies. Viewed through Māori, feminist, queer, and film theories, Erai shows how images such as Girl of New Zealand (1793) and later images, cartoons, and travel advertising created and deployed a colonial optic. Girl of New Zealand reveals how the phantasm of the Māori woman has shown up in historical images, how such images shape our imagination, and how impossible it has become to maintain the delusion of the “innocent eye.” Erai argues that the process of ascribing race, gender, sexuality, and class to imagined bodies can itself be a kind of violence. In the wake of the Me Too movement and other feminist projects, Erai’s timely analysis speaks to the historical foundations of negative attitudes toward Indigenous Māori women in the eyes of colonial “others”—outsiders from elsewhere who reflected their own desires and fears in their representations of the Indigenous inhabitants of Aotearoa, New Zealand. Erai resurrects Māori women from objectification and locates them firmly within Māori whānau and communities.
Civil War Writing is a collection of new essays that focus on the most significant writing about the American Civil War by participants who lived through it, whether as civilians or combatants, southerners or northerners, women or men, blacks or whites. Collectively, as contributors show, these writings have sustained their influence over generations and include histories, memoirs, journals, novels, and one literary falsehood posing as an autobiographical narrative. Several of the works, such as William Tecumseh Sherman’s memoirs or Mary Chesnut’s diary, are familiar to scholars, but other accounts, including Charlotte Forten’s diary and Loreta Velasquez’s memoir, offer new material to even the most omnivorous Civil War reader. In all cases, a deeper look at these writings reveals why they continue to resonate with audiences more than 150 years after the end of the conflict. As supporting evidence for historical and biographical narratives and as deliberately designed communications, the writings discussed in this collection demonstrate considerable value. Whether exploring the differences among drafts and editions, listening closely to fluctuations in tone or voice, or tracing responses in private correspondence or published reviews, the essayists examine how authors wrote to different audiences and out of different motives, creating a complex literary record that offers rich potential for continuing evaluation of the country’s greatest national trauma. Overall, the essays in Civil War Writing underscore how participants employed various literary forms to record, describe, and explain aspects and episodes of a conflict that assumed proportions none of them imagined possible at the outset.
This book reveals Australia’s radical past through more than 500 tales of Indigenous resistance, convict revolts and escapes, picket line hijinks, student occupations, creative direct action, street art, media pranks, urban interventions, squatting, blockades, banner drops, guerilla theatre, and billboard liberation. Twelve key Australian activists and pranksters are interviewed regarding their opposition to racism, nuclear power, war, economic exploitation, and religious conservatism via humor and creativity. Featuring more than 300 spectacular images How to Make Trouble and Influence People is an inspiring, and at times hilarious, record of resistance that will appeal to readers everywhere.