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"The panorama was a ... newsreel travelogue documentary 'movie' all rolled into one long, long, pictorial canvas between two slowly revolving cylinders ... [to the] acccompaniment of explanatory narration by the panoramist, passed the great river, its banks and bluffs, its steamers and squatters' shacks, its hamlets and cities, from St. Paul to New Orleans." Dust jacket.
Union list catalog of the lithographic views of cities and towns made during the 19th century.
The panorama is primarily a visual medium, but a variety of print matter mediated its viewing; adverts, reviews, handbills and a descriptive programme accompanied by an annotated key to the canvas. The short accounts, programs, reviews, articles and lectures collected here are the primary historical sources left to us.
In this book, Bernard Comment examines the wide variety of panoramas featuring both the old and the new worlds. Included among views of cities are Robert Baker's View of Edinburgh and depictions of Paris, Moscow and Lima.
The panorama is primarily a visual medium, but a variety of print matter mediated its viewing; adverts, reviews, handbills and a descriptive programme accompanied by an annotated key to the canvas. The short accounts, programs, reviews, articles and lectures collected here are the primary historical sources left to us.
In Troubled Waters, Paul F. Paskoff offers a comprehensive examination of the federal government's river improvements program, which aimed to reduce hazards to navigation on the great rivers of America's interior during the early and mid-nineteenth century. Danger on the rivers came in a variety of forms. Shoals, rapids, ice, rocks, sandbars, and uprooted trees and submerged steamboat wrecks lodged in river beds were the most common perils and accounted for the largest number of steamboat disasters. This daunting array of river hazards required a similarly broad range of efforts to remove or at least ameliorate them. Against a variety of obstacles -- natural, political, and technological -- the river improvements program succeeded in reducing the rate of steamboat loss, even as steamboat traffic dramatically increased. Its success, Paskoff argues, demonstrates that the federal government was far more active than generally thought in promoting economic growth and development in the years leading up to the Civil War.The river improvements program was one of the most volatile issues in national, sectional, and state politics, touching on questions of economic development, constitutional law, partisan politics, and sectional rivalry. Paskoff examines the controversial program from its beginnings during the early republic to 1844, giving careful attention to the policies of Andrew Jackson's administration. He explores the array of objections to the program -- some grounded in a strict interpretation of the Constitution and others in a concern over alleged federal wantonness, corruption, and waste -- and follows the political story through the administration of James K. Polk forward to secession. Paskoff also explains the fiscal, economic, and technological aspects of the hazard problem and its solution, analyzing the federal government's fiscal condition, its capacity to undertake such an ambitious program, and the influence of conditions in the larger economy, including effects of the Mexican War, upon the federal government's finances.Paskoff's lively analysis rests on a bedrock of impressive quantitative evidence, including databases containing every documented steamboat wreck -- more than 1,200 -- on American rivers, lakes, and coastal waters; construction and engine data for more than 600 steamboat packets; and all relevant federal appropriations and expenditures measures, more than 2,300 spending projects in all. Vigorously researched and vividly told, Troubled Waters is an essential contribution to the history of internal improvements in the antebellum United States.
Resurrecting scores of rare images of the 19th century American West, "Print the Legend" offers engaging tales of ambitious photographic adventurers, and misinterpreted images. Chronicling both the history of a place and the history of a medium, this book portrays how Americans first came to understand western photos and to envision their expanding nation. 138 illustrations.
Scenic spectacles collapse the borders of graphic and visual arts, multimedia technology, spectatorship and architecture. Drawing upon various systems of commercial, institutional and public spectacle that intersect with scenic stages of the national landscape, Tenneriello examines how spectacle is entrenched in the formation of national identity.
Thoreau's major essays annotated and introduced by one of our most vital intellectuals. With The Essays of Henry D. Thoreau, Lewis Hyde gathers thirteen of Thoreau's finest short prose works and, for the first time in 150 years, presents them fully annotated and arranged in the order of their composition. This definitive edition includes Thoreau's most famous essays, "Civil Disobedience" and "Walking," along with lesser-known masterpieces such as "Wild Apples," "The Last Days of John Brown," and an account of his 1846 journey into the Maine wilderness to climb Mount Katahdin, an essay that ends on a unique note of sublimity and terror. Hyde diverges from the long-standing and dubious editorial custom of separating Thoreau's politics from his interest in nature, a division that has always obscured the ways in which the two are constantly entwined. "Natural History of Massachusetts" begins not with fish and birds but with a dismissal of the political world, and "Slavery in Massachusetts" ends with a meditation on the water lilies blooming on the Concord River. Thoreau's ideal reader was expected to be well versed in Greek and Latin, poetry and travel narrative, and politically engaged in current affairs. Hyde's detailed annotations clarify many of Thoreau's references and re-create the contemporary context wherein the nation's westward expansion was bringing to a head the racial tensions that would result in the Civil War.
Tracing the cultural, material, and discursive history of an early manifestation of media culture in the making. Beginning in the late eighteenth century, huge circular panoramas presented their audiences with resplendent representations that ranged from historic battles to exotic locations. Such panoramas were immersive but static. There were other panoramas that moved—hundreds, and probably thousands of them. Their history has been largely forgotten. In Illusions in Motion, Erkki Huhtamo excavates this neglected early manifestation of media culture in the making. The moving panorama was a long painting that unscrolled behind a “window” by means of a mechanical cranking system, accompanied by a lecture, music, and sometimes sound and light effects. Showmen exhibited such panoramas in venues that ranged from opera houses to church halls, creating a market for mediated realities in both city and country. In the first history of this phenomenon, Huhtamo analyzes the moving panorama in all its complexity, investigating its relationship to other media and its role in the culture of its time. In his telling, the panorama becomes a window for observing media in operation. Huhtamo explores such topics as cultural forms that anticipated the moving panorama; theatrical panoramas; the diorama; the "panoramania" of the 1850s and the career of Albert Smith, the most successful showman of that era; competition with magic lantern shows; the final flowering of the panorama in the late nineteenth century; and the panorama's afterlife as a topos, traced through its evocation in literature, journalism, science, philosophy, and propaganda.