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This is a famous educational text by Gilbert J. Hunt presenting an account of the War of 1812 in the style of the King James Bible. It starts with President James Madison and the congressional declaration of war and then describes the Burning of Washington, the Battle of New Orleans, and the Treaty of Ghent.
From the author of How We Die, the extraordinary story of the development of modern medicine, told through the lives of the physician-scientists who paved the way. How does medical science advance? Popular historians would have us believe that a few heroic individuals, possessing superhuman talents, lead an unselfish quest to better the human condition. But as renowned Yale surgeon and medical historian Sherwin B. Nuland shows in this brilliant collection of linked life portraits, the theory bears little resemblance to the truth. Through the centuries, the men and women who have shaped the world of medicine have been not only very human, but also very much the products of their own times and places. Presenting compelling studies of great medical innovators and pioneers, Doctors gives us a fascinating history of modern medicine. Ranging from the legendary Father of Medicine, Hippocrates, to Andreas Vesalius, whose Renaissance masterwork on anatomy offered invaluable new insight into the human body, to Helen Taussig, founder of pediatric cardiology and co-inventor of the original "blue baby" operation, here is a volume filled with the spirit of ideas and the thrill of discovery.
The famous "Stage Yankees," with their eccentric New England dialect comedy, entertained audiences from Boston to New Orleans, from New York to London in the years between 1825 and 1850. They provided the creative energy for the development of an American-type character in early plays of native authorship. This book examines the full range of their theatre activity, not only as actors, but also as playmakers, and re-evaluates their contribution to the growth of the American stage. Yankee theatre was not an oddity, a passing fad, or an accident of entertainment; it was an honest exploitation of the materials of American life for an audience in search of its own identification. The delineation of the American character—a full-length realistic portrait in the context of stage comedy—was its projected goal; and though not the only method for such delineation, the theatre form was the most popular and extensive way of disseminating the American image. The Yankee actors openly borrowed from what literary sources were available to them, but because of their special position as actors, who were required to give flesh-and-blood imitations of people for the believable acceptance of others viewing the same people about them, they were forced to draw extensively on their actors' imaginations and to present the American as they saw him. If the image was too often an external one, it still revealed the Yankee as a hardy individual whose independence was a primary assumption; as a bargainer, whose techniques were more clever than England's sharpest penny-pincher; as a country person, more intelligent, sharper and keener in dealings than the city-bred type; as an American freewheeler who always landed on top, not out of naive honesty but out of a simple perception of other human beings and their gullibility. Much new evidence in this study is based on London productions, where the view of English audiences and critics was sharply focused on what Americans thought about themselves and the new culture of democracy emerging around them. The shift from America, the borrower, to America, the original doer, can be clearly seen in this stager activity. Yankee theatre, then, is an epitome of the emerging American after the Second War for Independence. Emerging nationalism meant emerging national definition. Yankee theatre thus led to the first cohesive body of American plays, the first American actors seen in London, and to a new realistic interpretation of the American in the "character" plays of the 1870s and 1880s.
The Vikings called North America "Vinland," the land of wine. Giovanni de Verrazzano, the Italian explorer who first described the grapes of the New World, was sure that "they would yield excellent wines." And when the English settlers found grapes growing so thickly that they covered the ground down to the very seashore, they concluded that "in all the world the like abundance is not to be found." Thus, from the very beginning the promise of America was, in part, the alluring promise of wine. How that promise was repeatedly baffled, how its realization was gradually begun, and how at last it has been triumphantly fulfilled is the story told in this book. It is a story that touches on nearly every section of the United States and includes the whole range of American society from the founders to the latest immigrants. Germans in Pennsylvania, Swiss in Georgia, Minorcans in Florida, Italians in Arkansas, French in Kansas, Chinese in California—all contributed to the domestication of Bacchus in the New World. So too did innumerable individuals, institutions, and organizations. Prominent politicians, obscure farmers, eager amateurs, sober scientists: these and all the other kinds and conditions of American men and women figure in the story. The history of wine in America is, in many ways, the history of American origins and of American enterprise in microcosm. While much of that history has been lost to sight, especially after Prohibition, the recovery of the record has been the goal of many investigators over the years, and the results are here brought together for the first time. In print in its entirety for the first time, A History of Wine in America is the most comprehensive account of winemaking in the United States, from the Norse discovery of native grapes in 1001 A.D., through Prohibition, and up to the present expansion of winemaking in every state.
“Dictionary, n: A malevolent literary device for cramping the growth of a language and making it hard and inelastic. This dictionary, however, is a most useful work.” Bierce’s groundbreaking Devil’s Dictionary had a complex publication history. Started in the mid-1800s as an irregular column in Californian newspapers under various titles, he gradually refined the new-at-the-time idea of an irreverent set of glossary-like definitions. The final name, as we see it titled in this work, did not appear until an 1881 column published in the periodical The San Francisco Illustrated Wasp. There were no publications of the complete glossary in the 1800s. Not until 1906 did a portion of Bierce’s collection get published by Doubleday, under the name The Cynic’s Word Book—the publisher not wanting to use the word “Devil” in the title, to the great disappointment of the author. The 1906 word book only went from A to L, however, and the remainder was never released under the compromised title. In 1911 the Devil’s Dictionary as we know it was published in complete form as part of Bierce’s collected works (volume 7 of 12), including the remainder of the definitions from M to Z. It has been republished a number of times, including more recent efforts where older definitions from his columns that never made it into the original book were included. Due to the complex nature of copyright, some of those found definitions have unclear public domain status and were not included. This edition of the book includes, however, a set of definitions attributed to his one-and-only “Demon’s Dictionary” column, including Bierce’s classic definition of A: “the first letter in every properly constructed alphabet.” Bierce enjoyed “quoting” his pseudonyms in his work. Most of the poetry, dramatic scenes and stories in this book attributed to others were self-authored and do not exist outside of this work. This includes the prolific Father Gassalasca Jape, whom he thanks in the preface—“jape” of course having the definition: “a practical joke.” This book is a product of its time and must be approached as such. Many of the definitions hold up well today, but some might be considered less palatable by modern readers. Regardless, the book’s humorous style is a valuable snapshot of American culture from past centuries. This book is part of the Standard Ebooks project, which produces free public domain ebooks.
The "world of letters" has always seemed a matter more of metaphor than of global reality. In this book, Pascale Casanova shows us the state of world literature behind the stylistic refinements--a world of letters relatively independent from economic and political realms, and in which language systems, aesthetic orders, and genres struggle for dominance. Rejecting facile talk of globalization, with its suggestion of a happy literary "melting pot," Casanova exposes an emerging regime of inequality in the world of letters, where minor languages and literatures are subject to the invisible but implacable violence of their dominant counterparts. Inspired by the writings of Fernand Braudel and Pierre Bourdieu, this ambitious book develops the first systematic model for understanding the production, circulation, and valuing of literature worldwide. Casanova proposes a baseline from which we might measure the newness and modernity of the world of letters--the literary equivalent of the meridian at Greenwich. She argues for the importance of literary capital and its role in giving value and legitimacy to nations in their incessant struggle for international power. Within her overarching theory, Casanova locates three main periods in the genesis of world literature--Latin, French, and German--and closely examines three towering figures in the world republic of letters--Kafka, Joyce, and Faulkner. Her work provides a rich and surprising view of the political struggles of our modern world--one framed by sites of publication, circulation, translation, and efforts at literary annexation.