2012, ISBN: d0e0d0c86324227e694b3b917aabfe69

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Joel Munsell's Sons, Publishers, Albany, N. Y, 1892. First Edition. Softcover. Very Good/No Jacket. Size: 4to. Text body is clean, and free from previous owner annotation, underl… Meer...

Joel Munsell's Sons, Publishers, Albany, N. Y, 1892. First Edition. Softcover. Very Good/No Jacket. Size: 4to. Text body is clean, and free from previous owner annotation, underlining and highlighting. This is an original, complete, unbound, uncut book. There are no covers and signatures have not been stitched together, pages in each signature uncut/unopened. Red and black printing on what would be the title page were this bound, 46 pp. + [Errata] + plus last page, unnumbered has a Subscription List of 25 names of individuals, plus the Carnegie Free Library and the Penna. Historical Society, Philadelphia. Title page is toned, a little soil, and chipping along fore-edge, back page also toned & soiled, edges of pages that were uncut and thus extended out beyond other pages are also chipped. Quantity Available: 1. Shipped Weight: 1 lb 6 oz. Category: Genealogy & Local History; Books; Pictures of this item not already displayed here available upon request. Inventory No: 005023. ., Joel Munsell's Sons, Publishers, 1892, 3, Nelson Hall Publishing-, 1985. Hardcover/pub.1985/Gd. condition/172 pages - Strategies for Black Family Continuity. An assessment of the urban black family experience and the role played by extended kinship. (J61952z). Hard Cover. Good., Nelson Hall Publishing-, 1985, 2.5, Hardback. New. Historians have long discussed the interracial families of prominent slave dealers in Richmond, Virginia, and elsewhere, yet, until now, the story of slave trader Bacon Tait remained untold. Among the most prominent and wealthy citizens of Richmond, Bacon Tait embarked upon a striking and unexpected double life: that of a white slave trader married to a free black woman. In The Secret Life of Bacon Tait, Hank Trent tells Tait's complete story for the first time, reconstructing the hidden aspects of his strange and often paradoxical life through meticulous research in lawsuits, newspapers, deeds, and other original records. Active and ambitious in a career notorious even among slave owners for its viciousness, Bacon Tait nevertheless claimed to be married to a free woman of color, Courtney Fountain, whose extended family were involved in the abolitionist movement and the Underground Railroad. As Trent reveals, Bacon Tait maintained his domestic sphere as a loving husband and father in a mixed-race family in the North while running a successful and ruthless slave-trading business in the South. Though he possessed legal control over thousands of other black women at different times, Trent argues that Tait remained loyal to his wife, avoiding the predatory sexual practices of many slave traders. No less remarkably, Courtney Tait and their four children received the benefits of Tait's wealth while remaining close to her family of origin, many of whom spoke out against the practice of slavery and even fought in the Civil War on the side of the Union. In a fascinating display of historical detective work, Trent illuminates the worlds Bacon Tait and his family inhabited, from the complex partnerships and rivalries among slave traders to the anxieties surrounding free black populations in Courtney and Bacon Tait's adopted city of Salem, Massachusetts. Tait's double life illuminates the complex interplay of control, manipulation, love, hate, denigration, and respect among interracial families, all within the larger context of a society that revolved around the enslavement of black Americans by white traders., 6, Lima: Museo de Arte de Lima, MALI; Americas Society Art Gallery, 2012. b/w plates, covers. OCLC: 810531365. Milagros de la Torre, an exhibition guest curated by Dr. Edward J. Sullivan, Helen Gould Sheppard Professor of the History of Art at the Institute of Fine Arts and the Department of Art History, New York University. The exhibition, March 6 to July 1, 2012, coincided with the Bienal de Fotografía de Lima, which opened on March 19 and will continued until July 22, 2012. Indicios: Milagros de la Torre is a collaborative project between MALI and Americas Society, which opened the concurrent exhibition Observed: Milagros de la Torre on February 8, in New York and will be on view until April 14, 2012. The exhibition features twelve series and over fifty works. Selecting photographic works from the 1990s to the present, Indicios will be the artist's first monographic show in Lima. Focused on stark, object-based images, the exhibition examines contemporary issues related to violence, memory, and the socio-political construction of identity. As Edward Sullivan has suggested, the notion of pain also plays a prevalent role throughout de la Torre's work. Never displayed in an active or aggressive manner, the physical or emotional trauma manifests itself through quiet allusion. Several of her series develop out of her own experiences in countries that have had waves of crippling violence, such as Mexico and Peru, or that have had extended periods of censorship. Research has served as a fundamental basis for her images, many of which are examinations of criminality and surveillance. The Lost Steps (1996) is a seminal project deeply informed by nineteenth-century photographic techniques. De la Torre employed these methods to focus on images of incriminating evidence taken from the archive of the Palace of Justice in Lima, Peru during the violent years of the Shining Path. The seemingly everyday objects, shown in an isolated manner, convey stories of acts of terrorism, passion, and other crimes. In Censored (2001) de la Torre depicts passages from seventeenth and eighteenth-century manuscripts from the collection of the University of Salamanca, inked-out by officials during the Spanish Inquisition. The series is made up of abstract images capturing the stroke and stain of each censored text. De la Torre's first series, Under the Black Sun (1991-1993) comprises portraits engaged with a subtle treatment of color. They were appropriated or reconfigured images from street photographers in Cusco in which the skin of the clients was lightened with Mercurochrome. Also included is the never before seen series It All Stays in the Family. An exploration into the concept of the family portrait, these photographs printed on vintage paper use an "unsynchronized" flash to produce an image that is covered in a shadow that increases from grey to deep black, thereby blurring the connective association between each relative. . ENGLISH AND SPANISH TEXTS., Museo de Arte de Lima, MALI; Americas Society Art Gallery, 2012, 0, Hardback. New. Brown v. Board of Education, which ended legally sanctioned segregation in American public schools, brought issues of racial equality to the forefront of the nation's attention. Beyond its repercussions for the educational system, the decision also heralded broad changes to concepts of justice and national identity. &quot;&quot;Brown v. Board&quot;&quot; and the Transformation of American Culture examines the prominent cultural figures who taught the country how to embrace new values and ideas of citizenship in the aftermath of this groundbreaking decision. Through the lens of three cultural &quot;&quot;first responders,&quot;&quot; Ben Keppel tracks the creation of an American culture in which race, class, and ethnicity could cease to imply an inferior form of citizenship. Psychiatrist and social critic Robert Coles, in his Pulitzer Prize--winning studies of children and schools in desegregating regions of the country, helped citizens understand the value of the project of racial equality in the lives of regular families, both white and black. Comedian Bill Cosby leveraged his success with gentle, family-centric humor to create televised spaces that challenged the idea of whiteness as the cultural default. Public television producer Joan Ganz Cooney designed programs like Sesame Street that extended educational opportunities to impoverished children, while offering a new vision of urban life in which diverse populations coexisted in an atmosphere of harmony and mutual support. Together, the work of these pioneering figures provided new codes of conduct and guided America through the growing pains of becoming a truly pluralistic nation. In this cultural history of the impact of Brown v. Board, Keppel paints a vivid picture of a society at once eager for and resistant to the changes ushered in by this pivotal decision., 6, 1971. Dublin, The Educational Company of Ireland, 1971. 12 cm x 18,5 cm. XXXI, 107 pages, 6 illustrations. Original Softcover. Excellent condition with only minor signs of wear. Castle Rackrent, a short novel by Maria Edgeworth published in 1800, is often regarded as the first historical novel, the first regional novel in English, the first Anglo-Irish novel, the first Big House novel and the first saga novel. It is also widely regarded as the first novel to use the device of a narrator who is both unreliable and an observer of, rather than a player in, the actions he chronicles. Kirkpatrick suggests that it "both borrows from and originates a variety of literary genres and subgenres without neatly fitting into any one of them". William Butler Yeats pronounced Castle Rackrent "one of the most inspired chronicles written in English". Shortly before its publication, an introduction, glossary and footnotes, written in the voice of an English narrator, were added to the original text to blunt the negative impact the Edgeworths feared the book might have on English enthusiasm for the Act of Union 1800. The novel is one of the few of Edgeworth's novels which her father did not 'edit'. (Wikipedia) Maria Edgeworth (1 January 1768 – 22 May 1849) was a prolific Anglo-Irish writer of adults' and children's literature. She was one of the first realist writers in children's literature and was a significant figure in the evolution of the novel in Europe. She held advanced views, for a woman of her time, on estate management, politics and education, and corresponded with some of the leading literary and economic writers, including Sir Walter Scott and David Ricardo. Maria Edgeworth was born at Black Bourton, Oxfordshire. She was the second child of Richard Lovell Edgeworth (who eventually fathered 22 children by four wives) and Anna Maria Edgeworth (née Elers); Maria was thus an aunt of Francis Ysidro Edgeworth. She spent her early years with her mother's family in England, until her mother's death when Maria was five. When her father married his second wife Honora Sneyd in 1773, she went with him to his estate, Edgeworthstown, in County Longford, Ireland. Maria was sent to Mrs. Lattafière's school in Derby after Honora fell ill in 1775. After Honora died in 1780 Maria's father married Honora's sister Elizabeth (then socially disapproved and legally forbidden from 1833 until the Deceased Wife's Sister's Marriage Act 1907). Maria transferred to Mrs. Devis's school in London. Her father's attention became fully focused on her in 1781 when she nearly lost her sight to an eye infection.[1] Returning home at the age of 14, she took charge of her many younger siblings[3] and was home-tutored in law, Irish economics and politics, science, and literature by her father. She also started her lifelong correspondences with learned men, mainly members of the Lunar Society. She became her father's assistant in managing the Edgeworthstown estate, which had become run-down during the family's 1777–1782 absence; she would live and write there for the rest of her life. With their bond strengthened, Maria and her father began a lifelong academic collaboration "of which she was the more able and nimble mind."Present at Edgeworthstown was an extended family, servants and tenants. She observed and recorded the details of daily Irish life, later drawing on this experience for her novels about the Irish. She also mixed with the Anglo-Irish gentry, particularly Kitty Pakenham (later the wife of Arthur Wellesley, 1st Duke of Wellington), Lady Moira, and her aunt Margaret Ruxton of Black Castle. Margaret supplied her with the novels of Anne Radcliffe and William Godwin and encouraged her in her writing. (Wikipedia), 1971, 0, Minor rubbing, a stain to dustwrapper, sl. page-edge soil, VG., Textual photos, tables. Black Extended Family Mouton the Hague / Paris (1978) orig.cloth 24x15cm, xxi, 526 pp, Series: World Anthropology Contains 16 papers concerning: The Extended Family in Holmes County, Mississippi and its outliers; Is there a National Pattern in the United States?; Afro-American Perspectives on the Extended Family; Implications for Policy. Includes: Demitri B. Shimkin, et al "The Black Extended Family:A Basic Rural Institution & a Mechanism of Urban Adaptation" ; Joyce Aschenbrenner "Continuities & Variations in Black Family Structure" ; Regina E. Holloman & Fannie E. Lewis " The 'Clan' : Case Study of a Black Extended Family in Chicago" ; Lenus Jack, Jr. "Kinship & Residential Propinquity in Black New Orleans: The Wesleys" ; Kiyotaka Aoyagi "Kinship &Friendship in Black Los Angeles: A Study of Migrants from Texas" Michel Laguerre " Ticouloute & His Kinfolk: The Study of a Haitian Extended Family" ; Esther N. Goody "Delegation of Parental Roles in West Africa & the West Indies", etc., Mouton, 3<