Volume 0007 Number
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Sidney Lanier by Edwin Mims</H1>
Sidney Lanier by Edwin Mims Sidney Lanier by Edwin Mims Sidney Lanier by Edwin Mims [American (Southern U.S.) Scholar; 1872-1959.] [Note on text: Italicized words or phrases are capitalized. Some obvious errors have been corrected (see notes).] Sidney Lanier by Edwin Mims Preface The present volume is a biography of Lanier rather than a critical study of his work. So far as possible, I have told the story in his own words, or in the words of those who knew him most intimately. If I have erred in placing undue emphasis on the early part of his career, it was intentional, for that is the part of his life about which least is known. I have intentionally emphasized his relation to the South, in order to avoid page 1 / 329 a misconception that he was a detached figure. The bibliographies prepared by Mr. Wills for the "Southern History Association" and by Mr. Callaway for his "Select Poems of Lanier" make one unnecessary for this volume. Of previously published material, I have been greatly indebted to the Memorial by Mr. William Hayes Ward, the fuller sketch by the late Professor W. M. Baskervill, and the volume of letters published by Messrs. Charles Scribner's Sons. For new material, I am indebted, first of all, to Mrs. Sidney Lanier, who has put me in possession, not of the most intimate correspondence of the poet, but of many letters written by him to his father and friends, as well as unpublished fragments and essays. She has done all in her power to make this volume accurate and trustworthy. -
Salisbury Advertiser 08-1886 Vol. 19.Pdf (14.31Mb)
VOL. 19. SALISBURY, WICOMICO COUNTY, MD., SATURDAY, AUGUST 14 1886. NO. 51. TWICE I^KSGUED. The captain simply answered that he ter pleased to have her know than yourself; Good Coffee ffii&ctUzntouS. knew very little in regard to the matter, but it seems you have contrived between It is one of the BT K. H. HOUOH. and what be did know, he was not at liber yon to forestall my introduction I" world to make * f HEADQUARTERS TRUSTEE'S SALE ty to tell. With those soft, little hands clinging to this can easily be aCoom - Of Valuable . "What are 700 doing with that child ?" A lad of a less noble, generous and im his, Captain Watson looked down upon his a little common sense, For Fine Liquors. rang oat in clear, penetrating tones along a pulsive nature would inevitably have tried fair vis-a-vis with his whole soul in his water on coffee and do notl quiet street in the upper part of the city, to find some connection between this good eyes. He was young and ardent, and be have all tbe good qualities prese Real Estate! as the speaker, a handsome and athletic fortune and his heroic act some months fore him was the sweet little face that had reason dyspeptics cannot drink young sailor, suddenly quickened his steps previous; but it never occurred to Henry as lived for years in his memory older now, cause it is boiled. The style of By virtue of a decree of th« Circuit Court from a leisurely walk into a ran that in an an incident likely to have any bearing -up of course, but gifted by each passing year is just a matter of fancy. -
The Art of Reconciliation: the World's Industrial And
THE ART OF RECONCILIATION: THE WORLD’S INDUSTRIAL AND COTTON CENTENNIAL EXPOSITION, NEW ORLEANS, 1884 by SANDRA PAULY (Under the Direction of Janice Simon) ABSTRACT An examination of the visual culture of the New Orleans’ World’s Industrial and Cotton Centennial Exposition is revelatory of the formation of American attitudes about race, ethnicity, aesthetics, and regional as well as national identity. Overlooked in the American art historical scholarship on world’s fairs, the New Orleans event was one of a number of regional and international expositions held in the United States between Philadelphia’s Centennial Exhibition of 1876 and Chicago’s World Columbian Exposition of 1893 that endeavored to promote regional reconciliation after the Civil War and establish a cohesive national identity. Although the relationship between developments in the fine arts in the United States and world’s fairs held there is an established part of American art historical scholarship, there has been no art historical scholarship on the fine arts exhibition at the New Orleans fair. This dissertation seeks to cast light on that fine arts exhibition in the context of the New Orleans world’s fair. To do this effectively the visual culture of the fair itself requires exploration. The buildings, fairgrounds, various displays created by the states and the United States government, and magazine illustrations created to cover the event, provide a broader socio-historical context in which to consider the art exhibited. This will, in turn, illuminate the national commercial and cultural agenda in which artistic production took place, as well as the role played by the New Orleans fair in the promotion of regional reconciliation during the postbellum era, the establishment of a singular national identity, and fair’s place in the development of American art.