Kirjahaku

Despite their great achievements following their first powered flights in 1903, Wilbur and Orville Wright still enjoyed virtual anonymity until 1908. In seven crucial days in May of that year, however, the eyes of the world were suddenly cast upon them as they sought lucrative government contracts for their flying technology and then had to prove the capabilities of their machines. In these pivotal moments, the brothers were catapulted into unwanted worldwide fame as the international press discovered and followed their covert flight tests, and reported their every move using rudimentary telegraphs and early forms of photography. From the brothers' rise to fame on the historic Outer Banks, to the quickly expanding role of the world press and the flights' repercussions in war and military technology, Tise weaves a fascinating tale of a key turning point in the history of flight.

Probing at the very core of the American political consciousness from the colonial period through the early republic, this thorough and unprecedented study by Larry E. Tise suggests that American proslavery thought, far from being an invention of the slave-holding South, had its origins in the crucible of conservative New England.Proslavery rhetoric, Tise shows, came late to the South, where the heritage of Jefferson's ideals was strongest and where, as late as the 1830s, most slaveowners would have agreed that slavery was an evil to be removed as soon as possible. When the rhetoric did come, it was often in the portmanteau of ministers who moved south from New England, and it arrived as part of a full-blown ideology. When the South finally did embrace proslavery, the region was placed not at the periphery of American thought but in its mainstream.

Probing at the very core of the American political consciousness from the colonial period through the early republic, this thorough and unprecedented study by Larry E. Tise suggests that American proslavery thought, far from being an invention of the slave-holding South, had its origins in the crucible of conservative New England.Proslavery rhetoric, Tise shows, came late to the South, where the heritage of Jefferson's ideals was strongest and where, as late as the 1830s, most slaveowners would have agreed that slavery was an evil to be removed as soon as possible. When the rhetoric did come, it was often in the portmanteau of ministers who moved south from New England, and it arrived as part of a full-blown ideology. When the South finally did embrace proslavery, the region was placed not at the periphery of American thought but in its mainstream.

When the world learned that Wilbur and Orville Wright had performed man's first powered, controlled flights at Kitty Hawk on December 17, 1903, that sleepy village became an international landmark. In addition to recording their first flight in one of the twentieth century's most famous photographs, the Wrights took hundreds of other images of the windswept clime and the people they met on North Carolina's coast. Historian Larry Tise uses their photographs to reveal people, places and events nowhere else recorded. Join Tise for a guided tour of the Wright brothers' Outer Banks encampment between 1900 and 1911.

These essays pose new questions concerning the social and political origins of the Revolution in the South, the social disorder indiced by the war, and the impact of the conflict and its ideologies on blacks and women. Contributors are: Pauline Maier, Robert M. Weir, Jack P. Greene, Marvin L. Michale Kay, Lorin Lee Cary, John Shy, Clyde R. Ferguson, Mary Beth Norton, Michael Mullin, and Peter H. Wood.Originally published in 1978.A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

When Flemish engraver and publisher Theodore de Bry issued the first volume of his America series in 1590, the New World was, for most Europeans, truly novel. Gleaned from the travel accounts of adventurers like Thomas Harriot, Sir Francis Drake, and Sir Walter Raleigh, De Bry’s magnificent engravings brought the new continent and its inhabitants to an enraptured audience across the Atlantic. From “Virginia” (today’s North Carolina) and Florida through Central America and down into Patagonia, the first nine volumes of America depict scenery and encounters between native Americans and Europeans, revealing the latter’s perceptions of the former. Portrayals of European discovery and native American customs were based on the explorers’ reports as well as De Bry’s own imagination, he himself never having traveled to the New World. Although based in Frankfurt, De Bry laid the foundations of the series while in London, collaborating with artists John White and Jacques Le Moyne, whose original watercolors he adapted for the opening two volumes. With his sons, De Bry formed a family enterprise known for exquisite copper engravings and high-quality illustrations unrivaled in their mastery. The legacy of America is profound, coloring Europe’s earliest visions of the Atlantic world. Countless European illustrations would, throughout the following centuries, draw inspiration from the spectacular collection. TASCHEN’s edition pays homage to De Bry’s finesse, reprinting all 218 plates from the first nine volumes alongside their respective frontispieces and continental maps. Volumes I to VI are based on the original hand-colored editions held at the John Hay and John Carter Brown Libraries at Brown University in Providence; volumes VII to IX are from the Staats- und Stadtbibliothek in Augsburg, Germany.Exceptionally rare even at the time of their completion, De Bry’s hand-colored America can finally be admired by all, in XXL resolution.

When Flemish engraver and publisher Theodore de Bry issued the first volume of his America series in 1590, the New World was, for most Europeans, truly novel. Gleaned from the travel accounts of adventurers like Thomas Harriot, Sir Francis Drake, and Sir Walter Raleigh, De Bry’s magnificent engravings brought the new continent and its inhabitants to an enraptured audience across the Atlantic. From “Virginia” (today’s North Carolina) and Florida through Central America and down into Patagonia, the first nine volumes of America depict scenery and encounters between native Americans and Europeans, revealing the latter’s perceptions of the former. Portrayals of European discovery and native American customs were based on the explorers’ reports as well as De Bry’s own imagination, he himself never having traveled to the New World. Although based in Frankfurt, De Bry laid the foundations of the series while in London, collaborating with artists John White and Jacques Le Moyne, whose original watercolors he adapted for the opening two volumes. With his sons, De Bry formed a family enterprise known for exquisite copper engravings and high-quality illustrations unrivaled in their mastery. The legacy of America is profound, coloring Europe’s earliest visions of the Atlantic world. Countless European illustrations would, throughout the following centuries, draw inspiration from the spectacular collection. TASCHEN’s edition pays homage to De Bry’s finesse, reprinting all 218 plates from the first nine volumes alongside their respective frontispieces and continental maps. Volumes I to VI are based on the original hand-colored editions held at the John Hay and John Carter Brown Libraries at Brown University in Providence; volumes VII to IX are from the Staats- und Stadtbibliothek in Augsburg, Germany.Exceptionally rare even at the time of their completion, De Bry’s hand-colored America can finally be admired by all, in XXL resolution.

When Flemish engraver and publisher Theodore de Bry issued the first volume of his America series in 1590, the New World was, for most Europeans, truly novel. Gleaned from the travel accounts of adventurers like Thomas Harriot, Sir Francis Drake, and Sir Walter Raleigh, De Bry’s magnificent engravings brought the new continent and its inhabitants to an enraptured audience across the Atlantic. From “Virginia” (today’s North Carolina) and Florida through Central America and down into Patagonia, the first nine volumes of America depict scenery and encounters between native Americans and Europeans, revealing the latter’s perceptions of the former. Portrayals of European discovery and native American customs were based on the explorers’ reports as well as De Bry’s own imagination, he himself never having traveled to the New World. Although based in Frankfurt, De Bry laid the foundations of the series while in London, collaborating with artists John White and Jacques Le Moyne, whose original watercolors he adapted for the opening two volumes. With his sons, De Bry formed a family enterprise known for exquisite copper engravings and high-quality illustrations unrivaled in their mastery. The legacy of America is profound, coloring Europe’s earliest visions of the Atlantic world. Countless European illustrations would, throughout the following centuries, draw inspiration from the spectacular collection. TASCHEN’s edition pays homage to De Bry’s finesse, reprinting all 218 plates from the first nine volumes alongside their respective frontispieces and continental maps. Volumes I to VI are based on the original hand-colored editions held at the John Hay and John Carter Brown Libraries at Brown University in Providence; volumes VII to IX are from the Staats- und Stadtbibliothek in Augsburg, Germany.Exceptionally rare even at the time of their completion, De Bry’s hand-colored America can finally be admired by all.

When Flemish engraver and publisher Theodore de Bry issued the first volume of his America series in 1590, the New World was truly novel for most Europeans. Gleaned from the travel accounts of adventurers like Thomas Harriot, Sir Francis Drake, and Sir Walter Raleigh, De Bry’s magnificent engravings brought the new continent and its inhabitants to an enraptured audience across the Atlantic. From “Virginia” (today’s North Carolina) and Florida to Central America and down into Patagonia, the first nine volumes of America depict scenery and encounters between Native Americans and Europeans, revealing the latter’s perceptions of the former. Portrayals of European discovery and Native American customs were based on the explorers’ reports as well as De Bry’s own imagination – he himself never traveled to the New World. Although based in Frankfurt, De Bry laid the foundations of the series while in London, collaborating with artists John White and Jacques Le Moyne, whose original watercolors he adapted for the opening two volumes. With his sons, De Bry formed a family enterprise known for exquisite copper engravings and high-quality illustrations unrivaled in their mastery. The legacy of America is profound, coloring Europe’s earliest visions of the Atlantic world. Throughout the following centuries, countless European illustrations would draw inspiration from the spectacular collection. TASCHEN’s edition pays homage to De Bry’s finesse, reprinting all 218 plates from the first nine volumes alongside their respective frontispieces and continental maps. Volumes I to VI are based on the original hand-colored editions held at the John Hay and John Carter Brown Libraries at Brown University in Providence; volumes VII to IX are from the Staats- und Stadtbibliothek in Augsburg, Germany. Exceptionally rare even at the time of completion, De Bry’s hand-colored America can finally be admired by all.