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1000 tulosta hakusanalla Harriet Pyne Grove

Harriet Tubman, the Moses of Her People
The title I have given my black heroine, in this second edition of her story, viz.: THE MOSES OF HER PEOPLE, may seem a little ambitious, considering that this Moses was a woman, and that she succeeded in piloting only three or four hundred slaves from the land of bondage to the land of freedom. But I only give her here the name by which she was familiarly known, both at the North and the South, during the years of terror of the Fugitive Slave Law, and during our last Civil War, in both of which she took so prominent a part. And though the results of her unexampled heroism were not to free a whole nation of bond-men and bond-women, yet this object was as much the desire of her heart, as it was of that of the great leader of Israel. Her cry to the slave-holders, was ever like his to Pharaoh, "Let my people go " and not even he imperiled life and limb more willingly, than did our courageous and self-sacrificing friend. Her name deserves to be handed down to posterity, side by side with the names of Jeanne D'Arc, Grace Darling, and Florence Nightingale, for not one of these women, noble and brave as they were, has shown more courage, and power of endurance, in facing danger and death to relieve human suffering, than this poor black woman, whose story I am endeavoring in a most imperfect way to give you. Would that Mrs. Stowe had carried out the plan she once projected, of being the historian of our sable friend; by her graphic pen, the incidents of such a life might have been wrought up into a tale of thrilling interest, equaling, if not exceeding her world renowned "Uncle Tom's Cabin." The work fell to humbler hands, and the first edition of this story, under the title of "Harriet Tubman," was written in the greatest possible haste, while the writer was preparing for a voyage to Europe. There was pressing need for this book, to save the poor woman's little home from being sold under a mortgage, and letters and facts were penned down rapidly, as they came in. The book has now been in part re-written and the letters and testimonials placed in an appendix.
Harriet Bart

Harriet Bart

Lyndel King

UNIVERSITY OF MINNESOTA PRESS
2020
sidottu
A retrospective and creatively collaborative review of this international feminist conceptual artist Young women victims of a garment factory fire in New York in 1911. An autobiographical progression through stages of womanhood. American veterans killed in Iraq. A giant trough filled with books and surrounded by an urban cornfield. The subjects of Harriet Bart’s art are as varied as the media and genres in which she works-sculpture, installation, textiles, painting, drawing, artist’s books. Harriet Bart: Abracadabra and Other Forms of Protection is a comprehensive look at the prolific and dynamic career of this international feminist conceptual artist. A founder of the Women’s Art Registry of Minnesota (WARM, a nationally recognized feminist art collective in the Twin Cities) and of the Traffic Zone Center for Visual Art in Minneapolis, Bart has sought deep and evocative expressions of memory through several decades of innovative artistic creation and collaboration. This book, which accompanies the first retrospective exhibition of her work at the Weisman Art Museum in 2020, features poetry and prose contributions by significant writers, artists, and curators who have been influenced by her art. Contributors: Betty Bright; Stephen Brown, Jewish Museum; Robert Cozzolino, Minneapolis Institute of Art; Elizabeth Erickson; Heather Everhart; Nor Hall; Matthea Harvey, Sarah Lawrence College; Joanna Inglot, Macalester College; Lyndel King, Weisman Art Museum; Eric Lorberer, Rain Taxi; Jim Moore, Hamline U; Diane Mullin, Weisman Art Museum; Samantha Rippner; Joan Rothfuss; John Schott; Sun Yung Shin; Susan Stewart, Princeton U.