Domestic Explosives And Other Sixth Column Fancies
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Author | : William Livingston Alden |
Publisher | : BoD – Books on Demand |
Total Pages | : 342 |
Release | : 2024-07-31 |
Genre | : Fiction |
ISBN | : 3385542014 |
Reprint of the original, first published in 1877.
Author | : W. L. (William Livingston) Alden |
Publisher | : Hardpress Publishing |
Total Pages | : 348 |
Release | : 2013-12 |
Genre | : |
ISBN | : 9781314915587 |
Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.
Author | : W. L. Alden |
Publisher | : Forgotten Books |
Total Pages | : 356 |
Release | : 2015-06-26 |
Genre | : Self-Help |
ISBN | : 9781330406960 |
Excerpt from Domestic Explosives: And Other Sixth Column Fancies, From the New York Times The articles collected in this volume originally appeared in the New York Times. A few slight changes have been made in them. Such expressions as 'yesterday," "at a late hour last night," and "early this morning" are of course the very life of Journalism, but are perhaps too gaudy and brilliant to be used in a modest and earnest volume. It is proper to mention that this collection has been made at the request of a wide circle of subtle and malignant enemies. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Author | : |
Publisher | : |
Total Pages | : 1030 |
Release | : 1888 |
Genre | : American literature |
ISBN | : |
Author | : Patrick Kevin Foley |
Publisher | : Boston : Printed for subscribers |
Total Pages | : 378 |
Release | : 1897 |
Genre | : American literature |
ISBN | : |
Author | : Harlem Library, New York |
Publisher | : |
Total Pages | : 976 |
Release | : 1893 |
Genre | : Libraries |
ISBN | : |
Author | : |
Publisher | : |
Total Pages | : 882 |
Release | : 1877 |
Genre | : |
ISBN | : |
Author | : Fall River Public Library |
Publisher | : |
Total Pages | : 964 |
Release | : 1882 |
Genre | : Catalogs, Dictionary |
ISBN | : |
Author | : Hannah Carlson |
Publisher | : Algonquin Books |
Total Pages | : 367 |
Release | : 2023-09-12 |
Genre | : History |
ISBN | : 164375548X |
“Who knew the humble pocket could hold so much history? In this enthralling and always surprising account, Hannah Carlson turns the pocket inside out and out tumble pocket watches, coins, pistols, and a riveting centuries-long social and political history.” ―Jill Lepore, author of These Truths: A History of the United States Pockets "showcases the best features of cultural history: a lively combination of visual, literary and documentary evidence. As sumptuously illustrated as it is learned … this highly inventive and original book demands a pocket sequel.” ―Jane Kamensky, Wall Street Journal Who gets pockets, and why? It’s a subject that stirs up plenty of passion: Why do men’s clothes have so many pockets and women’s so few? And why are the pockets on women’s clothes often too small to fit phones, if they even open at all? In her captivating book, Hannah Carlson, a lecturer in dress history at the Rhode Island School of Design, reveals the issues of gender politics, security, sexuality, power, and privilege tucked inside our pockets. Throughout the medieval era in Europe, the purse was an almost universal dress feature. But when tailors stitched the first pockets into men’s trousers five hundred years ago, it ignited controversy and introduced a range of social issues that we continue to wrestle with today, from concealed pistols to gender inequality. See: #GiveMePocketsOrGiveMeDeath. Filled with incredible images, this microhistory of the humble pocket uncovers what pockets tell us about ourselves: How is it that putting your hands in your pockets can be seen as a sign of laziness, arrogance, confidence, or perversion? Walt Whitman’s author photograph, hand in pocket, for Leaves of Grass seemed like an affront to middle-class respectability. When W.E.B. Du Bois posed for a portrait, his pocketed hands signaled defiant coolness. And what else might be hiding in the history of our pockets? (There’s a reason that the contents of Abraham Lincoln’s pockets are the most popular exhibit at the Library of Congress.) Thinking about the future, Carlson asks whether we will still want pockets when our clothes contain “smart” textiles that incorporate our IDs and credit cards. Pockets is for the legions of people obsessed with pockets and their absence, and for anyone interested in how our clothes influence the way we navigate the world.
Author | : Meredith A. Bak |
Publisher | : MIT Press |
Total Pages | : 297 |
Release | : 2020-03-17 |
Genre | : Education |
ISBN | : 0262538717 |
The kaleidoscope, the stereoscope, and other nineteenth-century optical toys analyzed as “new media” of their era, provoking anxieties similar to our own about children and screens. In the nineteenth century, the kaleidoscope, the thaumatrope, the zoetrope, the stereoscope, and other optical toys were standard accessories of a middle-class childhood, used both at home and at school. In Playful Visions, Meredith Bak argues that the optical toys of the nineteenth century were the “new media” of their era, teaching children to be discerning consumers of media—and also provoking anxieties similar to contemporary worries about children's screen time. Bak shows that optical toys—which produced visual effects ranging from a moving image to the illusion of depth—established and reinforced a new understanding of vision as an interpretive process. At the same time, the expansion of the middle class as well as education and labor reforms contributed to a new notion of childhood as a time of innocence and play. Modern media culture and the emergence of modern Western childhood are thus deeply interconnected. Drawing on extensive archival research, Bak discusses, among other things, the circulation of optical toys, and the wide visibility gained by their appearance as printed templates and textual descriptions in periodicals; expanding conceptions of literacy, which came to include visual acuity; and how optical play allowed children to exercise a sense of visual mastery. She examines optical toys alongside related visual technologies including chromolithography—which inspired both chromatic delight and chromophobia. Finally, considering the contemporary use of optical toys in advertising, education, and art, Bak analyzes the endurance of nineteenth-century visual paradigms.