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Vintage-looking, dream-like textures can open up a whole new world
in your photography. However, there is much, much more to working
with textures than simply merging them with an image via Photoshop.
In this gorgeous new guide from texture guru Sarah Gardner, you'll
learn everything there is to know about how to maximize the
potential of these exciting tools. In addition to hundreds of
beautiful example images, this book is also packed with practical
advice on what makes a good texture, and how and when to use them.
How an image is initially captured and processed has a significant
impact on the effect a texture will have, so you'll also learn what
to consider when composing and shooting (rather than simply relying
on post-processing) and how to use lighting and background
considerations effectively for later work with textures. Workshop
notes and a supplemental website will help you put Sarah's
techniques into practice immediately. Beautiful enough to sit on
your coffee table yet practical enough to store near your computer,
this book will show you everything you need to know to get that
coveted vintage-feel in your images, whether you're a casual family
snapper or a seasoned professional.
Vintage-looking, dream-like textures can open up a whole new world
in your photography. However, there is much, much more to working
with textures than simply merging them with an image via Photoshop.
In this gorgeous new guide from texture guru Sarah Gardner, you'll
learn everything there is to know about how to maximize the
potential of these exciting tools. In addition to hundreds of
beautiful example images, this book is also packed with practical
advice on what makes a good texture, and how and when to use them.
How an image is initially captured and processed has a significant
impact on the effect a texture will have, so you'll also learn what
to consider when composing and shooting (rather than simply relying
on post-processing) and how to use lighting and background
considerations effectively for later work with textures. Workshop
notes and a supplemental website will help you put Sarah's
techniques into practice immediately. Beautiful enough to sit on
your coffee table yet practical enough to store near your computer,
this book will show you everything you need to know to get that
coveted vintage-feel in your images, whether you're a casual family
snapper or a seasoned professional.
The American South received increased attention from national
commentators during the interwar era. Beginning in the 1920s, the
proliferation of daily book columns and Sunday book supplements in
newspapers reflected a growing audience of educated readers and its
demand for books and book reviews. This period of intensified
scrutiny coincided with a boom in the publishing industry, which,
in turn, encouraged newspapers to pay greater attention to the
world of books. Reviewing the South shows how northern critics were
as much involved in the Southern Literary Renaissance as Southern
authors and critics. Southern writing, Gardner argues, served as a
litmus to gauge Southern exceptionalism. For critics and their
readers, nothing less than the region's ability to contribute to
the vibrancy and growth of the nation was at stake.
A sweeping historiographical collection, Reinterpreting Southern
Histories updates and expands upon the iconic volumes Writing
Southern History and Interpreting Southern History, both published
by Louisiana State University Press. With nineteen original essays
co-written by some of the most prominent historians working in
southern history today, this volume boldly explores the current
state, methods, innovations, and prospects of the richly diverse
and transforming field of southern history. Two scholars at
different stages of their careers coauthor each essay, working
collaboratively to provide broad knowledge of the most recent
historiography and an expansive vision for historiographical
contexts. This innovative approach provides an intellectual
connection with the earlier volumes while reflecting cutting-edge
scholarship in the field. Underlying each essay is the cultural
turn of the 1980s and 1990s, which introduced the use of language
and cultural symbols and the influence of gender studies,
postcolonial studies, and memory studies. The essays also rely less
on framing the South as a distinct region and more on
contextualizing it within national and global conversations.
Reinterpreting Southern Histories, like the two classic volumes
that preceded it, serves as both a comprehensive analysis of the
current historiography of the South and a reinterpretation of that
history, reaching new conclusions for enduring questions and
establishing the parameters of future debates.
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I've Seen Heaven
Sarah Gardner
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R360
Discovery Miles 3 600
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Ships in 10 - 15 working days
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Civil War Witnesses and Their Books: New Perspectives on Iconic
Works serves as a wide-ranging analysis of texts written by
individuals who experienced the American Civil War. Edited by Gary
W. Gallagher and Stephen Cushman, this volume, like its companion,
Civil War Writing: New Perspectives on Iconic Texts (2019),
features the voices of authors who felt compelled to convey their
stories for a variety of reasons. Some produced works intended
primarily for their peers, while others were concerned with how
future generations would judge their wartime actions. One diarist
penned her entries with no thought that they would later become
available to the public. The essayists explore the work of five men
and three women, including prominent Union and Confederate
generals, the wives of a headline-seeking US cavalry commander and
a Democratic judge from New York City, a member of Robert E. Lee's
staff, a Union artillerist, a matron from Richmond's sprawling
Chimborazo Hospital, and a leading abolitionist US senator. Civil
War Witnesses and Their Books shows how some of those who lived
through the conflict attempted to assess its importance and frame
it for later generations. Their voices have particular resonance
today and underscore how rival memory traditions stir passion and
controversy, providing essential testimony for anyone seeking to
understand the nation's greatest trial and its aftermath.
Visions of Glory brings together twenty-two images and twenty-two
brisk essays, each essay connecting an image to the events that
unfolded during a particular year of the Civil War. The book
focuses on a diverse set of images that include a depiction of
former slaves whipping their erstwhile overseer distributed by an
African American publisher, a census graph published in the New
York Times, and a cutout of a child's hand sent by a southern
mother to her husband at the front. The essays in this collection
reveal how wartime women and men created both written accounts and
a visual register to make sense of this pivotal period. The
collection proceeds chronologically, providing a nuanced history by
highlighting the multiple meanings an assorted group of writers and
readers discerned from the same set of circumstances. In so doing,
this volume assembles contingent and fractured visions of the Civil
War, but its differing perspectives also reveal a set of
overlapping concerns. A number of essays focus in particular on
African American engagements with visual culture. The collection
also emphasizes the role that women played in making,
disseminating, or interpreting wartime images. While every essay
explores the relationship between image and word, several
contributions focus on the ways in which Civil War images
complicate an understanding of canonical writers such as Emerson,
Melville, and Whitman.
This collection of essays emerged from a symposium held at Mercer
University which examined the ways in which W. E. B. DuBois's
theories of race have shaped racial discussion and public policy in
the twentieth-century. The essays also examine the application of
Du Bois's theories to the new millennium, as well as his
contributions to the study of the humanities.
With a fresh interpretation of African American resistance to
kidnapping and pre-Civil War political culture, Blind No More sheds
new light on the coming of the Civil War by focusing on a neglected
truism: the antebellum free states experienced a dramatic
ideological shift that questioned the value of the Union. Jonathan
Daniel Wells explores the cause of disunion as the persistent
determination on the part of enslaved people that they would flee
bondage no matter the risks. By protesting against kidnappings and
fugitive slave renditions, they brought slavery to the doorstep of
the free states, forcing those states to recognize the meaning of
freedom and the meaning of states' rights in the face of a federal
government equally determined to keep standing its divided house.
Through these actions, African Americans helped northerners and
westerners question whether the constitutional compact was still
worth upholding, a reevaluation of the republican experiment that
would ultimately lead not just to Civil War but to the Thirteenth
Amendment, ending slavery. Wells contends that the real story of
American freedom lay not with the Confederate rebels nor even with
the Union army but instead rests with the tens of thousands of
self-emancipated men and women who demonstrated to the Founders,
and to succeeding generations of Americans, the value of liberty.
Civil War Writing is a collection of new essays that focus on the
most significant writing about the American Civil War by
participants who lived through it, whether as civilians or
combatants, southerners or northerners, women or men, blacks or
whites. Collectively, as contributors show, these writings have
sustained their influence over generations and include histories,
memoirs, journals, novels, and one literary falsehood posing as an
autobiographical narrative. Several of the works, such as William
Tecumseh Sherman's memoirs or Mary Chesnut's diary, are familiar to
scholars, but other accounts, including Charlotte Forten's diary
and Loreta Velasquez's memoir, offer new material to even the most
omnivorous Civil War reader. In all cases, a deeper look at these
writings reveals why they continue to resonate with audiences more
than 150 years after the end of the conflict. As supporting
evidence for historical and biographical narratives and as
deliberately designed communications, the writings discussed in
this collection demonstrate considerable value. Whether exploring
the differences among drafts and editions, listening closely to
fluctuations in tone or voice, or tracing responses in private
correspondence or published reviews, the essayists examine how
authors wrote to different audiences and out of different motives,
creating a complex literary record that offers rich potential for
continuing evaluation of the country's greatest national trauma.
Overall, the essays in Civil War Writing underscore how
participants employed various literary forms to record, describe,
and explain aspects and episodes of a conflict that assumed
proportions none of them imagined possible at the outset.
The American South received increased attention from national
commentators during the interwar era. Beginning in the 1920s, the
proliferation of daily book columns and Sunday book supplements in
newspapers reflected a growing audience of educated readers and its
demand for books and book reviews. This period of intensified
scrutiny coincided with a boom in the publishing industry, which,
in turn, encouraged newspapers to pay greater attention to the
world of books. Reviewing the South shows how northern critics were
as much involved in the Southern Literary Renaissance as Southern
authors and critics. Southern writing, Gardner argues, served as a
litmus to gauge Southern exceptionalism. For critics and their
readers, nothing less than the region's ability to contribute to
the vibrancy and growth of the nation was at stake.
A sweeping historiographical collection, Reinterpreting Southern
Histories updates and expands upon the iconic volumes Writing
Southern History and Interpreting Southern History, both published
by Louisiana State University Press. With nineteen original essays
cowritten by some of the most prominent historians working in
southern history today, this volume boldly explores the current
state, methods, innovations, and prospects of the richly diverse
and transforming field of southern history. Two scholars at
different stages of their careers coauthor each essay, working
collaboratively to provide broad knowledge of the most recent
historiography and an expansive vision for historiographical
contexts. This innovative approach provides an intellectual
connection with the earlier volumes while reflecting cutting-edge
scholarship in the field. Underlying each essay is the cultural
turn of the 1980s and 1990s, which introduced the use of language
and cultural symbols and the influence of gender studies,
postcolonial studies, and memory studies. The essays also rely less
on framing the South as a distinct region and more on
contextualizing it within national and global conversations.
Reinterpreting Southern Histories, like the two classic volumes
that preceded it, serves as both a comprehensive analysis of the
current historiography of the South and a reinterpretation of that
history, reaching new conclusions for enduring questions and
establishing the parameters of future debates.
Much of American popular culture depicts the 1930s South either as
home to a population that was intellectually, morally, and
physically stunted, or as a romantic, sentimentalized haven
untouched by the nation's financial troubles. Though these images
stand as polar opposites, each casts the South as an exceptional
region that stood separate from American norms. Reassessing the
1930s South brings together historians, art critics, and literary
scholars to provide a new social and cultural history of the Great
Depression South that moves beyond common stereotypes of the
region. Essays by Steven Knepper, Anthony J. Stanonis, and Bryan A.
Giemza delve into the literary culture of the 1930s South and the
multiple ways authors such as Sterling Brown, Tennessee Williams,
and E. P. O'Donnell represented the region to outsiders. Lisa
Dorrill and Robert W. Haynes explore connections between artists
and the South in essays on New Deal murals and southern dramatists
on Broadway. Rejecting traditional views of southern resistance to
modernization, Douglas E. Thompson and Ted Atkinson survey the
cultural impacts of technological advancement and
industrialization. Emily Senefeld, Scott L. Matthews, Rebecca
Sharpless, and Melissa Walker compare public representations of the
South in the 1930s to the circumstances of everyday life. Finally,
Ella Howard, Nicholas Roland, and Robert Hunt Ferguson examine the
ways southern governments and activists shaped racial perceptions
and realities in Georgia, Texas, and Tennessee. Reassessing the
1930s South provides an interpretation that focuses on the region's
embrace of technological innovation, promotion of
government-sponsored programs of modernization, rejection of the
plantation legend of the late nineteenth century, and
experimentation with unionism and interracialism. Taken
collectively, these essays provide a better understanding of the
region's identity, both real and perceived, as well as how
southerners grappled with modernity during a decade of uncertainty
and economic hardship.
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