Gill Hunter (36 results)

Condition: Good. [ No Hassle 30 Day Returns ][ Ships Daily ] [ Underlining/Highlighting: NONE ] [ Writing: NONE ] [ Edition: Reprint ] Publisher: Hunter Pub Inc Pub Date: 3/1/1995 Binding: Paperback Pages: 223 Reprint edition.

Condition: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Hardcover. Condition: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

hardcover. Condition: Good. HARDCOVER Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Standard-sized.

hardcover. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

hardcover. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

Soft cover. Condition: Fine. 1st Edition. ISSN # 0440-2316. From the collection of Robert Hershon.

Condition: Good. Good condition. A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains.

Soft cover. Condition: Near Fine. 1st Edition. Miles Davis photograph by Nancy Miller Elliot on the cover. ISSN # 0440-2316. From the collection of Robert Hershon.

Soft cover. Condition: Fine. 1st Edition. ISSN # 0440-2316. From the collection of Robert Hershon.

Condition: New. Brand New! Not Overstocks or Low Quality Book Club Editions! Direct From the Publisher! We're not a giant, faceless warehouse organization! We're a small town bookstore that loves books and loves it's customers! Buy from Lakeside Books!

Condition: New.

Hardback. Condition: New. In Tearing Down the Lost Cause: The Removal of New Orleans's Confederate Statues James Gill and Howard Hunter examine New Orleans's complicated relationship with the history of the Confederacy pre- and post-Civil War. The authors open and close their manuscript with the dramatic removal of the city's Confederate statues.On the eve of the Civil War, New Orleans was far more cosmopolitan than Southern, with its sizable population of immigrants, Northern-born businessmen, and white and Black Creoles. Ambivalent about secession and war, the city bore divided loyalties between the Confederacy and the Union. However, by 1880 New Orleans rivaled Richmond as a bastion of the Lost Cause. After Appomattox, a significant number of Confederate veterans moved into the city giving elites the backing to form a Confederate civic culture.While it's fair to say that the three Confederate monuments and the white supremacist Liberty Monument all came out of this dangerous nostalgia, the authors argue that each monument embodies its own story and mirrors the city and the times. The Lee monument expressed the bereavement of veterans and a desire to reconcile with the North, though strictly on their own terms. The Davis monument articulated the will of the Ladies Confederate Memorial Association to solidify the Lost Cause and Southern patriotism. The Beauregard Monument honored a local hero, but also symbolized the waning of French New Orleans and rising Americanization. The Liberty Monument, throughout its history, represented white supremacy and the cruel hypocrisy of celebrating a past that never existed.While the book is a narrative of the rise and fall of the four monuments, it is also about a city engaging history. Gill and Hunter contextualize these statues rather than polarize, interviewing people who are on both sides including citizens, academics, public intellectuals, and former mayor Mitch Landrieu. Using the statues as a lens, the authors construct a compelling narrative that provides a larger cultural history of the city.

Hardback. Condition: New. In Tearing Down the Lost Cause: The Removal of New Orleans's Confederate Statues James Gill and Howard Hunter examine New Orleans's complicated relationship with the history of the Confederacy pre- and post-Civil War. The authors open and close their manuscript with the dramatic removal of the city's Confederate statues.On the eve of the Civil War, New Orleans was far more cosmopolitan than Southern, with its sizable population of immigrants, Northern-born businessmen, and white and Black Creoles. Ambivalent about secession and war, the city bore divided loyalties between the Confederacy and the Union. However, by 1880 New Orleans rivaled Richmond as a bastion of the Lost Cause. After Appomattox, a significant number of Confederate veterans moved into the city giving elites the backing to form a Confederate civic culture.While it's fair to say that the three Confederate monuments and the white supremacist Liberty Monument all came out of this dangerous nostalgia, the authors argue that each monument embodies its own story and mirrors the city and the times. The Lee monument expressed the bereavement of veterans and a desire to reconcile with the North, though strictly on their own terms. The Davis monument articulated the will of the Ladies Confederate Memorial Association to solidify the Lost Cause and Southern patriotism. The Beauregard Monument honored a local hero, but also symbolized the waning of French New Orleans and rising Americanization. The Liberty Monument, throughout its history, represented white supremacy and the cruel hypocrisy of celebrating a past that never existed.While the book is a narrative of the rise and fall of the four monuments, it is also about a city engaging history. Gill and Hunter contextualize these statues rather than polarize, interviewing people who are on both sides including citizens, academics, public intellectuals, and former mayor Mitch Landrieu. Using the statues as a lens, the authors construct a compelling narrative that provides a larger cultural history of the city.

Condition: New.

Condition: New.

Hardcover. Condition: Brand New. 176 pages. 9.00x6.00x1.10 inches. In Stock.

Condition: New.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition. NF/NF. First edition, first printing. Signed and dated by both authors on title page. 225 pp. Signed by Author(s).

Hardcover. Condition: New.

Condition: New. In.

8vo.,pp. ii,58, paperback, b/w and colour figures; lightly rubbed to extremities, a very good copy.

paperback. Condition: Very Good. Secondhand. Clean pages. Very good book.

Hardback. Condition: New. In Tearing Down the Lost Cause: The Removal of New Orleans's Confederate Statues James Gill and Howard Hunter examine New Orleans's complicated relationship with the history of the Confederacy pre- and post-Civil War. The authors open and close their manuscript with the dramatic removal of the city's Confederate statues.On the eve of the Civil War, New Orleans was far more cosmopolitan than Southern, with its sizable population of immigrants, Northern-born businessmen, and white and Black Creoles. Ambivalent about secession and war, the city bore divided loyalties between the Confederacy and the Union. However, by 1880 New Orleans rivaled Richmond as a bastion of the Lost Cause. After Appomattox, a significant number of Confederate veterans moved into the city giving elites the backing to form a Confederate civic culture.While it's fair to say that the three Confederate monuments and the white supremacist Liberty Monument all came out of this dangerous nostalgia, the authors argue that each monument embodies its own story and mirrors the city and the times. The Lee monument expressed the bereavement of veterans and a desire to reconcile with the North, though strictly on their own terms. The Davis monument articulated the will of the Ladies Confederate Memorial Association to solidify the Lost Cause and Southern patriotism. The Beauregard Monument honored a local hero, but also symbolized the waning of French New Orleans and rising Americanization. The Liberty Monument, throughout its history, represented white supremacy and the cruel hypocrisy of celebrating a past that never existed.While the book is a narrative of the rise and fall of the four monuments, it is also about a city engaging history. Gill and Hunter contextualize these statues rather than polarize, interviewing people who are on both sides including citizens, academics, public intellectuals, and former mayor Mitch Landrieu. Using the statues as a lens, the authors construct a compelling narrative that provides a larger cultural history of the city.

Hardcover. Condition: Very Good. 338 pages. William White (1825-1900) was one of the leading architects in Victorian Engl and. His originality, sensitivity and vibrant use of colour put him at the foref ront of the Gothic Revival from the late 1840s. Referred to in his time as 'inve.

Hardcover. Condition: Fine. Dust Jacket Included. 338 pages, portrait frontispiece and many colour and b/w illustrations, 10.4"x 8", hardback, a FINE copy in a fine dust-jacket [9781904965268].

Condition: New. Examines New Orleans s complicated relationship with the history of the Confederacy pre- and post-Civil War. The book opens and closes with the dramatic removal of the city s Confederate statues. While the book is a narrative of the rise and fall of the fou.

Soft cover. Condition: Near Fine. 8vo, pp, ii, 58, well illustrated of which some are in colour, pictorial art card covers.

Hardback. Condition: New. In Tearing Down the Lost Cause: The Removal of New Orleans's Confederate Statues James Gill and Howard Hunter examine New Orleans's complicated relationship with the history of the Confederacy pre- and post-Civil War. The authors open and close their manuscript with the dramatic removal of the city's Confederate statues.On the eve of the Civil War, New Orleans was far more cosmopolitan than Southern, with its sizable population of immigrants, Northern-born businessmen, and white and Black Creoles. Ambivalent about secession and war, the city bore divided loyalties between the Confederacy and the Union. However, by 1880 New Orleans rivaled Richmond as a bastion of the Lost Cause. After Appomattox, a significant number of Confederate veterans moved into the city giving elites the backing to form a Confederate civic culture.While it's fair to say that the three Confederate monuments and the white supremacist Liberty Monument all came out of this dangerous nostalgia, the authors argue that each monument embodies its own story and mirrors the city and the times. The Lee monument expressed the bereavement of veterans and a desire to reconcile with the North, though strictly on their own terms. The Davis monument articulated the will of the Ladies Confederate Memorial Association to solidify the Lost Cause and Southern patriotism. The Beauregard Monument honored a local hero, but also symbolized the waning of French New Orleans and rising Americanization. The Liberty Monument, throughout its history, represented white supremacy and the cruel hypocrisy of celebrating a past that never existed.While the book is a narrative of the rise and fall of the four monuments, it is also about a city engaging history. Gill and Hunter contextualize these statues rather than polarize, interviewing people who are on both sides including citizens, academics, public intellectuals, and former mayor Mitch Landrieu. Using the statues as a lens, the authors construct a compelling narrative that provides a larger cultural history of the city.

Paperback. Condition: new. Paperback. This book is about performing a single mentalism effect.with a Christian theme.in a public performance. This contrasts with Gospel Magic in at least three ways.First, a Gospel Magic performance may feature religious themes in all of the effects.Second, Gospel Magicians typically engage church or para-church1 audiences, but many Christian performers typically engage audiences in the wider public community.Third, public Christian mentalism contrasts with some of gospel magic in another way. A public effect is not designed around a plan of salvation, or to "sell" people on the faith. A public performance, as I define it, presents some theme or idea within Christianity's "worldview." The audience learns something about how Christianity views reality. This item is printed on demand. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.