Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
A photograph of a group of Cuban soldier standing in formation in Havana's Port Avenue. Pictured on the left, there are several old American cars, and on the right is a relic of the old city wall. The are several people looking on from the sidewalk as well as from the balconies of the surrounding buildings.
Cuba -- Caribbean region -- Havana

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
Sheet 84: 14
http://ufdc.ufl.edu/CA01200460/00001

Éditeur(s) : I. Knapp I. Knapp ( Boston )
Résumé : (Additional Physical Form) Note: Filmed from original in the New York Public Library Schomburg Collection.
(Additional Physical Form) Additional version in the UNC-CH digitization project's database, Documenting the American South. It is a part of the collection North American slave narratives: http://docsouth.unc.edu/neh/stedman/menu.html
(Additional Physical Form) Early Caribbean Literature and History. Alternate title/citation from scholar 1824 Anonymous. Joanna, or The Female Slave, a West Indian Slave. (From Stedman’s Narrative of an Expedition Against the Revolted Negroes of Surinam 1796) Published for L. Relfe, S & R Bentley. London, 1824.
Suriname

Droits : See Hathi Trust statement.
53405037
http://ufdc.ufl.edu/AA00014501/00001

Résumé : Written on front label: "Alameda de Mitchelson, donde acamparon las tropas Americanas antes de entrar en la Ciudad de Santiago de Cuba en 1898". Stamp on verso: "Fotografía Alonso, Sto. Tomás bj. 1., Santiago de Cuba."
1900-1920
CHC5017
Santiago de Cuba (Cuba)

Droits : http://merrick.library.miami.edu/digitalprojects/copyright.html
chc50170005250001001
1418

Résumé : This label was created on October 20th 1900. Around the turn of the 20th century, cigars were advertised and sold mainly by the colourful, intricate labels that adorned the boxes. Intense competition encouraged manufacturers to see who could create the most beautiful, eye-catching labels. A diffrent stone was required to print each colour. It was not unusual for as many as 20 stones to be used to create a single label. The register for each printing had to be perfect. The process became known as STONE LITHOGRAPHY or CHROMOLITHOGRAPHY. Once this exacting printing process was completed, the labels were then gilded with hand-applied gold leaf. Finally, the labels were embossed using huge 30-ton presses. According to Joe Davidson, the eminent American art dealer and collector, the "Golden Era" of cigar labels is associated with the introduction of gilding and embossing in the 1890's up to the late 1920's when the less attractive full-colour or photo-mechanical labels began to appear. Genuine gold leaf was used primarily by German and Cuban printers and "bronzing" in which bronze powder was mixed with lacquer or sizing, applied like ink, then burnished with brushes or polished rollers to make them gleam like gold. These particular labels were produced by the German factory, Gerhard Meinesz in Bentheim, near the Dutch border, and closed in 1932. The labels were used during the 1920's. These spectacular lithographs lithographs wound up lying unused and undiscovered for generations. Because they were printed on special long-fibre, acid-free rage paper, these old labels retained their original brilliant colours. Consequently, they are available in very limited quantities.
(Funding) Funded in part by the Institute for Museum and Library Services (IMLS), Ephemeral Cities Project.
Tampa |z 1271000 |2 ceeus
Hillsborough County |z 12057 |2 ceeus
United States of America -- Florida -- Hillsborough County -- Tampa

Droits : All rights reserved. 2005.
C24-05393

Éditeur(s) : Academic Affairs Library, University of North Carolina at Chapel Hill Academic Affairs Library, University of North Carolina at Chapel Hill ( [Chapel Hill, N.C.] )
Résumé : (Statement of Responsibility) interspers'd throughout with several historical remarks on the commerce of the European Nations, whose subjects frequent the Coast of Guinea. To which is prefixed a letter from the Author to a Person of Distinction, in reference to some natural curiosities in Africa, as well as explaining the motives which induced him to compose these memoirs.
(Original Version) Transcribed from: London : Printed for W. Reeve, [1750?] 55 p. The Royal African, or, Memoirs of the Young Prince of Annamaboe : comprehending a distinct account of his country and family : his elder brother's voyage to France, and reception there : the manner in which himself was confided by his father to the Captain who sold him : his condition while a slave in Barbadoes : the true cause of his being redeemed : his voyage from thence : and reception here in England / interspers'd throughout with several historical remarks on the commerce of the European Nations, whose subjects frequent the Coast of Guinea. To which is prefixed a letter from the Author to a Person of Distinction, in reference to some natural curiosities in Africa, as well as explaining the motives which induced him to compose these memoirs. 2nd ed.
(Funding) Funding from the University Library, University of North Carolina at Chapel Hill supported the electronic publication of this title.
(System Details) Mode of access: Internet World Wide Web.
Title from electronic title page (viewed June 14, 2004).
This electronic edition is part of the UNC-CH digitization project's database, Documenting the American South. It is a part of the collection North American slave narratives.
Text transcribed by Apex Data Services, Inc. Images scanned by Elizabeth S. Wright. Text encoded by Apex Data Services, Inc. and Elizabeth S. Wright.
Item in DocSouth.
Early Caribbean Digital Archive.
Africa
Africa, West
Great Britain
Africa, West

57188847
ocm57188847
http://ufdc.ufl.edu/AA00015399/00001

Résumé : At the outbreak of war with Spain in 1898, the U.S. Army was very small in numbers. This situation necessitated an immediate call for volunteers. President McKinley's appeal was overwhelmingly answered by a generation that had grown up in the shadow of their elders' Civil War glory. One group answering the call was the First Regiment of the U.S. Cavalry Volunteers, headed by Colonel Leonard Wood, a distinguished army doctor and Medal of Honor recipient. The regiment was actually the brainchild of Theodore Roosevelt, assistant secretary of the navy and Wood's friend. Roosevelt, realizing his own lack of military experience, suggested Wood for the command. The Rough Riders, as the regiment was soon known, comprised 1,250 men, including cowboys, Native Americans and eastern college athletes. Despite their dissimilarities, they were in excellent physical condition'a stark contrast to most of the other volunteer contingents. The Rough Riders departed from Tampa in mid-June without their horses. They landed at Daiquiri on June 22 and two days later served with distinction in a battle at Las Guásimas. Immediately prior to the conflict at San Juan, Colonel Wood was promoted to another field command, enabling Roosevelt as a full colonel to take command of the Rough Riders. On July 1, Roosevelt, having secured a horse, led his forces in a charge up Kettle Hill outside of Santiago. They achieved their goal and later in the day participated in the victory at San Juan Hill. By seizing these heights, American guns commanded the harbor at Santiago. The Spanish position was imperiled and an abortive attempt by the Spanish navy to escape from the harbor was halted with devastating results. Spanish land forces surrendered shortly thereafter. Roosevelt urged the Rough Riders' swift evacuation, fearing the continuing spread of disease. They returned to Montauk, Long Island, where they were held in quarantine before being mustered out in September. More than one-third of the Rough Riders were casualties in the Spanish-American War, a fact that has led some observers to criticize Roosevelt for unnecessary risk-taking. Nevertheless, the Rough Riders became heroes to the American public and Roosevelt emerged as a major national figure.
(Funding) Funded in part by the Institute for Museum and Library Services (IMLS), Ephemeral Cities Project.
Tampa |z 1271000 |2 ceeus
Hillsborough County |z 12057 |2 ceeus
United States of America -- Florida -- Hillsborough County -- Tampa
United States

Droits : All rights reserved. 2005.
D20-012

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
The monument pictured honors the U.S. soldiers fallen in the war against Spain in 1898 at San Juan Hill on the outskirts of Santiago. San Juan Hill was the site of the battle that decided the Spanish-American War.
Cuba -- Caribbean region -- Santiago de Cuba,San Juan Hill

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
Sheet 26: 11
http://ufdc.ufl.edu/CA01200410/00001

Résumé : The Steamship (S.S.) Regina, originally built in 1939, was christened S.S. Panama for Panama Line, formerly Panama Railroad Steamship Line. In 1941, the United States Army Transport Service converted her to a troop carrier and renamed her James Parker. By 1957, she was sold to American President Lines, formerly Dollar Steamship Lines. She was renamed President Hoover to replace another of American’s steamships with the same name. In 1964, she was acquired by Chandris Cruises and renamed Regina. She was scrapped in 1985 as S.S. Regina Prima. This image shows S.S. Regina anchored off the coast of Antigua. Her blue funnel has the Greek Chi symbol which has been used to honor of the founder’s Greek heritage.
The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
Antigua and Barbuda -- Caribbean region -- Antigua

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@ucf.edu
CFM1972_01a
Sheet 1:1
http://ufdc.ufl.edu/AA00025491/00001

Résumé : Label 7439 / 4 plates
Around the turn of the 20th century, cigars were advertised and sold mainly by the colourful, intricate labels that adorned the boxes. Intense competition encouraged manufacturers to see who could create the most beautiful, eye-catching labels. A diffrent stone was required to print each colour. It was not unusual for as many as 20 stones to be used to create a single label. The register for each printing had to be perfect. The process became known as STONE LITHOGRAPHY or CHROMOLITHOGRAPHY. Once this exacting printing process was completed, the labels were then gilded with hand-applied gold leaf. Finally, the labels were embossed using huge 30-ton presses. According to Joe Davidson, the eminent American art dealer and collector, the "Golden Era" of cigar labels is associated with the introduction of gilding and embossing in the 1890's up to the late 1920's when the less attractive full-colour or photo-mechanical labels began to appear. Genuine gold leaf was used primarily by German and Cuban printers and "bronzing" in which bronze powder was mixed with lacquer or sizing, applied like ink, then burnished with brushes or polished rollers to make them gleam like gold. These particular labels were produced by the German factory, Gerhard Meinesz in Bentheim, near the Dutch border, and closed in 1932. The labels were used during the 1920's. These spectacular lithographs lithographs wound up lying unused and undiscovered for generations. Because they were printed on special long-fibre, acid-free rage paper, these old labels retained their original brilliant colours. Consequently, they are available in very limited quantities.
(Funding) Funded in part by the Institute for Museum and Library Services (IMLS), Ephemeral Cities Project.
Tampa |z 1271000 |2 ceeus
Hillsborough County |z 12057 |2 ceeus
United States of America -- Florida -- Hillsborough County -- Tampa

Droits : All rights reserved. 2005.
C24-05394

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
View of Steamship (S.S.) Regina, a crowd of people, and automobiles on the pier in front of the Grenada Port Authority in Saint George’s, Saint George, Grenada. S.S. Regina, originally built in 1939, is docked at the port. S.S. Regina was christened S.S. Panama for Panama Line, formerly Panama Railroad Steamship Line. In 1941, the United States Army Transport Service converted her to a troop carrier and renamed her James Parker. By 1957, she was sold to American President Lines, formerly Dollar Steamship Lines. She was renamed President Hoover to replace another of American’s steamships by the same name. In 1964, she was acquired by Chandris Cruises and renamed Regina. She was scrapped in 1985 as S.S. Regina Prima. Passengers wait in automobiles, such as the Ford Zodiac, as the traffic is surrounded by pedestrians. A Royal Grenada Police Force officer, dressed in a white helmet and light blue shirt, is standing near one of the port facilities. In distance is a view of buildings in Saint George’s including the Cathedral of the Immaculate Conception which dates back to 1818. This Roman Catholic church also features Gothic arched windows and tower. Slide labeled Gren. 6
Grenada -- Caribbean region -- Saint George's, Saint George

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
Sheet 43:6
http://ufdc.ufl.edu/AA00029602/00001

Éditeur(s) : A. Ming, Jr. A. Ming, Jr. ( New York )
Résumé : (Statement of Responsibility) ornamented with plates.
This text is an abridged version of J.H. Campe's adaptation of Robinson Crusoe, except Crusoe is a native of New York. It was first published in 1810 by Thomas Powers under the title: The New Robinson Crusoe. Cf. Brigham, C.S. Bibliography of the American editions of Robinson Crusoe to 1830
Cover date: 1830.
Remainder of imprint on t.p. and cover: And sold at his book store, 280 1-2 Grand-street.
Publisher's advertisement p. <4> of cover.
Not in Brigham, NUC pre-1956, or Shoemaker.
Electronic reproduction. Gainesville, Fla. : University of Florida, George A. Smathers Libraries, 2007. (University of Florida Digital Collections) (Children's Literature) Mode of access: World Wide Web. System requirements: Internet connectivity; Web browser software. This item is presumed to be in the public domain. The University of Florida George A. Smathers Libraries respect the intellectual property rights of others and do not claim any copyright interest in this item. Users of this work have responsibility for determining copyright status prior to reusing, publishing or reproducing this item for purposes other than what is allowed by fair use or other copyright exemptions. Any reuse of this item in excess of fair use or other copyright exemptions may require permission of the copyright holder. The Smathers Libraries would like to learn more about this item and invite individuals or organizations to contact The Department of Special and Area Studies Collections (special@uflib.ufl.edu) with any additional information they can provide. University of Florida.
United States -- New York -- New York

Droits : This item is presumed to be in the public domain. The University of Florida George A. Smathers Libraries respect the intellectual property rights of others and do not claim any copyright interest in this item. Users of this work have responsibility for determining copyright status prior to reusing, publishing or reproducing this item for purposes other than what is allowed by fair use or other copyright exemptions. Any reuse of this item in excess of fair use or other copyright exemptions may require permission of the copyright holder. The Smathers Libraries would like to learn more about this item and invite individuals or organizations to contact The Department of Special and Area Studies Collections (special@uflib.ufl.edu) with any additional information they can provide.
27081393

Éditeur(s) : Dana Estes & Company Dana Estes & Company ( Boston )
Résumé : (Statement of Responsibility) by James Otis ; illustrated by J. Steeple Davis, Frank T. Merrill, and with reproductions of photographs.
United States -- Massachusetts -- Boston
Cuba
United States

Droits : This item is presumed to be in the public domain. The University of Florida George A. Smathers Libraries respect the intellectual property rights of others and do not claim any copyright interest in this item. Users of this work have responsibility for determining copyright status prior to reusing, publishing or reproducing this item for purposes other than what is allowed by fair use or other copyright exemptions. Any reuse of this item in excess of fair use or other copyright exemptions may require permission of the copyright holder. The Smathers Libraries would like to learn more about this item and invite individuals or organizations to contact The Department of Special and Area Studies Collections (special@uflib.ufl.edu) with any additional information they can provide.
002394790
ALZ9697
228695034
98002087

Éditeur(s) : Université des Antilles Études caribéennes
Résumé : La Patagonie a longtemps été considérée comme une Terra Australis res Nillius : les terres du sud sans maître. Depuis la Conquista espagnole cet espace a été l’objet de nombreuses utopies, collectives, celles des découvreurs, des militaires et des missionnaires, et individuelles, celles des marchands et des aventuriers et sportifs, avides de richesses et de gloires. Vers la fin des années 1980, une nouvelle idéalisation de la nature, le wilderness, fait de la Patagonie un « must » à découvrir puis à sauvegarder, face à la pression des usages industriels, agricoles, miniers, forestiers, hydroélectriques, et halieutiques. L’utopie éco-philanthropique du milliardaire étasunien Douglas Tompkins puise ses origines dans une expédition au Fitzroy en 1968, mais s’inscrit dans une tradition nord-américaine du xixe siècle. Convaincu de l’impérieuse nécessité de sauvegarder la biodiversité sud-américaine, il propose une Nouvelle Économie, basée sur les principes de la Deep Ecology. Il achète des terres pour « la valeur de la beauté et de l’harmonie » et façonne ses parcs pour « le bien de l’humanité » (Tompkins, 2012).Par une approche biogéographique, cet article montre comment un parcours individuel a instauré un nouvel imaginaire, culturel et touristique. Une œuvre dessine une nouvelle géographie, esthétique, utopique et individualiste qui fait débat, au-delà des enjeux territoriaux et politiques liés à la conservation et à la création de parcs privés. Écrits, films et affiches en faveur de l’écologie et contre l’industrialisation et la technologie changent le regard des acteurs sur ces terres de confins. Les activistes verts et acteurs écotouristiques louent son apport aux luttes socio-environnementales. Le monde rural, les entrepreneurs et les défenseurs de l’esprit des pionniers, défricheurs de terres vierges, critiquent son opposition au développement et son manque de respect pour leur mode de vie. Mais ils vendent leurs terres aux riches occidentaux et chiliens, qui veulent posséder leurs propres parcs du bout du monde et espèrent que le tourisme leur assurera leur futur.
Patagonia has long been considered a Terra Australis res Nillius: the lands of the south with no master. Since the Spanish Conquista this space has been the object of many collective utopias, those of discoverers, soldiers and missionaries, and individual ones, those of merchants and adventurers and sportsmen, eager for wealth and glory. Towards the end of the 1980’s a new idealization of nature, the wilderness, changed Patagonia into a “must” to discover and then to safeguard against the pressure of industrial, agricultural, mining, forestry, hydroelectric, and fisheries exploitation. The eco-philanthropic utopia of the American millionaire Douglas Tompkins finds draws its origins from an expedition to Mount Fitzroy in 1968 but is part of a North American tradition of the nineteenth century. Convinced of the imperious need to safeguard South American biodiversity, he proposes the “Next Economy”, based on the Deep Ecology ideals. He buys land for “the value of beauty and harmony” and shapes his parks for “the good of humanity” (Tompkins, 2012).Through a biogeographic approach, this article shows how an individual project has created a new imaginary, both cultural and touristic. The work of an artist defines a new geography, aesthetic, utopian and individualistic, that questions us, beyond the territorial and political issues associated with the conservation and creation of private parks. Books, films and graphic works in favor of ecology and against industrialization and technology, change views actors have on these remote lands. Eco activists and ecotourism actors praise his contribution to tackle socio-environmental issues. The rural world, entrepreneurs and defenders of the spirit of the pioneers, clearers of virgin lands, criticize his opposition to development and lack of respect for their way of life. Nevertheless they sell their land to rich westerners and Chileans who want to posses their own private parks at world’s end while hopping that tourism will ensure their future.
La Patagonia ha sido considerada por mucho tiempo como una Terra Australis res Nillius : las tierras austral de nadie. Desde la Conquista española este espacio ha sido objeto de numerosas utopías, colectivas e individuales, las de los descubridores, de los militares, misioneros, mercantes, aventureros y deportistas, en búsqueda de riquezas y glorias. Hacia el final de los años 80, una nueva idealización de la naturaleza, el wilderness, transforma la Patagonia en un lugar para conocer y preservar de las codicias industriales, agrícolas, mineras, forestales, hidroeléctricas o pesqueras. La utopía eco-filantrópica del millonario norte americano Douglas Tompkins nace en una expedición al Cerro Fitzroy en 1968, pero se enmarca en una tradición de los Estados Unidos del siglo xix. Convencido de la necesidad de salvaguardar la biodiversidad sur americana, el propone una Nueva Economia, basada en los principios de la Ecología Profunda. Compra tierras por el valor de su belleza y harmonía y planea sus parques por el bien de la humanidad.A través de una metodología llamada biogeográfica, esta comunicación muestra como un proceso personal ha instalado un nuevo imaginario cultural y turístico. Una obra moldea una nueva geografía, estética, utópica y personal, que genera debates, mas allá de los desafíos territoriales y políticos que conllevan la conservación y creación de parques privados. Escritos, películas y afiches a favor de la ecología y en contra de la industrialización y la tecnologización de la sociedad, cambian la mirada de los actores locales de estas zonas australes. Los activistas verdes y los emprendedores eco-turísticos alaban su contribución en las luchas socio-ambientales. El mundo rural, empresarios y defensores del espíritu de los colonos, critican sur oposición al desarrollo y su falta de afinidad con sus modos de vida. Pero ellos venden sus tierras a los ricos norte americanos, europeos y chilenos, deseosos de poseer sus propios parques del fin del mundo, esperando, sin embargo, que el turismo les asegure su futuro.
Patagonie

Droits : info:eu-repo/semantics/openAccess
urn:doi:10.4000/etudescaribeennes.11150
http://journals.openedition.org/etudescaribeennes/11150

Éditeur(s) : HAL CCSD
Résumé : Journée d'études du 27/04/17 « Révolution, dictature, résistance dans le monde américano-caraïbe »
Située au nord de Trinidad et Tobago, l'île de la Grenade fait partie de ces nations caribéennesaujourd'hui indépendantes dont l'histoire révolutionnaire a été singulièrement marquée par lacolonisation, l'esclavage, et plus récemment, par l'interventionnisme américain, au même titre quel'emblématique Cuba. En fait, les deux révolutions sont idéologiquement et historiquement liées, maisconnaîtront des heurs divers. Certes, il est vrai qu'à l'instar de Cuba, la Grenade – en espagnol, laGranada – possède un passé colonial indélébile, qui a lourdement impacté sur la conscience politique etesthétique de son peuple, mais l'histoire retiendra surtout de la Grenade le souvenir d'une révolutionavortée. A plus d'un titre, l'intériorisation de ce trauma, et la résilience qui en découle, représentent descomposantes essentielles du legs historique participant à la formation de l'identité culturelle caribéenne.De fait, celle-ci s'est exprimée au cours des quatre dernières décennies, sous des modes divers, par lebiais des arts et de la littérature, suivant une logique d'extériorisation et d'esthétisation de la blèsoriginelle. Comment donc passer sous silence – autrement dit, censurer, – la violence, et la gravité del'épisode d'occupation militaire américaine, qui se solda en 1983 par l'assassinat du premier ministregrenadien Maurice Bishop, au profit d'enjeux géopolitiques dits « supérieurs » ? Chassez le refoulé, ilreviendra toujours au galop. Telle est la leçon retenue par les artistes-historiens grenadiens qui se sontpenchés sur la question, et dont nous tâcherons d'élucider la portée du travail, aussi bien sur planplastique, esthétique que politique.
https://hal.archives-ouvertes.fr/hal-01664579

Droits : http://creativecommons.org/licenses/by/
hal-01664579
https://hal.archives-ouvertes.fr/hal-01664579
https://hal.archives-ouvertes.fr/hal-01664579/document
https://hal.archives-ouvertes.fr/hal-01664579/file/D%C3%A9-peindre%20la%20r%C3%A9volution%20grenadienne_traumas%2C%20censures%2C%20lib%C3%A9rations_F.%20LEFRANCOIS.pdf