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1. |
Record Nr. |
UNINA9910795653603321 |
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Autore |
Chick Sean Michael <1982-> |
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Titolo |
The Battle of Petersburg, June 15-18, 1864 |
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Pubbl/distr/stampa |
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University of Nebraska Press |
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ISBN |
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Descrizione fisica |
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1 online resource (448 p.) |
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Disciplina |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Sommario/riassunto |
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The Battle of Petersburg was the culmination of the Virginia Overland campaign, which pitted the Army of the Potomac, led by Ulysses S. Grant and George Gordon Meade, against Robert E. Lee's Army of Northern Virginia. In spite of having outmaneuvered Lee,after three days of battle in which the Confederates at Petersburg were severely outnumbered, Union forces failed to take the city, and their final, futile attack on the fourth day only added to already staggering casualties. By holding Petersburg against great odds, the Confederacy arguably won its last great strategic victory of the Civil War.In The Battle of Petersburg, June 15-18, 1864, Sean Michael Chick takes an in-depth look at an important battle often overlooked by historians and offers anew perspective on why the Army of the Potomac's leadership, from Grant down to his corps commanders, could not win a battle in which they held colossal advantages. He also discusses the battle's wider context, including politics, memory, and battlefield preservation. Highlights include the role played by African American soldiers on the first day and a detailed retelling of the famed attack of the First Maine Heavy Artillery, which lost more men than any other Civil War regiment in a single battle. In addition, the book has a fresh and nuanced interpretation of the generalships of Grant, Meade, Lee, P. G. T. Beauregard, and William Farrar Smith during this critical battle. |
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2. |
Record Nr. |
UNISA996496563403316 |
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Titolo |
Comics and Agency / / ed. by Jan-Noël Thon, Vanessa Ossa, Lukas R. A. Wilde |
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Pubbl/distr/stampa |
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Berlin ; ; Boston : , : De Gruyter, , [2022] |
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©2023 |
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ISBN |
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Edizione |
[1st ed.] |
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Descrizione fisica |
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1 online resource (VI, 305 p.) |
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Collana |
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Comics Studies : Aesthetics, Histories, and Practices ; ; 1 |
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Disciplina |
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Soggetti |
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LITERARY CRITICISM / European / General |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Nota di contenuto |
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Frontmatter -- Contents -- Comics and Agency -- What We Do with Comics: The Agency of Collectors in Dylan Horrock’s Hicksville -- Tintin’s Global Journey: Editors as Invisible Actors behind the Comics Industry of the 1960s -- How a German Publisher Appropriates Comics It Did Not Originally Publish -- The Agents of Doom: An Empirical Approach to Transmedia Actors -- Agency in the Making: Distribution and Publication as Topics in Nikolas Mahler’s Die Goldgruber Chroniken and the Anthology Drawn & Quarterly -- Comics Artist versus Artistic Genius: Kverneland and Fiske’s Approach to Artists, Metafiction, and Allusion to Contemporary Sources in Kanon -- Death of the Endless and Fan Projections -- “I Always Win”: Corporate Comics, Delinquent Fans, and the Body of Richard C. Meyer -- Pilgrimage to Hall H: Fan Agency at Comic-Con -- Librarians, Agency, Young People, and Comics: Graphic Account and the Development of Graphic Novel Collections in Libraries in Britain in the 1990s -- Learning from Pupils about Conviviality -- Ada in the Jungle and Aya of Yop City: Negotiating “Africa” in Comics -- Telling Stories with Photo Archives: Intermedial Agency in Documentary Comics -- Who Controls the Speech Bubbles? Reflecting on Agency in Comic-Games -- Notes on Contributors -- Index |
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Sommario/riassunto |
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This volume aims to intensify the interdisciplinary dialogue on comics and related popular multimodal forms (including manga, graphic novels, and cartoons) by focusing on the concept of medial, mediated, |
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and mediating agency. To this end, a theoretically and methodologically diverse set of contributions explores the interrelations between individual, collective, and institutional actors within historical and contemporary comics cultures. Agency is at stake when recipients resist hegemonic readings of multimodal texts. In the same manner, “authorship” can be understood as the attribution of agency of and between various medial instances and roles such as writers, artists, colorists, letterers, or editors, as well as with regard to commercial rights holders such as publishing houses or conglomerates and reviewers or fans. From this perspective, aspects of comics production (authorship and institutionalization) can be related to aspects of comics reception (appropriation and discursivation), and circulation (participation and canonization), including their potential for transmedialization and making contributions to the formation of the public sphere. |
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