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| cape fear museum of history and science photos: Wilmington's Lie David Zucchino, 2020-01-07 A Pulitzer Prize–winning, searing account of the 1898 white supremacist riot and coup in Wilmington, North Carolina. By the 1890s, Wilmington was North Carolina’s largest city and a shining example of a mixed-race community. It was a bustling port city with a burgeoning African American middle class and a Fusionist government of Republicans and Populists that included black aldermen, police officers and magistrates. There were successful black-owned businesses and an African American newspaper, The Record. But across the state—and the South—white supremacist Democrats were working to reverse the advances made by former slaves and their progeny. In 1898, in response to a speech calling for white men to rise to the defense of Southern womanhood against the supposed threat of black predators, Alexander Manly, the outspoken young Record editor, wrote that some relationships between black men and white women were consensual. His editorial ignited outrage across the South, with calls to lynch Manly. But North Carolina’s white supremacist Democrats had a different strategy. They were plotting to take back the state legislature in November “by the ballot or bullet or both,” and then use the Manly editorial to trigger a “race riot” to overthrow Wilmington’s multi-racial government. Led by prominent citizens including Josephus Daniels, publisher of the state’s largest newspaper, and former Confederate Colonel Alfred Moore Waddell, white supremacists rolled out a carefully orchestrated campaign that included raucous rallies, race-baiting editorials and newspaper cartoons, and sensational, fabricated news stories. With intimidation and violence, the Democrats suppressed the black vote and stuffed ballot boxes (or threw them out), to win control of the state legislature on November 8th. Two days later, more than 2,000 heavily armed Red Shirts swarmed through Wilmington, torching the Record office, terrorizing women and children, and shooting at least sixty black men dead in the streets. The rioters forced city officials to resign at gunpoint and replaced them with mob leaders. Prominent blacks—and sympathetic whites—were banished. Hundreds of terrified black families took refuge in surrounding swamps and forests. This brutal insurrection is a rare instance of a violent overthrow of an elected government in the United States. It halted gains made by blacks and restored racism as official government policy, cementing white rule for another half century. It was not a “race riot,” as the events of November 1898 came to be known, but rather a racially motivated rebellion launched by white supremacists. In Wilmington’s Lie, Pulitzer Prize–winner David Zucchino uses contemporary newspaper accounts, diaries, letters and official communications to create a gripping and compelling narrative that weaves together individual stories of hate and fear and brutality. This is a dramatic and definitive account of a remarkable but forgotten chapter of American history. |
| cape fear museum of history and science photos: Democracy Betrayed David S. Cecelski, Timothy B. Tyson, 1998 This study draws together scholarship on the Wilmington Race Riot of 1898 and its aftermath. Contributors hope to draw attention to the tragedy, to honour its victims, and to bring a clear historical voice to the debate over its legacy. |
| cape fear museum of history and science photos: The Land Was Ours Andrew W. Kahrl, 2016-06-27 The coasts of today's American South feature luxury condominiums, resorts, and gated communities, yet just a century ago, a surprising amount of beachfront property in the Chesapeake, along the Carolina shores, and around the Gulf of Mexico was owned and populated by African Americans. Blending social and environmental history, Andrew W. Kahrl tells the story of African American–owned beaches in the twentieth century. By reconstructing African American life along the coast, Kahrl demonstrates just how important these properties were for African American communities and leisure, as well as for economic empowerment, especially during the era of the Jim Crow South. However, in the wake of the civil rights movement and amid the growing prosperity of the Sunbelt, many African Americans fell victim to effective campaigns to dispossess black landowners of their properties and beaches. Kahrl makes a signal contribution to our understanding of African American landowners and real-estate developers, as well as the development of coastal capitalism along the southern seaboard, tying the creation of overdeveloped, unsustainable coastlines to the unmaking of black communities and cultures along the shore. The result is a skillful appraisal of the ambiguous legacy of racial progress in the Sunbelt. |
| cape fear museum of history and science photos: Museums of the World Michael Zils, 2003 |
| cape fear museum of history and science photos: Wallace, N.C. Home, Sweet Home Mary Anne Russ, 2021-08 Historical perspective of the Town of Wallace, NC. 1740-1980. |
| cape fear museum of history and science photos: Museums of the World Marco Schulze, Boris Eggers, 2004 |
| cape fear museum of history and science photos: What Lies Buried Dewey Lambdin, 2005-09-01 Respected political leader Harry Tresmayne has been found murdered beside a lonely road on Cape Fear. Harry's friend, Matthew Livesey, is drawn to investigate the truth, and the more Livesey learns about Harry's private life, the more reasons for murder he finds. |
| cape fear museum of history and science photos: A Day of Blood LeRae Sikes Umfleet, 2020-05 Originally published in 2009, the revised edition includes a foreword by Dr. Valerie Ann Johnson, Chair of the North Carolina African American Heritage Commission and Dean of the School of Arts, Sciences, and Humanities at Shaw University. In this thoroughly researched, definitive study, LeRae Umfleet examines the actions that precipitated the coup; the details of what happened in Wilmington on November 10, 1898; and the long-term impact of that day in both North Carolina and across the nation. |
| cape fear museum of history and science photos: Exhibiting Atrocity Amy Sodaro, 2018-01-23 Today, nearly any group or nation with violence in its past has constructed or is planning a memorial museum as a mechanism for confronting past trauma, often together with truth commissions, trials, and/or other symbolic or material reparations. Exhibiting Atrocity documents the emergence of the memorial museum as a new cultural form of commemoration, and analyzes its use in efforts to come to terms with past political violence and to promote democracy and human rights. Through a global comparative approach, Amy Sodaro uses in-depth case studies of five exemplary memorial museums that commemorate a range of violent pasts and allow for a chronological and global examination of the trend: the U.S. Holocaust Memorial Museum in Washington, DC; the House of Terror in Budapest, Hungary; the Kigali Genocide Memorial Centre in Rwanda; the Museum of Memory and Human Rights in Santiago, Chile; and the National September 11 Memorial Museum in New York. Together, these case studies illustrate the historical emergence and global spread of the memorial museum and show how this new cultural form of commemoration is intended to be used in contemporary societies around the world. |
| cape fear museum of history and science photos: Wilmington Beverly Tetterton, 2005-01-01 With hundreds of rare pictures, this award-winning volume captures the many architectural gems that North Carolina's Port City has lost from the colonial period to the present day. Some were lost to natural disasters like fires and hurricanes. Others fell victim to the progress of Urban Renewal or the sometimes short-sightedness of private developers. Regardless of how or why these buildings were torn down and lost, they represent pages ripped from the community's collective history. Preservationist Beverly Tetterton has assembled a collection of lost places that serve as cautionary tales for modern planners and citizens. |
| cape fear museum of history and science photos: Slavery by Another Name Douglas A. Blackmon, 2012-10-04 A Pulitzer Prize-winning history of the mistreatment of black Americans. In this 'precise and eloquent work' - as described in its Pulitzer Prize citation - Douglas A. Blackmon brings to light one of the most shameful chapters in American history - an 'Age of Neoslavery' that thrived in the aftermath of the Civil War through the dawn of World War II. Using a vast record of original documents and personal narratives, Blackmon unearths the lost stories of slaves and their descendants who journeyed into freedom after the Emancipation Proclamation and then back into the shadow of involuntary servitude thereafter. By turns moving, sobering and shocking, this unprecedented account reveals these stories, the companies that profited the most from neoslavery, and the insidious legacy of racism that reverberates today. |
| cape fear museum of history and science photos: Chronicles of the Cape Fear River, 1660-1916 James Sprunt, 1916 |
| cape fear museum of history and science photos: The Negro and Fusion Politics in North Carolina, 1894-1901 Helen G. Edmonds, 2013-01-01 Edmonds gives a detailed and accurate record of the political careers of prominent North Carolina blacks who held federal, state, county, and municipal offices. This record shows that the ration of Afro-American voters was so low that black domination was neither a reality nor a threat. |
| cape fear museum of history and science photos: Museums of the World Bettina Bartz, Bettina Schmidt, 1997 Completely updated with information supplied by administrators and staff, the sixth edition of Museums of the World provides valuable research and professional information for some 27,000 museums in 192 nations. Organized by country and city within individual nations, entries include address ... telephone, fax, and e-mail numbers ... description of holdings and facilities ... museum director's name ... and more. |
| cape fear museum of history and science photos: Diary of a Contraband William Benjamin Gould, 2002 The heart of this book is the remarkable Civil War diary of the author’s great-grandfather, William Benjamin Gould, an escaped slave who served in the United States Navy from 1862 until the end of the war. The diary vividly records Gould’s activity as part of the North Atlantic Blockading Squadron off the coast of North Carolina and Virginia; his visits to New York and Boston; the pursuit to Nova Scotia of a hijacked Confederate cruiser; and service in European waters pursuing Confederate ships constructed in Great Britain and France. Gould’s diary is one of only three known diaries of African American sailors in the Civil War. It is distinguished not only by its details and eloquent tone (often deliberately understated and sardonic), but also by its reflections on war, on race, on race relations in the Navy, and on what African Americans might expect after the war. The book includes introductory chapters that establish the context of the diary narrative, an annotated version of the diary, a brief account of Gould’s life in Massachusetts after the war, and William B. Gould IV’s thoughts about the legacy of his great-grandfather and his own journey of discovery in learning about this remarkable man. |
| cape fear museum of history and science photos: The Official Museum Directory 1991 , 1990 |
| cape fear museum of history and science photos: The Craft and Science of Coffee Britta Folmer, 2016-12-16 The Craft and Science of Coffee follows the coffee plant from its origins in East Africa to its current role as a global product that influences millions of lives though sustainable development, economics, and consumer desire.For most, coffee is a beloved beverage. However, for some it is also an object of scientifically study, and for others it is approached as a craft, both building on skills and experience. By combining the research and insights of the scientific community and expertise of the crafts people, this unique book brings readers into a sustained and inclusive conversation, one where academic and industrial thought leaders, coffee farmers, and baristas are quoted, each informing and enriching each other.This unusual approach guides the reader on a journey from coffee farmer to roaster, market analyst to barista, in a style that is both rigorous and experience based, universally relevant and personally engaging. From on-farming processes to consumer benefits, the reader is given a deeper appreciation and understanding of coffee's complexity and is invited to form their own educated opinions on the ever changing situation, including potential routes to further shape the coffee future in a responsible manner. - Presents a novel synthesis of coffee research and real-world experience that aids understanding, appreciation, and potential action - Includes contributions from a multitude of experts who address complex subjects with a conversational approach - Provides expert discourse on the coffee calue chain, from agricultural and production practices, sustainability, post-harvest processing, and quality aspects to the economic analysis of the consumer value proposition - Engages with the key challenges of future coffee production and potential solutions |
| cape fear museum of history and science photos: The Photo Ark Joel Sartore, 2017 This book of photography represents National Geographic's Photo Ark, a major cross-platform initiative and lifelong project by photographer Joel Sartore to make portraits of the world's animals -- especially those that are endangered. His message: to know these animals is to save them. Sartore intends to photograph every animal in captivity in the world. He is circling the globe, visiting zoos and wildlife rescue centers to create studio portraits of 12,000 species, with an emphasis on those facing extinction. He has photographed more than 6,000 already and now, thanks to a multi-year partnership with National Geographic, he may reach his goal. This book showcases his animal portraits: from tiny to mammoth, from the Florida grasshopper sparrow to the greater one-horned rhinoceros. Paired with the prose of veteran wildlife writer Douglas Chadwick, this book presents an argument for saving all the species of our planet. |
| cape fear museum of history and science photos: The Croatan Indians of Sampson County, North Carolina George Edwin Butler, 2018-06-01 The Croatan Indians of Sampson County, NC, written by George Edwin Butler (1868-1941) and composed only a year after Special Indian Agent Orlando McPherson's Indians of North Carolina report, was an appeal to the state of North Carolina to create schools for the Croatans of Sampson County just as it had for those designated as Croatans in, for example, Robeson County, North Carolina. Butler's report would prove to be important in an evolving system of southern racial apartheid that remained uncertain of the place of Native Americans. It documents a troubled history of cultural exchange and conflict between North Carolina's native peoples and the European colonists who came to call it home. The report reaches many erroneous conclusions, in part because it was based in an anthropological framework of white supremacy, segregation-era politics, and assumptions about racial purity. Indeed, Butler's colonial history connecting Sampson County Indians to early colonial settlers was used to legitimize them and to deflect their categorization as African-Americans. In statements about the fitness of certain populations to coexist with European-American neighbors and in sympathetic descriptions of nearly-white Indians, it reveals the racial and cultural sensibilities of white North Carolinians, the persistent tensions between tolerance and self-interest, and the extent of their willingness to accept indigenous Others as neighbors. A DOCSOUTH BOOK. This collaboration between UNC Press and the University of North Carolina at Chapel Hill Library brings classic works from the digital library of Documenting the American South back into print. DocSouth Books uses the latest digital technologies to make these works available in paperback and e-book formats. Each book contains a short summary and is otherwise unaltered from the original publication. DocSouth Books provide affordable and easily accessible editions to a new generation of scholars, students, and general readers. |
| cape fear museum of history and science photos: Managing Intellectual Property for Museums Rina Elster Pantalony, 2013 This Guide, prepared by Rina Elster Pantalony, was recently updated to reflect the tremendous developments since it was first published in 2007, in particular Digital Rights Management, the role of social media as a business opportunity and traditional knowledge. The two-part Guide first describes IP issues relevant to museums then reviews existing business models that could provide museums with appropriate opportunities to create sustainable funding, and deliver on their stated objectives. |
| cape fear museum of history and science photos: Witnesses to History Lyndel V. Prott, 2009-01-01 This Compendium gives an outline of the historical, philosophical and ethical aspects of the return of cultural objects (e.g. cultural objects displaced during war or in colonial contexts), cites past and present cases (Maya Temple Facade, Nigerian Bronzes, United States of America v. Schultz, Parthenon Marbles and many more) and analyses legal issues (bona fide, relevant UNESCO and UNIDROIT Conventions, Supreme Court Decisions, procedure for requests etc.). It is a landmark publication that bears testament to the ways in which peoples have lost their entire cultural heritage and analyses the issue of its return and restitution by providing a wide range of perspectives on this subject. Essential reading for students, specialists, scholars and decision-makers as well as those interested in these topics. |
| cape fear museum of history and science photos: Historical Painting Techniques, Materials, and Studio Practice Arie Wallert, Erma Hermens, Marja Peek, 1995-08-24 Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled Historical Painting Techniques, Materials, and Studio Practice at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century. |
| cape fear museum of history and science photos: Does War Belong in Museums? Wolfgang Muchitsch, 2014-04-30 Presentations of war and violence in museums generally oscillate between the fascination of terror and its instruments and the didactic urge to explain violence and, by analysing it, make it easier to handle and prevent. The museums concerned also have to face up to these basic issues about the social and institutional handling of war and violence. Does war really belong in museums? And if it does, what objectives and means are involved? Can museums avoid trivializing and aestheticising war, transforming violence, injury, death and trauma into tourist sights? What images of shock or identification does one generate - and what images would be desirable? |
| cape fear museum of history and science photos: Living in Our World , 1998 |
| cape fear museum of history and science photos: Art in History/History in Art David Freedberg, Jan de Vries, 1996-07-11 Historians and art historians provide a critique of existing methodologies and an interdisciplinary inquiry into seventeenth-century Dutch art and culture. |
| cape fear museum of history and science photos: Cherokee Women Theda Perdue, 1998-01-01 Theda Perdue examines the roles and responsibilities of Cherokee women during the eighteenth and nineteenth centuries, a time of intense cultural change. While building on the research of earlier historians, she develops a uniquely complex view of the effects of contact on Native gender relations, arguing that Cherokee conceptions of gender persisted long after contact. Maintaining traditional gender roles actually allowed Cherokee women and men to adapt to new circumstances and adopt new industries and practices. |
| cape fear museum of history and science photos: Consumers Index to Product Evaluations and Information Sources , 1991 |
| cape fear museum of history and science photos: Quantico Charles A. Fleming, Charles A. Braley, Robin L. Austin, 1978 |
| cape fear museum of history and science photos: Each Wild Idea Geoffrey Batchen, 2002-02-22 Essays on photography and the medium's history and evolving identity. In Each Wild Idea, Geoffrey Batchen explores a wide range of photographic subjects, from the timing of the medium's invention to the various implications of cyberculture. Along the way, he reflects on contemporary art photography, the role of the vernacular in photography's history, and the Australianness of Australian photography. The essays all focus on a consideration of specific photographs—from a humble combination of baby photos and bronzed booties to a masterwork by Alfred Stieglitz. Although Batchen views each photograph within the context of broader social and political forces, he also engages its own distinctive formal attributes. In short, he sees photography as something that is simultaneously material and cultural. In an effort to evoke the lived experience of history, he frequently relies on sheer description as the mode of analysis, insisting that we look right at—rather than beyond—the photograph being discussed. A constant theme throughout the book is the question of photography's past, present, and future identity. |
| cape fear museum of history and science photos: Materials of the Mind James Poskett, 2022-02-19 Phrenology was the most popular mental science of the Victorian age. From American senators to Indian social reformers, this new mental science found supporters stretching around the globe. Materials of the Mind tells the story of how phrenology changed the world--and how the world changed phrenology. This is a story of skulls from the Arctic, plaster casts from Haiti, books from Bengal, and letters from the Pacific. Drawing on far-flung museum and archival collections, and addressing sources in six different languages, Materials of the Mind is the first substantial account of science in the nineteenth century as part of global history. It shows how the circulation of material culture underpinned the emergence of a new materialist philosophy of the mind, while also demonstrating how a global approach to history could help us reassess issues such as race, technology, and politics today. |
| cape fear museum of history and science photos: Encyclopedia of Caves and Karst Science John Gunn, 2004-08-02 The Encyclopedia of Caves and Karst Science contains 350 alphabetically arranged entries. The topics include cave and karst geoscience, cave archaeology and human use of caves, art in caves, hydrology and groundwater, cave and karst history, and conservation and management. The Encyclopedia is extensively illustrated with photographs, maps, diagrams, and tables, and has thematic content lists and a comprehensive index to facilitate searching and browsing. |
| cape fear museum of history and science photos: The Encyclopedia of Surfing Matt Warshaw, 2005 With 1,500 alphabetical entries and 300 illustrations, this resource is a comprehensive review of the people, places, events, equipment, vernacular, and lively history of this fascinating sport. |
| cape fear museum of history and science photos: Chase's Annual Events , 1994 |
| cape fear museum of history and science photos: Stickwork Patrick Dougherty, 2013-07-02 Using minimal tools and a simple technique of bending, interweaving, and fastening together sticks, artist Patrick Dougherty creates works of art inseparable with nature and the landscape. With a dazzling variety of forms seamlessly intertwined with their context, his sculptures evoke fantastical images of nests, cocoons, cones, castles, and beehives. Over the last twenty-five years, Dougherty has built more than two hundred works throughout the United States, Europe, and Asia that range from stand-alone structures to a kind of modern primitive architecture--every piece mesmerizing in its ability to fly through trees, overtake buildings, and virtually defy gravity. Stickwork, Dougherty's first monograph, features thirty-eight of his organic, dynamic works that twist the line between architecture, landscape, and art. Constructed on-site using locally sourced materials and local volunteer labor, Dougherty's sculptures are tangles of twigs and branches that have been transformed into something unexpected and wild, elegant and artful, and often humorous. Sometimes freestanding, and other times wrapping around trees, buildings, railings, and rooms, they are constructed indoors and in nature. As organic matter, the stick sculptures eventually disintegrate and fade back into the landscape. Featuring a wealth of photographs and drawings documenting the construction process of each remarkable structure, Stickwork preserves the legend of the man who weaves the simplest of materials into a singular artistic triumph. |
| cape fear museum of history and science photos: Coast Watch , 1998 |
| cape fear museum of history and science photos: Speculative Everything Anthony Dunne, Fiona Raby, 2013-12-06 How to use design as a tool to create not only things but ideas, to speculate about possible futures. Today designers often focus on making technology easy to use, sexy, and consumable. In Speculative Everything, Anthony Dunne and Fiona Raby propose a kind of design that is used as a tool to create not only things but ideas. For them, design is a means of speculating about how things could be—to imagine possible futures. This is not the usual sort of predicting or forecasting, spotting trends and extrapolating; these kinds of predictions have been proven wrong, again and again. Instead, Dunne and Raby pose “what if” questions that are intended to open debate and discussion about the kind of future people want (and do not want). Speculative Everything offers a tour through an emerging cultural landscape of design ideas, ideals, and approaches. Dunne and Raby cite examples from their own design and teaching and from other projects from fine art, design, architecture, cinema, and photography. They also draw on futurology, political theory, the philosophy of technology, and literary fiction. They show us, for example, ideas for a solar kitchen restaurant; a flypaper robotic clock; a menstruation machine; a cloud-seeding truck; a phantom-limb sensation recorder; and devices for food foraging that use the tools of synthetic biology. Dunne and Raby contend that if we speculate more—about everything—reality will become more malleable. The ideas freed by speculative design increase the odds of achieving desirable futures. |
| cape fear museum of history and science photos: Corcoran Gallery of Art Corcoran Gallery of Art, Sarah Cash, Emily Dana Shapiro, Jennifer Carson, 2011 This authoritative catalogue of the Corcoran Gallery of Art's renowned collection of pre-1945 American paintings will greatly enhance scholarly and public understanding of one of the finest and most important collections of historic American art in the world. Composed of more than 600 objects dating from 1740 to 1945. |
| cape fear museum of history and science photos: Chase's Annual Events Contemporary, Contemporary Books, 1993 Packed with over 10,000 entries, this is the directory to special events, holidays, ethnic celebrations, anniversaries, celebrity birthdays, regional and local festivals, historic benchmarks, and traditional and whimsical observances of all kinds the world over. A one-of-a-kind directory to what's happening when, where, and why. Line drawings. |
| cape fear museum of history and science photos: American Military History Volume 1 Army Center of Military History, 2016-06-05 American Military History provides the United States Army-in particular, its young officers, NCOs, and cadets-with a comprehensive but brief account of its past. The Center of Military History first published this work in 1956 as a textbook for senior ROTC courses. Since then it has gone through a number of updates and revisions, but the primary intent has remained the same. Support for military history education has always been a principal mission of the Center, and this new edition of an invaluable history furthers that purpose. The history of an active organization tends to expand rapidly as the organization grows larger and more complex. The period since the Vietnam War, at which point the most recent edition ended, has been a significant one for the Army, a busy period of expanding roles and missions and of fundamental organizational changes. In particular, the explosion of missions and deployments since 11 September 2001 has necessitated the creation of additional, open-ended chapters in the story of the U.S. Army in action. This first volume covers the Army's history from its birth in 1775 to the eve of World War I. By 1917, the United States was already a world power. The Army had sent large expeditionary forces beyond the American hemisphere, and at the beginning of the new century Secretary of War Elihu Root had proposed changes and reforms that within a generation would shape the Army of the future. But world war-global war-was still to come. The second volume of this new edition will take up that story and extend it into the twenty-first century and the early years of the war on terrorism and includes an analysis of the wars in Afghanistan and Iraq up to January 2009. |
| cape fear museum of history and science photos: Lafayette in the Age of the American Revolution Marie Joseph Paul Yves Roch Gilbert Du Motier marquis de Lafayette, Stanley J. Idzerda, 1977 The second volume in this distinguished series provides a comprehensive picture of the Franco-American alliance and of the day-to-day problems of conducting the War of Independence as reported by Lafayette and his correspondents on both sides of the Atlantic. Volume II begins with Lafayette's reunion with the main army at Valley Forge in the spring of 1778, after an assignment to Albany. It follows him on his return to France in January 1779, on leave from the American army, and ends in the spring of 1780, when he was sent back to America to announce the coming of the French expeditionary force and to help formulate American plans for cooperation with the French forces. Complementing Lafayette 's personal memoirs, which open the two parts of the book, are exchanges of letters with such prominent figures as George Washington1 Henry Laurens, Benjamin Franklin, the Comte d'Estaing, John Paul Jones, and the Comte de Vergennes. The documents and letters written in English are published as they appear in the manuscripts; those written in French appear both in the original and in translation. Much of the basic material for this series, which will comprise six volumes, is drawn from Lafayette's own collection of manuscripts. A brilliant portrait of Lafayette in his own words, the books reveal much more complex elements in his character and outlook than have been apparent before. |
Cape (geography) - Wikipedia
In geography, a cape is a headland, peninsula or promontory extending into a body of water, usually a sea. [1] A cape usually represents a marked change in trend of the coastline, [2] often making …
CAPE Definition & Meaning - Merriam-Webster
The meaning of CAPE is a point or extension of land jutting out into water as a peninsula or as a projecting point. How to use cape in a sentence.
What Is A Cape In Geography? - WorldAtlas
Nov 13, 2018 · A cape is an elevated landmass that extends deep into the ocean, sea, river, or lake. Learn more about the formation of capes as well as famous capes around the world.
Cape Town | History, Population, Map, Climate, & Facts | Britannica
Jun 1, 2025 · Cape Town, city and seaport, legislative capital of South Africa and capital of Western Cape province. The city lies at the northern end of the Cape Peninsula. Because it was the site of …
Cape - Education | National Geographic Society
Oct 19, 2023 · A cape is a high point of land that extends into a river, lake, or ocean. Some capes , such as the Cape of Good Hope in South Africa, are parts of large landmasses . Others, such as …
CAPE | English meaning - Cambridge Dictionary
CAPE definition: 1. a very large piece of land sticking out into the sea: 2. a type of loose coat without sleeves…. Learn more.
Cape Landform: Formation, Examples and Difference Between a Cape …
A cape is surrounded by water on two sides whereas a peninsula is surrounded by water on three sides. Besides, capes vary in size, and a coastline of a country can have several capes , unlike …
Severe Weather Topics
CAPE or Convective Available Potential Energy is the amount of fuel available to a developing thunderstorm. More specifically, it describes the instability of the atmosphere and provides an …
Cape Landform in Geography | Definition, Characteristics & Types
Nov 21, 2023 · Learn about cape landforms in geography. Explore the cape definition, the difference between capes and peninsulas, how capes form, and see examples...
Cape – Eschooltoday
What is a Cape? A cape is a raised piece of land (also known as a promontory) that extends deep into a water body, usually the sea. It is usually a coastal feature.
Cape (geography) - Wikipedia
In geography, a cape is a headland, peninsula or promontory extending into a body of water, usually a sea. [1] A cape usually represents a marked change in trend of the coastline, [2] …
CAPE Definition & Meaning - Merriam-Webster
The meaning of CAPE is a point or extension of land jutting out into water as a peninsula or as a projecting point. How to use cape in a sentence.
What Is A Cape In Geography? - WorldAtlas
Nov 13, 2018 · A cape is an elevated landmass that extends deep into the ocean, sea, river, or lake. Learn more about the formation of capes as well as famous capes around the world.
Cape Town | History, Population, Map, Climate, & Facts | Britannica
Jun 1, 2025 · Cape Town, city and seaport, legislative capital of South Africa and capital of Western Cape province. The city lies at the northern end of the Cape Peninsula. Because it …
Cape - Education | National Geographic Society
Oct 19, 2023 · A cape is a high point of land that extends into a river, lake, or ocean. Some capes , such as the Cape of Good Hope in South Africa, are parts of large landmasses . Others, such …
CAPE | English meaning - Cambridge Dictionary
CAPE definition: 1. a very large piece of land sticking out into the sea: 2. a type of loose coat without sleeves…. Learn more.
Cape Landform: Formation, Examples and Difference Between a Cape …
A cape is surrounded by water on two sides whereas a peninsula is surrounded by water on three sides. Besides, capes vary in size, and a coastline of a country can have several capes , …
Severe Weather Topics
CAPE or Convective Available Potential Energy is the amount of fuel available to a developing thunderstorm. More specifically, it describes the instability of the atmosphere and provides an …
Cape Landform in Geography | Definition, Characteristics & Types
Nov 21, 2023 · Learn about cape landforms in geography. Explore the cape definition, the difference between capes and peninsulas, how capes form, and see examples...
Cape – Eschooltoday
What is a Cape? A cape is a raised piece of land (also known as a promontory) that extends deep into a water body, usually the sea. It is usually a coastal feature.
