King Of Slaves Jenna S Story

The fifth and final book in the Slave Series. Award-winning architect Jenna Davis is not happy when she's asked to take on a last-minute job and move to Spirima to help rebuild the country after a five-year-long civil war. One would have thought the King of Spirima would be happy to receive a billion-dollar aid package, but when the USA sends a woman to run the show, a major culture clash is inevitable as the King point-blank refuses to work with Jenna because of her gender.Maybe calling the King a chauvinistic a-hole wasn't the best way to start her assignment, but jet-lag and sleep deprivation can make anyone lose their manners. Besides, just because he looks like something from one of her dirty fantasies, it doesn't give him the right to assume that she's nothing more than a pretty blonde sent to pleasure him. Jenna is an architect and a damn good one at that. The intolerable royal tyrant better respect her or he can rebuild his country without her help.Not that Jenna can be of much help from the small cell she has been put in for insulting His Royal Highness. Jenna wants out of the small, dirty cell, and the next time she sees the King of Spirima he'd better be prepared for one strong modern Western woman who won't take any of his men-are-better-than-women crap

"The Oxford Handbook of Peace History uniquely explores the distinctive dynamics of peacemaking across time and place, and analyzing how past and present societies have created diverse cultures of peace and applied strategies for peaceful change. The analysis draws upon the expertise of many well-respected and distinguished scholars from disciplines such as anthropology, economics, history, international relations, journalism, peace studies, sociology, and theology. This work is divided into six parts. The first three sections address the chronological sweep of peace history from the Ancient Egyptians to the present while the last three cover biographical profiles of peace advocates, key issues in peace history, and the future of peace history. A central theme throughout is that the quest for peace is far more than the absence of war or the pursuit of social justice ideals. Students and scholars, alike, will appreciate that this work examines the field of peace history from an international perspective and expands analysis beyond traditional Eurocentric frameworks. This volume also goes far beyond previously published handbooks and anthologies in answering what are the strengths and limits of peace history as a discipline, and what can it offer for the future. It also has the unique features of a state-of-the-field introduction with a detailed treatment of peace history historiography and a chapter written by a noted archivist in the field that provides a comprehensive list of peace research resources. It is a work ably suited applicable for classrooms and scholarly bookshelves"--

Radically rethinks the theoretical parameters through which we interpret both current and past ideas of captivity, adoption, and slavery among Native American societies in an interdisciplinary perspective. Highlights the importance of the interaction between perceptions, representations and lived experience associated with the facts of slavery.

Mathias commands the Cortesian army, but what he most longs for is home. When his king gifts him with a slave from a conquered princedom, Mathias is intrigued-even as he resists the king's machinations. But Reve soon tests Mathias's allegiance and his heart. Once the son of a prince, now a slave in a foreign land, Reve has few allies in his goal to protect his younger brother from the king. He's forced to navigate the treacherousness of Cortesa and his own conflicted feelings for his captor. Faced with what he most wants, Reve has to make a choice-and Mathias has to make his. An empire stands against them, but Mathias's loyalty to the king may be too much for Reve to conquer.

How popular theater, including blackface characters, reflected and influenced attitudes toward race, the slave trade, and ideas of liberty in early America. Jenna M. Gibbs explores the world of theatrical and related print production on both sides of the Atlantic in an age of remarkable political and social change. Her deeply researched study of working-class and middling entertainment covers the period of the American Revolution through the first half of the nineteenth century, examining controversies over the place of black people in the Anglo-American moral imagination. Taking a transatlantic and nearly century-long view, Performing the Temple of Liberty draws on a wide range of performed texts as well as ephemera—broadsides, ballads, and cartoons—and traces changes in white racial attitudes. Gibbs asks how popular entertainment incorporated and helped define concepts of liberty, natural rights, the nature of blackness, and the evils of slavery while also generating widespread acceptance, in America and in Great Britain, of blackface performance as a form of racial ridicule. Readers follow the migration of theatrical texts, images, and performers between London and Philadelphia. The story is not flattering to either the United States or Great Britain. Gibbs's account demonstrates how British portrayals of Africans ran to the sympathetic and to a definition of liberty that produced slave manumission in 1833 yet reflected an increasingly racialized sense of cultural superiority. On the American stage, the treatment of blacks devolved into a denigrating, patronizing view embedded both in blackface burlesque and in the idea of "Liberty," the figure of the white goddess. Performing the Temple of Liberty will appeal to readers across disciplinary lines of history, literature, theater history, and culture studies. Scholars and students interested in slavery and abolition, British and American politics and culture, and Atlantic history will also take an interest in this provocative work.

Useful Objects examines the history of American museums during the nineteenth century through the eyes of visitors, writers, and collectors. Museums of this period included a wide range of objects, from botanical and zoological specimens to antiquarian artifacts and technological models. Intended to promote "useful knowledge," these collections generated broader discussions about how objects were selected, preserved, and classified. In guidebooks and periodicals, visitors described their experiences within museum galleries and marveled at the objects they encountered. In fiction, essays, and poems, writers embraced the imaginative possibilities represented by collections and proposed alternative systems of arrangement. These conversations interrogated many aspects of American culture, raising deep questions about how objects are interpreted--and who gets to decide their value. Combining literary criticism, the history of science, and museum studies, Useful Objects examines the dynamic and often fraught debates that emerged during a crucial period in the history of museums by drawing on a wide range of archival materials and accounts in fiction, guidebooks, and periodicals. As museums gradually transformed from encyclopedic cabinets to more specialized public institutions, many writers, including J. Hector St. John de Crèvecoeur, Jane Johnston Schoolcraft, William Wells Brown, Walt Whitman, and Henry David Thoreau, questioned who would have access to collections and the authority to interpret them. Throughout this period, they considered loss and preservation, raised concerns about the place of new ideas, and resisted increasingly fixed categories. Their reflections shaped broader debates about the scope and purpose of museums in American culture that continue to resonate today.

Apart from a handful of exotic--and almost completely unreliable--tales surrounding his life, Richard Potter is almost unknown today. Two hundred years ago, however, he was the most popular entertainer in America--the first showman, in fact, to win truly nationwide fame. Working as a magician and ventriloquist, he personified for an entire generation what a popular performer was and made an invaluable contribution to establishing popular entertainment as a major part of American life. His story is all the more remarkable in that Richard Potter was also a black man. This was an era when few African Americans became highly successful, much less famous. As the son of a slave, Potter was fortunate to have opportunities at all. At home in Boston, he was widely recognized as black, but elsewhere in America audiences entertained themselves with romantic speculations about his "Hindu" ancestry (a perception encouraged by his act and costumes). Richard Potter’s performances were enjoyed by an enormous public, but his life off stage has always remained hidden and unknown. Now, for the first time, John A. Hodgson tells the remarkable, compelling--and ultimately heartbreaking--story of Potter’s life, a tale of professional success and celebrity counterbalanced by racial vulnerability in an increasingly hostile world. It is a story of race relations, too, and of remarkable, highly influential black gentlemanliness and respectability: as the unsung precursor of Frederick Douglass, Richard Potter demonstrated to an entire generation of Americans that a black man, no less than a white man, could exemplify the best qualities of humanity. The apparently trivial "popular entertainment" status of his work has long blinded historians to his significance and even to his presence. Now at last we can recognize him as a seminal figure in American history.