Cockpit. The Illustrated History of WW2 Aircraft Interiors by Donald Nijboer

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By Donald Nijboer

Книга Cockpit. The Illustrated background of WW2 airplane Interiors. Cockpit. The Illustrated historical past of WW2 plane Interiors. Книги Вооружение Автор: D.Nijboer Формат: pdf Размер: 86,1 Язык: Английский0 (голосов: zero) Оценка:Иллюстрированная история оснащения кабин самолетов второй мировой войны.

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His narrative is full of dramatic encounters with natives and grizzlies and descriptions of all sorts of physical challenges, which are made all the more difficult by the heat of the western sun. Ives writes dramatically, “as the great globe of fire mounted the heavens its rays seemed to burn the brain” (). His description of a descent into the Grand Canyon reads: “We were deeper in the bowels of the earth than we had ever been before” (). For officials in Washington who did not have other means to picture the frontier, the stories provide a personal, human view of the new lands and created heroes out of the adventurers who went to these places and wrote about them; of course, many others were heading west as prospectors, hunters, and settlers, with far less prospect of fame.

At the same time, the colonial government sought to encourage Jamaica’s tourist industry and foreign investment. It organized the Great Exhibition of  to showcase the country’s resources, and it constructed tourist hotels (with public taxes). The exhibition galvanized Jamaica’s photography industry, which quickly became one of the most prolific and influential in the region (Taylor ; Thompson –). By the early s, United Fruit was dominant also in tourism, building hotels, commissioning photographers and writers, and transporting both fruit and tourists in its Great White Fleet.

Mervyn Morris dismissed all of McKay’s poetry as “deficient in basic poetic skills: all too often weak rhymes and stale poetic diction coincide” (). Kamau Brathwaite, who advocates that Caribbean poetry be written with the sound and rhythm of creole language, criticized the iambic pentameter and rhyming couplets of McKay’s dialect verse as forms of “literary colonialism” (n). ” The similarity in subject matter combined with the radical difference in the manner of representation make clear that McKay’s early verse and his novel Banana Bottom comprehensively challenge the tropicalizing iconography of early tourist photography and, as an alternative, offer an empowering national vision of the peasantry.

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