Top: Res. of Sherman Hinckley, Sec 35 & 36 Pittsfield Tp. Mich. Bottom: Washtenaw Co. Poor House & Insane Asylum, Pittsfield Tp. Mich.

Pittsfield Township (Mich.) residences. Publication information: Chicago, Ill. : Everts & Stewart, 1874.

Freshwater survey of the ditches around Hinkley Point Power Station, 20 June 1985

Sampling was concentrated on the North Moor region and the series of ditches which drained this area to the Bristol Channel. Although most ditches were not deep the mud substratum precluded sampling from within the habitat. All samples were taken with a pond net from the banks. Efforts were made to sample each part of the habitat although in some ditches the macrophyte growth was so intense as to make sampling difficult particularly of the sediments. Organisms were identified on the 10 sampling sites.

A Doctoral Concert Featuring Compositions by Brad Sherman,June 9, 1999

A Doctoral Concert Featuring Compositions by Brad Sherman, June 9, 1999

Radical interiors: Cindy Sherman's ‘Sex pictures’ and Kathy Acker's 'My mother: demonology'

In 1989, the American visual artist Cindy Sherman produced her ‘Sex Pictures’, a number of photographic images of two medical mannequins whose bodies had been dismembered and reconstructed to form abstract configurations that alluded to pornographic poses. Sherman's series was a response to the National Endowment for the Arts controversy, in which American artists such as Andres Serrano and the late Robert Mapplethorpe, whose work was considered obscene by the Republican Congress, were censored. Many artists in the culture-war period had their grants rescinded. The American avant-garde writer Kathy Acker published My Mother: Demonology in 1993. A prominent concern of Acker's in the work is what she termed her ‘writing freedom’ in a climate of cultural expurgation by the Republican elite. In particular, Acker was worried that she was ‘internalizing certain censorships’. This article addresses Sherman's and Acker's work in a comparative context to explore, through the theoretical work of Julia Kristeva, the ways in which their responses to a climate of political censorship can be read as forms of intimate revolt. Kristeva's notion of ejection—the act of placing something beyond the scope of the possible—transpires as ‘a condition of art's creation’ in Sherman's and Acker's work. Acker and Sherman use the pornographic reference in their work to disrupt and dislocate the narrative and image from convention in order to de-eroticize the body, against heteronormativity's terms, and empower the female sex organs. Eversion—that is, in Sherman's and Acker's works, the act of turning the institutional and maternal body inside out—emerges as a mode of resistance to the danger of the writer and the artist internalizing cultural restrictions. The everted body creates a site of radical interiority which becomes the (impossible) site for the radical (re-)embodiment of the feminine subject.

Native american women in sherman Alexie's short stories: stereotypical representations

Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Línguas, Literaturas e Culturas

The Sherman letters : correspondance between General and Senator Sherman from 1837 to 1891

UANL

1938-1956: Sherman D. Scruggs

11th President 1938-1956

2.4 W. Sherman Savage, Lincoln University History Professor, 1921-60

Gaines studied History and Education at Lincoln and was frequently seen in Memorial Hall chatting with his mentors in the History Department, Drs. W. Sherman Savage and Lorenzo Greene about his future after graduation.

1.5 Sherman D. Scruggs, 11th President of Lincoln University, 1938-1956

The LU Board of Curators ordered its president, Sherman Scruggs, to have a law school up and running and ready for Lloyd Gaines by September 1, 1939. This task seemed insurmountable; establishing a law school on an equal par with that of MU in eight months would, in the least, be miraculous.

Sherman, John, 1613-1685, autographed letter signed to John Winthrop; Watertown, Mass., 1 side (3 pages), 1663 June 30

Correspondence describing a hernia Sherman was suffering, and asking for Winthrop's advice and a "little of [your] red powder."

Map of General Sherman's March : Georgia, South Carolina, and North Carolina, 1865 (Raster Image)

This layer is a georeferenced raster image of the historic paper map: Map showing route of marches of the army of Genl. W.T. Sherman, from Atlanta, Ga. to Goldsboro, N.C. : to accompany the report of operations from Savannah, Ga. to Goldsboro, N.C., prepared by order of the Secretary of War for the officers of the U.S. Army under the command of Maj. Gen. W.T. Sherman. It was published by the Engineer Bureau, War Dept. in 1865. Scale [ca. 1:1,950,000]. Shows Sherman's March through the Carolinas covering South Carolina and portions of North Carolina, Georgia, and Tennessee. The image inside the map neatline is georeferenced to the surface of the earth and fit to the Universal Transverse Mercator projection (WGS 1984 UTM Zone 17N). All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, or other information associated with the principal map. This map shows features such as roads, railroads, cities and towns, drainage, and more. Relief shown by hachures. The routes of the 14th, 15th, 17th, and 20th corps and the cavalry are indicated by colors and symbols. This layer is part of a selection of digitally scanned and georeferenced historic maps of the Civil War from the Harvard Map Collection. Many items from this selection are from a collection of maps deposited by the Military Order of the Loyal Legion of the United States Commandery of the State of Massachusetts (MOLLUS) in the Harvard Map Collection in 1938. These maps typically portray both natural and manmade features, in particular showing places of military importance. The selection represents a range of regions, originators, ground condition dates, scales, and purposes.