Excerpt from Sketches of the History of the University of North Carolina: Together With a Catalogue of Officers and Students, 1789 1889 At the same session the General Assembly granted to the Uni versity all escheats and certain debts due by tax collectors during the Revolutionary war, called arrearages. All sheriffs realize that claims nearly ten years old of the nature of these arrearages were likely to remain in a state of suspension for many years and so indeed they have, even to this day. The grant of escheats under the act Of 1789 was of real value, and by the energy and good management of the Trustees, after a long period was the source Of the endowment of the University. Many denizens of foreign birth left no heirs, citizens of North Carolina, and under the law as it stood until 1871, their lands escheated to the State; and in like manner Obscure soldiers, to whom land warrants were granted for their services in the war, died leaving no heirs to inherit their claims. Of course the revenue from this source naturally diminished as the years rolled away from the Revolution, and it was still further diminished by acts of the Legislature giving the lands to a remoter heir, being a citizen, when the next heir is an alien, and giving the widow all the estate if her husband should die without an heir. At this day the chances of an escheat are worth but little, as an alien stands on the same footing with a citizen in regard to the possession of real estate. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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In the American world, the presence of African culture is sometimes fully embodied and sometimes leaves only a trace. Africa in the American Imagination: Popular Culture, Racialized Identities, and African Visual Culture explores this presence, examining Mattel's world of Barbie, the 1996 Sports Illustrated swimsuit issue, and Disney World, each of which repackages African visual culture for consumers. Because these cultural icons permeate American life, they represent the broader U.S. culture and its relationship to African culture. This study integrates approaches from art history and visual culture studies with those from culture, race, and popular culture studies to analyze this interchange. Two major threads weave throughout. One analyzes how the presentation of African visual culture in these popular culture forms conceptualizes Africa for the American public. The other investigates the way the uses of African visual culture focuses America's own self-awareness, particularly around black and white racialized identities. In exploring the multiple meanings that “Africa” has in American popular culture, Africa in the American Imagination argues that these cultural products embody multiple perspectives and speak to various sociopolitical contexts: the Cold War, civil rights, and contemporary eras of the United States; the apartheid and post-apartheid eras of South Africa; the colonial and postcolonial eras of Ghana; and the European era of African colonization.

This in-depth analysis of Adrian Pipers art locates her groundbreaking work at the nexus of Conceptual and feminist art of the late 1960s and 1970s.