Privateering, on the other hand, is just a single paragraph with two references: one to Joseph Ropes, a privateer in the War of 1812; the other to Piracy.
examines this battle and why those involved risked “drowning, burns, dismemberment, and death in exchanges of broadsides or hand-to-hand combat.” (2) Hanna attempts to “place all of the events, rich in pathos, in a larger transatlantic sociopolitical context.” (4) In doing so, he tells the story of the commanders and where they hailed from, the British and American navies, and what caused the War of 1812.
He discusses “Art and War: Truth and Myth,” focusing on such artists as Charles Wilson Peale, Rembrandt Peale, John Wesley Jarvis, Thomas Birch, and William Charles, and showing how their depictions of the war helped inspire and reinforce the myths that grew out of the conflict.
For example, any narrative on the war discusses the Royal Navy’s impressments of American sailors, but few mention the French navy’s habit of boarding American ships “and confiscating vessel, crew, and cargo.” (8) Another illustration concerns the Bloody Assize in May 1814, trials that ended with fifteen Canadians being convicted of high treason.
He also answers the question of whether we were justified in “claiming that the War of 1812 had accomplished any important results that changed the nation or improved its standing in the international community.” (5)
Between writing the C major Concerto, Op 29, and the E flat major Concerto, Op 70, Dussek’s conception of the genre evolved. In most of the concertos Dussek composed after 1800, the soloist introduces new primary themes, as well as two or more secondary themes, not heard during the first tutti. Moreover, as if to intensify the distinction between the soloist’s material and that of the orchestra, dreamy, lyrical passages allotted primarily to the soloist appear in other sections of the movement. These create a discrete world for the soloist, removed from that presented by the orchestra in the first ritornello. Examples of this are found in many of Dussek’s later concertos, and they also feature in the concertos of younger composers, including Weber (No 1 in C major, 1812), Field (No 2 in A flat major, 1816), Hummel (B minor Concerto, Op 89, c1821), Chopin (No 1 in E minor, 1833), Clara Schumann (A minor Concerto, Op 7, 1837), and Robert Schumann (A minor Concerto, Op 54, 1846). Dussek’s structural innovation became standard in the early Romantic concerto.
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Although a few had served in the Quasi-War with France and one fought during the Revolutionary War, most of the 319 men had been aboard less than a year when she set sail in September 1812.
The first discusses how American merchants sent ships to every possible location during a time of war in Europe and consequent blockades and embargoes, and privateers.
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The next chapter focuses on the situation in Louisiana and the conflicting cultures of the Creoles, Americans, refugees from Santo Domingo, Free Blacks, and slaves before and after Louisiana gained statehood in April 1812 just before the war began.
is a more comprehensive examination of the environs, the combatants, and the battles than many other books, which makes this a good inclusion in any collection that focuses on the War of 1812 and/or the history of New Orleans.