In Character and Conflict in Jane Austen's Novels , Bernard J. Paris offers an analysis of the protagonists in four of Jane Austen's most popular novels. His analysis reveals them to be brilliant mimetic creations who often break free of the formal and thematic limitations placed upon them by Austen. Paris traces the powerful tensions between form, theme, and mimesis in Mansfield Park , Emma , Pride and Prejudice , and Persuasion . Paris uses Northrop Frye's theory of comic forms to analyse and describe the formal structure of the novels, and Karen Horney's psychological theories to explore the personalities and inner conflicts of the main characters. The concluding chapter turns from the characters to their creator, employing the Horneyan categories of self-effacing, detached, and expansive personality types to interpret Jane Austen's own personality. Readers of Jane Austen will find much that is new and challenging in this study. It is one of the few books to recognise and pay tribute to Jane Austen's genius in characterisation. Anyone who reads this book will come away with a new understanding of Austen's heroines as imagined human beings and also with a deeper feeling for the troubled humanity of the author herself.
The second of Shaw’s “unpleasant” plays, written in 1893, published in 1898, but not performed until 1905, The Philanderer is subtitled “A Topical Comedy.” The eclectic range of topical subjects addressed in the play includes the influence of Norwegian playwright Henrik Ibsen on British middle-class social mores (the second act of The Philanderer is set in the fictional Ibsen Club), medical follies, the rise of the “New Woman,” and, in particular, the destructive impact of Victorian marriage and divorce laws. Just as Shaw’s other “unpleasant” plays, Widowers’ Houses and Mrs Warren’s Profession, call, respectively, for reform of laws that allow corrupt property owners to exploit the poor and for radical change to economic structures that drive women into prostitution, so The Philanderer makes the case for more liberal legislation to allow easier divorce—particularly for women—when marriages become irretrievably broken. Shaw’s attack on divorce laws becomes even clearer and stronger in the final act that he wrote for the play but discarded in favour of the version he published. The discarded version is published for the first time in this Broadview edition of the play.
All the correspondence selected for this volume - most of it hitherto unpublished - relates to Bernard Shaw's theatre dealings and theatrical interest, at the same time attesting to the 'histrionic instinct' and 'theatrified imagination' (his own phrases) of the man who penned them.
Introduction to Education provides pre-service teachers with an overview of the context, craft and practice of teaching in Australian schools as they commence the journey from learner to classroom teacher. Each chapter poses questions about the nature of teaching students, and guides readers though the Australian Professional Standards for Teachers. Incorporating recent research and theoretical literature, Introduction to Education presents a critical consideration of the professional, policy and curriculum contexts of teaching in Australia. The book covers theoretical topics in chapters addressing assessment, planning, safe learning environments, and working with colleagues, families, carers and communities. More practical chapters discuss professional experience and building a career after graduation. Rigorous in conception and practical in scope, Introduction to Education welcomes new educators to the theory and practical elements of teaching, learning, and professional practice.
In Women: Theory and Practice, Bernard Chapin challenges the accepted theories of feminism and sexual equality in this thought-provoking, revolutionary look at the battle of the sexes in the twenty-first century. This book captures the true essence of today's apocryphal gap between men and women and how it affects not only the workplace, but also romantic relationships and the interactions of men and women everywhere. Chapin introduces a truly contrarian argument against society's current atmosphere of political correctness. He also makes a convincing case for the hidden damage caused by the women's movement and the popular mindset that women are no longer just the fairer sex, they are the better sex. Chapin questions the rationale behind policies and laws created to protect women's rights and to construct equality in the workplace. Chapin describes society's current backlash against men and how it has created a culture that has wrongly declared women to be intellectually, morally, and emotionally superior. Women: Theory and Practice provides a clear, rational argument against a popular socio-political atmosphere that has turned women into demi-gods, and men into second class citizens.
Introductory and capstone experiences in the undergraduate psychology program are crucial ways to engage students in their major and psychology department, impart realistic expectations, and prepare them for life beyond college. Providing the right orientation and capstone courses in psychology education is increasingly a concern of instructors, department chairs, program directors, and deans, and both types of courses have become important sources for gathering pre- and post-coursework assessment data for degree learning outcomes. The strategies presented here have been designed to help educators examine issues around teaching the introductory or careers course and developing a psychology-specific orientation program. The authors also provide concrete suggestions for building capstone experiences designed to fit the needs of a department, its pedagogical philosophy, or the educational agenda of the college or university. Undergraduate psychology curriculum designers and instructors can benefit from learning innovative and effective strategies for introducing the major to first-year students and, at graduation, for bringing closure, reinforcing the overall departmental learning outcomes, and helping students apply their disciplinary knowledge in capstone experiences and post-graduate life. In this collection of articles, psychology instructors involved in the improvement of teaching and learning review the research and share their own successes and challenges in the classroom. Discussions include effective practices for helping students become acclimated to and engaged in the psychology major, application of developmental knowledge and learning communities to course design, and use of quality benchmarks to improve introductory and capstone courses. Other chapters describe innovations in the design of stand-alone courses and offer concrete advice on counseling psychology graduates about how to use what they have learned beyond their higher education experiences.
This volume contains the best of Shaw's musical writing, including sections on Gluck, Handel, Mozart, Beethoven, Rossini, Verdi, Berlioz, pieces on opera, musical analysis, oratorios, Gilbert and Sullivan, plus a long autobiographical preface, one of Shaw's most self-revealing works. The result is a book of unparalleled brilliance and grace by a writer who, according to W.H. Auden, "was probably the greatest music critic who ever lived." "For all music collections." - Library Journal
The brilliance of a master historian shines through this “elegant and engaging memoir” of a lifetime’s work (Richard Aldous, Wall Street Journal). Over a remarkable career Bernard Bailyn has reshaped our understanding of the early American past. Inscribing his superb scholarship with passion and imagination honed by a commitment to rigor, Bailyn captures the particularity of the past and its broad significance in precise, elegant prose. His transformative work has ranged from a new reckoning with the ideology that powered the opposition to British authority in the American Revolution, to a sweeping account of the peopling of America, and the critical nurturing of a new field, the history of the Atlantic world. Illuminating History is the most personal of Bailyn’s works. It is in part an intellectual memoir of the significant turns in an immensely productive and influential scholarly career. It is also alive with people whose actions touched the long arc of history. Among the dramatic human stories that command our attention: a struggling Boston merchant tormented by the tensions between capitalist avarice and a constrictive Puritan piety; an ordinary shopkeeper who in a unique way feverishly condemned British authority as corrupt and unworthy of public confidence; a charismatic German Pietist who founded a cloister in the Pennsylvania wilderness famous for its strange theosophy, its spartan lifestyle, and its rich musical and artistic achievement. And the good townspeople of Petersham, whose response in 1780 to a draft Massachusetts constitution speaks directly to us through a moving insistence on individual freedoms in the face of an imposing central authority. Here is vivid history and an illuminating self-portrait from one of the most eminent historians of our time.
A collection of critical writings on theater from the Nobel Prize–winning playwright behind Man and Superman and Pygmalion. The Critical Shaw: On Theater is a comprehensive selection of essays and addresses about drama and theater by renowned Irish playwright and Nobel Laureate Bernard Shaw. An outspoken critic of the melodramas and formulaic farces that comprised most of the popular theater in the late nineteenth century, Shaw relentlessly campaigned for audiences, actors, theater managers, and even government officials to take theater more seriously, to use the stage as a forum for representing complex real issues such as poverty, marriage and divorce laws, sexual attraction, gender equality, and political power, so that through seeing them acted out, audiences could better understand and address them when they left the theater. Shaw’s commitment to social reform through theater was matched by his expertise in the artistic and practical aspects of drama: whether he was reviewing productions, lecturing about acting, or schooling agents on royalties and copyright law, Shaw set a standard for intelligent professionalism that our own theaters might still aspire to and be measured against. The Critical Shaw series brings together, in five volumes and from a wide range of sources, selections from Bernard Shaw’s voluminous writings on topics that exercised him for the whole of his professional career: Literature, Music, Politics, Religion, and Theater. The volumes are edited by leading Shaw scholars, and all include an introduction, a chronology of Shaw’s life and works, annotated texts, and a bibliography. The series editor is L.W. Conolly, literary adviser to the Shaw Estate and former president of the International Shaw Society.
(Applause Books). "With the single exception of Homer, there is no eminent writer, not even Sir Walter Scott, whom I can despise so entirely as I despise Shakespeare when I measure my mind against his." - From SHAW ON SHAKESPEARE Celebrated playwright, critic and essayist George Bernard Shaw was more like the Elizabethan master that he would ever admit. Both men were intristic dramatists who shared a rich and abiding respect for the stage. Shakespeare was the produce of a tempestuous and enlightening era under the reign of his patron, Queen Elizabeth I; while G.B.S. reflected the racy and risque spirt of the late 19th century as the champion of modern drama by playwrights like Ibsen, and, later, himself. Culled from Shaw's reviews, prefaces, letters to actors and critics, and other writings, SHAW ON SHAKESPEARE offers a fascinating and unforgettable portrait of the 16th century playwright by his most outspoken critic. This is a witty and provocative classic that combines Shaw's prodigious critical acumen with a superlative prose style second to none (except, perhaps, Shakespeare!).
Current studies in disciplinarity range widely across philosophical and literary contexts, producing heated debate and entrenched divergences. Yet, despite their manifest significance for us today seldom have those studies engaged with the Victorian origins of modern disciplinarity. Victorian Culture and the Origin of Disciplines adds a crucial missing link in that history by asking and answering a series of deceptively simple questions: how did Victorians define a discipline; what factors impinged upon that definition; and how did they respond to disciplinary understanding? Structured around sections on professionalization, university curriculums, society journals, literary genres and interdisciplinarity, Victorian Culture and the Origin of Disciplines addresses the tangled bank of disciplinarity in the arts, humanities, social sciences and natural sciences including musicology, dance, literature, and art history; classics, history, archaeology, and theology; anthropology, psychology; and biology, mathematics and physics. Chapters examine the generative forces driving disciplinary formation, and gauge its success or failure against social, cultural, political, and economic environmental pressures. No other volume has focused specifically on the origin of Victorian disciplines in order to track the birth, death, and growth of the units into which knowledge was divided in this period, and no other volume has placed such a wide array of Victorian disciplines in their cultural context.
Mrs Warren's Profession, Candida, and You Never Can Tell are plays which give a clear sense of the range of Shaw's first forays into playwriting. Together they showcase his early negotiations between his political and social concerns and the constraints and possibilities of the British stageat the fin de siecle.These plays are bound together by shared concerns with gender roles, sexuality, concepts of familial and social duty, and how all these are shaped by wider financial, political, literary, philosophical and theatrical influences.Mrs Warren's Profession is the best known of Shaw's 'Plays Unpleasant', his first exercises in using the theatre as a means to awaken the consciences of morally complacent audiences. Written in 1893 in angry response to the success of A. W. Pinero's sensational hit The Second Mrs Tanqueray and arevival of Dumas's La dame aux camelias, Mrs Warren's Profession did not receive a public performance in Britain until 1925. Shaw's provocative response to the sentimental 'fallen woman' plays that dominated the fin-de-siecle stage was a play in which prostitution was presented not as a question offemale sexual morality, but as a direct result of the systematic economic exploitation of women.Candida (1894), by contrast, was categorised by Shaw as one of his 'Plays Pleasant', but the label was characteristically deceptive. The play appeared at first sight to offer audiences a reassuringly familiar drama of a marriage threatened by an interloper but ultimately reaffirmed when the wiferecognises her true place and her dangerous admirer is sent out into the cold. But, as critics have noted, the play was a re-working by Shaw of Ibsen's A Doll's House in which the husband played the part of the over-protected doll, unaware of the real power dynamics of his marriage.You Never Can Tell (1897) was Shaw's seaside comedy of manners, complete with an all-knowing waiter, exuberant twins, a lovelorn dentist, a long-lost father, lashings of food, and a comic catchphrase to provide the title. Shaw took all these familiar elements of Victorian farce and reworked theminto a modern play of ideas, in which etiquette and ideologies collide. Just as in Wilde's The Importance of Being Earnest (a comparison which Shaw always stubbornly rejected), questions of class, marriage, manners, money, sex and identity underpin the plot of love-at-first-sight, mislaid parentsand reunited families.
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