Part Nine in the Fishes of the Western North Atlantic series describes in two volumes 180 species in 85 genera (19 families) of eels and related gulper eels found in the western and mid-Atlantic, and the unique larvae known as leptocephali (168 species). Specialist authorships of its sections include detailed species descriptions with keys, life history and general habits, abundance, range, and relation to human activity, such as economic and sporting importance. The text is written for an audience of amateur and professional ichthyologists, sportsmen, and fishermen, based on new revisions, original research, and critical reviews of existing information. Species are illustrated by exceptional black and white line drawings, accompanied by distribution maps and tables of meristic data.
On the Divide analyzes the iconic image that Cather helped develop for herself, in contrast to the anonymous face she adopted for promotional activities and the very different private self she shared only with friends and family. Delving into CatherOCOs correspondence and the little-known promotional material she produced anonymously, David Porter provides new insight into the extentOCoand directionOCoof her control. He also considers the contrasting influences of Mary Baker Eddy, whose biography Cather ghostwrote, and Sarah Orne Jewett on the authorOCOs emerging artistic persona. The study goes on to explore the many ways in which these OC dividesOCO in CatherOCOs life found expression in her writing. Extending from CatherOCOs early stories to her final novel, PorterOCOs book documents the degree to which CatherOCOs understanding of her own different and often conflicting sides, and of her penchant for playing diverse roles, enabled her as a novelist to create characters so torn, so complex, and so profoundly human.
Part Nine in the Fishes of the Western North Atlantic series describes in two volumes 180 species in 85 genera (19 families) of eels and related gulper eels found in the western and mid-Atlantic, and the unique larvae known as leptocephali (168 species). Specialist authorships of its sections include detailed species descriptions with keys, life history and general habits, abundance, range, and relation to human activity, such as economic and sporting importance. The text is written for an audience of amateur and professional ichthyologists, sportsmen, and fishermen, based on new revisions, original research, and critical reviews of existing information. Species are illustrated by exceptional black and white line drawings, accompanied by distribution maps and tables of meristic data.
Throughout her fiction, Willa Cather mentioned forty-seven operas. References to opera appear in all but three of her twelve novels and in roughly half of her short stories. Despite a dearth of musical education, Cather produced astute writing about the genre beginning in her earliest criticism and continuing throughout her career. She counted opera stars among her close friends, and according to Edith Lewis, her companion throughout adulthood, the two women frequently visited the theater, even in the early days, when purchasing tickets to attend performances proved a financial sacrifice. Melding cultural history with thoughtful readings of her works and discussions of opera’s complex place in turn-of-the-century America, David McKay Powell’s Cather and Opera offers the first book-length study of what drew the writer so powerfully and repeatedly to the art form. With close attention to Cather’s fiction and criticism, Powell posits that at the heart of both her work and the operatic corpus dwells an innate tension between high artistic ideals and popular acceptance, often figured as a clash between compositional integrity and raw, personal emotion. Considering her connection to opera in both historical and intertextual terms, Cather and Opera investigates what operatic references mean in Cather’s writing, along with what the opera represented to her throughout her life.
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