The Civic Constitution provides a compelling case for rethinking the U.S. Constitution. By exploring pivotal struggles over governmental power, individual rights, and the boundaries of citizenship, this book challenges reigning approaches and reveals the profound importance of 'civic founders' who worked to reinvent the constitutional order.
Why do we eat? Is it instinct? Despite the necessity of food, anxieties about what and how to eat are widespread and persistent. In Appetite and Its Discontents, Elizabeth A. Williams explores contemporary worries about eating through the lens of science and medicine to show us how appetite—once a matter of personal inclination—became an object of science. Williams charts the history of inquiry into appetite between 1750 and 1950, as scientific and medical concepts of appetite shifted alongside developments in physiology, natural history, psychology, and ethology. She shows how, in the eighteenth century, trust in appetite was undermined when researchers who investigated ingestion and digestion began claiming that science alone could say which ways of eating were healthy and which were not. She goes on to trace nineteenth- and twentieth-century conflicts over the nature of appetite between mechanists and vitalists, experimentalists and bedside physicians, and localists and holists, illuminating struggles that have never been resolved. By exploring the core disciplines in investigations in appetite and eating, Williams reframes the way we think about food, nutrition, and the nature of health itself..
New Orleans has always captured our imagination as an exotic city in its racial ambiguity and pursuit of les bons temps. Despite its image as a place apart, the city played a key role in nineteenth-century America as a site for immigration and pluralism, the quest for equality, and the centrality of self-making. In both the literary imagination and the law, creoles of color navigated life on a shifting color line. As they passed among various racial categories and through different social spaces, they filtered for a national audience the meaning of the French Revolution, the Haitian Revolution of 1804, the Civil War and Reconstruction, and de jure segregation. Shirley Thompson offers a moving study of a world defined by racial and cultural double consciousness. In tracing the experiences of creoles of color, she illuminates the role ordinary Americans played in shaping an understanding of identity and belonging.
Harries introduces the stories written by 17th century French women, or conteuses, female storytellers. Their stories omitted from the traditional, largely male-authored, fairy tale "canon.
Offers insight into the lesser-known complexities of the general's personality, in a biography based on his unpublished personal correspondence and covering such topics as his early years, relationships with family and slaves, and thoughts on military str
Pevsner wrote that "Leicestershire is not a county of extremes" and agreed that "no other county in England surpasses Rutland for unspoiled quiet charm". The large and the small Midland counties possess a varied and rewarding range of buildings. Church architecture encompasses the classical Normanton, preserved in remote isolation from the flood of Rutland Water, to Market Harborough with its elegant medieval steeple, and a fine group of Victorian churches in Leicester. The major country houses include Belvoir Castle, Staunton Harold and Burley-on-the-Hill, while the more modest homes of the late nineteenth century include notable work by Ernest Gimson, Voysey and a garden city at Leicester by Parker & Unwin. Leicestershire also possesses fine modern buildings, from its architecturally progressive schools to the justly renowned buildings of Leicester University, dominated by Stirling & Gowan's Engineering Building.
Do you love stories with sexy, romantic heroes who have it all—wealth, status, and incredibly good looks? Harlequin® Desire brings you all this and more with these three new full-length titles for one great price! PURSUED (The Diamond Tycoons) by Tracy Wolff Nic Durand had a one-night stand with the reporter exposing corruption in his company. Now she's having his child. She may be set on bringing him down, but he'll pursue her until he has her right where he wants her! STRANDED WITH THE BOSS (Billionaires and Babies) by Elizabeth Lane Early tragedy led billionaire Dragan to steer clear of children. But could a spunky redhead—who's suing his company!—and her twin toddlers melt his frozen heart when they're stranded together in a winter cabin? FALLING FOR HER FAKE FIANCÉ (The Beaumont Heirs) by Sarah M. Anderson Frances Beaumont needs a fortune. CEO Ethan Logan needs a Beaumont to give him credibility when he takes over the family brewery. Can this engagement of convenience lead to the real deal? Look for Harlequin® Desire's October 2015 Box set 2 of 2, filled with even more scandalous stories and powerful heroes!
Actress, playwright, and novelist, Elizabeth Griffith (1727-1793) won fame in England with the publication in 1757 of the first two volumes of Letters Between Henry and Frances, letters from her own courtship with Richard Griffith whom she secretly married in 1751. Her first novel, The Delicate Distress (1769), focuses on the problems women encounter after marriage—the issue of financial independence for wives, the consequences of interfaith relationships, and the promiscuity of their husbands. Against a backdrop of rural England and Paris of the ancien regime, Griffith reimagines the epistolary novel of sensibility in the tradition of Samuel Richardson and Jean-Jacques Rousseau from a feminist perspective that centers on strong, intelligent, and virtuous women. Two sisters exchange letters about urgent ethical questions concerning love, marriage, morality, art, the duties of wives and husbands, and passion versus reason, while two men correspond about the same subjects. At the story's center is the deep distress of Emily Woodville, a virtuous young newlywed who suspects her husband of infidelity with a French marchioness from his past. The third volume in the series Eighteenth-Century Novels by Women, The Delicate Distress contributes to our understanding of the development of the novel. As Cynthia Ricciardi and Susan Staves show, Griffith's exploration of the psychology of characters who observe and reflect but engage in no grand public actions anticipates Henry James. The editors' introduction places The Delicate Distress firmly in the tradition of the English novel, provides the most complete biography available on Griffith's life, and brings together the most important eighteenth- and twentieth-century criticism of the novelist's work.
The year is 1173. King Henry's efforts to crush his rebellious sons ignite bloody border skirmishes throughout the land. Yet it is a time of triumph for mercenary Josceline de Gael, bastard son of the king's most trusted ally. Victorious on the battlefield, de Gael suffers sweet defeat when his heart is conquered by the lovely Linnet de Montsorrel. But their love will find its greatest challenge as the torments of jealousy, suspicion, pride - and an enemy from beyond the grave - threaten all they hold dear.
Marian Smith recaptures a rich period in French musical theater when ballet and opera were intimately connected. Focusing on the age of Giselle at the Paris Opéra (from the 1830s through the 1840s), Smith offers an unprecedented look at the structural and thematic relationship between the two genres. She argues that a deeper understanding of both ballet and opera--and of nineteenth-century theater-going culture in general--may be gained by examining them within the same framework instead of following the usual practice of telling their histories separately. This handsomely illustrated book ultimately provides a new portrait of the Opéra during a period long celebrated for its box-office successes in both genres. Smith begins by showing how gestures were encoded in the musical language that composers used in ballet and in opera. She moves on to a wide range of topics, including the relationship between the gestures of the singers and the movements of the dancers, and the distinction between dance that represents dancing (entertainment staged within the story of the opera) and dance that represents action. Smith maintains that ballet-pantomime and opera continued to rely on each other well into the nineteenth century, even as they thrived independently. The "divorce" between the two arts occurred little by little, and may be traced through unlikely sources: controversies in the press about the changing nature of ballet-pantomime music, shifting ideas about originality, complaints about the ridiculousness of pantomime, and a little-known rehearsal score for Giselle. ?
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