A mesmerizing, deeply moving portrait of the life and works of one of America's most important twentieth-century painters. A half century after his death, David Park (1911–1960) is recognized as one of America's most important twentieth–century painters. He was the first of the brilliant post–World War II generation of artists to break with Abstract Expressionism's hegemony and return to painting recognizable subjects, most powerfully the human figure. Park's original cohorts of Bay Area Figurative painters were his close friends Richard Diebenkorn, Elmer Bischoff, and Hassel Smith. All outlived him—Smith by nearly fifty years—and enjoyed recognition and fame during their lifetimes. Park's reputation is just now fully coming into its own. In David Park, Painter, Park's younger daughter, writer Helen Park Bigelow, paints a mesmerizing, deeply moving portrait of her father's life and early, difficult death. Park left high school in New England without graduating and came west in order to paint. He married Lydia (Deedie) Newell when he was nineteen and was the father of two by the time he was twenty–two. We are brought into a family rich with moral conviction, ingenuity, smart and gifted friends, music, and art: four complex people guided and inspired by values of integrity. Those same values guided and inspired David Park's painting. Yet this is much more than an artist biography. David Park, Painter is a skillful blend of memoir and observations about life in the Bay Area just before and just after World War II, when some of America's most original, even radical, artists and writers gathered there. This close–up portrayal is unlike other accounts of artists. It is the story of a family built on the love and dedication of one man who held nothing back from his art, and of the spirit of the wife and daughters who supported him. Richard Armstrong, in reflecting on Park's generation of artists in his foreword to this beautiful book, observes that David Park, Painter is "especially valuable as we persist in seeking to make real and human the commanding artistic figures.
This study examines the problems of poverty and isolation among status Indians in the Prairie Provinces of Canada since the signing of treaties and formation of reserves, with arguments for native self-government.
Offers new readings of Laurence Sterne's Tristram Shandy by considering its design features alongside broader developments in eighteenth-century book production.
The lives of the men in Austen’s life, her relationships, how typical they were of men of their time and their impact on her life and writing. It also considers how the novels portray the lives of men and what they reveal of their author’s views on the relationship between the sexes.
A highly illustrated short biography of Jane Austen in her own words and the words of those who knew her. The perfect introduction to Britain’s favourite novelist.
Helen Thompson's Ingenuous Subjection offers a new feminist history of the eighteenth-century domestic novel. By reading social contract theory alongside representations of the domestic sphere by authors such as Mary Astell, Mary Davys, Samuel Richardson, Eliza Haywood, and Frances Sheridan, Thompson shows how these writers confront women's paradoxical status as both contractual agents and naturally subject wives. Over the long eighteenth century, Thompson argues, domestic novelists appropriated the standard of political modernity advanced by John Locke and others as a citizen's free or "ingenuous" assent to the law. The domestic novel figures feminine political difference not as women's deviation from an abstract universal but rather as their failure freely or ingenuously to submit to the power retained by Enlightenment husbands. Ingenuous Subjection claims domestic novelists as vital participants in Enlightenment political discourse. By tracing the political, philosophical, and generic significance of feminine compliance, this book revises our literary historical account of the rise of the novel. Rather than imagining a realm of harmonious sentiment, domestic fiction represents the persistent arbitrariness of eighteenth-century men's conjugal power. Ingenuous Subjection revises feminist theory and historiography, locating the genealogy of feminism in a contractual model of ingenuous assent which challenges the legitimacy of masculine conjugal government. The first study to treat feminine compliance as something other than a passive, politically neutral exercise, Ingenuous Subjection recovers in this practice the domestic novel's critical engagement with the limits of Enlightenment modernity.
What might the author of Mrs. Dalloway and A Room of One's Own have in common with the author of the Claudine series and The Pure and the Impure? Resisting long-held interpretations that Colette and Virginia Woolf had little in common, Southworth shows here the links between the two famous writers, both real and imagined. Often cast in their diametrically opposed roles of elitist bluestocking and risque music hall performer, critics have overlooked the many ways in which the lives and works of Woolf and Colette intersect. This study provides a broad-ranging introduction to the biographical, stylistic, and thematic ties that link the lives and works of Britain's and France's first ladies of letters of the early twentieth century. Situating the two writers within an international network of artists and literati, including Jacques-Emile Blanche, Radclyffe Hall and Una Troubridge. Winnie de Polignac, Gisele Freund, Sylvia Beach and Adrienne Monnier, Vita Sackville-West and Violet Trefusis, this study complicates conceptions of the differences--national, sexual, cultural, and intellectual--which have kept these two women apart by placing these same differences at its center. Southworth develops work already undertaken on Woolf's contacts with France and adds to the body of comparative work on Woolf and her contemporaries. This study also highlights as yet unexplored connections between Colette and her British and American peers. Southworth's book makes a significant contribution to gay and lesbian studies and the study of modernist culture. It also demonstrates the potential of social network theory for literary studies.
Sisters Jane and Cassandra Austen were inseparable and sought one anothers approval in all important decisions. Helen Amy asks would Jane have become a novelist without Cassandra?
This book examines Mary Ward’s distinctive insight into late-Victorian and Edwardian society as a famous writer and reformer, who was inspired by the philosopher and British idealist, Thomas Hill Green. As a talented woman who had studied among Oxford University intellectuals in the 1870s, and the granddaughter of Dr Arnold of Rugby, Mrs Humphry Ward (as she was best known) was in a unique position to participate in the debates, issues and events that shaped her generation; religious doubt and Christianity, educational reforms, socialism, women’s suffrage and the First World War. Helen Loader examines a range of biographical sources, alongside Mary Ward’s writings and social reform activities, to demonstrate how she expressed and engaged with Greenian idealism, both in theory and practice, and made a significant contribution to British Society.
This is a book about readers: readers reading, and readers writing. They are readers of all ages and from all ages: young and old, male and female, from Europe and the Americas. The book they are reading is the Spanish chivalric romance Amad�s de Gaula, known in English as Amadis de Gaule. Famous throughout the sixteenth century as the pinnacle of its fictional genre, the cultural functions of Amadis were further elaborated by the publication of Cervantes's Don Quixote in 1605, in which Amadis features as Quixote's favourite book. Amadis thereby becomes, as the philosopher Ortega y Gasset terms it, 'enclosed' within the modern novel and part of the imaginative landscape of British reader-authors such Mary Shelley, Smollett, Keats, Southey, Scott, and Thackeray. Amadis in English ranges from the sixteenth to the twentieth centuries, demonstrating through this 'biography' of a book the deep cultural, intellectual, and political connections of English, French, and Spanish literature across five centuries. Simultaneously an ambitious work of transnational literary history and a new intervention in the history of reading, this study argues that romance is historically located, culturally responsive, and uniquely flexible in the re-creative possibilities it offers readers. By revealing this hitherto unexamined reading experience connecting readers of all backgrounds, Amadis in English also offers many new insights into the politicisation of literary history; the construction and misconstruction of literary relations between England, France, and Spain; the practice and pleasures of reading fiction; and the enduring power of imagination.
This book aligns concepts and methods from book history with new literary research on a globally studied writer. An innovative three-part approach, combining close reading the evidence of reading, scrutiny of international book distribution circuits, and of Conrad's many fictional representations of reading, illuminates his childhood, maritime and later shore-based reading. After an overview of the empirical evidence of Conrad's reading, his sparsely documented twenty years reading at sea and in port is reconstructed. An examination the reading practices of his famous narrator Marlow then serves to link Conrad's own maritime and shore-based reading. Conrad's subsequent networked reading, shared with his closest male friends, and with literate multilingual women, is examined within the context of Edwardian reading practices. His fictional representations of reading and material texts are highlighted throughout, including genre trends, periodical reading, reading spaces and their lighting, and the use of reading as therapy. The book should appeal both to Conrad scholars and to historians of reading.
Helen Longino seeks to break the current deadlock in the ongoing wars between philosophers of science and sociologists of science--academic battles founded on disagreement about the role of social forces in constructing scientific knowledge. While many philosophers of science downplay social forces, claiming that scientific knowledge is best considered as a product of cognitive processes, sociologists tend to argue that numerous noncognitive factors influence what scientists learn, how they package it, and how readily it is accepted. Underlying this disagreement, however, is a common assumption that social forces are a source of bias and irrationality. Longino challenges this assumption, arguing that social interaction actually assists us in securing firm, rationally based knowledge. This important insight allows her to develop a durable and novel account of scientific knowledge that integrates the social and cognitive. Longino begins with a detailed discussion of a wide range of contemporary thinkers who write on scientific knowledge, clarifying the philosophical points at issue. She then critically analyzes the dichotomous understanding of the rational and the social that characterizes both sides of the science studies stalemate and the social account that she sees as necessary for an epistemology of science that includes the full spectrum of cognitive processes. Throughout, her account is responsive both to the normative uses of the term knowledge and to the social conditions in which scientific knowledge is produced. Building on ideas first advanced in her influential book Science as Social Knowledge, Longino brings her account into dialogue with current work in social epistemology and science studies and shows how her critical social approach can help solve a variety of stubborn problems. While the book focuses on epistemological concerns related to the sociality of inquiry, Longino also takes up its implications for scientific pluralism. The social approach, she concludes, best allows us to retain a meaningful concept of knowledge in the face of theoretical plurality and uncertainty.
Theatre in Towns offers a contemporary perspective on the role of theatre in the cultural life of towns in England. Exploring volunteer-led, professional and community theatres, this book investigates the rich and diverse ways that theatres in towns serve their locality, negotiate their civic role, participate in networks of mutual aid and exchange, and connect audiences beyond their geographical borders. With a geographical focus on post-industrial, seaside, commuter and market towns in England, the book opens questions about how theatre shapes the narratives of town life, and how localism, networks and partnerships across and between towns contribute to living sustainably. Each chapter is critically and historically informed, drawing on original research in towns, including visits to performances and many conversations with townspeople, from theatre-makers, performers, set-builders, front-of-house volunteers, to audience members and civic leaders. Theatre in Towns asks urgent questions about how the relationships between towns and theatres can be redefined in new and equitable ways in the future. Theatre in Towns brings new research to scholars and students of theatre studies, cultural geography, cultural and social policy and political sociology. It will also interest artists, policy-makers and researchers wanting to develop their own and others’ understanding of the value of active theatre cultures in towns. The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.
Fictional Matter argues that chemical definitions of particulate matter shaped eighteenth-century British science and literature. In this lucid, revisionary analysis of corpuscular science, Helen Thompson advances a new account of how the experimental production of empirical knowledge defined the emergent realist novel.
The text provides an overview of the Australian Health Care System at a level suitable for 1st year undergraduate students. It describes the ‘architecture’ of the system and its key components (public hospital sector, private hospital and health insurance, GPs and primary care, community health, public health), some of the things that shape the system and introduces key concepts that underpin it such as the idea of the welfare state or a universal health system.
In this entertaining and informative book, Helen Taylor is the first to seek reasons for Gone With the Wind's success among viewers and readers. The author asked fans to relate their experiences with the work, to explain their fascination with the story, and describe its impact. She not only explains the enduring appeal of the work, but also identifies different kinds of response at particular historical moments (especially World War II) and through the past five decades by women of different classes, races, and generations. The result is a book that is sophisticated, accessible, and revealing. Scarlett's Women is a book for every fan, and for all students of film and popular culture.
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