World War II, 1940, in the Nazi-occupied city of Rouen, France: Despite Germany’s stranglehold on the French, Benjamin Cohen, an introverted but musically talented adolescent, defies his father to study the carillon in the Catholic cathedral, a huge instrument of fifty-five bells. Though impeded by the German threat and his perceived dismissal by family, his confidence grows with the help of his new “family” at the cathedral and his pet cockatiel, Frère Jacques. This coming-of-age epistolary novel tells of wartime dynamics between Catholic and Jewish, boy and girl, father and son, and two estranged brothers on their journeys through war, love, and tragedy. Can Benjamin’s mastery of the carillon and his love affair with the troubled nun-in-training, Marie-Noëlle, give him le courage he needs to perform the one act that can save his people from Nazi arrest and earn back his father’s respect? Or will it doom them all?
Historical Dictionary of Contemporary American Theater. Second Edition covers theatrical practice and practitioners as well as the dramatic literature of the United States of America from 1930 to the present. The 90 years covered by this volume features the triumph of Broadway as the center of American drama from 1930 to the early 1960s through a Golden Age exemplified by the plays of Eugene O’Neill, Elmer Rice, Thornton Wilder, Lillian Hellman, Tennessee Williams, Arthur Miller, William Inge, Lorraine Hansberry, and Edward Albee, among others. The impact of the previous modernist era contributed greatly to this period of prodigious creativity on American stages. This volume will continue through an exploration of the decline of Broadway as the center of U.S. theater in the 1960s and the evolution of regional theaters, as well as fringe and university theaters that spawned a second Golden Age at the millennium that produced another – and significantly more diverse – generation of significant dramatists including such figures as Sam Shepard, David Mamet, Maria Irené Fornes, Beth Henley, Terrence McNally, Tony Kushner, Paula Vogel, Lynn Nottage, Suzan-Lori Parks, Sarah Ruhl, and numerous others. The impact of the Great Depression and World War II profoundly influenced the development of the American stage, as did the conformist 1950s and the revolutionary 1960s on in to the complex times in which we currently live. Historical Dictionary of the Contemporary American Theater, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 1.000 cross-referenced entries on plays, playwrights, directors, designers, actors, critics, producers, theaters, and terminology. This book is an excellent resource for students, researchers, and anyone wanting to know more about American theater.
In Tea, James R. Fichter reveals that despite the so-called Boston Tea Party in 1773, two large shipments of tea from the East India Company survived and were ultimately drunk in North America. Their survival shaped the politics of the years ahead, impeded efforts to reimburse the company for the tea lost in Boston Harbor, and hinted at the enduring potency of consumerism in revolutionary politics. Tea protests were widespread in 1774, but so were tea advertisements and tea sales, Fichter argues. The protests were noisy and sometimes misleading performances, not clear signs that tea consumption was unpopular. Revolutionaries vilified tea in their propaganda and prohibited the importation and consumption of tea and British goods. Yet merchant ledgers reveal these goods were still widely sold and consumed in 1775. Colonists supported Patriots more than they abided by non-consumption. When Congress ended its prohibition against tea in 1776, it reasoned that the ban was too widely violated to enforce. War was a more effective means than boycott for resisting Parliament, after all, and as rebel arms advanced, Patriots seized tea and other goods Britons left behind. By 1776, protesters sought tea and, objecting to its high price, redistributed rather than destroyed it. Yet as Fichter demonstrates in Tea, by then the commodity was not a symbol of the British state, but of American consumerism.
A Pulitzer Prize winner looks at the course of American history from the birth of the Constitution to the dawn of the Civil War. The years between 1787 and 1863 witnessed the development of the American Nation—its society, politics, customs, culture, and, most important, the development of liberty. Burns explores the key events in the republic’s early decades, as well as the roles of heroes from Washington to Lincoln and of lesser-known figures. Captivating and insightful, Burns’s history combines the color and texture of early American life with meticulous scholarship. Focusing on the tensions leading up to the Civil War, Burns brilliantly shows how Americans became divided over the meaning of Liberty. Vineyard of Liberty is a sweeping and engrossing narrative of America’s formative years.
The Pulitzer Prize–winning author’s stunning trilogy of American history, spanning the birth of the Constitution to the final days of the Cold War. In these three volumes, Pulitzer Prize– and National Book Award–winner James MacGregor Burns chronicles with depth and narrative panache the most significant cultural, economic, and political events of American history. In The Vineyard of Liberty, he combines the color and texture of early American life with meticulous scholarship. Focusing on the tensions leading up to the Civil War, Burns brilliantly shows how Americans became divided over the meaning of Liberty. In The Workshop of Democracy, Burns explores more than a half-century of dramatic growth and transformation of the American landscape, through the addition of dozens of new states, the shattering tragedy of the First World War, the explosion of industry, and, in the end, the emergence of the United States as a new global power. And in The Crosswinds of Freedom, Burns offers an articulate and incisive examination of the US during its rise to become the world’s sole superpower—through the Great Depression, the Second World War, the Cold War, and the rapid pace of technological change that gave rise to the “American Century.”
Sarah Margaret Fuller Ossoli (1810-1850) received a broad education and early felt a deep interest in social questions. She learned French, German and the classics, and her associates in Cambridge were persons of culture, experience and advanced ideas. In 1833 the family removed to Groton, Mass., where she gave lessons to private classes in languages and other studies. In 1836 she went to Boston, where she taught Latin and French in A. Bronson Alcott's school, and taught private classes of girls in French, German and Italian. In 1837 she became a teacher in a private school in Providence, R. I., which was organized on Mr. Alcott's plan. She translated many works from the German and other languages. In 1839 she instituted in Boston her conversational class, which was continued for several years. She did much writing on subjects connected with her educational work. In 1840 she became the editor of "The Dial." which she managed for two years. Her contributions to the journal were numerous. Several volumes of translations from the German were brought out by her. In 1843 she went on a western tour with James Freeman Clarke and his artist-sister, and her first original work, "Summer on the Lakes," was the result of that trip. In 1844 she removed to New York City, where for two years she furnished literary criticisms for the "Tribune." In 1846 she published her volume. "Papers on Literature and Art." After twenty months of life in New York she went to Europe, she met in Italy, in 1847, Giovani Angelo, Marquis Ossoli, a man younger than she and of less intellectual culture, but a simple and noble man, who had given up his rank and station in the cause of the Roman Republic. They were married in 1847. After the fall of the republic it was necessary for them to leave Rome, and Madame Ossoli, desiring to print in America her history of the Italian struggle, suggested their return to the United States.
This book covers the history of theater as well as the literature of America from 1880-1930. The years covered by this volume features the rise of the popular stage in America from the years following the end of the Civil War to the Golden Age of Broadway, with an emphasis on its practitioners, including such diverse figures as William Gillette, Mrs. Fiske, George M. Cohan, Maude Adams, David Belasco, George Abbott, Clyde Fitch, Eugene O’Neill, Texas Guinan, Robert Edmond Jones, Jeanne Eagels, Susan Glaspell, The Adlers and the Barrymores, Tallulah Bankhead, Philip Barry, Maxwell Anderson, Mae West, Elmer Rice, Laurette Taylor, Eva Le Gallienne, and a score of others. Entries abound on plays of all kinds, from melodrama to the newly-embraced realistic style, ethnic works (Irish, Yiddish, etc.), and such diverse forms as vaudeville, circus, minstrel shows, temperance plays, etc. This second edition of Historical Dictionary of American Theater: Modernism covers the history of modernist American Theatre through a chronology, an introductory essay, and an extensive bibliography. The dictionary section has over 2,000 cross-referenced entries on actors and actresses, directors, playwrights, producers, genres, notable plays and theatres. This book is an excellent access point for students, researchers, and anyone wanting to know more about the American Theater in its greatest era.
In this exciting new analysis of slaves and slavery in the New Testament, Harrill breaks new ground with his extensive use of Greco-Roman evidence, discussion of hermeneutics, and treatment of the use of the New Testament in antebellum U.S. slavery debates. He examines in detail Philemon, 1 Corinthians, Romans, Luke-Acts, and the household codes.
The 50-year period from 1880 to 1929 is the richest era for theater in American history, certainly in the great number of plays produced and artists who contributed significantly, but also in the centrality of theater in the lives of Americans. As the impact of European modernism began to gradually seep into American theater during the 1880s and quite importantly in the 1890s, more traditional forms of theater gave way to futurism, symbolism, surrealism, and expressionism. American playwrights like Eugene O'Neill, George Kelly, Elmer Rice, Philip Barry, and George S. Kaufman ushered in the Golden Age of American drama. The A to Z of American Theater: Modernism focuses on legitimate drama, both as influenced by European modernism and as impacted by the popular entertainment that also enlivened the era. This is accomplished through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced entries on plays; music; playwrights; great performers like Maude Adams, Otis Skinner, Julia Marlowe, and E.H. Sothern; producers like David Belasco, Daniel Frohman, and Florenz Ziegfeld; critics; architects; designers; and costumes.
In The Struggle for Equality, the renowned Civil War historian James McPherson offered an important and timely analysis of the abolitionist movement and the legal basis it provided to the civil rights movement of the 1960s. This work remains an incisive demonstration of the successful role played by rights activists during and after the Civil War, when they evolved from despised fanatics into influential spokespersons for the radical wing of the Republican party. The vivid narrative stresses the intensely individual efforts that characterized the movement, drawing on letters and anti-slavery periodicals to let the voices of the abolitionists express for themselves their triumphs and anxieties. Asserting that it was not the abolitionists who failed in their efforts to instill the principles of equality on the state level but rather the American people who refused to follow their leadership, McPherson raises broad questions about the obstacles that have long hindered American reform movements in general. This new paperback edition contains a preface in which the author explains some of the changing perspectives that would lead him to write several aspects of this story differently today. The original hardcover was a winner of the Anisfield-Wolf Award in Race Relations.
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