This is the first major book-length study for four decades to examine the plays written by D. H. Lawrence, and the first ever book to give an in-depth analysis of Lawrence's interaction with the theatre industry during the early twentieth century. It connects and examines his performance texts, and explores his reaction to a wide-range of theatre (from the sensation dramas of working-class Eastwood to the ritual performances of the Pueblo people) in order to explain Lawrence's contribution to modern drama. F. R. Leavis influentially labelled the writer 'D. H. Lawrence: Novelist'. But this book foregrounds Lawrence's career as a playwright, exploring unfamiliar contexts and manuscripts, and drawing particular attention to his three most successful works: The Widowing of Mrs Holroyd, The Daughter-in-Law, and A Collier's Friday Night. It examines how Lawrence's novels are suffused with theatrical thinking, revealing how Lawrence's fictions – from his first published work to the last story that he wrote before his death – continually take inspiration from the playhouse. The book also argues that, although Lawrence has sometimes been dismissed as a restrictively naturalistic stage writer, his overall oeuvre shows a consistent concern with theatrical experiment, and manifests affinities with the dramatic thinking of modernist figures including Brecht, Artaud, and Joyce. In a final section, the book includes contributions from influential theatre-makers who have taken their own cue from Lawrence's work, and who have created original work that consciously follows Lawrence in making working-class life central to the public forum of the theatre stage.
Pronouncements such as “the avant-garde is dead,” argues James M. Harding, have suggested a unified history or theory of the avant-garde. His book examines the diversity and plurality of avant-garde gestures and expressions to suggest “avant-garde pluralities” and how an appreciation of these pluralities enables a more dynamic and increasingly global understanding of vanguardism in the performing arts. In pursuing this goal, the book not only surveys a wide variety of canonical and noncanonical examples of avant-garde performance, but also develops a range of theoretical paradigms that defend the haunting cultural and political significance of avant-garde expressions beyond what critics have presumed to be the death of the avant-garde. The Ghosts of the Avant-Garde(s) offers a strikingly new perspective not only on key controversies and debates within avant-garde studies but also on contemporary forms of avant-garde expression within a global political economy.
Born on the same day in 1809, Abraham Lincoln and Charles Darwin were true contemporaries. Though shaped by vastly different environments, they had remarkably similar values, purposes, and approaches. In this exciting new study, James Lander places these two iconic men side by side and reveals the parallel views they shared of man and God. While Lincoln is renowned for his oratorical prowess and for the Emancipation Proclamation, as well as many other accomplishments, his scientific and technological interests are not widely recognized; for example, many Americans do not know that Lincoln is the only U.S. president to obtain a patent. Darwin, on the other hand, is celebrated for his scientific achievements but not for his passionate commitment to the abolition of slavery, which in part drove his research in evolution. Both men took great pains to avoid causing unnecessary offense despite having abandoned traditional Christianity. Each had one main adversary who endorsed scientific racism: Lincoln had Stephen A. Douglas, and Darwin had Louis Agassiz. With graceful and sophisticated writing, Lander expands on these commonalities and uncovers more shared connections to people, politics, and events. He traces how these two intellectual giants came to hold remarkably similar perspectives on the evils of racism, the value of science, and the uncertainties of conventional religion. Separated by an ocean but joined in their ideas, Lincoln and Darwin acted as trailblazers, leading their societies toward greater freedom of thought and a greater acceptance of human equality. This fascinating biographical examination brings the mid-nineteenth-century discourse about race, science, and humanitarian sensibility to the forefront using the mutual interests and pursuits of these two historic figures.
Pulitzer Prize winner James B. Stewart takes readers behind the scenes in the Clinton White House as it reels in the wake of the Whitewater scandal, Vincent Foster’s suicide, and Paula Jones’ allegations of sexual misconduct. In July 1993, White House official Vincent Foster wrote an anguished lament: “in Washington...ruining people is considered a sport.” Nine days later, Foster was dead. Shock at the apparent suicide of one of President Clinton’s top aides turned to mystery, then suspicion, as the White House became engulfed in an ever-widening net of unanswered questions. Among the confidential matters Foster was working on when he died was the Clinton’s ill-fated investment in Whitewater, an Arkansas land development. Soon conspiracy theories were circulating, alleging that Foster was murdered because he knew too much. And the Whitewater affair, a minor footnote to the 1992 presidential campaign, was suddenly resurrected in the national media. To a degree that left them sunned and at times depressed, the president and the first lady have been buffeted by a succession of scandals, from the first lady's profitable commodities trading to the sexual harassment allegations of Paula Jones. Like his predecessors, the Clinton presidency son found itself engulfed in allegations of scandal, conspiracy, and cover-up. Drawing on hundreds of interviews, many with people speaking publicly for the first time, James B. Stewart also sheds startling new light on these and other mysteries of the Clinton White House. In a fast-paced narrative that ranges from a backwater town in the Ozarks to the Oval Office, from newsrooms in New York and Los Angeles to offices of conservative think tanks and special prosecutors, the result is an unprecedented portrait of political combat as it is waged in America today.
A Guide to the Identification and Natural History of the Sparrows of the United States and Canada provides comprehensive information on all the features that make possible identification of all 62 species of sparrows that occur in North America. The text gives detailed descriptions of the summer, winter, and juvenile plumages of each species, as well as comparisons with similar species. The species accounts are illustrated with range maps and superb line drawings showing behavioral postures and, where useful, fine features of tail feather patterns. The 27 color plates splendidly illustrate the various plumages of each species with the emphasis on the distinctive appearance of birds of different sex, age, and geographic regions. This beautiful and authoritative book is a must for the library of all keen birders living in and visiting North America. Species accounts include discussions of species': * Identification * Measurements * Voice * Habitat * Ecology * Nesting biology * Distribution * Taxonomy * Geographic variations * Historical and present status
Written in a conversational style for principals who are not statisticians, this book will help you use measurement and evaluation to propel your school towards educational excellence.
This book offers a theoretical rationale for the emerging presentist movement in Shakespeare studies and goes on to show, in a series of close readings, that a presentist Shakespeare is not an anachronism. Relying on a Brechtian aesthetic of "naïve surrealism" as the performative model of the early modern, urban, public theater, James O’Rourke demonstrates how this Brechtian model is able to capture the full range of interplays that could take place between Shakespeare’s words, the nonillusionist performance devices of the early modern stage, and the live audiences that shared the physical space of the theatre with Shakespeare’s actors. O’Rourke argues that the limitations placed upon the critical energies of early modern drama by the influential new historicist paradigm of contained subversion is based on a poetics of the sublime, which misrepresents the performative aesthetic of the theater as a self-sufficient spectacle that compels reception in its own terms. Reimagining Shakespeare as our contemporary, O’Rourke shows how the immanent critical logic of Shakespeare’s works can enter into dialogue with our most sophisticated critiques of our cultural fictions.
The extended metropolitan regions of Southeast Asia are the dynamic cores of their national economies and societies and the frontiers of accelerating globalization. This title explores ways of moving beyond outmoded paradigms of the Third World City or a Southeast Asian city 'type'.
Modernists and the Theatre examines how six key modernists, who are best known as poets and novelists, engaged with the realm of theatre and performance. Drawing on a wealth of unfamiliar archival material and fresh readings of neglected documents, James Moran demonstrates how these literary figures interacted with the playhouse, exploring W.B. Yeats's earliest playwriting, Ezra Pound's onstage acting, the links between James Joyce's and D.H. Lawrence's sense of drama, T.S. Eliot's thinking about theatrical popularity, and the feminist politics of Virginia Woolf's small-scale theatrical experimentation. While these modernists often made hostile comments about drama, this volume highlights how the writers were all repeatedly drawn to the form. While Yeats and Pound were fascinated by the controlling aspect of theatre, other authors felt inspired by theatre as a democratic forum in which dissenting voices could be heard. Some of these modernists used theatre to express and explore identities that had previously been sidelined in the public forum, including the working-class mining communities of Lawrence's plays, the sexually unconventional and non-binary gender expressions of Joyce's fiction, and the female experience that Woolf sought to represent and discuss in terms of theatrical performance. These writers may be known primarily for creating non-dramatic texts, but this book demonstrates the importance of the theatre to the activities of these authors, and shows how a sense of the theatrical repeatedly motivated the wider thinking and writing of six major figures in literary history.
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