Galveston had adopted the moniker "Playground of the Southwest" by the 1920s. This title noted the city's economic revival following the 1900 hurricane. Galvestonians envisioned a tourism industry largely built around its beaches on the Gulf of Mexico, the tranquil water of Galveston Bay, and a year-round mild climate. Island business leaders also introduced amusement parks, nationally renowned events, and nighttime entertainment venues. By the 1930s, in a waning national economy, Galveston saw the quiet return of more questionable tourist businesses including gambling and prostitution, challenging the concepts of the conventional tourism industry until closed by the Texas Rangers in the 1950s. Later in the 20th century, Galveston Historical Foundation leaders who discovered the economics of heritage tourism began promoting the island's captivating history.
Shakespeare is at the heart of the British theatrical tradition, but the contribution of Ira Aldridge and the Shakespearean performers of African, African-Caribbean, south Asian and east Asian heritage who came after him is not widely known. Telling the story for the first time of how Shakespearean theatre in Britain was integrated from the 1960s to the 21st century, this is a timely and important account of that contribution. Drawing extensively on empirical evidence from the British Black and Asian Shakespeare Performance Database and featuring interviews with nearly forty performers and directors, the book chronicles important productions that led to ground-breaking castings of Black and Asian actors in substantial Shakespearean roles including: · Zakes Mokae (Cry Freedom) as one of three black witches in William Gaskill's 1966 production of Macbeth at the Royal Court Theatre. · Norman Beaton as Angelo in Michael Rudman's 1981 production of Measure for Measure at the National Theatre – the first majority Black Shakespearean cast at the theatre. · Josette Simon as Isabella in Measure for Measure at the Royal Shakespeare Company in 1987. · Adrian Lester in the title role of Nicholas Hytner's 2003 production of Henry V. · Iqbal Khan on his 2012 production of Much Ado About Nothing – the first production with an all south Asian cast at the Royal Shakespeare Company. · Alfred Enoch and Rakie Ayola as Edgar and Goneril in Talawa Theatre Company's 2016 production of King Lear · Paapa Essiedu as Hamlet in Simon Godwin's 2016 production for the Royal Shakespeare Company. With first-hand accounts from key performers including Joseph Marcell, Adrian Lester, Josette Simon, Lolita Chakrabarti, Noma Dumezweni, Rakie Ayola, David Yip, Ray Fearon, Paterson Joseph, Alfred Enoch, Rudolph Walker and many more, this book is an invaluable history of Black and Asian Shakespeareans that highlights the gains these actors have made and the challenges still faced in pursuing a career in classical theatre.
While medical identification and treatment of gender dysphoria have existed for decades, the development of transgender as a “collective political identity” is a recent construct. Over the past twenty-five years, the transgender movement has gained statutory nondiscrimination protections at the state and local levels, hate crimes protections in a number of states, inclusion in a federal law against hate crimes, legal victories in the courts, and increasingly favorable policies in bureaucracies at all levels. It has achieved these victories despite the relatively small number of trans people and despite the widespread discrimination, poverty, and violence experienced by many in the transgender community. This is a remarkable achievement in a political system where public policy often favors those with important resources that the transgender community lacks: access, money, and voters. The Remarkable Rise of Transgender Rights explains the growth of the transgender rights movement despite its marginalized status within the current political opportunity structure.
Object Lessons explores a fundamental question about literary realism: How can language evoke that which is not language and render objects as real entities? Drawing on theories of reference in the philosophy of language, Jami Bartlett examines novels by George Meredith, William Makepeace Thackeray, Elizabeth Gaskell, and Iris Murdoch that provide allegories of language use in their descriptions, characters, and plots. Bartlett shows how these authors depict the philosophical complexities of reference by writing through and about referring terms, the names and descriptions that allow us to “see” objects. At the same time, she explores what it is for words to have meaning and delves into the conditions under which a reference can be understood. Ultimately, Object Lessons reveals not only how novels make references, but also how they are about referring.
A complement to the bestselling "Dr. Susan Love's Breast Book", this title gives breast cancer patients practical advice, support, and comfort combined with a well-needed shot of humor.
This intellectually vigorous and critically engaging study provides a cultural and linguistic critique of V. G. Kiernan’s translation of Muhammad Iqbal, the foremost Muslim poet and philosopher, with reference to such larger questions as ideology, power, and discourse, as well as their complicity with the practice of (mis)translation. Providing an illuminating and incisive account of the cultural and linguistic distortions, the book shows how misrepresentations and mistranslations abound in Kiernan’s work. It invites the reader, especially scholars of the field, to pay close attention to the nuances and subtleties of translation, which, in a cumulative way, rewrite the original text in the process of translation. The politics of translation, in apparently innocuous ways, brings about and perpetuates the marginalization and exclusion of non-European works. Contrary to the common view, translation is deeply enmeshed in cross-cultural power struggles and mired in ideological dogmas and preconceptions. In the contemporary world where Islam and Muslims are increasingly portrayed as “cultural others”, the book comes as a timely rejoinder to the domesticated introductions of Iqbal in the West.
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