Warm, wonderful and very wet at times! I LOVED it!' FAITH HOGAN, author of The Ladies' Midnight Swimming Club The start of something new... When Kate is faced with an 'empty nest' when her youngest daughter, Ella, leaves for university, she starts to wonder: what comes next? Decades after abandoning her university hobby, Kate nervously joins a local ladies rowing team and is surprised to find how much she enjoys it! More than anything, though, Kate finds that the team of strong women bring new adventures and unlikely friendships she hadn't even realised were missing from her life... A life-affirming, uplifting story for fans of Josie Lloyd and Faith Hogan
This impressively researched book tells the important but little-known story of elite southern white women's successful quest for a measure of self-reliance and independence between antebellum strictures and the restored patriarchy of Jim Crow. Profusely illustrated with the experiences of fascinating women in Virginia and North Carolina, it presents a compelling new chapter in the history of American women and of the South. As were many ideas, notions of the ideal woman were in flux after the Civil War. While poverty added a harder edge to the search for a good marriage among some "southern belles," other privileged white women forged identities that challenged the belle model altogether. Their private and public writings from the 1870s and 1880s suggest a widespread ethic of autonomy. Sometimes that meant increased domestic skills born of the new reality of fewer servants. But women also owned and transmitted property, worked for pay, and even pursued long-term careers. Many found a voice in a plethora of new voluntary organizations, and some southern women attained national celebrity in the literary world, creating strong and capable heroines and mirroring an evolving view toward northern society. Yet even as elite southern women experimented with their roles, external forces and contradictions within their position were making their unprecedented attitudes and achievements socially untenable. During the 1890s, however, virulent racism and pressures to re-create a mythic South left these women caught between the revived image of the southern belle and the emerging emancipated woman. Just as the memoirs of southern white women have been key to understanding life during the Civil War, the writings of such women unlock the years of dramatic change that followed. Informed by myriad primary documents, Jane Turner Censer immerses us in the world of postwar southern women as they rethought and rebuilt themselves, their families, and their region during a brief but important period of relative freedom.
Eugenio Barba is one of the most important theatre practitioners working today. This guidebook provides exercises for both students and teachers, and also offers an historical perspective on European and world theatre.
Many historians of late have portrayed upper-class southerners of the antebellum period as inordinately aristocratic and autocratic. Some have even seen in the planters’ family relations the faint yet distinct shadow of a master’s dealings with his slaves. Challenging such commonly held assumptions about the attitudes and actions of the pre-Civil War southern elite, Jane Turner Censer draws on an impressive array of primary and secondary sources—including letters, diaries, and other first-person accounts as well as federal census materials and local wills, deeds, and marriage records—to show that southern planters, at least in their relations with their children, were caring, affectionate, and surprisingly egalitarian. Through the close study of more than one hundred North Carolina families, she reveals the adults to have been doting parents who emphasized to their children the importance of education and achievement and the wise use of time and money. The planters guided their offspring toward autonomy by progressively granting them more and more opportunities for decision making. By the time sons and daughters were faced with choosing a marriage partner, parents played only a restrained advisory role. Similarly, fathers left career decisions almost entirely up to their sons. Censer concludes that children almost invariably met their parents’ high expectations. Most of them chose to marry within their class, and the second generation usually maintained or improved their parents’ high economic status. On the other hand, Censer finds that planters rarely developed warm, empathetic relationships with their slaves. Even the traditional “mammy,” whose role is southern planter families was been exalted in much of our literature, seems to have held a relatively minor place in the family structure. Bringing to light a wealth of previously unassimilated information, North Carolina Planters and Their Children points toward a new understanding of social and cultural life among the wealthy in the early nineteenth-century South.
From the author of the acclaimed Venetian Stories, a captivating new collection about Venice from the perspective of its residents. A professor writes lectures on Venetian literature for American millionaires. A baroness falls in love with the architect restoring the ancient palazzo of her husband’s family. An ambitious gallery owner sells a young artist’s work faster than he can paint it. A salesman finds a way to trip up a narcissistic race car driver who seems to be able to get away with anything. As her characters negotiate the conflict between tradition and a rapidly changing city, Jane Turner Rylands draws us deep into a society all but unknown to outsiders.
In these brilliantly realized, linked tales, the real Venice is revealed – not the iconic tourist destination the city has become, but the mysterious society that resides behind its elegant doors and shuttered windows. With a sly and affectionate delicacy, Jane Turner Rylands, an American expatriate who has lived in Venice for thirty years, portrays a dozen Venetians– a construction foreman, a countess, a gondolier, a postman, an architect, a Baronessa, an English lord – as they pursue their respective interests. And in turn, through the perspective of those who live and work in this most alluring of cities, Venetian Stories illuminates canals and palazzos, churches and gondolas, large concerns and small rituals, with an uncommon intimacy.
A daughter of freed African American slaves, Daisy Turner became a living repository of history. The family narrative entrusted to her--"a well-polished artifact, an heirloom that had been carefully preserved"--began among the Yoruba in West Africa and continued with her own century and more of life. In 1983, folklorist Jane Beck began a series of interviews with Turner, then one hundred years old and still relating four generations of oral history. Beck uses Turner's storytelling to build the Turner family saga, using at its foundation the oft-repeated touchstone stories at the heart of their experiences: the abduction into slavery of Turner's African ancestors; Daisy's father Alec Turner learning to read; his return as a soldier to his former plantation to kill his former overseer; and Daisy's childhood stand against racism. Other stories re-create enslavement and her father's life in Vermont--in short, the range of life events large and small, transmitted by means so alive as to include voice inflections. Beck, at the same time, weaves in historical research and offers a folklorist's perspective on oral history and the hazards--and uses--of memory. Publication of this book is supported by grants from the Andrew W. Mellon Foundation and the L. J. and Mary C. Skaggs Folklore Fund.
As were many ideas, notions of the ideal woman were in flux after the Civil War. While poverty added a harder edge to the search for a good marriage among some "southern belles," other privileged white women forged identities that challenged the belle model altogether. Their private and public writings from the 1870s and 1880s suggest a widespread ethic of autonomy. Sometimes that meant increased domestic skills born of the new reality of fewer servants. But women also owned and transmitted property, worked for pay, and even pursued long-term careers. Many found a voice in a plethora of new voluntary organizations, and some southern white women attained national celebrity in the literary world, creating strong and capable heroines and mirroring an evolving view toward northern society. Yet even as elite southern women experimented with their roles, external forces and contradictions within their position were making their unprecedented attitudes and achievements socially untenable. During the 1890s, virulent racism and pressures to re-create a mythic South left these women caught between the revived image of the southern belle and the emerging emancipated woman.
A daughter of freed African American slaves, Daisy Turner became a living repository of history. The family narrative entrusted to her--"a well-polished artifact, an heirloom that had been carefully preserved"--began among the Yoruba in West Africa and continued with her own century and more of life. In 1983, folklorist Jane Beck began a series of interviews with Turner, then one hundred years old and still relating four generations of oral history. Beck uses Turner's storytelling to build the Turner family saga, using at its foundation the oft-repeated touchstone stories at the heart of their experiences: the abduction into slavery of Turner's African ancestors; Daisy's father Alec Turner learning to read; his return as a soldier to his former plantation to kill his former overseer; and Daisy's childhood stand against racism. Other stories re-create enslavement and her father's life in Vermont--in short, the range of life events large and small, transmitted by means so alive as to include voice inflections. Beck, at the same time, weaves in historical research and offers a folklorist's perspective on oral history and the hazards--and uses--of memory. Publication of this book is supported by grants from the Andrew W. Mellon Foundation and the L. J. and Mary C. Skaggs Folklore Fund.
14-year-old Ronnie, fostered to the Tate family, has run away from home. For 18-year-old Georgia Tate, it's almost the last straw: her parents have separated, her ex has already moved on, and she's dropped out of Uni. Then on a night when her father forgets to collect her from work, an older family friend picks her up... For Good is one young woman's struggle to come of age in the shadow of a problematic attachment, family breakdown, and a single, shocking act of abuse. It's a story of middle class lives rocked by an experiment doomed to failure; of homelessness and addiction, family deception and loyalty, connection and rebuilding. It's about neglect - the domestic tragedy happening quietly and commonly in our cities and suburbs - but not, in the end, without hope 'for good.
The description for this book, Netherlandish Drawings of the Fifteenth and Sixteenth Centuries and Flemish Drawings of the Seventeeth and Eighteenth Centuries in the Pierpont Morgan Library, will be forthcoming.
A Poetics of Third Theatre offers an in-depth, critical analysis of Third Theatre, a transnational community of theatre groups and artists united by a shared set of values and a laboratory attitude. This book takes a genealogical account of Third Theatre as a concept and a practice that draws attention to the historical Third Theatre Encounters that have taken place across Europe and Latin America since the 1970s. The work of renowned Third Theatre groups and organisations, such as LUME (Brazil), Grupo Cultural Yuyachkani (Peru), Triangle Theatre (UK) and Nordisk Teaterlaboratorium - NTL (Denmark), are explored to reveal how a multifarious poetics of Third Theatre is manifest through these artists' approaches to performer training, dramaturgy and cultural action. Three critical pillars - unconditional hospitality, artisanal craft and (re)enchantment - are employed in order to illuminate the shared ethos of the Third Theatre community and its exemplification as a mode of cultural performance. This informative text will be of great use to students and scholars of drama and theatre studies, and its dedicated section on performer training exercises offers the reader pathways into an experiential engagement with Third Theatre craft.
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