This book explores the role of music in the some five hundred feature-length films on the Middle Ages produced between the late 1890s and the present day. Haines focuses on the tension in these films between the surviving evidence for medieval music and the idiomatic tradition of cinematic music. The latter is taken broadly as any musical sound occurring in a film, from the clang of a bell off-screen to a minstrel singing his song. Medieval film music must be considered in the broader historical context of pre-cinematic medievalisms and of medievalist cinema’s main development in the course of the twentieth century as an American appropriation of European culture. The book treats six pervasive moments that define the genre of medieval film: the church-tower bell, the trumpet fanfare or horn call, the music of banquets and courts, the singing minstrel, performances of Gregorian chant, and the music that accompanies horse-riding knights, with each chapter visiting representative films as case studies. These six signal musical moments, that create a fundamental visual-aural core central to making a film feel medieval to modern audiences, originate in medievalist works predating cinema by some three centuries.
With over 900 biographical entries, more than 600 novels synopsized, and a wealth of background material on the publishers, reviewers and readers of the age the Longman Companion to Victorian Fiction is the fullest account of the period's fiction ever published. Now in a second edition, the book has been revised and a generous selection of images have been chosen to illustrate various aspects of Victorian publishing, writing, and reading life. Organised alphabetically, the information provided will be a boon to students, researchers and all lovers of reading. The entries, though concise, meet the high standards demanded by modern scholarship. The writing - marked by Sutherland's characteristic combination of flair, clarity and erudition - is of such a high standard that the book is a joy to read, as well as a definitive work of reference.
In February 1616, William Shakespeare finds himself on the brink of financial ruin and trapped in an unhappy marriage. Desperate for a way out, he agrees to resume his clandestine work for the English secret service. His mission: to report on the Virginia Company and their activities in the Virginia Colony. To maintain his cover, Shakespeare must fake his own death and assume a new identity. As he embarks on this dangerous journey, Shakespeare befriends John Rolfe and his wife Matoaka (Pocahontas), who are visiting England. The couple provides invaluable insights into Virginia, Powhatan society, and the complex situation unfolding in the Colony. Following Mataoka’s tragic death, Shakespeare accompanies Rolfe to Virginia, taking on the guise of a tobacco planter. In this new world, Shakespeare must navigate the treacherous waters between the avaricious English colonists and the hostile, embittered Powhatans. Can his experience as a renowned actor and playwright help him survive and thrive in the Colony? And how will the most famous life in history come to an end?
For any baseball fanatic, a trip to Cooperstown can take on the aura of a holy pilgrimage. Yet many fans are unaware of what goes into the selection of players to the Baseball Hall of Fame. Part I of this volume offers a chronology of Hall of Fame voting from 1936 to the present. Part II provides information about the awards won (Cy Young, MVP, Rookie), honors (Sporting News All-Star selections), and other career details (longevity, benchmark statistical achievements) that tend to sway voters. And Part III summarizes the voting trends by position.
John Julius Norwich’s A History of Venice has been dubbed “indispensable” by none other than Jan Morris. Now, in his second book on the city once known as La Serenissima, Norwich advances the story in this elegant chronicle of a hundred years of Venice’s highs and lows, from its ignominious capture by Napoleon in 1797 to the dawn of the 20th century. An obligatory stop on the Grand Tour for any cultured Englishman (and, later, Americans), Venice limped into the 19th century–first under the yoke of France, then as an outpost of the Austrian Hapsburgs, stripped of riches yet indelibly the most ravishing city in Italy. Even when subsumed into a unified Italy in 1866, it remained a magnet for aesthetes of all stripes–subject or setting of books by Ruskin and James, a muse to poets and musicians, in its way the most gracious courtesan of all European cities. By refracting images of Venice through the visits of such extravagant (and sometimes debauched) artists as Lord Byron, Richard Wagner, and the inimitable Baron Corvo, Norwich conjures visions of paradise on a lagoon, as enduring as brick and as elusive as the tides.
The book’s structure blends history and geography. A good world atlas or a world historical atlas will be helpful in the reading. The historical arrangement of contents has six Parts” Classical, Mediaeval, Early Modern (Lands), Early Modern (Ideas), Late Eighteenth and Nineteenth Centuries, Twentieth Century. Although this sequence of periods and categories fits Western/European history best, it is also reasonably appropriate for Central Asia, India, and China. For other regions it is more arbitrary, and Classical and Mediaeval periods are merged. Because the Parts overlap and involve imprecise categories, in the List of Contents and Summaries no attempt is made to give dates for their beginning and end.
This is a collection of genealogical data from important name lists for Colonial Surry, which once encompassed almost the entire southern part of the state of Virginia (i.e., fourteen present-day Virginia counties). Noteworthy lists include Surry land grants, 1624-1740, and various Surry and Sussex censuses and marriage bonds.
This book considers the portrayal of the American national character in the writings of Nathaniel Hawthorne and Herman Melville. It examines Hawthorne's abiding concern with the development of New England from colony to province to republic, and analyses Melville's changing evocation of 'the new American', and the difficulties he faced in sustaining his heady nationalistic faith.
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