Theatre in Dublin,1745–1820: A Calendar of Performances is the first comprehensive, daily compendium of more than 18,000 performances that took place in Dublin’s many professional theatres, music halls, pleasure gardens, and circus amphitheatres between Thomas Sheridan’s becoming the manager at Smock Alley Theatre in 1745 and the dissolution of the Crow Street Theatre in 1820. The daily performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening’s entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre’s daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component’s entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim. The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons’s offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of “special Irish interest.” The various kinds of benefit performance and command performances are also noted. Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important “minors.” This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.
Centred upon a man who never participated in combat operations during his sixty-year naval career, this volume depicts the routine peacetime operations of the mid-Victorian Royal Navy. The documents that comprise this volume deal with topics of interest to scholars of international relations, Anglo-American affairs, the U.S. Civil War and the slave trade. Other aspects addressed include naval medicine, steam-era logistics and other elements of the Royal Navy's modernization pertaining to its materiel, personnel and administration.
The first comprehensive encyclopedia of world photograph up to the beginning of the twentieth century. It sets out to be the standard, definitive reference work on the subject for years to come.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
In 1997 the Canadian constitution was amended to remove the denominational rights of Newfoundland churches regarding education, erasing the last vestiges of a uniquely organized society. Until the 1950s and 1960s Newfoundland had been characterized by an electoral map drawn to denominational specifications, cabinet and civil service positions allocated on a per capita sectarian basis, and government expenditures divided according to denominational proportions of the total population. While some scholars have focused on various aspects of the denominational origins of the education system, and others have revealed the influence of religion on the electoral results of the pre-1864 period, the complete story has never been told. In Between Damnation and Starvation John Greene presents a first time, far-reaching analysis of the origins and evolution of developments in both religion and politics in Newfoundland. He reveals the full details of political struggles, presenting them against the background of the historical evolution of churches in the century prior to the granting of representative institutions. Between Damnation and Starvation provides a comprehensive treatment of a complex subject, taking into account the social, economic, and political developments of the entire period. John P. Greene is a writer and researcher living in Newfoundland.
Avoiding denominational presuppositions, the authors endeavour to set forth as objectively as possible the total religious life of Canada. The series discusses not only the development of institutions, but the churches' influence upon Canadian life and the ways in which this environment has created a peculiarly Canadian Christian tradition."--Page 4 of cover.
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