Extracts from diaries, memoirs, private letters, obituaries and other rare ephemera are drawn together to build a contemporary account of the acting achievements and personal lives of three inspiring figures from the late nineteenth-century theatre; Herbert Beerbohm Tree, Henry Irving and Ellen Terry.
An original novel based on the classic work follows three adolescent sisters--Meg, Jo, and Amy--as they work through their disappointment over learning of their mother's affair and their father's easy forgiveness.
Each generation needs to be introduced to the culture and great works of the past and to reinterpret them in its own ways. This series re-examines the important English dramatists of earlier centuries in the light of new information, ew interests and new attitudes. The books will be relevant to those interested in literatire, theatre and cultural history, and to threatre-goers and general readers who want an up-to-date view of these dramatists and their plays, with the emphasis on performance and relevant culture history. This book explores the reasons for the deep and lasting appeal of Sheridan's and Goldsmith's comedies, showing how they operate at the profound imaginative level and draw on their author's experience as Irish wits in an English scene. Their subtle dramatic techniques are examined in relation to physical features of the eighteenth-century stage. A chapter on sentimental comedy relates to plays such as Hugh Kelly's False Delicacy to the balance of irony and sentiment in Goldsmith's The Good Natur'd Man and Sheridan's A Trip to Scarborough. The continuing freshness of the comedy of mistakes, masks and Harlequin-like role playing which the two playwrights draw from the operatic and theatrical conventions of their day is illustrated from modern productions. These have helped to illuminate the psychological truth and social awareness underlying the sparkling surfaces of Sheridan's and Goldsmith's classic comedies.
In this essay collection, established experts and new researchers, reassess the performances and cultural significance of Ellen Terry, her daughter Edith Craig (1869–1947) and her son Edward Gordon Craig (1872–1966), as well as Bram Stoker, Lewis Carroll and some less familiar figures.
She's beautiful," writes Irish-American art historian Patricia Dolan in the first of the journal entries that form The Music Lesson. "I look at my face in the mirror and it seems far away, less real than hers." The woman she describes is the subject of the stolen Vermeer of the novel's title. Patricia is alone with this exquisite painting in a remote Irish cottage by the sea. How she arrived in such an unlikely circumstance is one part of the story Patricia tells us: about her father, a policeman who raised her to believe deeply in the cause of a united Ireland; the art history career that has sustained her since the numbing loss of her daughter; and the arrival of Mickey O'Driscoll, her dangerously charming, young Irish cousin, which has led to her involvement in this high-stakes crime. How her sublime vigil becomes a tale of loss, regret, and transformation is the rest of her story. The silent woman in the priceless painting becomes, for Patricia, a tabula rasa, a presence that at different moments seems to judge, to approve, or to offer wisdom. As Patricia immerses herself in the turbulent passions of her Irish heritage and ponders her aesthetic fidelity to the serene and understated pleasures of Dutch art, she discovers, in her silent communion, a growing awareness of all that has been hidden beneath the surface of her own life. And she discovers that she possesses the knowledge of what she must do to preserve the things she values most.
Three sections explore the complex lives of ordinary people who continually made choices about the way they expressed their faith. Part one begins with a brief survey of the context of lay Catholics in Adelaide and Perth between 1922 and 1962, considering the place of Catholics in wider society and
In Belfast Imaginary: Art and Urban Reinvention, Katharine Keenan argues for the reimagining of place in Belfast, Northern Ireland in the context of Brexit. This deeply researched ethnography depicts the work of artists and policy makers as they imagine and perform a new urban identity for Belfast in the liminal time between the Good Friday Agreement and Brexit.
This book examines the work of acclaimed director Tina Packer, founder of Shakespeare & Company, whose ground-breaking approach to performing Shakespeare has made her company among the most vibrant and enduring Shakespeare theatres in America. Tina Packer directed her first Shakespeare play at London Academy for Music and Dramatic Art in 1971. More than 50 years later she continues to direct and teach at Shakespeare & Company, which she founded in Lenox, Massachusetts in 1978. Drawing on new interviews with the original casts and creative teams as well as Tina Packer herself, this book is the first comprehensive analysis of all of her professional Shakespeare productions in their cultural and historical context. Over a career that spans 5 decades, Packer has directed or acted in virtually all of Shakespeare's plays, along with many other classical and contemporary works. As artistic director she guided her company through times of expansion as well as belt-tightening, driven by her conviction that the purpose of theatre is to heal and that to fulfil that purpose, acting must tell the truth. With in-depth case studies of 12 of her most significant productions, Katharine Goodland offers a clear account of Packer's work and contribution to Shakespearean theatre in America while illuminating the embedded nature of regional Shakespeare in communities across the United States.
This book puts a spotlight on the practices of teachers across the nation who have implemented effective mathematics instruction for students of different ethnicities. Among the ethnic groups represented are African Americans, Latinos, Native Americans, Haitians, Arab Americans, and Euro-Americans.
In this study of surrealism and ghostliness, Katharine Conley provides a new, unifying theory of surrealist art and thought based on history and the paradigm of puns and anamorphosis. In Surrealist Ghostliness, Conley discusses surrealism as a movement haunted by the experience of World War I and the repressed ghost of spiritualism. From the perspective of surrealist automatism, this double haunting produced a unifying paradigm of textual and visual puns that both pervades surrealist thought and art and commemorates the surrealists’ response to the Freudian unconscious. Extending the gothic imagination inherited from the eighteenth century, the surrealists inaugurated the psychological century with an exploration of ghostliness through doubles, puns, and anamorphosis, revealing through visual activation the underlying coexistence of realities as opposed as life and death. Surrealist Ghostliness explores examples of surrealist ghostliness in film, photography, painting, sculpture, and installation art from the 1920s through the 1990s by artists from Europe and North America from the center to the periphery of the surrealist movement. Works by Man Ray, Claude Cahun, Brassaï and Salvador Dalí, Lee Miller, Dorothea Tanning, Francesca Woodman, Pierre Alechinsky, and Susan Hiller illuminate the surrealist ghostliness that pervades the twentieth-century arts and compellingly unifies the century’s most influential yet disparate avant-garde movement.
In the early Middle Ages, the conversion of the early English kingdoms acted as a catalyst for significant social and cultural change. One of the most visible of these changes was the introduction of a new type of household: the monastic household. These reproduced through education and training, rather than biological means; their inhabitants practised celibacy as a lifelong state, rather than as a stage in the life course. Because monastic households depended on secular households to produce the next generation of recruits, previous studies have tended to view them as more mutable than their secular counterparts, which are implicitly regarded as natural and ahistorical. Katharine Sykes charts some of the significant changes to the structure of households between the seventh to eleventh centuries, as ideas of spiritual, non-biological reproduction first fostered in monastic households were adopted in royal households in the tenth and eleventh centuries, and as ideas about kinship that were generated in secular households, such as the relationship between genealogy and inheritance, were picked up and applied by their monastic counterparts. In place of binary divisions between secular and monastic, biological and spiritual, real and imagined, Sykes demonstrates that different forms of kinship and reproduction in this period were intimately linked.
Native Irish chieftains, not totally subdued after the Norman invasion of Ireland, recovered a measure of their power in the later middle ages; unfamiliar sources illuminate developments. The Norman invasion of Ireland (1169) did not result in a complete conquest, and those native Irish chieftains who retained independent control of their territories achieved a recovery of power in the later middle ages. KatharineSimms studies the experience of the resurgent chieftains, who were undergoing significant developments during this period. The most obvious signs of change were the gradual disappearance of the title ri (king), and the ubiquitouspresence of mercenary soldiers. On a deeper level, the institution of kingship itself had died, as is shown by this study of the election and inauguration of Irish kings, their counsellors, officials, vassals, army, and sources ofrevenue, as they evolved between the twelfth and sixteenth centuries. Sources such as the Irish chronicles, bardic poetry, genealogies, brehon charters and rentals, family-tract and sagas are all used, in addition to the more familiar evidence of the Anglo-Norman administration, the Church, and Tudor state papers. Dr KATHARINE SIMMS lectures in the Department of Medieval History, Trinity College, Dublin.
Ellen Terry's correspondence was both exuberant and extensive. Her remaining letters provide a fascinating insight into the dynamics of the Victorian theatre, and the difficulties of life for a woman maintaining a successful public persona whilst raising two illegitimate children.
The Art of Collaboration: Lessons from Families of Children with Disabilities, co-authored by two professors of education and a parent of a child with disabilities, draws on the literature as well as original research to explore the meaning of collaboration and the benefits and barriers to developing positive school and family partnerships. The voices and stories of families of children with a variety of disabilities and experiences are at the heart of the book, providing insights into how we might re-conceptualize collaboration as an ongoing process and an “art” built on a shared commitment to improving the lives of children and families. The book begins with an overview of the research on collaboration and explores key themes, including the process of identifying a disability, the meaning of parent knowledge and expertise in the digital age, the potential to join parent and professional knowledge for the benefit of the child and family, and approaches leading to meaningful collaboration and communication. These include a variety of family-centered tools and practices, strategies for promoting parent advocacy and leadership, and a focus on hope and resiliency. Each chapter concludes with questions for reflection and suggested activities, making it an ideal resource for both parents and professionals. Throughout, the authors critique the collaborative process, while focusing on its promises and possibilities for families, educators, and other professionals.
Body dysmorphic disorder, or BDD, is a disease that causes sufferers to be obsessed by perceived flaws in their appearance. In the original edition of The Broken Mirror, the first book ever written on the topic of BDD, Dr. Katharine Phillips brought readers an authoritative and comprehensive guide to this often-debilitating illness. Like the original, this Revised and Expanded Edition draws on Dr. Phillips' years of clinical practice and scientific research, including professional evaluations of approximately 900 individuals with BDD. Phillips describes severe cases, but also a multitude of milder cases. Whereas some sufferers are debilitated by their concerns, others are able to function well in society, but remain secretly obsessed by their "hideous acne" or "horrible nose," sneaking constant peeks at a pocket mirror, or spending hours at a time redoing makeup. BDD may afflict as much as two percent of the population - nearly 6 million people."--BOOK JACKET.
First in a captivating Jazz age mystery series from author Katharine Schellman, Last Call at the Nightingale beckons readers into a darkly glamorous speakeasy where music, liquor, and secrets flow. "Schellman is at the top of her craft and delivers a murder mystery with clever twists and turns and memorable personalities."—Denny S. Bryce, Bestselling Author of Wild Women and the Blues New York, 1924. Vivian Kelly's days are filled with drudgery, from the tenement lodging she shares with her sister to the dress shop where she sews for hours every day. But at night, she escapes to The Nightingale, an underground dance hall where illegal liquor flows and the band plays the Charleston with reckless excitement. With a bartender willing to slip her a free glass of champagne and friends who know the owner, Vivian can lose herself in the music. No one asks where she came from or how much money she has. No one bats an eye if she flirts with men or women as long as she can keep up on the dance floor. At The Nightingale, Vivian forgets the dangers of Prohibition-era New York and finds a place that feels like home. But then she discovers a body behind the club, and those dangers come knocking. Caught in a police raid at the Nightingale, Vivian discovers that the dead man wasn't the nameless bootlegger he first appeared. With too many people assuming she knows more about the crime than she does, Vivian finds herself caught between the dangers of the New York's underground and the world of the city's wealthy and careless, where money can hide any sin and the lives of the poor are considered disposable...including Vivian's own.
HMS Beagle has entered the collective imagination as the ship that carried Charles Darwin to the Galapagos, triggering his later work on the theory of natural selection. This book presents the accounts of the two Beagle voyages, written by the ships' captains Robert Fitzroy and Phillip Parker King.
In The Last Drop of Hemlock, the dazzling follow up to Last Call at the Nightingale, even a dance can come with a price... The rumor went through the Nightingale like a flood, quietly rising, whispers hovering on lips in pockets of silence. Life as a working-class girl in Prohibition-era New York isn’t safe or easy. But Vivian Kelly has a new job at the Nightingale, an underground speakeasy where the jazz is hot and the employees look out for each other in a world that doesn’t care about them. Things are finally looking up for her and her sister Florence... until the night Vivian learns that her friend Bea's uncle, a bouncer at the Nightingale, has died. His death is ruled a suicide, but Bea isn’t so convinced. She knew her uncle was keeping a secret: a payoff from a mob boss that was going to take him out of the tenements and into a better life. Now, the money is missing. Though her better judgment tells her to stay out of it, Vivian agrees to help Bea find the truth about her uncle's death. But they uncover more than they expected when rumors surface of a mysterious letter writer, blackmailing Vivian's poorest neighbors for their most valuable possessions, threatening poison if they don't comply. Death is always a heartbeat away in Jazz Age New York, where mob bosses rule the back alleys and cops take bootleggers’ hush money. But whoever is targeting Vivian’s poor and unprotected neighbors is playing a different game. With the Nightingale's dangerously lovely owner, Honor, worried for her employees' safety and Bea determined to discover who is responsible for her uncle's death, Vivian once again finds herself digging through a dead man's past in hopes of stopping a killer.
Based on the unsolved real-life disappearance of a Mount Holyoke student in 1897—a haunting novel of intrigue, longing, and terror, perfect for fans of Donna Tartt and Sarah Waters Massachusetts, 1897: Bertha Mellish, “the most peculiar, quiet, reserved girl” at Mount Holyoke College, is missing. As a search team dredges the pond where Bertha might have drowned, her panicked father and sister arrive desperate to find some clue to her fate or state of mind. Bertha’s best friend, Agnes, a scholarly loner studying medicine, might know the truth, but she is being unhelpfully tightlipped, inciting the suspicions of Bertha’s family, her classmates, and the private investigator hired by the Mellish family doctor. As secrets from Agnes’s and Bertha’s lives come to light, so do the competing agendas driving each person who is searching for Bertha. Where did Bertha go? Who would want to hurt her? And could she still be alive? Edmund White Award–winning author Katharine Beutner takes a real-life unsolved mystery and crafts it into an unforgettable historical portrait of academia, family trauma, and the risks faced by women who dared to pursue unconventional paths at the end of the 19th century.
In Domesticity and Dissent Katharine Gillespie examines writings by seventeenth-century English Puritan women who fought for religious freedom. Seeking the right to preach and prophesy, women such as Katherine Chidley, Anna Trapnel, Elizabeth Poole, and Anne Wentworth envisioned the modern political principles of toleration, the separation of Church from state, privacy, and individualism. Gillespie argues that their sermons, prophesies, and petitions illustrate the fact that these liberal theories did not originate only with such well-known male thinkers as John Locke and Thomas Hobbes. Rather, they emerged also from a group of determined female religious dissenters who used the Bible to reassess traditional definitions of womanhood, public speech and religious and political authority. Gillespie takes the 'pamphlet literatures' of the seventeenth century as important subjects for analysis, and her study contributes to the important scholarship on the revolutionary writings that emerged during the volatile years of the mid-seventeenth-century Civil War in England.
In 2006, the United Nations reported on the “feminization” of migration, noting that the number of female migrants had doubled over the last five decades. Likewise, global awareness of issues like human trafficking and the exploitation of immigrant domestic workers has increased attention to the gender makeup of migrants. But are women really more likely to migrate today than they were in earlier times? In Gender and International Migration, sociologist and demographer Katharine Donato and historian Donna Gabaccia evaluate the historical evidence to show that women have been a significant part of migration flows for centuries. The first scholarly analysis of gender and migration over the centuries, Gender and International Migration demonstrates that variation in the gender composition of migration reflect not only the movements of women relative to men, but larger shifts in immigration policies and gender relations in the changing global economy. While most research has focused on women migrants after 1960, Donato and Gabaccia begin their analysis with the fifteenth century, when European colonization and the transatlantic slave trade led to large-scale forced migration, including the transport of prisoners and indentured servants to the Americas and Australia from Africa and Europe. Contrary to the popular conception that most of these migrants were male, the authors show that a significant portion were women. The gender composition of migrants was driven by regional labor markets and local beliefs of the sending countries. For example, while coastal ports of western Africa traded mostly male slaves to Europeans, most slaves exiting east Africa for the Middle East were women due to this region’s demand for female reproductive labor. Donato and Gabaccia show how the changing immigration policies of receiving countries affect the gender composition of global migration. Nineteenth-century immigration restrictions based on race, such as the Chinese Exclusion Act in the United States, limited male labor migration. But as these policies were replaced by regulated migration based on categories such as employment and marriage, the balance of men and women became more equal – both in large immigrant-receiving nations such as the United States, Canada, and Israel, and in nations with small immigrant populations such as South Africa, the Philippines, and Argentina. The gender composition of today’s migrants reflects a much stronger demand for female labor than in the past. The authors conclude that gender imbalance in migration is most likely to occur when coercive systems of labor recruitment exist, whether in the slave trade of the early modern era or in recent guest-worker programs. Using methods and insights from history, gender studies, demography, and other social sciences, Gender and International Migration shows that feminization is better characterized as a gradual and ongoing shift toward gender balance in migrant populations worldwide. This groundbreaking demographic and historical analysis provides an important foundation for future migration research.
The Last Note of Warning is the third in the luscious, mysterious, and queer Nightingale mystery series by Katharine Schellman, set in 1920s New York. Prohibition is a dangerous time to be a working-class woman in New York City, but Vivian Kelly has finally found some measure of stability and freedom. By day, she’s a respectable shop assistant, delivering luxurious dresses to the city’s wealthy and elite. At night, she joins the madcap revelry of New York’s underworld, serving illegal drinks and dancing into the morning at a secretive, back-alley speakeasy known as the Nightingale. She's found, if not love, then something like it with her bootlegger sweetheart, Leo, even if she can't quite forget the allure of the Nightingale's sultry owner, Honor Huxley. Then the husband of a wealthy client is discovered dead in his study, and Vivian was the last known person to see him alive. With the police and the press both eager to name a culprit in the high-profile case, she finds herself the primary murder suspect. She can’t flee town without endangering the people she loves, but Vivian isn’t the sort of girl to go down without a fight. She'll cash in every favor she has from the criminals she calls friends to prove she had no connection to the dead man. But she can't prove what isn't true. The more Vivian digs into the man’s life, and as the police close in on her, the harder it is to avoid the truth: someone she knows wanted him dead. And the best way to get away with murder is to set up a girl like Vivian to take the fall.
Katharine Cleland's Irregular Unions provides the first sustained literary history of clandestine marriage in early modern England and reveals its controversial nature in the wake of the Elizabethan Religious Settlement, which standardized the marriage ritual for the first time. Cleland examines many examples of clandestine marriage across genres. Discussing such classic works as The Faerie Queene, Othello, and The Merchant of Venice, she argues that early modern authors used clandestine marriage to explore the intersection between the self and the marriage ritual in post-Reformation England. The ways in which authors grappled with the political and social complexities of clandestine marriage, Cleland finds, suggest that these narratives were far more than interesting plot devices or scandalous stories ripped from the headlines. Instead, after the Reformation, fictions of clandestine marriage allowed early modern authors to explore topics of identity formation in new and different ways. Thanks to generous funding from Virginia Tech and its participation in TOME (Toward an Open Monograph Ecosystem), the ebook editions of this book are available as Open Access volumes from Cornell Open (cornellpress.cornell.edu/cornell-open) and other repositories.
In a neoliberal era, when the ideology of the free market governs community development as much as international trade, a conflict between capital and tradition is inevitable. Issues such as the value ascribed to honour and social prestige are difficult to negotiate with economic opportunity. Using the example of a 'traditional' Nepalese market town, Katharine Neilson Rankin explores how economic liberalization has blended with local cultures of value. Utilizing the ethnographic method of anthropology and the comparative and normative thrust of geography, Rankin undertakes a critique of neoliberal approaches to development. She demonstrates how market-led development does not expand opportunity, but rather deepens existing injustice and inequality, which is further exacerbated by planners eager to implement market-led approaches relying on naively idealistic notions of 'social capital' to expand poor people's access to the market. The Cultural Politics of Markets makes a clear case for a strategic merger between anthropological and planning perspectives in thinking about the issue of market transformation.
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