This book provides a profound geographical description and analysis of Central Asia. The authors take a synthetic approach in a period of critical transformation in the post-soviet time. The monograph analyzes comprehensively the physical and human geography as well as human-nature interactions of Central Asia with focus on Kazakhstan, Uzbekistan, Turkmenistan, Kyrgyzstan and Tajikistan. Natural processes are described at a systemic scale, focusing on ecological impacts and consequences and contemporary human adaptations and organization. It also discusses in which ways the human organizations try to apply solutions for their needs such as security, territorial management and resources renewability, material and functional needs, identity elaborations, culture and communication. The Geography of Central Asia appeals to scientists and students of regional geography and interested academics from other areas such as social, political, economic and environmental studies within the context of Central Asia. The book is also a very useful resource for field trips into this area.
In early twentieth-century U.S. culture, sex sold. While known mainly for its social reforms, the Progressive Era was also obsessed with prostitution, sexuality, and the staging of women’s changing roles in the modern era. By the 1910s, plays about prostitution (or “brothel dramas”) had inundated Broadway, where they sometimes became long-running hits and other times sparked fiery obscenity debates. In Sex for Sale, Katie N. Johnson recovers six of these plays, presenting them with astute cultural analysis, photographs, and production histories. The result is a new history of U.S. theatre that reveals the brothel drama’s crucial role in shaping attitudes toward sexuality, birth control, immigration, urbanization, and women’s work. The volume includes the work of major figures including Eugene O’Neill, John Reed, Rachel Crothers, and Elizabeth Robins. Now largely forgotten and some previously unpublished, these plays were among the most celebrated and debated productions of their day. Together, their portrayals of commercialized vice, drug addiction, poverty, white slavery, and interracial desire reveal the Progressive Era’s fascination with the underworld and the theatre’s power to regulate sexuality. Additional plays, commentary, and teaching materials are available at brotheldrama.lib.miamioh.edu. Plays included: Ourselves (1913) by Rachel Crothers The Web (1913) by Eugene O’Neill My Little Sister (1913) by Elizabeth Robins Moondown (1915) by John Reed Cocaine (1916) by Pendleton King A Shanghai Cinderella (renamed East is West, 1918) by Samuel Shipman and John B. Hymer
You didn't come for a weekend in Scarborough to watch Homes Under The Hammer. After all those extra shifts, all Lorna wants is a night out on the town and time to reconnect with her daughter. All 16-year-old Mila wants is for the world to stop burning. And for someone to take down that 'Beach Body Ready' poster. Please. As mum and daughter check into their 'premium' room where they can almost see the sea, they quickly discover that their favourite seaside town, which was once their annual sunny escape, could really use some attention – just like their relationship. Katie Redford's Wish You Weren't Here is a hilarious and heart-warming exploration of family relationships, the agony of growing up, and how to find your way in the world when you can't help thinking you're just not good enough. This edition was published to coincide with Theatre Centre's UK tour in January 2024.
Knowledge Building in Early Modern English Music is a rich, interdisciplinary investigation into the role of music and musical culture in the development of metaphysical thought in late sixteenth-, early seventeenth-century England. The book considers how music presented questions about the relationships between the mind, body, passions, and the soul, drawing out examples of domestic music that explicitly address topics of human consciousness, such as dreams, love, and sensing. Early seventeenth-century metaphysical thought is said to pave the way for the Enlightenment Self. Yet studies of the music’s role in natural philosophy has been primarily limited to symbolic functions in philosophical treatises, virtually ignoring music making’s substantial contribution to this watershed period. Contrary to prevailing narratives, the author shows why music making did not only reflect impending change in philosophical thought but contributed to its formation. The book demonstrates how recreational song such as the English madrigal confronted assumptions about reality and representation and the role of dialogue in cultural production, and other ideas linked to changes in how knowledge was built. Focusing on music by John Dowland, Martin Peerson, Thomas Weelkes, and William Byrd, this study revises historiography by reflecting on the experience of music and how music contributed to the way early modern awareness was shaped.
Before Abstract Expressionism of New York City was canonized as American postwar modernism, the United States was filled with localized manifestations of modern art. One such place where considerable modernist activity occurred was Texas, where artists absorbed and interpreted the latest, most radical formal lessons from Mexico, the East Coast, and Europe, while still responding to the state's dramatic history and geography. This barely known chapter in the story of American art is the focus of Midcentury Modern Art in Texas. Presenting new research and artwork that has never before been published, Katie Robinson Edwards examines the contributions of many modernist painters and sculptors in Texas, with an emphasis on the era's most abstract and compelling artists. Edwards looks first at the Dallas Nine and the 1936 Texas Centennial, which offered local artists a chance to take stock of who they were and where they stood within the national artistic setting. She then traces the modernist impulse through various manifestations, including the foundations of early Texas modernism in Houston; early practitioners of abstraction and non-objectivity; the Fort Worth Circle; artists at the University of Texas at Austin; Houston artists in the 1950s; sculpture in and around an influential Fort Worth studio; and, to see how some Texas artists fared on a national scale, the Museum of Modern Art's "Americans" exhibitions. The first full-length treatment of abstract art in Texas during this vital and canon-defining period, Midcentury Modern Art in Texas gives these artists their due place in American art, while also valuing the quality of Texan-ness that subtly undergirds much of their production.
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