In the early 1800s, books were largely unillustrated. By the 1830s and 1840s, however, innovations in wood- and steel-engraving techniques changed how Victorian readers consumed and conceptualized fiction. A new type of novel was born, often published in serial form, one that melded text and image as partners in meaning-making. These illustrated serial novels offered Victorians a reading experience that was both verbal and visual, based on complex effects of flash-forward and flashback as the placement of illustrations revealed or recalled significant story elements. Victorians’ experience of what are now canonical novels thus differed markedly from that of modern readers, who are accustomed to reading single volumes with minimal illustration. Even if modern editions do reproduce illustrations, these do not appear as originally laid out. Modern readers therefore lose a crucial aspect of how Victorians understood plot—as a story delivered in both words and images, over time, and with illustrations playing a key role. In The Plot Thickens, Mary Elizabeth Leighton and Lisa Surridge uncover this overlooked narrative role of illustrations within Victorian serial fiction. They reveal the intricacy and richness of the form and push us to reconsider our notions of illustration, visual culture, narration, and reading practices in nineteenth-century Britain.
Literary Celebrity in Canada explores that space, drawing on current theories of celebrity and questioning their tendency to view fame as an empty phenomenon.
A glance over the back pages of mid-nineteenth-century newspapers and periodicals published in London reveals that Wellington Street stands out among imprint addresses. Between 1843 and 1853, Household Words, Reynolds’s Weekly Newspaper, the Examiner, Punch, the Athenaeum, the Spectator, the Morning Post, and the serial edition of London Labour and the London Poor, to name a few, were all published from this short street off the Strand. Mary L. Shannon identifies, for the first time, the close proximity of the offices of Charles Dickens, G.W.M. Reynolds, and Henry Mayhew, examining the ramifications for the individual authors and for nineteenth-century publishing. What are the implications of Charles Dickens, his arch-competitor the radical publisher G.W.M. Reynolds, and Henry Mayhew being such close neighbours? Given that London was capital of more than Britain alone, what connections does Wellington Street reveal between London print networks and the print culture and networks of the wider empire? How might the editors’ experiences make us rethink the ways in which they and others addressed their anonymous readers as ’friends’, as if they were part of their immediate social network? As Shannon shows, readers in the London of the 1840s and '50s, despite advances in literacy, print technology, and communications, were not simply an ’imagined community’ of individuals who read in silent privacy, but active members of an imagined network that punctured the anonymity of the teeming city and even the empire.
The American Agatha Christie, Mary Roberts Rinehart was a seminal writer in the development of mystery and detective fiction, who introduced the ‘had I but known’ narrative style and ‘the butler did it’ plot device. ‘The Circular Staircase’, her first book and first mystery, was an immediate success and was followed by a series of popular ‘edge-of-your-seat’ murder mysteries. For the first time in publishing history, our edition features Rinehart’s complete fictional works, with numerous illustrations, rare texts, informative introductions and the usual Delphi bonus material. (Version 1) * Beautifully illustrated with images relating to Rinehart’s life and works * Concise introductions to the major texts * All 38 novels, with individual contents tables * Many rare novels appearing for the first time in digital publishing * Images of how the books were first published, giving your eReader a taste of the original texts * Excellent formatting of the texts * The Complete Tish Carberry books and the Complete Hilda Adams Series * Rare story collections available in no other collection * Special chronological and alphabetical contents tables for the short stories * Easily locate the stories you want to read * Includes rare uncollected stories – available in no other collection * A selection of Rinehart’s non-fiction * Features an autobiography – discover Rinehart’s incredible life * Ordering of texts into chronological order and genres Please visit www.delphiclassics.com to browse through our range of exciting titles CONTENTS: The Letitia Carberry Series The Amazing Adventures of Letitia Carberry (1911) Tish (1916) More Tish (1921) Tish Plays the Game (1926) Tish Marches on (1937) The Hilda Adams Series The Buckled Bag (1914) Locked Doors (1914) Miss Pinkerton (1932) The Haunted Lady (1942) Episode of the Wandering Knife (1950) The Secret (1950) The Novels The Circular Staircase (1908) The Man in Lower Ten (1909) The Window at the White Cat (1910) When a Man Marries (1910) Where There’s a Will (1912) The Case of Jennie Brice (1913) The Street of Seven Stars (1914) The After House (1914) K. (1915) Bab (1916) Long Live the King! (1917) The Amazing Interlude (1918) Twenty-Three and a Half Hours’ Leave (1918) Dangerous Days (1919) A Poor Wise Man (1920) The Truce of God (1920) The Confession (1921) The Breaking Point (1922) The Red Lamp (1925) The Bat (1926) Lost Ecstasy (1927) This Strange Adventure (1928) Two Flights Up (1928) The Door (1930) The Album (1933) The State vs. Elinor Norton (1933) The Doctor (1936) The Wall (1938) The Great Mistake (1940) The Yellow Room (1945) A Light in the Window (1948) The Swimming Pool (1952) The Short Story Collections Love Stories (1919) Affinities and Other Stories (1920) Sight Unseen (1921) Temperamental People (1924) The Romantics (1929) Married People (1937) Familiar Faces (1943) Alibi for Isabel and Other Stories (1944) The Frightened Wife and Other Murder Stories (1953) Miscellaneous Stories The Short Stories List of Short Stories in Chronological Order List of Short Stories in Alphabetical Order The Non-Fiction Through Glacier Park (1916) The Altar of Freedom (1917) Tenting Tonight (1917) Why I Believe in Scouting for Girls (1919) Isn’t That Just Like a Man! (1920) Nomad’s Land (1926) The Autobiography Kings, Queens, and Pawns (1915) Please visit www.delphiclassics.com to browse through our range of exciting titles or to purchase this eBook as a Parts Edition of individual eBooks
Preface and Acknowledgments. SECTION I: ENGENDERING LANGUAGE, SILENCE, AND VOICE. Introduction. Annotated Bibliography. Virginia Woolf (1882-1941). A Room of One's Own. bell hooks (1955-). Talking Back. Leoba of England and Germany (700?-780). Letter to Lord Boniface. Matilda, Queen of England (1080-1118). Letter to Archbishop Anselm. Letter to Pope Pascal. Anne Lock (fl.1556-1590). from A Meditation of a penitent sinner, upon the 51 psalm. Isabella Whitney (fl. 1567-1573?). The Author. . .Maketh Her Will and Testament. from The Manner of Her Will. Margaret Cavendish, Duchess of Newcastle (1623-1673). The Poetess's Hasty Resolution. The Poetess's Petition. An Excuse for So Much Writ upon My Verses. Nature's Cook. from To All Writing Ladies. Anne Killigrew (1660-1685). Upon the Saying that My Verses Were Made by Another. On a Picture Painted by Herself. Anne Finch, Countess of Winchilsea (1661-1720). The Introduction. A Nocturnal Reverie. Ardelia to Melancholy. Friendship between Ephelia and Ardelia. The Answer. Frances Burney (1752-1840). from The Diary of Frances Burney. Maria Edgeworth (1768-1849). from Letters for Literary Ladies. Jane Austen (1775-1817). Northanger Abbey. Mary Shelley (1797-1851). Introduction to Frankenstein. Charlotte Brontë (1816-1855). Letter from Robert Southey. Letter to Robert Southey . Letter to George Henry Lewes. Emily Brontë (1818-1848). [Alone I sat; the summer day]. To Imagination. The Night Wind. R. Alcona to J. Brenzaida. [No coward soul is mine]. Stanzas. George Eliot (1819-1880). Silly Novels by Lady Novelists. Charlotte Perkins Gilman (1860-1935). The Yellow Wallpaper. Edith Wharton (1862-1937). A Journey. Gertrude Stein (1874-1946). from Patriarchal Poetry. Zora Neale Hurston (1891-1960). from Dust Tracks on a Road. Stevie Smith (1902-1971). My Muse Sits Forlorn. A Dream of Comparison. Thoughts about the Person from Porlock. May Sarton (1912-95). Journey Toward Poetry. The Muse as Medusa. Of the Muse. Hisaye Yamamoto (1921-). Seventeen Syllables. Maxine Hong Kingston (1940-). No Name Woman. Gloria Anzaldúa (1942-). Speaking in Tongues: A Letter to Third World Women Writers. Alice Walker (1944-). In Search of Our Mothers' Gardens. Medbh McGuckian (1950-). To My Grandmother. From the Dressing Room. Turning the Moon into a Verb. Carol Ann Duffy (1955-). Standing Female Nude. Litany. Mrs. Aesop. Gcina Mhlophe (1959-). The Toilet. Sometimes When It Rains. The Dancer. Say No. Intertextualities. Topics for Discussion, Journals, and Essays. Group Writing and Performance Exercise. Barbara Christian (1943-). The Highs and Lows of Black Feminist Criticism. Elaine Showalter (1941-). Feminist Criticism in the Wilderness. SECTION II: WRITING BODIES/BODIES WRITING. Introduction. Annotated Bibliography. Hélène Cixous (1937-). The Laugh of the Medusa. Nancy Mairs (1943-). Reading Houses, Writing Lives: The French Connection. Anonymous. The Wife's Lament (8th century?). Anonymous. Wulf and Eadwacer (8th century?). Margery Kempe (1373?-1438). from The Book of Margery Kempe. Margery Brews Paston (1457?-1495). Letters to her Valentine/fiance. Letter to her husband, John Paston. Elizabeth I (1533-1603). On Monsieur's Departure. When I Was Fair and Young. Mary Wroth (1587?-1653?). from Pamphilia to Amphilanthus. Aphra Behn (1640-1689). The Lucky Chance. Jane Barker (1652-1727). A Virgin Life. Delarivier Manley (1663-1724). from The New Atalantis. Eliza Haywood (1693?-1756). from The Female Spectator. Harriet Jacobs (1813?-1897). from Incidents in the Life of a Slave Girl. Christina Rossetti (1830-1894). Monna Innominata. Djuna Barnes (1892-1982). from Ladies Almanack. To the Dogs. Edna St. Vincent Millay (1892-1950),. from Fatal Interview. Anne Sexton (1928-1974). The Abortion. In Celebration of My Uterus. For My Lover, Returning to His Wife. Audre Lorde (1934-1992). Uses of the Erotic: The Erotic as Power. Love Poem. Chain. Restoration-A Memorial. Bharati Mukherjee (1938-). A Wife's Story. Toni Cade Bambara (1939-1996). My Man Bovanne. Sharon Olds (1942-). That Year. The Language of the Brag. The Girl. Sex Without Love. Slavenka Drakulic (1949-). Makeup and Other Crucial Questions. Joy Harjo (1951-). Fire. Deer Ghost. City of Fire. Heartshed. Dionne Brand (1953-). Madame Alaird's Breasts. Sandra Cisneros (1955-). I the Woman. Love Poem #1. Jackie Kay (1961-). Close Shave. Other Lovers. Intertextualities. Topics for Discussion, Journals, and Essays. Group Writing and Performance Exercise. Catherine Gallagher (1945-). Who Was That Masked Woman? The Prostitute and the Playwright in the Comedies of Aphra Behn. Shari Benstock (1944-). The Lesbian Other.
First published in 2003, this book examines the creative partnership of Elizabeth Barrett and Robert Browning, and provides a critical analysis of the poems written by this famous couple during the 16 year period of their friendship, courtship and marriage. Even quite early in their relationship, the Brownings shared a frame of reference: similar themes, narrative structures, and details of phrasing resonate in their works and suggest dialogue, rather than merely mutual influence. Pollock traces parallels between the Brownings' lives and works even before they met, and then throughout their courtship and married life, suggesting that their creative dialogue continued after Barrett Browning died in 1861, as her presence and themes continued to inform Browning's poetry for at least a decade afterward.
Mary Elizabeth Auman was a teenager living in the rural south during the waning years of the Jazz Age when electricity, the radio, talking movies, and the 1928 Presidential election were the talk of her community. After rescuing her diary from being discarded by his father in the late 1950s, her nephew, William Auman, held on to the written memories for years until recently when, as a tribute to her memory, he decided to share both Mary's insight into the social and academic life she experienced as well as his own historical clarifications. Through her journal entries, Mary presents a portrait of life in a rural southern village, describing many trips with friends to parties, movies, and fairs. While providing vivid accounts of life in the dormitories at coed Elon College and social activities at parties, ball games, and other collegiate events, she also details how she and her classmates rebelled against the taboos of dating, dancing, and smoking often finding themselves on probation or suspended from school as punishment. The Diary of Mary Elizabeth Auman, Seagrove, North Carolina, 1928 1930 Provides a fascinating glimpse into southern history and into the development of a rebellious attitude by young females against the gender conventions of the day in a rapidly changing world.
With a little feng shui magic, readers can unclutter their lives and watch as success, prosperity, and good health come their way. Checklists and clutter-busting ideas help homeowners tackle every room in the house.
Mary and Mr. Eliot is a twin portrait of T. S. Eliot and its author, the formidable Mary Trevelyan. In 1938 T. S. Eliot, already “a Classic in his lifetime,” struck up a friendship with Mary Trevelyan. This passionately curious woman, an intrepid traveler who, like Eliot, was deeply involved in the affairs of the Church of England, served as the warden of the Student Movement House, mere yards from the poet and editor’s office at Faber and Faber. Their relationship was domestic rather than artistic, characterized by churchgoing, conversation, record-playing, day trips to the English countryside with Mary at the wheel of the car Tom bought her, and Eliot cooking up sausages in his shirtsleeves. Over the years, their friendship deepened, and she came to believe it might grow into something more. Twice she proposed marriage, but Eliot always led her to understand that any such commitment would be impossible for him. Then the revelation of his long attachment to Emily Hale—and the sudden shock of his marriage to his secretary, Valerie Fletcher—caused a rupture between Trevelyan and the poet that could not be overcome. Mary Trevelyan left a unique chronicle—including diaries, letters, and pictures—that charts their twenty-year relationship. Now Erica Wagner has given it shape and context, bringing this untold story to light for the first time. Mary and Mr. Eliot is a tale of joy, misunderstanding, and betrayal that feels utterly modern and deeply human.
Raise your simulation programs to new heights with the fully updated Defining Excellence in Simulation Programs, 2nd edition. An official publication of the Society for Simulation in Healthcare, this fully illustrated guide speaks to the needs of all healthcare professionals using simulation for education, assessment, and research. Offering best practices for a wide variety of programs, it addresses all areas of program management, from staffing, funding, and equipment, to education models. Whether you are new to running a simulation program, developing a program, or studying simulation, this is your key to creating cost-effective, research-based programs.
A vibrant artistic milieu emerged in the late-nineteenth century Istanbul that was extremely heterogeneous, including Ottoman, Ottoman-Armenian, French, Italian, British, Polish and Ottoman-Greek artists. Roberts analyzes the ways artistic output intersected with the broader political agenda of a modernizing Ottoman state. She draws on extensive original research, bringing together sources in Turkey, England, France, Italy, Armenia, Poland and Denmark. Five chapters each address a particular issue related to transcultural exchange across the east-west divide that is focused on a particular case study of art, artistic patronage, and art exhibitions in nineteenth-century Istanbul"--Provided by publisher.
Moore (English, Marshall U.) analyzes and contextualizes the Petrarchan love sonnet sequences of Gaspara Stampa, Louise Labe, Lady Mary Wroth, Charlotte Smith, Elizabeth Barrett Browning, and Edna St. Vincent Millay. Close readings of the poems are accompanied by theory and criticism regarding constructs of women, historical events, and biographical material, illuminating the poets, Petrarchism as a convention, ideas about women, and the range and limitations of female roles as erotic subjects and objects. Annotation copyrighted by Book News Inc., Portland, OR
Though a woman has confessed to murder, her friend tries to piece together what really happened in a mystery from the #1 New York Times–bestselling author. The state has accused beautiful young Elinor Norton of murder, and she refuses to mount a defense. Guilt is written all over her elegant features, but her childhood best friend refuses to believe it when Elinor confesses to the crime. Forced into a dull marriage against her will, Elinor is just beginning to adjust to life with Lloyd when she meets the man who will tear her world apart. Blair Leighton is her husband’s best friend and was his companion in the war, and he has a charm that makes Elinor quiver from the inside out. At first, her husband is oblivious to this illicit attraction, but when the two men go into business together, the tension threatens to rip the triangle apart. Soon, Elinor is forced to make a chilling decision. One of these men must die—but which?
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