Marshall and Leimenstoll have researched Day's remarkable life and work thoroughly, identifying a great quantity of his known and attributed furniture and interior woodwork, finding myriad published sources for his design elements, and examining a wide range of documents to trace his career and describe his world. Their research, along with the wealth of images of Day's unique furniture and interiors, constitutes a book of major, lasting value. "Catherine Bishir, author of North Carolina Architecture "This book, featuring the story and workmanship of Thomas Day, a free man of color in slaveholding North Carolina, is a fascinating addition to the corpus of literature concerning the anomalies and complexities of life in the Old South. A slaveholder as well as a skilled craftsman, Thomas Day occupied an unusual and privileged position. These fine illustrations of his craftsmanship help to explain why. "Daniel c. Littlefield, University of South Carolina "Thomas Day's creative genius, his skill in the design and fabrication of furniture and decorative woodwork, and the scope of his business establish him as a major founder of the North Carolina furniture industry. "John H. Haley, Associate Professor of History Emeritus, University of North Carolina, Wilmington THE NORTH CAROLINA MUSEUM OF HISTORY THE UNIVERSITY OF NORTH CAROLINA PRESS CHAPEL HILL
Courteous Exchanges explores the significant overlap between Edmund Spenser’s Faerie Queene and Shakespeare’s plays, showing how both facilitate the critique of Renaissance aristocratic identity. Moving from a consideration of Castiglione’s Book of the Courtier as a text that encouraged reader engagement, the book offers new readings of Shakespeare’s plays in conjunction with Spenser. It pairs Love’s Labour’s Lost, Much Ado About Nothing, The Merchant of Venice, and The Winter’s Tale with The Faerie Queene in order to explore how topics such as education, gender, religion, race, and aristocratic identity are offered up to reader and audience interpretation.
Explores settlements and towns that have been deserted, transformed into tourist attractions, or have less than 200 residents and are mere shadows of their former selves.
What does the keyword "continence" in Love's Labor's Lost reveal about geopolitical boundaries and their breaching? What can we learn from the contemporary identification of the "quince" with weddings that is crucial for A Midsummer Night's Dream? How does the evocation of Spanish-occupied "Brabant" in Othello resonate with contemporary geopolitical contexts, wordplay on "Low Countries," and fears of sexual/territorial "occupation"? How does "supposes" connote not only sexual submission in The Taming of the Shrew but also the transvestite practice of boys playing women, and what does it mean for the dramatic recognition scene in Cymbeline? With dazzling wit and erudition, Patricia Parker explores these and other critical keywords to reveal how they provide a lens for interpreting the language, contexts, and preoccupations of Shakespeare's plays. In doing so, she probes classical and historical sources, theatrical performance practices, geopolitical interrelations, hierarchies of race, gender, and class, and the multiple significances of "preposterousness," including reversals of high and low, male and female, Latinate and vulgar, "sinister" or backward writing, and latter ends both bodily and dramatic. Providing innovative and interdisciplinary perspectives on Shakespeare, from early to late and across dramatic genres, Parker's deeply evocative readings demonstrate how easy-to-overlook textual or semantic details reverberate within and beyond the Shakespearean text, and suggest that the boundary between language and context is an incontinent divide.
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