Iris Barry (1895–1969) was a pivotal modern figure and one of the first intellectuals to treat film as an art form, appreciating its far-reaching, transformative power. Although she had the bearing of an aristocrat, she was the self-educated daughter of a brass founder and a palm-reader from the Isle of Man. An aspiring poet, Barry attracted the attention of Ezra Pound and joined a demimonde of Bloomsbury figures, including Ford Maddox Ford, T. S. Eliot, Arthur Waley, Edith Sitwell, and William Butler Yeats. She fell in love with Pound's eccentric fellow Vorticist, Wyndham Lewis, and had two children by him. In London, Barry pursued a career as a novelist, biographer, and critic of motion pictures. In America, she joined the modernist Askew Salon, where she met Alfred Barr, director of the new Museum of Modern Art. There she founded the museum's film department and became its first curator, assuring film's critical legitimacy. She convinced powerful Hollywood figures to submit their work for exhibition, creating a new respect for film and prompting the founding of the International Federation of Film Archives. Barry continued to augment MoMA's film library until World War II, when she joined the Office of Strategic Services to develop pro-American films with Orson Welles, Walt Disney, John Huston, and Frank Capra. Yet despite her patriotic efforts, Barry's "foreignness" and association with such filmmakers as Luis Buñuel made her the target of an anticommunist witch hunt. She eventually left for France and died in obscurity. Drawing on letters, memorabilia, and other documentary sources, Robert Sitton reconstructs Barry's phenomenal life and work while recasting the political involvement of artistic institutions in the twentieth century.
An “absorbing” biography of the playwright and Nobel laureate that “unflinchingly explores the darkness that dominated O’Neill’s life” (Publishers Weekly). This extraordinary biography fully captures the intimacies of Eugene O’Neill’s tumultuous life and the profound impact of his work on American drama, innovatively highlighting how the stories he told for the stage interweave with his actual life stories as well as the culture and history of his time. Much is new in this extensively researched book: connections between O’Neill’s plays and his political and philosophical worldview; insights into his Irish American upbringing and lifelong torment over losing faith in God; his vital role in African American cultural history; unpublished photographs, including a unique offstage picture of him with his lover Louise Bryant; new evidence of O’Neill’s desire to become a novelist and what this reveals about his unique dramatic voice; and a startling revelation about the release of Long Day’s Journey Into Night in defiance of his explicit instructions. This biography is also the first to discuss O’Neill’s lost play Exorcism (a single copy of which was only recently recovered), a dramatization of his own suicide attempt. Written with both a lively informality and a scholar’s strict accuracy, Eugene O’Neill: A Life in Four Acts is a biography worthy of America’s foremost playwright. “Fast-paced, highly readable . . . building to a devastating last act.” —Irish Times
These letters document the evolution of Lowell's work and illuminate another side of his life: his deep friendships with other writers, his manic depression, his marriages to three prose writers, and his involvement with the antiwar movement of the 1960s.
Robert Duncan's nine lectures on Charles Olson, delivered intermittently from 1961 to 1983, explore the modernist literary background and influences of Olson's influential 1950 essay "Projective Verse." These transcribed talks pay tribute to Olson and expand our knowledge of Duncan's vision of modernist writing.
This magisterial work on American diplomacy by a veteran journalist and historian is the first complete history of the U.S. Foreign Service American Statecraft is a fascinating and comprehensive look at the unsung men and women of the U.S. Foreign Service whose dedication and sacrifices have been a crucial part of our history for over two centuries. Fifteen years in the making, veteran journalist and historian Moskin has traveled the globe conducting hundreds of interviews both in and out of the State Department to look behind the scenes at America's "militiamen of diplomacy." As the nation's eyes and ears, our envoys pledge a substantial part of their lives in foreign lands working for the benefit of their nation. Endeavoring to use dialogue and negotiation as their instruments of change, our diplomats tirelessly work to find markets for American business, rescue its citizens in trouble abroad, and act in general as "America's first line of defense" in policy negotiations, keeping America out of war. But it took generations to polish these skills, and Moskin traces America's full diplomatic history, back to its amateur years coming up against seasoned Europeans during the days of Ben Franklin, now considered the father of the U.S. Foreign Service, and up to the recent Benghazi attack. Along the way, its members included many devoted and courageous public servants, and also some political spoilsmen and outright rogues. An important contribution to the political canon, American Statecraft recounts the history of the United States through the lens of foreign diplomacy.
Faulkner's People is an essential reference for the student and general reader of Faulkner who seeks guidance in identifying and interrelating the more than 1,200 characters in Faulkner’s novels, short stories, and sketches. The book will help even experienced readers make their way through the labyrinth of Faulkner’s style and plots and distinguish the interconnections between all of Faulkner’s writings. The guide is constructed as follows: The novels from Soldiers’ Pay (1926) to The Reivers (1962) are listed by title in the order of their publication. Under each title, all of the named characters who appear or are mentioned in the work are listed alphabetically, together with the number of every page on which the character’s name occurs. A concise account of the actions of each character is given, together with a description of that character’s salient personality features. The name under which a character is listed in the guide is often supplied in brackets when a nickname, maiden name, or other variant is used in the sketches. Major characters in each novel are indicated by boldface type. Immediately following the section devoted to the novels appear the named characters in all of Faulkner’s short stories and sketches, which are also treated in the order of their publication. Carryover characters who are handled inconsistently by Faulkner are marked with an asterisk and treated further by the authors in the appendix. The authors have also included genealogical charts of the Sartoris, Burden, and McCaslin-Beauchamp-Edmonds families, as well as a map of Yoknapatawpha County. Finally, an alphabetically arranged master index of characters lists every work in which their names occur. Specific bibliographical information concerning editions is given, together with other editions, American and British, with the same pagination. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1963.
In each, Williams took as the basic element, or constituent sections, of these two large-scale literary structures the tacit lyrical sequences that had constituted his originally separate volumes of verse, also added new groupings as he made changes to the old, and fashioned them all into a unique series of lyrical sequence (a lyrical super-sequence) that gave unified lyrical definition and compelling lyrical immediacy to the whole of his poetic development.
Preliminary Material /Katherine F. Bruner , John K. Fairbank and Richard J. Smith --Hart's Origins /Katherine F. Bruner , John K. Fairbank and Richard J. Smith --Journal /Katherine F. Bruner , John K. Fairbank and Richard J. Smith --Ningpo: Hart's Induction into the Chinese Scene /Katherine F. Bruner , John K. Fairbank and Richard J. Smith --Journal /Katherine F. Bruner , John K. Fairbank and Richard J. Smith --Ningpo to Canton 1855-1858: Hart Grows with the Times /Katherine F. Bruner , John K. Fairbank and Richard J. Smith --Journal /Katherine F. Bruner , John K. Fairbank and Richard J. Smith --Hart and the New Anglo-Chinese Order of the 1860s /Katherine F. Bruner , John K. Fairbank and Richard J. Smith --Journal /Katherine F. Bruner , John K. Fairbank and Richard J. Smith --The Impact of Robert Hart's Administration /Katherine F. Bruner , John K. Fairbank and Richard J. Smith --Notes /Katherine F. Bruner , John K. Fairbank and Richard J. Smith --Bibliography /Katherine F. Bruner , John K. Fairbank and Richard J. Smith --Glossary/Index /Katherine F. Bruner , John K. Fairbank and Richard J. Smith --Harvard East Asian lvIonographs /Katherine F. Bruner , John K. Fairbank and Richard J. Smith.
Previous studies of the practice of footbinding in imperial China have theorized that it expressed ethnic identity or that it served an economic function. By analyzing the popularity of footbinding in different places and times, Footbinding as Fashion investigates the claim that early Qing (1644–1911) attempts by Manchu rulers to ban footbinding made it a symbol of anti-Manchu sentiment and Han identity and led to the spread of the practice throughout all levels of society. Detailed case studies of Taiwan, Hebei, and Liaoning provinces exploit rich bodies of previously neglected ethnographic reports, economic surveys, and rare censuses of footbinding to challenge the significance of sedentary female labor and ethnic rivalries as factors leading to the hegemony of the footbinding fashion. The study concludes that, independently of identity politics and economic factors, variations in local status hierarchies and elite culture coupled with status competition and fear of ridicule for not binding girls’ feet best explain how a culturally arbitrary fashion such as footbinding could attain hegemonic status.
Benny Hill is the best known and best loved British comedian on world television - from the USA to the Pacific Rim. Feted for his unique brand of coy awareness, innuendo and saucy songs - but seemingly out of favour in his homeland before his death - Benny Hill can now be rated as having had one of the foremost careers in comedy. Robert Ross tracks Hill's career through the landmark Independent Television specials, early parody sketches for the BBC, film appearances, radio shows and recordings - including the No. 1 hit 'Ernie, the Fastest Milkman in the West'. Ross examines Hill's skillful use of the fledgling TV medium, and celebrates the support of his regular back-up team (Bob Todd, Henry McGee and Nicholas Parsons). The truth is revealed about Hill's Angels and the alternative comedy backlash that saw Hill pushed off the small screen in the UK. Benny Hill is the ultimate guide to the most widely recognised funny man since Charlie Chaplin.
Socially Just Practice in Groups: A Social Work Perspective comprehensively covers all aspects of group practice in social work settings, integrating a unique social justice framework throughout. Drawing from their experience as group work practitioners, authors Robert Ortega and Charles D. Garvin walk readers through the basics of group practice, including getting started, doing group work, establishing the purpose, roles and tasks of the group, stages and phases of practice, and specific skills in assessment, monitoring, and evaluation. A social justice framework provides a fresh perspective during an era of widespread social change and provides social workers tools for effective group interventions. Chapters contain detailed case examples to illustrate concepts presented, as well as exercises to help students practice skills.
It is a pity to begin a book by being dull. But a time of change is upon us in the theater, and a time of change is a time for definitions. We have passed through such times before, and we have come out after some years—a century or so—with categories neatly fixed. We can look back along the history of English literature and place a judicial finger there and there and there and say Middle English, Classicism, Romanticism. All this is pretty well set. Then we come to Realism and its quagmires—quagmires of balked creation and quagmires of discussion—and we wallow about gesticulating and shouting and splashing the mud into our immortal eyes. What is this bog we have been so busy in? And what is the fitful and rather blinding storm of illumination which plays about the horizon and calls itself Expressionism? Of course these things are just what we care to make them. Various parties to the argument choose various definitions—the kinds that suit their themes. I claim no more for mine than that they will make clear what I am talking about, and save a certain amount of futile dispute. There are plenty of sources of confusion in discussions about art. To begin with, it is not an easy thing to limit a dynamic organism by definition. Creative efforts in drama, fiction or painting run out of one category and into another with distressing ease. More than that, there are apt to be many parts to a whole, many divisions to a category; and the parts or the divisions can be extraordinarily different. Finally, fanatics and tea-table gossips are equally unscrupulous when it comes to “proving” a point. They make the definitions of friends and foes mean what they like. They take the part for the whole, the division for the category. They pin down a lively and meandering work of art at just the place where they want it. Two disputants, bent on exhibiting the more indecent side of human intelligence, can make the twilight of discussion into a pit of black confusion. Let us bring the thing down to the present quarrel in the theater: the quarrel with Realism, which has moments of clarity; the quarrel with Expressionism, which is murky as hell. What are we going to mean when we talk about Realism? So far as this book goes, the word Realism means a way of looking at life which came into vogue about fifty years ago. It sees truth as representation. It demands a more or less literal picture of people and happenings. It insists that human beings upon the stage shall say or do only those things that are reasonably plausible in life. Resemblance is not always its end, but resemblance is a test that must be satisfied before any other quality may be admitted. Realism is not, of course, a matter of trousers, silk hats, and machinery. The realistic attitude can invade the sixteenth century, as it does in Hauptmann’s Florian Geyer. Trousers, silk hats, and machinery can be the properties of a non-realistic play like O’Neill’s The Hairy Ape. The test of Realism, as the term is here employed, is the test of plausibility: Would men and women talk in this fashion in real life under the conditions of time, place, and action supplied by the playwright? It is the business of the realistic playwright to draw as much as possible of inner truth to the surface without distorting the resemblance to actuality.
This fine collection of vintage mysteries from the pulp magazines presents 13 tales sure to thrill the armchair detective. Included are: HANDS OF DOOM, by David H. Keller EVIDENCE, by Murray Leinster THE DRUMS OF DEATH, by J. Allan Dunn HAIR OF THE CAT, by Robert Turner HELL’S SIPHON, by George Harmon Coxe DIBBLE DABBLES IN DEATH, by David Wright O’Brien CLOSE TO MY HEART, by Chester S. Geier THE RAG-TAG GIRL, by Norbert Davis MASTER OF FEAR, by Frank Gruber GREEN-EYED VENGEANCE, by Arthur J. Burks A HUNDRED GRAND, by Mort Lansing DEAD MAN’S CHEST, by Norbert Davis $10,000 AN INCH, by Tedd Thomey If you enjoy this volume of our best-selling MEGAPACK® ebook series, check out the rest of the series! We have more than 400 volumes, covering mysteries, westerns, science fiction, romance, classics—and much, much more. Search your favorite ebook store for ""Wildside Press Megapack"" to see them all.
For many years Oliver Colfax worked as a hired killer. But after he developed a friendship with one of his targets, Colfax lost heart in that line of work and quit. A few odd jobs keep body and soul together, but until Colfax decides what to do with the rest of his life, he’s content sitting in his St. Louis hotel room and drinking fine whiskey. When a rancher from Colorado asks him to deal with some cattle rustlers, Colfax declines, thinking it is just one more case of a big landowner wanting it all. But when Colfax learns that a production of Titus Andronicus is playing in nearby Pullman, Colorado, he has a change of heart. He has always longed to see someone play Titus. Dealing with the cattle rustlers proves to be a routine job, but investigating the tragedy that hits the touring Shakespearean drama troupe turns out to be a tough assignment. It may be the hardest case he’s ever taken on, one that is certain to change his life forever.
This study explores the personal, historical, and artistic influences that combined to form such dark and influential American masterpieces as 'The Iceman Cometh', 'The Emperor Jones', 'Mourning Becomes Electra', 'Hughie', and - arguably the finest tragedy ever written by an American - 'Long Day's Journey into Night'.
A biography of Texas songwriter Townes Van Zandt, discussing his troubled childhood, the development of his career as a wandering folk singer, and his relationships with women, and including analyses of his songs.
This text is a comprehensive reference to all aspects of theatre planning and construction and a history of theatre design from ancient times to the present. Drawing on examples from Greek and Roman models to Renaissance and baroque theatres to contemporary buildings around the world, it discusses such requirements as structural systems, seating, acoustics and visual volume in detail, considering the optimum conditions for both musical and dramatic performance. This edition includes, as an appendix, a new set of drawings, in addition to the original 900 illustrations.
Sclerotherapy: Treatment of Varicose and Telangiectatic Leg Veins, by Drs. Mitchel P. Goldman, Jean-Jerome Guex, and Robert A Weiss, equips you to implement the latest cosmetic procedures for the treatment of varicose and telangiectatic leg veins. Completely revised with contributions from U.S.-based and international authorities, this classic reference is packed with everything you need to know about sclerotherapy, and provides extensive discussions of the latest techniques, solutions, and possible complications. Case studies and detailed color illustrations offer practical, step-by-step visual guidance as well as expert hints and tips for implementing the latest cosmetic procedures into your practice including foam sclerotherapy, endovenous radiofrequency (RF) and laser closure, ambulatory phlebectomy and laser treatment of spider telangiectasia. You can also access the full content and videos online at www.expertconsult.com. Optimize outcomes and improve your surgical, injection and laser techniques with comprehensive, visual guidance about common pitfalls and "tricks of the trade" from practically minded, technically skilled, hands-on experts. Implement the latest approaches with completely updated chapters reflecting the most recent advances in sclerotherapy and surgical treatment of varicose and telangiectatic leg veins. See how to perform a variety of key procedures demonstrating endovenous radiofrequency closure, CoolTouch endovenous ablation, cross polarization visualization, PPG digital measuring, sclerotherapy of the lateral venous system showing reflux, foam sclerotherapy, telangiectatic matting, ambulatory phlebectomy, and draining of intravascular coagulum. Apply the best practices and global perspectives from a newly reorganized team of U.S.-based and international authors and contributors. Access the complete contents from any computer at www.expertconsult.com, complete with the full text and entire image bank.
Reviews "...a book that is full of rich incident and extremely well written. I found it compulsive reading and had a job to put it down once I had started. As I neared the final chapter I kept hoping the book would stretch magically for another 100 pages so it would not end" - Paul Mutter - The Coastrider - 9th December 2008 "Wonderfully written, deeply moving" - David Duckworth - UNN Publications - 11th August 2008 "I was moved by the descriptions of his son's death and almost feel as if I knew him, such is his skill in putting the reader in the picture... he certainly has the skill to propel the reader to the next page" - Ken Scott - Author - 5th December 2008 "Very, very good, a real page-turner and our September choice" - Bookworld - October 2008 "...anyone that reads Jessica's Grandad cannot help finding themselves heavily involved in the story" - Libros International - December 2008 "...passion for this (book) comes across strongly...(he has) certainly led an interesting life" - Lynsey Sutherland - Random House - 21st October 2008 "This excellent and well written book chronicles events from a truly remarkable life" - Robin Barratt - Author & Publisher - November 2008 "I'm afraid we're out of stock at the moment, we've been inundated with orders for Jessica's Grandad" - Waterstones - September 2008
This is a study of how the Northern Ireland conflict was presented to an increasingly global audience during the premiership of Britain's 'Iron Lady', Margaret Thatcher. It addresses the tensions that characterized the relationship between the broadcast media and the Thatcher Government throughout the 1980s. Robert J. Savage explores how that tension worked its way into decisions made by managers, editors, and reporters addressing a conflict that seemed insoluble. Margaret Thatcher mistrusted the broadcast media, especially the BBC, believing it had a left-wing bias that was hostile to her interests and policies. This was especially true of the broadcast media's reporting about Northern Ireland. She regarded investigative reporting that explored the roots of republican violence in the region or coverage critical of her government's initiatives as undermining the rule of law, and thereby providing terrorists with what she termed the 'oxygen of publicity'. She followed in the footsteps of the Labour Government that proceeded her by threatening and bullying both the BBC and IBA, promising that the draconian Prevention of Terrorism Act would be deployed to punish journalists that came into contact with the IRA. Although both networks continued to offer compelling news and current affairs programming, the tactics of her government produced considerable success. Wary of direct government intervention, both networks encouraged a remarkable degree of self-censorship when addressing 'the Troubles'. Regardless, by 1988, the Thatcher Government, unhappy with criticism of its policies, took the extraordinary step of imposing formal censorship on the British broadcast media. The infamous 'broadcasting ban' lasted six years, successfully silencing the voices of Irish republicans while tarnishing the reputation of the United Kingdom as a leading global democracy.
Ekphrasis, the description of pictorial art in words, is the subject of this bibliography. More specifically, some 2500 poems on paintings are catalogued, by type of publication in which they appear and by poet. Also included are 2000 entries on the secondary literature of ekphrasis, including works on sculpture, music, photography, film, and mixed media.
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