Will you write in my album?' Many Romantic poets were asked this question by women who collected contributions in their manuscript books. Those who obliged included Byron, Scott, Wordsworth, and Lamb, but also Felicia Hemans, Amelia Opie, and Sara Coleridge. Album Verses and Romantic Literary Culture presents the first critical and cultural history of this forgotten phenomenon. It asks a series of questions. Where did 1820s 'albo-mania' come from, and why was it satirized as a women's 'mania'? What was the relation between visitors' books associated with great institutions and country houses, personal albums belonging to individuals, and the poetry written in both? What caused albums' re-gendering from earlier friendship books kept by male students and gentlemen on the Grand Tour to a 'feminized' practice identified mainly with young women? When albums were central to women's culture, why were so many published album poems by men? How did amateur and professional poets engage differently with albums? What does album culture's privileging of 'original poetry' have to say about attitudes towards creativity and poetic practice in the age of print? This volume recovers a distinctive subgenre of occasional poetry composed to be read in manuscript, with its own characteristic formal features, conventions, themes, and cultural significance. Unique albums examined include that kept at the Grande Chartreuse, those owned by Regency socialite Lady Sarah Jersey, and those kept by Lake poets' daughters. As Album Verses and Romantic Literary Culture shows, album poetry reflects changing attitudes to identity, gender, class, politics, poetry, family dynamics, and social relations in the Romantic period.
In 1862 Dante Gabriel Rossetti buried his unpublished poems in his dead wife's grave; in 1869 he dug them up and published them. This innovative cultural history, drawing on emerging disciplines of book history and death studies, explores the many strange stories about the deaths of Romantic and Victorian poets, and the 'last words', books, relics, memorials, and objects that survived them.
Following the Federal Emergency Management Agency's (FEMA's) 2018 internal investigation into sexual harassment and misconduct in its senior leadership ranks, FEMA leaders chose to openly discuss the problems and the need to develop and maintain a workplace in which all employees are treated with professionalism and respect. Although FEMA's investigation provided insights into the culture and misconduct in one FEMA office, it was not designed to provide a comprehensive account of harassment and discrimination across the organization. Thus, FEMA asked the Homeland Security Operational Analysis Center (HSOAC) to provide an independent and objective assessment of the prevalence and characteristics of harassment and discrimination at FEMA. In April and May 2019, HSOAC fielded a survey designed to estimate the annual prevalence of workplace harassment and discrimination at FEMA and assess employee perceptions of leadership and workplace climate. In addition to sexual harassment, the survey assessed gender discrimination and racial/ethnic harassment and discrimination to provide a more complete description of the types of civil rights violations (harassment or discrimination on the basis of membership in any protected class) experienced by FEMA employees. This report contains detailed documentation of the results of that HSOAC-fielded survey.
Jennifer Percival is a successful business woman who has a food allergy. She is shown presenting at a conference and appearing on television. This is part of a series aimed at teaching the reader about disability and the person in a positive manner.
This book contains black and white pictures spanning the late 19th and early 20th centuries, drawn from family albums, local collections and professional photographers. Each photograph is captioned to provide names and dates where possible and historical information. In the BRITAIN IN OLD PHOTOGRAPHS series.
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