Derived from the colorful traditions of vaudeville, burlesque, revue, and operetta, the musical has blossomed into America's most popular form of theater. Scott McMillin has developed a fresh aesthetic theory of this underrated art form, exploring the musical as a type of drama deserving the kind of critical and theoretical regard given to Chekhov or opera. Until recently, the musical has been considered either an "integrated" form of theater or an inferior sibling of opera. McMillin demonstrates that neither of these views is accurate, and that the musical holds true to the disjunctive and irreverent forms of popular entertainment from which it arose a century ago. Critics and composers have long held the musical to the standards applied to opera, asserting that each piece should work together to create a seamless drama. But McMillin argues that the musical is a different form of theater, requiring the suspension of the plot for song. The musical's success lies not in the smoothness of unity, but in the crackle of difference. While disparate, the dancing, music, dialogue, and songs combine to explore different aspects of the action and the characters. Discussing composers and writers such as Rodgers and Hammerstein, Stephen Sondheim, Kander and Ebb, Leonard Bernstein, and Jerome Kern, The Musical as Drama describes the continuity of this distinctively American dramatic genre, from the shows of the 1920s and 1930s to the musicals of today.
The manuscript of the Elizabethan play Sir Thomas More has intrigued scholars for over a century because three of its pages may have been written by Shakespeare. The Elizabethan Theatre and "The Book of Sir Thomas More" sets aside the timeworn question of authorship and considers the play in a new framework, one which by focusing on questions of the theatre attempts to free Elizabethan theatre history from the grip of its most famous author. Bringing to bear on the manuscript the perspective of a theatre historian and the resources of textual scholarship, Scott McMillin departs from most critical accounts, which have judged Sir Thomas More unfinished. Rather, McMillin addresses the manuscript as a coherent and finished work that achieves its intended purpose: to serve as a prompt book in the Elizabethan playhouse. His systematic analysis of the Sir Thomas More manuscript shows that the company for which it was written was unusually large, that it had a lead actor of outstanding capability, and that in its staging of the play it probably made use of visual repetition as an ironic device. He concludes that the theatre company of the period that most closely matched this description was Lord Strange's men, a company, incidentally, for which Shakespeare himself was known to have written in the early 1590s. Textual scholars, theatre historians, and students and scholars of Elizabethan drama will welcome The Elizabethan Theatre and "The Book of Sir Thomas More.
He examines the ways in which Emerson's texts have been read in the United States, the myriad methods by which those texts have been pillaged, picked over, and repackaged - in a word, consumed - by biographers, political apologists, self-help proponents, entrepreneurs, and academicians alike.".
This is the first book devoted to the Queen's Men, one of the major acting companies of the age of Shakespeare. In describing the troupe's position in the general political situation and the London theatre scene of the 1580s, the authors break new ground by showing how Elizabethan theatre history can be refocused by concentrating on the company which produced the plays rather than on the authors who wrote them. The book combines a thorough examination of documentary evidence with textual and critical analysis, to provide a full account of the characteristics which gave the company its identity: its acting style, staging methods, touring patterns and repertoire. The conclusions will interest Elizabethan historians as well as students and scholars of early modern theatre.
This is the first book devoted to the Queen's Men, one of the major acting companies of the age of Shakespeare. In describing the troupe's position in the general political situation and the London theatre scene of the 1580s, the authors break new ground by showing how Elizabethan theatre history can be refocused by concentrating on the company which produced the plays rather than on the authors who wrote them. The book combines a thorough examination of documentary evidence with textual and critical analysis, to provide a full account of the characteristics which gave the company its identity: its acting style, staging methods, touring patterns and repertoire. The conclusions will interest Elizabethan historians as well as students and scholars of early modern theatre.
He examines the ways in which Emerson's texts have been read in the United States, the myriad methods by which those texts have been pillaged, picked over, and repackaged - in a word, consumed - by biographers, political apologists, self-help proponents, entrepreneurs, and academicians alike.".
Derived from the colorful traditions of vaudeville, burlesque, revue, and operetta, the musical has blossomed into America's most popular form of theater. Scott McMillin has developed a fresh aesthetic theory of this underrated art form, exploring the musical as a type of drama deserving the kind of critical and theoretical regard given to Chekhov or opera. Until recently, the musical has been considered either an "integrated" form of theater or an inferior sibling of opera. McMillin demonstrates that neither of these views is accurate, and that the musical holds true to the disjunctive and irreverent forms of popular entertainment from which it arose a century ago. Critics and composers have long held the musical to the standards applied to opera, asserting that each piece should work together to create a seamless drama. But McMillin argues that the musical is a different form of theater, requiring the suspension of the plot for song. The musical's success lies not in the smoothness of unity, but in the crackle of difference. While disparate, the dancing, music, dialogue, and songs combine to explore different aspects of the action and the characters. Discussing composers and writers such as Rodgers and Hammerstein, Stephen Sondheim, Kander and Ebb, Leonard Bernstein, and Jerome Kern, The Musical as Drama describes the continuity of this distinctively American dramatic genre, from the shows of the 1920s and 1930s to the musicals of today.
The culmination of a ten-year study, Bivalve Seashells of Western North America treats all bivalve mollusks living from northern Baja California, Mexico to Arctic Alaska. A total of 472 species are described and illustrated with detailed photographs and drawings. All habitats in the region are included from the intertidal splash zone to the abyssal depths of the ocean basins. The book has over 4,800 complete bibliographic references to the bivalves, including citations on the biology, physiology, ecology, and taxonomy of this commercially and biologically important group. Character tables and dichotomous keys assist the reader in identification. Also included in the 764 page book is an illustrated key to the superfamiles of the region, and a complete glossary.
The early 21st century has not been kind to California's reputation for good government. But the Golden State's governance flaws reflect worrisome national trends with origins in the 1970s and 1980s. Growing voter distrust with government, a demand for services but not taxes to pay for them, a sharp decline in enlightened leadership and effective civic watchdogs, and dysfunctional political institutions have all contributed to the current governance malaise. Until recently, San Diego, California—America's 8th largest city—seemed immune to such systematic governance disorders. This sunny beach town entered the 1990s proclaiming to be "America's Finest City," but in a few short years its reputation went from "Futureville" to "Enron-by-the-Sea." In this eye-opening and telling narrative, Steven P. Erie, Vladimir Kogan, and Scott A. MacKenzie mix policy analysis, political theory, and history to explore and explain the unintended but largely predictable failures of governance in San Diego. Using untapped primary sources—interviews with key decision makers and public documents—and benchmarking San Diego with other leading California cities, Paradise Plundered examines critical dimensions of San Diego's governance failure: a multi-billion dollar pension deficit; a chronic budget deficit; inadequate city services and infrastructure; grandiose planning initiatives divorced from dire fiscal realities; an insulated downtown redevelopment program plagued by poorly-crafted public-private partnerships; and, for the metropolitan region, inadequate airport and port facilities, a severe underinvestment in firefighting capacity despite destructive wildfires, and heightened Mexican border security concerns. Far from a sunny story of paradise and prosperity, this account takes stock of an important but understudied city, its failed civic leadership, and poorly performing institutions, policymaking, and planning. Though the extent of these failures may place San Diego in a league of its own, other cities are experiencing similar challenges and political changes. As such, this tale of civic woe offers valuable lessons for urban scholars, practitioners, and general readers concerned about the future of their own cities.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Using both canonical and underappreciated texts, Alien Albion argues that early modern England was far less unified and xenophobic than literary critics have previously suggested. Juxtaposing literary texts from the period with legal, religious, and economic documents, Scott Oldenburg uncovers how immigrants to England forged ties with their English hosts and how those relationships were reflected in literature that imagined inclusive, multicultural communities. Through discussions of civic pageantry, the plays of dramatists including William Shakespeare, Thomas Dekker, and Thomas Middleton, the poetry of Anne Dowriche, and the prose of Thomas Deloney, Alien Albion challenges assumptions about the origins of English national identity and the importance of religious, class, and local identities in the early modern era.
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