When Susan Harbage Page worked in the early seventies alongside the women in this photo essay, in addition to friendships she also made a poignant record. This article appears in the Summer 2011 issue of Southern Cultures: The Photography Issue. "'Rough. It is rough being a female.
Susan Harbage Page. History's pull, conversations with lace, curated by Manuela De Leonardis, was conceived as something of a catalogue of female creative work, interpreted by the American Artist through drawings of embroideries, crochet, and lace.
When Susan Harbage Page worked in the early seventies alongside the women in this photo essay, in addition to friendships she also made a poignant record. This article appears in the Summer 2011 issue of Southern Cultures: The Photography Issue. "'Rough. It is rough being a female.
Edgy Manhattan shutterbug Rachel Solomon can't wait to escape her difficult Midwestern Jewish family of doctors—and her crazy, condescending WASP friend and photography mentor, Elizabeth Mann. Not so easy when Elizabeth marries Rachel's surgeon-brother, moves to the Midwest, and becomes the daughter Rachel's mother always wanted—one who pops out four babies in a row, who are named after Rachel's dead Yiddish-speaking relatives. Although Rachel long ago rejected the suburban female role, she's shocked to find she's been replaced. With unsparing candor, sparkling emotional insights, and hilarity, the girl who cut herself out of old photographs now has to fight her way back into the Solomons' photo albums, homes, and hearts. From the author of the hilarious fictional debut Speed Shrinking—which became an international phenomenon—and the acclaimed memoir of past passion Five Men Who Broke My Heart comes a new book that blows the lid off of the secrets of female friendship. Based on a true story, Susan Shapiro's darkly comic novel Overexposed chronicles the brilliantly twisted tale of two strong women who wind up switching lives.
Comic elements in Shakespeare's tragedies have often been noted, but while most critics have tended to concentrate on humorous interludes or on a single play, Susan Snyder seeks a more comprehensive understanding of how Shakespeare used the conventions, structures, and assumptions of comedy in his tragic writing. She argues that Shakespeare's early mastery of romantic comedy deeply influenced his tragedies both in dramaturgy and in the expression and development of his tragic vision. From this perspective she sheds new light on Romeo and Juliet, Hamlet, Othello, and King Lear. The author shows Shakespeare's tragic vision evolving as he moves through three possibilities: comedy and tragedy functioning first as polar opposites, later as two sides of the same coin, and finally as two elements in a single compound. In the four plays examined here, Professor Snyder finds that traditional comic structures and assumptions operate in several ways to shape the tragedy: they set up expectations which when proven false reinforce the movement into tragic inevitability; they underline tragic awareness by a pointed irrelevance; they establish a point of departure for tragedy when comedy's happy assumptions reveal their paradoxical "shadow" side; and they become part of the tragedy itself when the comic elements threaten the tragic hero with insignificance and absurdity. Susan Snyder is Professor of English at Swarthmore College. Originally published in 1979. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Shakespeare Studies is an international volume published every year in hard cover, containing essays and studies by critics and cultural historians from both hemispheres. It includes substantial reviews of significant books and essays dealing with the cultural history of early modern England, as well as the place of Shakespeare's productions - and those of his contemporaries - within it. Volume XXXII continues the second in a series of essays on Early Modern Drama around the World in which specialists in theatrical traditions from around the globe during the time of Shakespeare discuss the state of scholarly study in their respective areas. O'Hara reviews work relevant to the theater of early modern France. Volume XXXII also includes another in the journal's series of Forums, entitled The Future of Renaissance Manuscript Studies. Organized and introduced by Peter Beal, the Forum includes contributions by Margaret J. M. Ezell, Grace Ioppolo, Harold Love, and Steven W. May. Additionally, this volume contains seven full-length articles and twenty-two book reviews. Leeds Barroll is a Scholar in Residence at the Folger Shakespeare Library,
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