Victoria Bazin examines the poetry of Marianne Moore as it is shaped by and responsive to the experience of being a modern woman, of living in the aftermath of the First World War, of being interpellated as a modern consumer and of writing in "the age of mechanical reproduction." She argues that Moore's textual collages and syllabic sculptures are based on the cultural clutter or debris of modernity, on textual extracts and reproductions, on the phantasmagoria of city life revealing something modernism worked hard to conceal: its relation to modernity, more specifically its relation to the new emerging and expanding mass consumer culture. Drawing extensively on archival resources to trace Moore's influences and to describe her own distinctive modernist aesthetic, this book argues that it was her feminist adaptation of pragmatism that shaped her poetic response to modernity. Moore's use of the quoted fragment is conceptualised in relation not only to Walter Benjamin's philosophical history but also to William James's image of the world as a series of "partial stories." As such, this account of Marianne Moore not only contributes to a greater understanding of the poet and her work, but it also offers up a more politicized and historically nuanced understanding of poetic modernism between the wars, one that retains a sense of the formal complexities of poetic language and the poet's own ethical imperatives whilst also recognising the material impact of modernity upon the modernist poem. This book will appeal, therefore, not only to scholars already familiar with Moore's poetry but more widely to those interested in modernism and American culture between the wars.
In the past few decades, many of us have become sophisticated about food, but we have not given the same attention to what we drink. In How to Drink, Victoria Moore aims to redress the balance, by showing how to drink well throughout the seasons and at all times of day. She explains how to make the most delicious coffee and juices; how to choose wine that complements your food; and how to make cocktails for every occasion--whether to serve a garden barbecue, as a cold weather aperitif, or just to unwind with at the end of the day. Here are recipes for mint juleps in the spring, sloe gin in the autumn, hot buttered rum in the winter, and year-round showstoppers including the world's best gin and tonic. Moore is also an impassioned advocate of unfairly maligned drinks such as sherry, Campari and saki, and gives fascinating historical background on different spirits as well as invaluable advice on creating your home bar. How to Drink is a hugely readable, browseable and authoritative handbook, whose aim is to inform, entertain and crucially, make sure you can find the right drink at the right time. "It doesn't need to be either difficult or expensive to drink as well as you eat, it just requires a little care..." "A splendid book. Victoria Moore is quite right--it's not how much you drink but how you drink." --Fergus Henderson, chef and co-owner, St. Johns Restaurant "I loved How to Drink. For the first time in years I have broken open a bottle of vodka for a Bloody Mary, remembered how much better mulled cider is than mulled wine, drawn a fresh kettle for tea..." --Joanna Weinberg, author of How to Feed Your Friends with Relish "Anyone who loves their food should heed this unmatchable tutorial in the art of enjoying drink; Victoria Moore succinctly puts every sip in lively context, banishing the guilt from the pleasure of it all." --Rose Prince, author of The New English Kitchen
As editor of the "Dial," Moore wielded considerable cultural authority in the world of arts and letters, yet cultural histories of modernist magazines have largely overlooked her editorial influence. This book makes visible Moore's contribution to the production of modernism even as it complicates the concept of editorial agency. It explores the public face of the modernist editor, the image of highbrow distinction circulated by the "Dial" and embodied by the figure of "Miss Moore." It also examines Moore's editorial practice as a form of modernist "contractility" drawing on her own poetics to understand more fully the motives underpinning her revisions. it returns to the well-known case of Moore's radical cuts to Hart Crane's poem "The WIne Menagerie" as well as instances of collaborative struggle with William Carlos Williams, Gertrude Stein, Paul Rosenfeld, and D.H. Lawrence. In doing so, the book conceptualizes editorial labor as a form of creative and critical social practice
Elizabeth Bishop's Poetics of Intimacy, a biographical and critical study of one of the great poets of this century, offers a fresh look at Bishop's published and unpublished writing over the course of her career. Informed by pragmatic, post-modern, and feminist theories, Victoria Harrison's study also makes extensive use of Bishop's archives, many pieces of which have never been discussed, to reveal the process of the poet's writing. Harrison explores Bishop's childhood memoirs, journals, letters, Brazilian travel prose, unfinished poems, and draft material, researching dates of undated material and reproducing Bishop's revisions, cancellations, and idiosyncratic spellings. Attentiveness to the detail of this archival writing gives Harrison a broad foundation for arguing that Bishop treats some of our largest concerns - family relationships, sexuality, war, and cultural differences - within poetry and prose that are intimate but not self-revelatory and daily but never ordinary. Elizabeth Bishop charges the moments of her writing with the desires, fears, and passions of her life.
Tuesday morning, I spent an hour with a neurologist trying to figure out why I kept tripping over my feet. He pushed and pulled on my legs, whacked me with a reflex hammer and shone a light so deep into my eyes I thought it might illuminate the wall behind my head. That afternoon, I drove home and ordered a new backpacking tent." Pain is an unforgiving equalizer--forget social status, race or gender. For people suffering from chronic pain, "real life" can get lost among endless appointments, diagnoses, prescriptions and medical bills. Living a life beyond mere survival becomes as big a battle as fighting the pain itself. Drawing on her experiences as both a patient and a health-care professional, the author candidly describes her sudden transition from a healthy, active lifestyle to years of learning to live with debilitating pain.
The Honorable Miss Lucilla Iverson is an exceptionally unconventional young heiress trying her best to be unexceptionally conventional despite her love of horses and racing curricles. When she attracts the attention of a hardened older bachelor, a duke, no less, it sets the ton afire with anticipation. Many young bucks seek her approval, including a notorious (and now penniless) gamester who intends to marry Miss Iverson and her money whether or not she agrees. On an inside track for Lucilla’s attention is Oliver, Lord Hartwell, despite a near miss at running her over while driving his phaeton in the company of his cousin, the handsome and mysterious duke. Which of the three will win her heart and hand, to live happily ever after? That is the question!
In this richly detailed and imaginatively researched study, Victoria Bynum investigates "unruly" women in central North Carolina before and during the Civil War. Analyzing the complex and interrelated impact of gender, race, class, and region on the lives of black and white women, she shows how their diverse experiences and behavior reflected and influenced the changing social order and political economy of the state and region. Her work expands our knowledge of black and white women by studying them outside the plantation setting. Bynum searched local and state court records, public documents, and manuscript collections to locate and document the lives of these otherwise ordinary, obscure women. Some appeared in court as abused, sometimes abusive, wives, as victims and sometimes perpetrators of violent assaults, or as participants in ilicit, interracial relationships. During the Civil War, women freqently were cited for theft, trespassing, or rioting, usually in an effort to gain goods made scarce by war. Some women were charged with harboring evaders or deserters of the Confederacy, an act that reflected their conviction that the Confederacy was destroying them. These politically powerless unruly women threatened to disrupt the underlying social structure of the Old South, which depended on the services and cooperation of all women. Bynum examines the effects of women's social and sexual behavior on the dominant society and shows the ways in which power flowed between private and public spheres. Whether wives or unmarried, enslaved or free, women were active agents of the society's ordering and dissolution.
Victoria Malvey, the exquisitely talented author of "A Merry Chase, Temptress, Enchanted, " and "Portrait of Dreams, " takes her readers once again to Victorian England, where a defiant lord and a daring lady struggle to forge a new destiny...together. Lady Alyssa Porter refuses to leave the future to chance. Determined to provide for her younger sister after the death of their parents, she conceives a most ingenious -- if somewhat shocking -- plan. Soon the exotic beauty is masquerading as Zora, gypsy fortune-teller extraordinaire. Before long, using intuition, wit, and a flair for high drama, she is the latest darling of the town, invited to the finest of homes and introduced to the most interesting of men. Intrigued by tales of the mysterious gypsy, Mr. Ian Fortune is amused by her audacity as she spins beguiling tales for enthralled lords and ladies. Certain that Zora is neither gypsy nor seer, he is nonetheless enchanted by her bold ruse, though he wonders if others will take the deception so lightly. Drawn to her vibrant beauty, he vows to win her confidence and learn her secrets. For even the most fiercely independent female sometimes yields to the pleasures of a man's protection. And though this lady may not hold the future in her hands, she does hold the key to his heart.
This meticulously researched and compassionately rendered portrait of Leonard Woolf, the "dark star" of Bloomsbury, is the first to capture his troubled relationship with his wife, his own intellect, and the tumultuous world of artists and eccentrics around him. A man of extremes, Woolf was by turns ferocious and tender, violent and repressed, opinionated and nonjudgmental, always an outsider of sorts within the exceptionally intimate, fractious, and sometimes vicious society of brilliant but troubled friends and lovers. In telling Woolf's story, Victoria Glendinning traces the development of the Bloomsbury circle, bringing to life the group's literary and personal discussions. She also provides an unprecedented account of Woolf's marriage to the legendary Virginia, revealing his undying creative and emotional support for her amid her numerous breakdowns. Leonard Woolf is a perceptive and lively biography of a man whose far–reaching influence is long overdue the full appreciation Glendinning provides.
Winner of the 2009 Society for Cinema and Media Studies Katherine Singer Kovacs Book Award The Midwest of popular imagination is a "Heartland" characterized by traditional cultural values and mass market dispositions. Whether cast positively —; as authentic, pastoral, populist, hardworking, and all-American—or negatively—as backward, narrow–minded, unsophisticated, conservative, and out-of-touch—the myth of the Heartland endures. Heartland TV examines the centrality of this myth to television's promotion and development, programming and marketing appeals, and public debates over the medium's and its audience's cultural worth. Victoria E. Johnson investigates how the "square" image of the heartland has been ritually recuperated on prime time television, from The Lawrence Welk Show in the 1950s, to documentary specials in the 1960s, to The Mary Tyler Moore Show in the 1970s, to Ellen in the 1990s. She also examines news specials on the Oklahoma City bombing to reveal how that city has been inscribed as the epitome of a timeless, pastoral heartland, and concludes with an analysis of network branding practices and appeals to an imagined "red state" audience. Johnson argues that non-white, queer, and urban culture is consistently erased from depictions of the Midwest in order to reinforce its "reassuring" image as white and straight. Through analyses of policy, industry discourse, and case studies of specific shows, Heartland TV exposes the cultural function of the Midwest as a site of national transference and disavowal with regard to race, sexuality, and citizenship ideals.
New in Paperback 2004. Probably the most comprehensive work on the American art song ever available, this book considers the lives and contributions of 144 significant composers in the field, including many for whom information has been extremely scarce. Most composers' entries consist of a biographical sketch; a brief discussion of his or her song writing characteristics (with emphasis on performers' concerns); a partial or complete listing of annotated songs; recording information; and the composer's individual bibliography. Song annotations include poet, publisher, date of composition (when known), voice type, range, duration, tempo indication, mood, subject matter, vocal style, special difficulties, general impression, artists who have recorded the song, and any other pertinent information. Thirty composers whose contributions are deemed of lesser import are summarized in brief essays. Appendixes include a supplement of recommended songs; a listing of American song anthologies and their contents; and the most recent information regarding publishers cited in the guide. There is also a general discography, a general bibliography, and indexes for both titles and poets. Documenting the most important 110 years in the development of American art song, this book is an indispensable tool for singers, teachers, coaches, accompanists, and libraries.
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