In this study of Marie Dressler, MGM's most profitable movie star in the early 1930s, Victoria Sturtevant analyzes Dressler's use of her body to challenge Hollywood's standards for leading ladies. At five feet seven inches tall and two hundred pounds, Dressler was never considered the popular "delicate beauty," often playing ugly ducklings, old maids, doting mothers, and imperious dowagers. However, Dressler's body, her fearless physicality, and her athletic slapstick routines commanded the screen. Although an unlikely movie star, Dressler represented for Depression-era audiences a sign of abundance and generosity in a time of scarcity. This premier analysis of her body of work explores how Dressler refocused the generic frame of her films beyond the shallow problems of the rich and beautiful, instead dignifying the marginalized, the elderly, women, and the poor. Sturtevant inteprets the meanings of Dressler's body through different genres, venues, and historical periods by looking at her vaudeville career, her transgressive representation of an "unruly" yet sexual body in Emma and Christopher Bean, ideas of the body politic in the films Politics and Prosperity, and Dressler as a mythic body in Min and Bill and Tugboat Annie.
The connections between communities and forests are complex and evolving, presenting challenges to forest managers, researchers, and communities themselves. Dependency on timber extraction and timber-related industries is no longer a universal characteristic of the forest community. Remoteness is also a less common feature, as technology, workforce mobility, tourism, and 'amenity migrants' increasingly connect rural to urban places. Forest Community Connections explores the responses of forest communities to a changing economy, changing federal policy, and concerns about forest health from both within and outside forest communities. Focusing primarily on the United States, the book examines the ways that social scientists work with communities-their role in facilitating social learning, informing policy decisions, and contributing to community well being. Bringing perspectives from sociology, anthropology, political science, and forestry, the authors review a range of management issues, including wildfire risk, forest restoration, labor force capacity, and the growing demand for a growing variety of forest goods and services. They examine the increasingly diverse aesthetic and cultural values that forest residents attribute to forests, the factors that contribute to strong and resilient connections between communities and forests, and consider a range of governance structures to positively influence the well being of forest communities and forests, including collaboration and community-based forestry.
As cooking advanced from simply placing wild grains, seeds, or meat in or near a fire to following some vague notion of food as a pleasing experience, soup--the world's first prepared dish--became the unpretentious comfort food for all of civilization. This book provides a comprehensive and worldwide culinary history of soup from ancient times. Appendices detail vegetables and herbs used in centuries-old soup traditions and offer dozens of recipes from the medieval era through World War II.
The most famous stage actress of the nineteenth century, Sarah Bernhardt enjoyed a surprising renaissance when the 1912 multi-reel film Queen Elizabeth vaulted her to international acclaim. The triumph capped her already lengthy involvement with cinema while enabling the indefatigable actress to reinvent herself in an era of technological and generational change. Placing Bernhardt at the center of the industry's first two decades, Victoria Duckett challenges the perception of her as an anachronism unable to appreciate film's qualities. Instead, cinema's substitution of translated title cards for her melodic French deciphered Bernhardt for Anglo-American audiences. It also allowed the aging actress to appear in the kinds of longer dramas she could no longer physically sustain onstage. As Duckett shows, Bernhardt contributed far more than star quality. Her theatrical practice on film influenced how the young medium changed the visual and performing arts. Her promoting of experimentation, meanwhile, shaped the ways audiences looked at and understood early cinema. A leading-edge reappraisal of a watershed era, Seeing Sarah Bernhardt tells the story of an icon who bridged two centuries--and changed the very act of watching film.
An illustrated archeology of the imagination that reveals how artists and writers from the late 16th to the early 19th century, most of whom had never seen North America, portrayed the natural history and landscape of North America to European readers.
Captivity was endemic in Arizona from the end of the Mexican-American War through its statehood in 1912. The practice crossed cultures: Native Americans, Mexican Americans, Mexicans, and whites kidnapped and held one another captive. Victoria Smith's narrative history of the practice of taking captives in early Arizona shows how this phenomenon held Arizonans of all races in uneasy bondage that chafed social relations during the era. It also maps the social complex that accompanied captivity, a complex that included orphans, childlessness, acculturation, racial constructions, redemption, reintegration, intermarriage, and issues of heredity and environment. ø This in-depth work offers an absorbing account of decades of seizure and kidnapping and of the different ?captivity systems? operating within Arizona.øBy focusing on the stories of those taken captive?young women, children, the elderly, and the disabled, all of whom are often missing from southwestern history?Captive Arizona, 1851?1900 complicates and enriches the early social history of Arizona and of the American West.
How changing depictions of pregnancy in comedy from the start of the twentieth century to the present show an evolution in attitudes toward women’s reproductive roles and rights. Some of the most groundbreaking moments in American film and TV comedy have centered on pregnancy, from Lucille Ball’s real-life pregnancy on I Love Lucy, to the abortion plot on Maude; Murphy Brown’s controversial single motherhood; Arnold Schwarzenegger’s pregnancy in Junior; or the third-trimester stand-up special Ali Wong: Baby Cobra. In the first book-length study of pregnancy in popular comedy, Victoria Sturtevant examines the slow evolution of pregnancy tropes during the years of the Production Code; the sexual revolution and changing norms around nonmarital pregnancy in the 1960s and ‘70s; and the emphasis on biological clocks, infertility, adoption, and abortion from the 1980s to now. Across this history, popular media have offered polite evasions and sentimentality instead of real candor about the physical and social complexities of pregnancy. But comedy has often led the way in puncturing these clichés, pointing an irreverent and satiric lens at the messy and sometimes absurd work of gestation. Ultimately, Sturtevant argues that comedy can reveal the distortions and lies that treat pregnancy as simple and natural “women’s work,” misrepresentations that rest at the heart of contemporary attacks on reproductive rights in the US.
A three-book series for studying English as a foreign language using real-life situations and providing practice in speaking, listening, reading, and writing.
In this study of Marie Dressler, MGM's most profitable movie star in the early 1930s, Victoria Sturtevant analyzes Dressler's use of her body to challenge Hollywood's standards for leading ladies. At five feet seven inches tall and two hundred pounds, Dressler was never considered the popular "delicate beauty," often playing ugly ducklings, old maids, doting mothers, and imperious dowagers. However, Dressler's body, her fearless physicality, and her athletic slapstick routines commanded the screen. Although an unlikely movie star, Dressler represented for Depression-era audiences a sign of abundance and generosity in a time of scarcity. This premier analysis of her body of work explores how Dressler refocused the generic frame of her films beyond the shallow problems of the rich and beautiful, instead dignifying the marginalized, the elderly, women, and the poor. Sturtevant inteprets the meanings of Dressler's body through different genres, venues, and historical periods by looking at her vaudeville career, her transgressive representation of an "unruly" yet sexual body in Emma and Christopher Bean, ideas of the body politic in the films Politics and Prosperity, and Dressler as a mythic body in Min and Bill and Tugboat Annie.
A joined biography of Watson and Crick who unlocked the mystery of DNA, focusing on their relationship and how they worked together as a team in their research.
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