Smithfield, settled on the fringes of Roman London, was once a place of revelry. Jesters and crowds flocked for the medieval St Bartholomew's Day celebrations, tournaments were plentiful and it became the location of London's most famous meat market. Yet in Tudor England, Smithfield had another, more sinister use: the public execution of heretics. The Burning Time is a vivid insight into an era in which what was orthodoxy one year might be dangerous heresy the next. The first martyrs were Catholics, who cleaved to Rome in defiance of Henry VIII's break with the papacy. But with the accession of Henry's daughter Mary - soon to be nicknamed 'Bloody Mary' - the charge of heresy was leveled against devout Protestants, who chose to burn rather than recant. At the center of Virginia Rounding's vivid account of this extraordinary period are two very different characters. The first is Richard Rich, Thomas Cromwell's protégé, who, almost uniquely, remained in a position of great power, influence and wealth under three Tudor monarchs, and who helped send many devout men and women to their deaths. The second is John Deane, Rector of St Bartholomew's, who was able, somehow, to navigate the treacherous waters of changing dogma and help others to survive. The Burning Time is their story, but it is also the story of the hundreds of men and women who were put to the fire for their faith.
From early colonial encounters to the ecological disasters of the twenty-first century, the performativity of contact has been a crucial element in the political significance of the beach. Conceptualising the beach as a creative trope and as a socio-cultural site, as well as an aesthetically productive topography, this collection examines its multiplicity of meanings and functions as a natural environment engendering both desire and fear in the human imagination from the Victorian period to the present. The contributors examine literature, film, and art, in addition to moments of encounter and environmental crisis, to highlight the beach as a social space inspiring particular codes of behaviour and specific discourses, as a geographical frontier between land and water, as an historical site of contact and conflict, and as a vacationscape promising regeneration and withdrawal from everyday life. The diversity of the beach is reflected in the geographical range, with essays on locales and texts from Britain, Ireland, the Caribbean, South Africa, the United States, Polynesia, and New Zealand. Focusing on the changed function of the beach as a result of processes of industrialisation and the rise of a modern leisure and health culture, this interdisciplinary volume theorises the beach as a demarcater of the precarious boundary between land and the sea, as well as between nature and culture.
Shakespeare's Othello has exercised a powerful fascination over audiences for centuries with its portrayal of destructive jealousy. This study is a major exercise in the historicisation of Othello in which the author examines contemporary writings and demonstrates how they were embedded in the text of Othello: discourse about conflict between Turk and Venetian treatises on the professionalisation of England's military forces, representations of Africans and blackamoors, and narratives depicting jealous husbands. The second section traces Othello's history in England and the United States from the Restoration to the late 1980s, using illustrations where appropriate. Each chapter highlights a specific historical period, actor or production to demonstrate how and why elements from Shakespeare's text were emphasised or repressed. Othello is revealed as a significant shaper of cultural meaning.
Bilingual, annotated edition of more than 200 poems by Italian Renaissance women, many of which have never before been published in English. Outstanding Academic Title, Choice Lyric Poetry by Women of the Italian Renaissance is the first modern anthology of verse by Italian women of this period to give a full representation of the richness and diversity of their output. Although familiar authors such as Vittoria Colonna, Gaspara Stampa, and Veronica Gambara are well represented, half of the fifty-four poets featured are unknown even to many specialists. Especially noteworthy is an extensive selection of verse from the period following 1560, which has received little or no critical attention. This later, strikingly experimental, proto-Baroque tradition of verse is reconstructed here for the first time. Virginia Cox creates both a scholarly teaching resource and a collection of poetry accessible to general readers with no previous knowledge of the Italian poetic tradition. Each poem is presented in its original language, accompanied by a translation and commentary. An introduction traces the history of Italian lyric poetry from the fifteenth to the seventeenth century. Cox also provides a guide to meter, rhythm, and rhyme, as well as a glossary of rhetorical terms and a biographical dictionary of authors. Organized thematically, this book offers poems about love, religion, and politics; verse addressed to patrons, friends, family, and places; and polemical and correspondence verse. Four languages are represented: Greek, Latin, literary Tuscan of various levels of standardization, and the stylized rustic dialect of pavan. The volume contains more than 200 poems, of which about a quarter have never before been published in a modern edition and more than a third have not previously been available in English translation. "Exhaustive and insightful . . . This is an amazing book, a major achievement in the field of women's studies."—Renaissance Quarterly, reviewing Women’s Writing in Italy, 1400–1650
Winner, 2009 Best Book Award, Society for the Study of Early Modern WomenWinner, 2008 PROSE Award for Best Book in Language, Literature, and Linguistics. Professional and Scholarly Publishing Division of the Association of American Publishers This is the first comprehensive study of the remarkably rich tradition of women’s writing that flourished in Italy between the fifteenth and early seventeenth centuries. Virginia Cox documents this tradition and both explains its character and scope and offers a new hypothesis on the reasons for its emergence and decline. Cox combines fresh scholarship with a revisionist argument that overturns existing historical paradigms for the chronology of early modern Italian women’s writing and questions the historiographical commonplace that the tradition was brought to an end by the Counter Reformation. Using a comparative analysis of women's activities as artists, musicians, composers, and actresses, Cox locates women's writing in its broader contexts and considers how gender reflects and reinvents conventional narratives of literary change.
Columbus is the third-largest city in Georgia, and Red Clay, White Water, and Blues is its first comprehensive history. Virginia E. Causey documents the city's founding in 1828 and brings its story to the present, examining the economic, political, social, and cultural changes over the period. It is the first history of the city that analyzes the significant contributions of all its citizens, including African Americans, women, and the working class. Causey, who has lived and worked in Columbus for more than forty years, focuses on three defining characteristics of the city's history: the role that geography has played in its evolution, specifically its location on the Chattahoochee River along the Fall Line, making it an ideal place to establish water-powered textile mills; the fact that the control of city's affairs rested in the hands of a particular business elite; and the endemic presence of violence that left a "bloody trail" throughout local history. Causey traces the life of Columbus: its founding and early boom years; the Civil War and its aftermath; conflicts as a modern city emerged in the first half of the twentieth century; racial tension and economic decline in the mid-to-late 1900s; and rebirth and revival of the city in the twenty-first century. Peppered throughout are compelling anecdotes about the city's most colorful characters, including Sol Smith and His Dramatic Company, music phenom Blind Tom Wiggins, suffragist Augusta Howard, industrialist and philanthropist G. Gunby Jordan, peanut purveyor Tom Huston, blueswoman Ma Rainey, novelist Carson McCullers, and insurance magnate John Amos.
People have always made art and people have always collected art. But it is only recently that collecting became possible for everyone, not just the very rich. Indeed, collecting has never been more popular, as the rise of art fairs, antique fairs, television programs devoted to finding treasures in your attic and much more attests. And not only is collecting fun, it could be potentially very profitable, too. But where to start? These days everything is collectable, from Old Masters to 1950s kitchenalia and it can be bewildering when you start out. And not just when you start out. Even experienced collectors need some help and guidance and How To Collect Art provides exactly this. Author and collecting expert Virginia Blackburn takes you through everything you need to know, tackling not only mainstream fields such as paintings, furniture, china and statuary, but through antiquities, modern sculpture, Sailors’ Valentines, street art, and much more. This is a comprehensive look at many and varied fields of collecting, for amateur and professional alike. Virginia also explains how to educate yourself in your chosen field, and where to go to find the art you buy, covering galleries, auctions, degree shows and more. She explains how, when and where to bargain, looks at ways of displaying your collection and helps you get into the mindset of a collector. Art may be for art’s sake, but it provides the rest of us with a lot of pleasure too.
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