From its first issue, published on the 10th October 1802, Francis Jeffrey's "Edinburgh Review" established a strong reputation and exerted a powerful influence. This is a literary study of the "Edinburgh Review" for over fifty years. It contextualizes the periodical within the culture wars of the Romantic era.
William Tydeman covers central aspects of western European theatre from the Dark Ages to the building of the first public theatres towards the end of the sixteenth century.
Law and Society in England 1750–1950 is an indispensable text for those wishing to study English legal history and to understand the foundations of the modern British state. In this new updated edition the authors explore the complex relationship between legal and social change. They consider the ways in which those in power themselves imagined and initiated reform and the ways in which they were obliged to respond to demands for change from outside the legal and political classes. What emerges is a lively and critical account of the evolution of modern rights and expectations, and an engaging study of the formation of contemporary social, administrative and legal institutions and ideas, and the road that was travelled to create them. The book is divided into eight chapters: Institutions and Ideas; Land; Commerce and Industry; Labour Relations; The Family; Poverty and Education; Accidents; and Crime. This extensively referenced analysis of modern social and legal history will be invaluable to students and teachers of English law, political science, and social history.
A revisionist interpretation of eighteenth- and nineteenth-century political ideas, including novel readings of canonical authors such as Burke and Mill.
l'Esprit du Chemin is a guide and tale of pilgrimage on the Grand Chemin of the Saint James Way. The walk of this one thousand mile trail from Paris to Santiago is a journey through medieval Europe and two thousand years of the history of western civilization. Being designated as an UNESCO historic treasure has helped to attract the hundreds of thousands of pilgrims who each year pass over the ancient roads and bridges enroute to pray at the tomb of Saint James in Santiago, Spain. Pilgrims who walk, cycle or ride a donkey have one thing in common. They are never the same after finishing.
The aesthetics of everyday life, as reflected in art museums and galleries throughout the western world, is the result of a profound shift in aesthetic perception that occurred during the Renaissance and Reformation. In this book, William A. Dyrness examines intellectual developments in late Medieval Europe, which turned attention away from a narrow range liturgical art and practices and towards a celebration of God's presence in creation and in history. Though threatened by the human tendency to self-assertion, he shows how a new focus on God's creative and recreative action in the world gave time and history a new seriousness, and engendered a broad spectrum of aesthetic potential. Focusing in particular on the writings of Luther and Calvin, Dyrness demonstrates how the reformers' conceptual and theological frameworks pertaining to the role of the arts influenced the rise of realistic theater, lyric poetry, landscape painting, and architecture in the sixteenth and seventeenth centuries.
Originally published in 1965. Despite his prolificacy, Washington Irving remained an underexamined figure among literary scholars at the time William L. Hedges published his definitive study of the author in 1965. Most contemporary scholars believed that Irving's central contribution to the American literary tradition was that his work was "polished" and "suave." These scholars maintained that Irving's aristocratic sensibilities defined the stylistic choices of his literary works. To assume this, Hedges contends, is to "both let the man and the work slip beyond one's grasp." Hedges demonstrates that much of Irving's work can be understood in the context of his conflict between federalist and conservative politics. Irving, in other words, found himself incapable of committing to a coherent set of beliefs or attitudes, and this cultural uneasiness manifested itself in his early work. Washington Irving: An American Study, 1802-1832 tries to correct some of the misapprehension about Irving's place in nineteenth-century American literature.
From 1880 to 1956, when John Osborne transformed the British theater world with Look Back in Anger, British playwrights made numerous lasting contributions and provided a foundation for the innovations of dramatists during the latter half of the 20th century. This reference profiles the life and work of some 40 British playwrights active during the late 19th and early 20th centuries, many of whom are also known for their work as novelists and poets. Included are figures such as W. H. Auden, Max Beerbohm, Noel Coward, T. S. Eliot, John Galsworthy, Graham Greene, D. H. Lawrence, W. Somerset Maugham, George Bernard Shaw, and Oscar Wilde. Each entry provides a biographical overview; a list of major plays and summaries of their critical reception; a list of minor plays, adaptations, and productions; an assessment of the playwright's career; and archival and bibliographical information. Included in this reference book are alphabetically arranged entries for some 40 British playwrights active from 1880 through 1956. Entries are written by expert contributors, with each entry providing a biographical overview; a list of major plays, premieres, and significant revivals, along with a summary of the critical reception of these works; a listing of additional plays, adaptations, and productions; an assessment of the playwright's career and contributions, with reference to published evaluations in magazines, journals, dissertations, and books; a listing of locations housing unpublished archival material, if available; a selected bibliography of the dramatist's published plays and of essays and articles by the playwright on aspects of the theater; a selected bibliography of secondary sources; and, when available, a listing of previously published bibliographies on the playwright.
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