Documents pour «University of Exeter Press»

Affiche du document Crestien’s Guillaume d’Angleterre / William of England — Crestien’s Guillaume d’Angleterre / William of England
2h26min15
Etudes littéraires
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195 pages. Temps de lecture estimé 2h26min.
An edition with facing annotated translation of the twelfth-century Medieval French popular romance Guillaume d’Angleterre. The claim to fame of this verse narrative is to have had its authorship attributed (falsely) to Chrétien de Troyes, the most famous of all twelfth-century Medieval French narrative poets. This prototypical adventure romance and is representative of a literary genre that has recently seen a renewal of interest among medieval literary critics. An amusing tale of late twelfth-century social mobility, the romance tells of a bewildering series of adventures that befall a fictitious king who deliberately abandons his royal status to enter the ‘real’ world of knights, wolves, pirates and merchants. He and his family, dispersed by events between Bristol, Galway and Caithness, are finally reunited at Yarmouth thanks to a climactic stag hunt. The book is designed for students of French, Medieval Studies, Comparative Literature and English, and for all medieval scholars interested in having an English version of a typical medieval adventure romance. It is the first authoritative English translation of this text, and all of its critical material is new. DOI: https://doi.org/10.47788/TXVU9029Introduction Conspectus of principal narrative episodes Guillaume d’Angleterre ◊ William of England Corrections to the manuscript text Bibliography Index of persons and places

Crestien’s Guillaume d’Angleterre / William of England
2h26min15
Etudes littéraires
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195 pages. Temps de lecture estimé 2h26min.
An edition with facing annotated translation of the twelfth-century Medieval French popular romance Guillaume d’Angleterre. The claim to fame of this verse narrative is to have had its authorship attributed (falsely) to Chrétien de Troyes, the most famous of all twelfth-century Medieval French narrative poets. This prototypical adventure romance and is representative of a literary genre that has recently seen a renewal of interest among medieval literary critics. An amusing tale of late twelfth-century social mobility, the romance tells of a bewildering series of adventures that befall a fictitious king who deliberately abandons his royal status to enter the ‘real’ world of knights, wolves, pirates and merchants. He and his family, dispersed by events between Bristol, Galway and Caithness, are finally reunited at Yarmouth thanks to a climactic stag hunt. The book is designed for students of French, Medieval Studies, Comparative Literature and English, and for all medieval scholars interested in having an English version of a typical medieval adventure romance. It is the first authoritative English translation of this text, and all of its critical material is new. DOI: https://doi.org/10.47788/TXVU9029Introduction Conspectus of principal narrative episodes Guillaume d’Angleterre ◊ William of England Corrections to the manuscript text Bibliography Index of persons and places

Accès libre

Affiche du document Italian Cityscapes — Italian Cityscapes
3h36min45
Sciences humaines et sociales
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289 pages. Temps de lecture estimé 3h37min.
This book examines the transformation of the Italian city from the 1950s to the present with particular attention to questions of identity, migration and changes in urban culture. It focuses on two phases of that transformation: the years of accelerated industrialisation in the late 1950s and early 1960s, and the period of de-industrialisation and postmodernity beginning in the 1980s. It shows how major demographic movements and cultural shifts threw into relief new conceptions of the city in which old boundaries had become problematic. Design, fine art, literature, youth culture, film and social history all provide focal points. The contributions bring specialist expertise to each area while the extensive illustrations give a vivid picture of the contemporary visual culture for which Italian cities are famed. This is a genuinely interdisciplinary approach by Italian and English-speaking historians and scholars of urban studies, literature, architecture and design which introduces new debates and research to an English-speaking audience for the first time. Extensive illustrations provide a vivid picture of contemporary Italian visual culture. List of Illustrations, vii; List of Maps, viii; Illustration Acknowledgements, viii; Notes on Contributors, ix; Acknowledgements, xii; Signposts: An Introduction ROBERT LUMLEY AND JOHN FOOT, 1; PART I OVERVIEW, 13; 1 Through the Looking-Glass: Research on the Italian City in Historical Perspective SERGIO PACE, 15; PART II MIGRATION: OLD CITIES, NEW IDENTITIES, 29; 2 The Two Waves: Milan as a City of Immigration, 1955-1995 GIANFRANCO PETRILLO, 31; 3 Revisiting the Coree. Self-construction, Memory and Immigration on the Milanese Periphery, 1950-2000 JOHN FOOT, 46; 4 Immigration, Nationalism and Exclusionary Understandings of Place in Turin LAURA MARITANO, 61; PART III URBAN RENEWAL AND TROUBLED MODERNITY, 75; 5 Architectural Utopias and La Nuova Dimensione: Turin in the 1960s MARY LOUISE LOBSINGER, 77. 6 Architecture and Modernity in Post-war Milan HALLDORA ARNARDOTTIR, 90; 7 Turin after Arte Povera: A New City of Art? ROBERT LUMLEY, 100; 8 Contested Claims to Public Space: The Re-imaging of Naples and the Case of Piazza Plebiscito NICHOLAS DINES, 114; PART IV URBAN FICTIONS: 'HIGH' AND 'LOW', 127; 9 Calvino in Turin: Writer and Editor CLAUDIA NOCENTINI, 129; 10 Crime and the City in the Detective Fiction of Giorgio Scerbanenco GIULIANA PIERI, 144; 11 Imaginary Cities: Space and Identity in Italian Literature of Immigration SANDRA PONZANESI, 156; PART V GREY ZONES: CINEMA AND THE CITY, 167; 12 Scenarios of Modernity: Youth Culture in 1950s Milan ENRICA CAPUSSOTTI, 169; 13 Palermo in the Films of Cipri and Maresco ABELE LONGO, 185; ENDPIECE, 197; 14 Adriati-citta: Notes on a Post-industrial Landscape PIPPO CIORRA, 199; Notes, 204; Index, 237.

Italian Cityscapes
3h36min45
Sciences humaines et sociales
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289 pages. Temps de lecture estimé 3h37min.
This book examines the transformation of the Italian city from the 1950s to the present with particular attention to questions of identity, migration and changes in urban culture. It focuses on two phases of that transformation: the years of accelerated industrialisation in the late 1950s and early 1960s, and the period of de-industrialisation and postmodernity beginning in the 1980s. It shows how major demographic movements and cultural shifts threw into relief new conceptions of the city in which old boundaries had become problematic. Design, fine art, literature, youth culture, film and social history all provide focal points. The contributions bring specialist expertise to each area while the extensive illustrations give a vivid picture of the contemporary visual culture for which Italian cities are famed. This is a genuinely interdisciplinary approach by Italian and English-speaking historians and scholars of urban studies, literature, architecture and design which introduces new debates and research to an English-speaking audience for the first time. Extensive illustrations provide a vivid picture of contemporary Italian visual culture. List of Illustrations, vii; List of Maps, viii; Illustration Acknowledgements, viii; Notes on Contributors, ix; Acknowledgements, xii; Signposts: An Introduction ROBERT LUMLEY AND JOHN FOOT, 1; PART I OVERVIEW, 13; 1 Through the Looking-Glass: Research on the Italian City in Historical Perspective SERGIO PACE, 15; PART II MIGRATION: OLD CITIES, NEW IDENTITIES, 29; 2 The Two Waves: Milan as a City of Immigration, 1955-1995 GIANFRANCO PETRILLO, 31; 3 Revisiting the Coree. Self-construction, Memory and Immigration on the Milanese Periphery, 1950-2000 JOHN FOOT, 46; 4 Immigration, Nationalism and Exclusionary Understandings of Place in Turin LAURA MARITANO, 61; PART III URBAN RENEWAL AND TROUBLED MODERNITY, 75; 5 Architectural Utopias and La Nuova Dimensione: Turin in the 1960s MARY LOUISE LOBSINGER, 77. 6 Architecture and Modernity in Post-war Milan HALLDORA ARNARDOTTIR, 90; 7 Turin after Arte Povera: A New City of Art? ROBERT LUMLEY, 100; 8 Contested Claims to Public Space: The Re-imaging of Naples and the Case of Piazza Plebiscito NICHOLAS DINES, 114; PART IV URBAN FICTIONS: 'HIGH' AND 'LOW', 127; 9 Calvino in Turin: Writer and Editor CLAUDIA NOCENTINI, 129; 10 Crime and the City in the Detective Fiction of Giorgio Scerbanenco GIULIANA PIERI, 144; 11 Imaginary Cities: Space and Identity in Italian Literature of Immigration SANDRA PONZANESI, 156; PART V GREY ZONES: CINEMA AND THE CITY, 167; 12 Scenarios of Modernity: Youth Culture in 1950s Milan ENRICA CAPUSSOTTI, 169; 13 Palermo in the Films of Cipri and Maresco ABELE LONGO, 185; ENDPIECE, 197; 14 Adriati-citta: Notes on a Post-industrial Landscape PIPPO CIORRA, 199; Notes, 204; Index, 237.

Accès libre

Affiche du document Grand-Guignol — Grand-Guignol
Michael Wilson
2h39min00
Histoire
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212 pages. Temps de lecture estimé 2h39min.
The Théâtre du Grand-Guignol in Paris (1897 - 1962) achieved a legendary reputation as the 'Theatre of Horror' a venue displaying such explicit violence and blood-curdling terror that a resident doctor was employed to treat the numerous spectators who fainted each night. Indeed, the phrase 'grand guignol' has entered the language to describe any display of sensational horror. Since the theatre closed its doors forty years ago, the genre has been overlooked by critics and theatre historians. This book reconsiders the importance and influence of the Grand-Guignol within its social, cultural and historical contexts, and is the first attempt at a major evaluation of the genre as performance. It gives full consideration to practical applications and to the challenges presented to the actor and director. The book also includes outstanding new translations by the authors of ten Grand-Guignol plays, none of which have been previously available in English. The presentation of these plays in English for the first time is an implicit demand for a total reappraisal of the grand-guignol genre, not least for the unexpected inclusion of two very funny comedies. 1. Jack! (lui!), Oscar Metenier 2. The Ultimate Torture (La Derniere Torture), Andr de Lorde and Eugene Morel 3. The Lighthousekeepers (Gardiens de Phare), Paul Autier and Paul Colquemin 4. Chop-chop! (La Veuve), Eugene Heros and Leon Abric 5. Tics! or Doing the Deed (Apres Coup ou Tics), Ren Berton 6. In the Darkroom (Sous la Lumiere Rouge), Maurice Level and Etienne Rey 7. The Final Kiss (Le Baiser dans la Nuit), Maurice Level 8. The Torture Garden (Le Jardin des Supplices), Pierre Chaine and Andre de Lorde 9. Euthanasia (L'euthanasie), Ren Berton 10. The Kiss of Blood (Le Baiser de Sang), Jean Aragny and Francis Nelson

Grand-Guignol
Michael Wilson
2h39min00
Histoire
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212 pages. Temps de lecture estimé 2h39min.
The Théâtre du Grand-Guignol in Paris (1897 - 1962) achieved a legendary reputation as the 'Theatre of Horror' a venue displaying such explicit violence and blood-curdling terror that a resident doctor was employed to treat the numerous spectators who fainted each night. Indeed, the phrase 'grand guignol' has entered the language to describe any display of sensational horror. Since the theatre closed its doors forty years ago, the genre has been overlooked by critics and theatre historians. This book reconsiders the importance and influence of the Grand-Guignol within its social, cultural and historical contexts, and is the first attempt at a major evaluation of the genre as performance. It gives full consideration to practical applications and to the challenges presented to the actor and director. The book also includes outstanding new translations by the authors of ten Grand-Guignol plays, none of which have been previously available in English. The presentation of these plays in English for the first time is an implicit demand for a total reappraisal of the grand-guignol genre, not least for the unexpected inclusion of two very funny comedies. 1. Jack! (lui!), Oscar Metenier 2. The Ultimate Torture (La Derniere Torture), Andr de Lorde and Eugene Morel 3. The Lighthousekeepers (Gardiens de Phare), Paul Autier and Paul Colquemin 4. Chop-chop! (La Veuve), Eugene Heros and Leon Abric 5. Tics! or Doing the Deed (Apres Coup ou Tics), Ren Berton 6. In the Darkroom (Sous la Lumiere Rouge), Maurice Level and Etienne Rey 7. The Final Kiss (Le Baiser dans la Nuit), Maurice Level 8. The Torture Garden (Le Jardin des Supplices), Pierre Chaine and Andre de Lorde 9. Euthanasia (L'euthanasie), Ren Berton 10. The Kiss of Blood (Le Baiser de Sang), Jean Aragny and Francis Nelson

Accès libre

Affiche du document Forms of Conflict — Forms of Conflict
Sara Soncini
2h46min30
Etudes littéraires
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222 pages. Temps de lecture estimé 2h46min.
Forms of Conflict is a full-length study of the representation of contemporary warfare on the British stage and investigates the strategies deployed by theatre practitioners in Britain as they meet the representational challenges posed by the ‘new wars’ of the global era. It questions how dramatists have responded aesthetically to the changing nature of conflict, focusing on plays written and performed after the September 11 terrorist attacks. Soncini examines how the works of playwrights such as Caryl Churchill, David Hare, Martin Crimp and Simon Stephens have provided an interpretative means to enlarge our understanding of the new patterns of conflict, ensuring theatre’s continued cultural and political relevance. Forms of Conflict explores the relationship between new forms of warfare and new forms of drama, illustrating what dramatic form can reveal about the post-9/11 landscape and complementing a rapidly growing field of contemporary war studies. The appendix contains a complete list of war-related plays staged in Britain between 1990 and 2010, with a brief description of their topic and approach. Acknowledgments 1. Introduction: Scenes of War 2. This is Not a War: Mimesis in the Age of Simulacra 2.1 Presages 2.2 Far away, so close 2.3 Media narratives 3. War without Conflict / Theatre without Drama 3.1 Fragments from a warrior’s discourse 3.2 The rest is silence 3.3 There’s method in this randomness 4. ‘Why Fabulate?’ 4.1 Documenting war 4.2 The tribunal play: extending the code 4.3 Uneasy coaltions 5. The Performance of Witnessing 5.1 The talking cure 5.2 The artist is present 5.3 Technologies of recollection 6. Figures of Mediation 6.1 The translation turn 6.2 The mediator’s invisibility 6.3 The combat linguist 6.4 Uncanny bodies Appendix: New War Plays on the British Stage, 1990-2010 Works Cited Index

Forms of Conflict
Sara Soncini
2h46min30
Etudes littéraires
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222 pages. Temps de lecture estimé 2h46min.
Forms of Conflict is a full-length study of the representation of contemporary warfare on the British stage and investigates the strategies deployed by theatre practitioners in Britain as they meet the representational challenges posed by the ‘new wars’ of the global era. It questions how dramatists have responded aesthetically to the changing nature of conflict, focusing on plays written and performed after the September 11 terrorist attacks. Soncini examines how the works of playwrights such as Caryl Churchill, David Hare, Martin Crimp and Simon Stephens have provided an interpretative means to enlarge our understanding of the new patterns of conflict, ensuring theatre’s continued cultural and political relevance. Forms of Conflict explores the relationship between new forms of warfare and new forms of drama, illustrating what dramatic form can reveal about the post-9/11 landscape and complementing a rapidly growing field of contemporary war studies. The appendix contains a complete list of war-related plays staged in Britain between 1990 and 2010, with a brief description of their topic and approach. Acknowledgments 1. Introduction: Scenes of War 2. This is Not a War: Mimesis in the Age of Simulacra 2.1 Presages 2.2 Far away, so close 2.3 Media narratives 3. War without Conflict / Theatre without Drama 3.1 Fragments from a warrior’s discourse 3.2 The rest is silence 3.3 There’s method in this randomness 4. ‘Why Fabulate?’ 4.1 Documenting war 4.2 The tribunal play: extending the code 4.3 Uneasy coaltions 5. The Performance of Witnessing 5.1 The talking cure 5.2 The artist is present 5.3 Technologies of recollection 6. Figures of Mediation 6.1 The translation turn 6.2 The mediator’s invisibility 6.3 The combat linguist 6.4 Uncanny bodies Appendix: New War Plays on the British Stage, 1990-2010 Works Cited Index

Accès libre

Affiche du document Legitimate Cinema — Legitimate Cinema
Burrows Jon
3h39min00
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292 pages. Temps de lecture estimé 3h39min.
This is the first new book-length study of British cinema of the 1910s to be published for over fifty years, and it focuses on the close relationship between the British film industry and the Edwardian theatre. Why were so many West End legends such as Sir Herbert Beerbohm Tree and Ellen Terry repeatedly tempted to dabble in silent film work? Why were film producers so keen to employ them? Jon Burrows studies their screen performances and considers how successfully they made the transition from one medium to the other, and offers some controversial conclusions about the surprisingly broad social range of filmgoers to whom their films appealed. List of Illustrations, vii; Acknowledgements, ix; Introduction, 1; 1. 'Only in England is Such Characterisation Possible': Class, Taste, National Values and the Edwardian Stage Actor, 27; 2. British 'Films d'Art': Theatre Stars in Transitional Cinema, 1908-1911, 43; 3. Patterns of 'Convergence' in Pre-war Entertainment: Legitimate Actors in Music Halls, 90; 4. Lost in the Translation: The Troubled Reception of Forbes-Robertson's Hamlet (1913), 112; 5. Transferable Skills: The Edwardian Character Actor on the Screen, 141; 6. 'The Whole English Stage To Be Seen For Sixpence': Ideal's 'High-Class' Wartime Films, 180; Conclusion, 225; Notes, 232; Bibliography, 263; Index, 273.

Legitimate Cinema
Burrows Jon
3h39min00
Histoire
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292 pages. Temps de lecture estimé 3h39min.
This is the first new book-length study of British cinema of the 1910s to be published for over fifty years, and it focuses on the close relationship between the British film industry and the Edwardian theatre. Why were so many West End legends such as Sir Herbert Beerbohm Tree and Ellen Terry repeatedly tempted to dabble in silent film work? Why were film producers so keen to employ them? Jon Burrows studies their screen performances and considers how successfully they made the transition from one medium to the other, and offers some controversial conclusions about the surprisingly broad social range of filmgoers to whom their films appealed. List of Illustrations, vii; Acknowledgements, ix; Introduction, 1; 1. 'Only in England is Such Characterisation Possible': Class, Taste, National Values and the Edwardian Stage Actor, 27; 2. British 'Films d'Art': Theatre Stars in Transitional Cinema, 1908-1911, 43; 3. Patterns of 'Convergence' in Pre-war Entertainment: Legitimate Actors in Music Halls, 90; 4. Lost in the Translation: The Troubled Reception of Forbes-Robertson's Hamlet (1913), 112; 5. Transferable Skills: The Edwardian Character Actor on the Screen, 141; 6. 'The Whole English Stage To Be Seen For Sixpence': Ideal's 'High-Class' Wartime Films, 180; Conclusion, 225; Notes, 232; Bibliography, 263; Index, 273.

Accès libre

Affiche du document Elles — Elles
Martin Sorrell
3h21min45
Poésie
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269 pages. Temps de lecture estimé 3h22min.
Elles is the first bilingual anthology of its kind. It introduces English-speaking readers to some of the best French poetry written by women over the last twenty years. Martin Sorrell has chosen a selection of work from seventeen distinctive and diverse poets, and provided lively facing-page verse translations, poems in their own right, alongside the originals. Martin Sorrell's Introduction situates the poets in their context and discusses the issues which confronted him as compiler and translator, not least as a man responding to creative work written by women. Each poet introduces herself with an essay on her conception of poetry and her own position as a writer. These biographical pieces are published in French and in an English translation. There is also a selected bibliography for each poet. The Afterword, by Jacqueline Chénieux-Gendron - Director of Research at the Centre National de la Recherche Scientifique in Paris, and a leading specialist in modern French literature - is also published in French and in an English translation. The poets represented in ELLES are Marie-Claire Bancquart, Christiane Baroche, Geneviève Bon, Claude de Burine, Andrée Chedid, Louise Herlin, Jeanne Hyvrard, Leslie Kaplan, Josée Lapeyrère, Jo-Ann Léon, Anne Portugal, Gisèle Prassinos, Jacqueline Risset, Amina Saïd, Sylvia Baron Supervielle, Marguerite Yourcenar, Céline Zins Introduction by Martin Sorrell 1. Marie-Claire Bancquart 2. Christine Baroche 3. Genevieve Bon 4. Claude de Burine 5. Andree Chedid 6. Louise Herlin 7. Jeanne Hyvrard 8. Leslie Kaplan 9. Josee Lapeyrere 10. Jo-Ann Leon 11. Anne Portugal 12. Gisele Prassinos 13. Jacqueline Risset 14. Amina Said 15. Silvia Baron Supervielle 16. Marguerite Yourcenar 17. Celine Zins Epilogue by Jacqueline Chenieux-Gendron Afterword (English version) Index of Titles and First Lines Acknowledgements

Elles
Martin Sorrell
3h21min45
Poésie
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269 pages. Temps de lecture estimé 3h22min.
Elles is the first bilingual anthology of its kind. It introduces English-speaking readers to some of the best French poetry written by women over the last twenty years. Martin Sorrell has chosen a selection of work from seventeen distinctive and diverse poets, and provided lively facing-page verse translations, poems in their own right, alongside the originals. Martin Sorrell's Introduction situates the poets in their context and discusses the issues which confronted him as compiler and translator, not least as a man responding to creative work written by women. Each poet introduces herself with an essay on her conception of poetry and her own position as a writer. These biographical pieces are published in French and in an English translation. There is also a selected bibliography for each poet. The Afterword, by Jacqueline Chénieux-Gendron - Director of Research at the Centre National de la Recherche Scientifique in Paris, and a leading specialist in modern French literature - is also published in French and in an English translation. The poets represented in ELLES are Marie-Claire Bancquart, Christiane Baroche, Geneviève Bon, Claude de Burine, Andrée Chedid, Louise Herlin, Jeanne Hyvrard, Leslie Kaplan, Josée Lapeyrère, Jo-Ann Léon, Anne Portugal, Gisèle Prassinos, Jacqueline Risset, Amina Saïd, Sylvia Baron Supervielle, Marguerite Yourcenar, Céline Zins Introduction by Martin Sorrell 1. Marie-Claire Bancquart 2. Christine Baroche 3. Genevieve Bon 4. Claude de Burine 5. Andree Chedid 6. Louise Herlin 7. Jeanne Hyvrard 8. Leslie Kaplan 9. Josee Lapeyrere 10. Jo-Ann Leon 11. Anne Portugal 12. Gisele Prassinos 13. Jacqueline Risset 14. Amina Said 15. Silvia Baron Supervielle 16. Marguerite Yourcenar 17. Celine Zins Epilogue by Jacqueline Chenieux-Gendron Afterword (English version) Index of Titles and First Lines Acknowledgements

Accès libre

Affiche du document The Lost Jungle — The Lost Jungle
Guy Barefoot
2h11min15
Médias
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175 pages. Temps de lecture estimé 2h11min.
The main question addressed in this book: why has the Hollywood sound serial received so little scholarly attention? The sound serial was extremely popular in the 1930s and 1940s, with serials made by companies such as Universal and Columbia. At children’s matinees they were enthusiastically received, but were also part of a regular programme of neighbourhood cinemas in the United States. Eventually, this phenomenon went global and was a popular alternative to a feature film, regardless of whether they were screened individually or in a single sitting. Many works on the sound serial are written both by and for fans, with little more than a collection of image stills and brief summaries. Here, the author presents a thorough analysis based on detailed historical research, focusing on the period between 1930, when serials were born, and 1946, when Universal stopped their production. As well as exploring particular films, the author situates them in American film culture and societal practice of film viewing. The production of the serials is also considered, examining how it drew upon previous conventions such as silent cinema and melodrama. This book will be a vital component in the study of American film, as it explores a previously untouched niche in great detail, offering an accessible yet academic perspective on the growth and decline of Hollywood sound serials.¨ The Serial and the Cliffhanger: Definitions and Origins ¨ Thursday Night at the Ritz: Exhibition, Audiences and Regulation ¨ The Economy Chapter ¨ The Second Chapter, 1930-46 ¨ Four Serials and a Feature, 1932-38 ¨ Where are you now, Batman? Aftermath and Conclusion

The Lost Jungle
Guy Barefoot
2h11min15
Médias
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175 pages. Temps de lecture estimé 2h11min.
The main question addressed in this book: why has the Hollywood sound serial received so little scholarly attention? The sound serial was extremely popular in the 1930s and 1940s, with serials made by companies such as Universal and Columbia. At children’s matinees they were enthusiastically received, but were also part of a regular programme of neighbourhood cinemas in the United States. Eventually, this phenomenon went global and was a popular alternative to a feature film, regardless of whether they were screened individually or in a single sitting. Many works on the sound serial are written both by and for fans, with little more than a collection of image stills and brief summaries. Here, the author presents a thorough analysis based on detailed historical research, focusing on the period between 1930, when serials were born, and 1946, when Universal stopped their production. As well as exploring particular films, the author situates them in American film culture and societal practice of film viewing. The production of the serials is also considered, examining how it drew upon previous conventions such as silent cinema and melodrama. This book will be a vital component in the study of American film, as it explores a previously untouched niche in great detail, offering an accessible yet academic perspective on the growth and decline of Hollywood sound serials.¨ The Serial and the Cliffhanger: Definitions and Origins ¨ Thursday Night at the Ritz: Exhibition, Audiences and Regulation ¨ The Economy Chapter ¨ The Second Chapter, 1930-46 ¨ Four Serials and a Feature, 1932-38 ¨ Where are you now, Batman? Aftermath and Conclusion

Accès libre

Affiche du document Cecil Hepworth and the Rise of the British Film Industry 1899-1911 — Cecil Hepworth and the Rise of the British Film Industry 1899-1911
Brown Simon
1h59min15
Médias
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159 pages. Temps de lecture estimé 1h59min.
This book offers an industrial, economic and aesthetic history of the early years of the British film industry from 1899–1911, through a case study of one of the most celebrated pioneer film makers, Cecil Hepworth. Presenting a picture of daily life in his film studio, an analysis of Hepworth’s films is offered including the development of their content, production methods and marketing in this formative period. The early twentieth century saw British film production develop from a cottage industry of artisans to a multi-modal complex economic system with a global reach. Changes in the nature of exhibition and distribution caused a major crisis in the years 1908–1911, whereby Britain lost its status as a world leader in film making. Existing histories of this period lay this crisis at the feet of pioneers like Hepworth, whose perceived inability to improve the quality of film production led to stagnation. Brown attempts to challenge this assumption by analysing Hepworth’s development of production methods as well as his strategies towards sales in the market to demonstrate the impact on the modernisation of the film industry. Introduction List of Illustrations and Tables Film Production and the Hepworth Manufacturing Company Ltd (HMC) Hepworth, Film Sales and the Rise of the Renter The HMC, the Rental Sector and Market Strategies HMC and Patterns of Exhibition Conclusion: The Producers’ Response to the Crisis Appendix One: Filmography of Hepworth and Co and the HMC 1899–1911 Appendix Two: HMC Titles Listed in ‘Around the Shows’ Released 1 October 1908–31 August 1909 Appendix Three: List of London Based Rental Firms (1905–1911) and Foreign Film Sales Representatives (1907–1911) Bibliography Index

Cecil Hepworth and the Rise of the British Film Industry 1899-1911
Brown Simon
1h59min15
Médias
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159 pages. Temps de lecture estimé 1h59min.
This book offers an industrial, economic and aesthetic history of the early years of the British film industry from 1899–1911, through a case study of one of the most celebrated pioneer film makers, Cecil Hepworth. Presenting a picture of daily life in his film studio, an analysis of Hepworth’s films is offered including the development of their content, production methods and marketing in this formative period. The early twentieth century saw British film production develop from a cottage industry of artisans to a multi-modal complex economic system with a global reach. Changes in the nature of exhibition and distribution caused a major crisis in the years 1908–1911, whereby Britain lost its status as a world leader in film making. Existing histories of this period lay this crisis at the feet of pioneers like Hepworth, whose perceived inability to improve the quality of film production led to stagnation. Brown attempts to challenge this assumption by analysing Hepworth’s development of production methods as well as his strategies towards sales in the market to demonstrate the impact on the modernisation of the film industry. Introduction List of Illustrations and Tables Film Production and the Hepworth Manufacturing Company Ltd (HMC) Hepworth, Film Sales and the Rise of the Renter The HMC, the Rental Sector and Market Strategies HMC and Patterns of Exhibition Conclusion: The Producers’ Response to the Crisis Appendix One: Filmography of Hepworth and Co and the HMC 1899–1911 Appendix Two: HMC Titles Listed in ‘Around the Shows’ Released 1 October 1908–31 August 1909 Appendix Three: List of London Based Rental Firms (1905–1911) and Foreign Film Sales Representatives (1907–1911) Bibliography Index

Accès libre

Affiche du document Charles Urban — Charles Urban
Luke McKernan
2h02min15
Photographie
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163 pages. Temps de lecture estimé 2h02min.
Charles Urban was a renowned figure in his time, and he has remained a name in film history chiefly for his development of Kinemacolor, the world’s first successful natural colour moving picture system. He was also a pioneer in the filming of war, science, travel, actuality and news, a fervent advocate of the value of film as an educative force, and a controversial but important innovator of film propaganda in wartime. The book uses Urban’s story as a means of showing how the non-fiction film developed in the period 1897-1925, and the dilemmas that it faced within a cinema culture in which the entertainment fiction film was dominant. Urban’s solutions – some successful, some less so – illustrate the groundwork that led to the development of documentary film. The book considers the roles of film as informer, educator and generator of propaganda, and the social and aesthetic function of colour in the years when cinema was still working out what it was capable of and how best to reach audiences. Luke McKernan also curates a web resource on Charles Urban at www.charlesurban.com List of Illustrations Acknowledgements Note Introduction 1. ‘That Slick Salesman in the Silk Hat’ 2. We Put the World Before You 3. The Eighth Wonder of the World 4. The Motion Picture Object Lesson for America 5. The Living Book of Knowledge Conclusion Notes Select Bibliography Index

Charles Urban
Luke McKernan
2h02min15
Photographie
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163 pages. Temps de lecture estimé 2h02min.
Charles Urban was a renowned figure in his time, and he has remained a name in film history chiefly for his development of Kinemacolor, the world’s first successful natural colour moving picture system. He was also a pioneer in the filming of war, science, travel, actuality and news, a fervent advocate of the value of film as an educative force, and a controversial but important innovator of film propaganda in wartime. The book uses Urban’s story as a means of showing how the non-fiction film developed in the period 1897-1925, and the dilemmas that it faced within a cinema culture in which the entertainment fiction film was dominant. Urban’s solutions – some successful, some less so – illustrate the groundwork that led to the development of documentary film. The book considers the roles of film as informer, educator and generator of propaganda, and the social and aesthetic function of colour in the years when cinema was still working out what it was capable of and how best to reach audiences. Luke McKernan also curates a web resource on Charles Urban at www.charlesurban.com List of Illustrations Acknowledgements Note Introduction 1. ‘That Slick Salesman in the Silk Hat’ 2. We Put the World Before You 3. The Eighth Wonder of the World 4. The Motion Picture Object Lesson for America 5. The Living Book of Knowledge Conclusion Notes Select Bibliography Index

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Affiche du document God's Exiles and English Verse — God's Exiles and English Verse
John D. Niles
2h51min45
Etudes littéraires
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229 pages. Temps de lecture estimé 2h52min.
This monograph is a critical study of the medieval manuscript held in Exeter Cathedral Library, popularly known as ‘The Exeter Book’. Recent scholarship, including the standard edition of the text, published by UEP in 2000 (2 ed’n 2006), has re-named the manuscript ‘The Exeter Anthology of Old English Poetry’. The book gives us intelligent, sensitive literary criticism, profound readings of all of the poems of the Anthology. God’s Exiles and English Verse is the first integrative, historically grounded book to be written about the Exeter Book of Old English poetry. By approaching the Exeter codex as a whole, the book seeks to establish a sound footing for the understanding of any and all of its parts, seen as devout yet cosmopolitan expressions of late Anglo-Saxon literary culture. The poems of the Exeter Book have not before been approached primarily from a codicological perspective. They have not before been read as an integrated expression of a monastic poetic: that is to say, as a refashioning of the medium of Old English verse so as to serve as an emotionally powerful, intellectually challenging vehicle for Christian doctrine and moral instruction. Part One, consisting of three chapters, introduces certain of the book’s main themes, addresses matters of date, authorship, audience, and the like, and evaluates hypotheses that have been put forth concerning the origins of the Exeter Anthology in the south of England during the period of the Benedictine Reform. Part Two, the main body of the book, begins with a long chapter, divided into seven sections, that introduces the contents of the Exeter Anthology poem by poem in a more systematic fashion than before, with attention to the overall organization of the Anthology and certain factors in it that have a unifying function. The five shorter chapters that follow are devoted to topics of special interest, including the volume’s possible use as a guide to vernacular poetic techniques, its underlying worldview, its reliance on certain thematically significant keywords, and its intertextual versus intratextual relations. The riddles, especially those of a sexual content, receive attention in a chapter of their own. In addition, there is a translation of the popular poem The Wanderer into modern English prose, a folio-by-folio listing of the contents of the Exeter Anthology, and a listing of a number of the poems of the Anthology with notes on their genre, according to Latin generic terms familiar to educated Anglo-Saxons. This book is the first of its kind - an integrative, book-length critical study of the Exeter Anthology.Part One: Reading the Anthology in its Historical Context Monastic Poetics Scribes, Authors, Compilers, and Readers Exeter, Glastonbury, and the Benedictine Reform Part Two: Reading the Anthology as a Codicological Whole An Overview of the Book’s Contents Principles of order The book’s opening parts, Advent Lyrics to Juliana Voices of wisdom: The Wanderer and related poems The voice of the sage: A Father’s Precepts and related poems Voices from the Germanic past: Widsith and related poems Diversity within unity: the role of simulated speech The book’s closing parts, The Panther to the end Teaching the Tools of the Poet’s Trade The Enigmas — a Special Problem? Poetry and Worldview Keywords Intratextual Hermeneutics Summary and Conclusions Appendix 1: A translation of The Wanderer Appendix 2: Folio-by-folio contents of the Exeter Anthology Appendix 3: Latin genre terms and the poems of the Exeter Anthology

God's Exiles and English Verse
John D. Niles
2h51min45
Etudes littéraires
Youscribe plus
229 pages. Temps de lecture estimé 2h52min.
This monograph is a critical study of the medieval manuscript held in Exeter Cathedral Library, popularly known as ‘The Exeter Book’. Recent scholarship, including the standard edition of the text, published by UEP in 2000 (2 ed’n 2006), has re-named the manuscript ‘The Exeter Anthology of Old English Poetry’. The book gives us intelligent, sensitive literary criticism, profound readings of all of the poems of the Anthology. God’s Exiles and English Verse is the first integrative, historically grounded book to be written about the Exeter Book of Old English poetry. By approaching the Exeter codex as a whole, the book seeks to establish a sound footing for the understanding of any and all of its parts, seen as devout yet cosmopolitan expressions of late Anglo-Saxon literary culture. The poems of the Exeter Book have not before been approached primarily from a codicological perspective. They have not before been read as an integrated expression of a monastic poetic: that is to say, as a refashioning of the medium of Old English verse so as to serve as an emotionally powerful, intellectually challenging vehicle for Christian doctrine and moral instruction. Part One, consisting of three chapters, introduces certain of the book’s main themes, addresses matters of date, authorship, audience, and the like, and evaluates hypotheses that have been put forth concerning the origins of the Exeter Anthology in the south of England during the period of the Benedictine Reform. Part Two, the main body of the book, begins with a long chapter, divided into seven sections, that introduces the contents of the Exeter Anthology poem by poem in a more systematic fashion than before, with attention to the overall organization of the Anthology and certain factors in it that have a unifying function. The five shorter chapters that follow are devoted to topics of special interest, including the volume’s possible use as a guide to vernacular poetic techniques, its underlying worldview, its reliance on certain thematically significant keywords, and its intertextual versus intratextual relations. The riddles, especially those of a sexual content, receive attention in a chapter of their own. In addition, there is a translation of the popular poem The Wanderer into modern English prose, a folio-by-folio listing of the contents of the Exeter Anthology, and a listing of a number of the poems of the Anthology with notes on their genre, according to Latin generic terms familiar to educated Anglo-Saxons. This book is the first of its kind - an integrative, book-length critical study of the Exeter Anthology.Part One: Reading the Anthology in its Historical Context Monastic Poetics Scribes, Authors, Compilers, and Readers Exeter, Glastonbury, and the Benedictine Reform Part Two: Reading the Anthology as a Codicological Whole An Overview of the Book’s Contents Principles of order The book’s opening parts, Advent Lyrics to Juliana Voices of wisdom: The Wanderer and related poems The voice of the sage: A Father’s Precepts and related poems Voices from the Germanic past: Widsith and related poems Diversity within unity: the role of simulated speech The book’s closing parts, The Panther to the end Teaching the Tools of the Poet’s Trade The Enigmas — a Special Problem? Poetry and Worldview Keywords Intratextual Hermeneutics Summary and Conclusions Appendix 1: A translation of The Wanderer Appendix 2: Folio-by-folio contents of the Exeter Anthology Appendix 3: Latin genre terms and the poems of the Exeter Anthology

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Affiche du document Vaccination Wars — Vaccination Wars
Ella Stewart-Peters
2h01min30
Medecine
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162 pages. Temps de lecture estimé 2h01min.
For as long as there have been vaccines, there have been those who oppose them. As the world continues to grapple with the impact of COVID-19 and the challenges of managing an effective vaccination programme, this book shows that our experiences have more in common with those of previous generations than we may so far have understood. Vaccination Wars examines the history of vaccine objection in nineteenth-century Cornwall, looking not only at the reasons behind resistance to the smallpox vaccine, but at the lives of Cornish parents who steadfastly refused to have their children inoculated. Exploring the earliest phases of the anti-vaccination movement, the rise of middle-class resistance and organized opposition societies, and the influence of propaganda, the book presents a more nuanced understanding of the ways regional and cultural differences affect the reception of state-mandated medical practices. Ella Stewart-Peters challenges existing notions of the nineteenth-century debate by shifting the focus away from major urban centres to the struggles concerned with enforcing compulsory vaccination at the peripheries. Distinct parallels can be drawn with the anti-vaccination movement of the twenty-first century. This book will appeal to anyone who has ever wondered about the origins of the modern anti-vaccination movement, or is more generally interested in the history of medicine.List of Illustrations Preface Introduction 1. Vaccination Versus Sanitary Theory 2. Vaccination Versus Inoculation 3. Folklore Versus Medicine 4. The People Versus Compulsion 5. The Cragoe Brothers Versus the Establishment 6. The Poor Law Unions Versus the People Conclusion Bibliography Index

Vaccination Wars
Ella Stewart-Peters
2h01min30
Medecine
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162 pages. Temps de lecture estimé 2h01min.
For as long as there have been vaccines, there have been those who oppose them. As the world continues to grapple with the impact of COVID-19 and the challenges of managing an effective vaccination programme, this book shows that our experiences have more in common with those of previous generations than we may so far have understood. Vaccination Wars examines the history of vaccine objection in nineteenth-century Cornwall, looking not only at the reasons behind resistance to the smallpox vaccine, but at the lives of Cornish parents who steadfastly refused to have their children inoculated. Exploring the earliest phases of the anti-vaccination movement, the rise of middle-class resistance and organized opposition societies, and the influence of propaganda, the book presents a more nuanced understanding of the ways regional and cultural differences affect the reception of state-mandated medical practices. Ella Stewart-Peters challenges existing notions of the nineteenth-century debate by shifting the focus away from major urban centres to the struggles concerned with enforcing compulsory vaccination at the peripheries. Distinct parallels can be drawn with the anti-vaccination movement of the twenty-first century. This book will appeal to anyone who has ever wondered about the origins of the modern anti-vaccination movement, or is more generally interested in the history of medicine.List of Illustrations Preface Introduction 1. Vaccination Versus Sanitary Theory 2. Vaccination Versus Inoculation 3. Folklore Versus Medicine 4. The People Versus Compulsion 5. The Cragoe Brothers Versus the Establishment 6. The Poor Law Unions Versus the People Conclusion Bibliography Index

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Affiche du document The Maritime History of Cornwall — The Maritime History of Cornwall
Philip Payton
3h06min00
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248 pages. Temps de lecture estimé 3h06min.
Cornwall is quintessentially a maritime region. Almost an island, nowhere in it is further than 25 miles from the sea. Cornwall’s often distinctive history has been moulded by this omnipresent maritime environment, while its strategic position at the western approaches—jutting out into the Atlantic—has given this history a global impact. It is perhaps surprising then, that, despite the central place of the sea in Cornwall’s history, there has not yet been a full maritime history of Cornwall. The Maritime History of Cornwall sets out to fill this gap, exploring the rich and complex maritime inheritance of this unique peninsula. In a beautifully illustrated volume, individually commissioned contributions from distinguished historians elaborate on the importance of different periods, from the Middle Ages to the twentieth century. The Maritime History of Cornwall is a significant addition to the literature of international maritime history and is indispensable to those with an interest in Cornwall past and present. Winner of the Holyer an Gof Non-Fiction Award 2015. List of Editors and Contributors List of Illustrations List of Tables and Figures Foreword Introduction and Acknowledgements Part I: 'Window to a Wider World': Early and Medieval Cornwall 1: Introduction Philip Payton, Alston Kennerley, Helen Doe 2: The Origins of Maritime Cornwall: Pre-Medieval Settlements and Seaways Caradoc Peters 3: Coastal Communities in Medieval Cornwall Maryanne Kowaleski 4: Overseas Trade and Shipping in Cornwall in the Later Middle Ages Wendy R. Childs Part II: 'The Age of Turbulence': Maritime Disorder in Tudor and Stuart Cornwall 5: Introduction Philip Payton, Alston Kennerley, Helen Doe 6: Plunder and Prize: Cornish Piracy and Privateering during the Sixteenth and Seventeenth Centuries John C. Appleby 7: 'His Majesties Sea-Service in the Western Parts': Maritime Affairs in Cornwall during the English Civil War Mark Stoyle 8: Corruption and Inefficiency in the Cornish Customs Service in the Later Seventeenth Century W.B. Stephens Part III: 'A Time for War and Trade': Cornwall in the Eighteenth Century 9: Introduction Philip Payton, Alston Kennerley, Helen Doe 10: Cornish Tin Ships, 1703-1710 John Symons 11: Cornwall and the Royal Navy in the Seventeenth and Eighteenth Centuries N.A.M. Rodger 12: Cornish Ports in the Eighteenth Century Helen Doe 13: Smuggling and Wrecking John Rule 14: The Cornish Arundells and the Right of Wreck: A Case Study in Landlord-Tenant Relations in the Long Eighteenth Century Cathryn Pearce 15: Navigation Adrian James Webb Pat IV: 'Global Reach and Industrial Prowess': Cornwall in the Nineteenth Century 16: Introduction Philip Payton, Alston Kennerley, Helen Doe 17: The Cornish Sea Fisheries in the Nineteenth Century Tony Pawlyn 18: Cornwall: An Inside-out Industrial Region Bernard Deacon 19: The Coastal Trade in Cornish China Clay John Armstrong 20: Cornish Maritime Steam Roy Fenton 21: Yachting in Cornwall before the First World War Janet Cusack 22: The Smuggler and the Wrecker: Literary Representations of Cornish Maritime Life Simon Trezise 23: Cornish Ports, Shipping and Investment in the Nineteenth Century Helen Doe Part V: 'Inventing "The Cornish Riviera"': From Twentieth to Twenty-first Century Cornwall 24: Introduction Philip Payton, Alston Kennerley, Helen Doe 25: Cornwall and the Decline of Commercial Sail Alston Kennerley 26: Maritime Cornwall in the Era of Two World Wars G.H. and R. Bennett 27: Cornwall's Trading Ports: twentieth-Century Decline into Diversity Terry Chapman 28: Twentieth-Century Maritime Tourism and Recreation Philip Payton 29: Cornish Fisheries in the Twentieth Century Paul Willerton 30: Epilogue Philip Payton, Alston Kennerley, Helen Doe Select Bibliography Index

The Maritime History of Cornwall
Philip Payton
3h06min00
Histoire
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248 pages. Temps de lecture estimé 3h06min.
Cornwall is quintessentially a maritime region. Almost an island, nowhere in it is further than 25 miles from the sea. Cornwall’s often distinctive history has been moulded by this omnipresent maritime environment, while its strategic position at the western approaches—jutting out into the Atlantic—has given this history a global impact. It is perhaps surprising then, that, despite the central place of the sea in Cornwall’s history, there has not yet been a full maritime history of Cornwall. The Maritime History of Cornwall sets out to fill this gap, exploring the rich and complex maritime inheritance of this unique peninsula. In a beautifully illustrated volume, individually commissioned contributions from distinguished historians elaborate on the importance of different periods, from the Middle Ages to the twentieth century. The Maritime History of Cornwall is a significant addition to the literature of international maritime history and is indispensable to those with an interest in Cornwall past and present. Winner of the Holyer an Gof Non-Fiction Award 2015. List of Editors and Contributors List of Illustrations List of Tables and Figures Foreword Introduction and Acknowledgements Part I: 'Window to a Wider World': Early and Medieval Cornwall 1: Introduction Philip Payton, Alston Kennerley, Helen Doe 2: The Origins of Maritime Cornwall: Pre-Medieval Settlements and Seaways Caradoc Peters 3: Coastal Communities in Medieval Cornwall Maryanne Kowaleski 4: Overseas Trade and Shipping in Cornwall in the Later Middle Ages Wendy R. Childs Part II: 'The Age of Turbulence': Maritime Disorder in Tudor and Stuart Cornwall 5: Introduction Philip Payton, Alston Kennerley, Helen Doe 6: Plunder and Prize: Cornish Piracy and Privateering during the Sixteenth and Seventeenth Centuries John C. Appleby 7: 'His Majesties Sea-Service in the Western Parts': Maritime Affairs in Cornwall during the English Civil War Mark Stoyle 8: Corruption and Inefficiency in the Cornish Customs Service in the Later Seventeenth Century W.B. Stephens Part III: 'A Time for War and Trade': Cornwall in the Eighteenth Century 9: Introduction Philip Payton, Alston Kennerley, Helen Doe 10: Cornish Tin Ships, 1703-1710 John Symons 11: Cornwall and the Royal Navy in the Seventeenth and Eighteenth Centuries N.A.M. Rodger 12: Cornish Ports in the Eighteenth Century Helen Doe 13: Smuggling and Wrecking John Rule 14: The Cornish Arundells and the Right of Wreck: A Case Study in Landlord-Tenant Relations in the Long Eighteenth Century Cathryn Pearce 15: Navigation Adrian James Webb Pat IV: 'Global Reach and Industrial Prowess': Cornwall in the Nineteenth Century 16: Introduction Philip Payton, Alston Kennerley, Helen Doe 17: The Cornish Sea Fisheries in the Nineteenth Century Tony Pawlyn 18: Cornwall: An Inside-out Industrial Region Bernard Deacon 19: The Coastal Trade in Cornish China Clay John Armstrong 20: Cornish Maritime Steam Roy Fenton 21: Yachting in Cornwall before the First World War Janet Cusack 22: The Smuggler and the Wrecker: Literary Representations of Cornish Maritime Life Simon Trezise 23: Cornish Ports, Shipping and Investment in the Nineteenth Century Helen Doe Part V: 'Inventing "The Cornish Riviera"': From Twentieth to Twenty-first Century Cornwall 24: Introduction Philip Payton, Alston Kennerley, Helen Doe 25: Cornwall and the Decline of Commercial Sail Alston Kennerley 26: Maritime Cornwall in the Era of Two World Wars G.H. and R. Bennett 27: Cornwall's Trading Ports: twentieth-Century Decline into Diversity Terry Chapman 28: Twentieth-Century Maritime Tourism and Recreation Philip Payton 29: Cornish Fisheries in the Twentieth Century Paul Willerton 30: Epilogue Philip Payton, Alston Kennerley, Helen Doe Select Bibliography Index

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Affiche du document From Goethe To Gide — From Goethe To Gide
3h25min30
Etudes littéraires
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274 pages. Temps de lecture estimé 3h25min.
From Goethe to Gide brings together twelve essays on canonical male writers (six French and six German) commissioned from leading specialists from Britain and North America. These essays, aimed at final year undergraduates and postgraduates, focus on Rousseau, Goethe, Schiller, Hoffmann, Stendhal, Baudelaire, Flaubert, Heine, Fontane, Zola, Kafka, Gide. The collection therefore foregrounds the major authors taught on British university BA courses in French and German. Working with the tools of feminist criticism, the authors demonstrate how feminist readings of these writings can illuminate far more than attitudes towards women. Preface List of Contributors Introduction 1. Errant Strivings: Goethe, Faust and the Feminist Reader, Gail K. Hart 2. Hospitality and Sexual Difference in Rousseau's Confessions, Judith Still 3. Gender and Genre: Schiller's Drama and Aesthetics, Lesley Sharpe 4. Male Foibles, Female Critique and Narrative Capriciousness: On the Function of Gender in Conceptions of Art and Subjectivity in E.T.A., Hoffmann Ricarda Schmidt 5. Varieties of Female Agency in Stendhal, Ann Jefferson 6. Heine's 'Madchen und Frauen': Women and Emancipation in the Writings of Heinrich Heine, Robert C. Holub 7. Mundus Muliebris: Baudelaire's World of Women, Rosemary Lloyd 8. Flaubert's Cautionary Tales and the Art of the Absolute Mary Orr, Patricia Howe 9. Bodies in Crisis: Zola, Gender, and the Dilemmas of History, Jann Matlock 10. Karl Rossmann, or the Boy who Wouldn't Grow Up: The Flight from Manhood in Kafka's Der Verschollene, Elizabeth Boa 11. Andre Gide and the Making of the Perfect Child, Naomi Segal Postscript Notes Bibliography of Secondary Literature 1. General Works 2. Works on Specific Authors Index

From Goethe To Gide
3h25min30
Etudes littéraires
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274 pages. Temps de lecture estimé 3h25min.
From Goethe to Gide brings together twelve essays on canonical male writers (six French and six German) commissioned from leading specialists from Britain and North America. These essays, aimed at final year undergraduates and postgraduates, focus on Rousseau, Goethe, Schiller, Hoffmann, Stendhal, Baudelaire, Flaubert, Heine, Fontane, Zola, Kafka, Gide. The collection therefore foregrounds the major authors taught on British university BA courses in French and German. Working with the tools of feminist criticism, the authors demonstrate how feminist readings of these writings can illuminate far more than attitudes towards women. Preface List of Contributors Introduction 1. Errant Strivings: Goethe, Faust and the Feminist Reader, Gail K. Hart 2. Hospitality and Sexual Difference in Rousseau's Confessions, Judith Still 3. Gender and Genre: Schiller's Drama and Aesthetics, Lesley Sharpe 4. Male Foibles, Female Critique and Narrative Capriciousness: On the Function of Gender in Conceptions of Art and Subjectivity in E.T.A., Hoffmann Ricarda Schmidt 5. Varieties of Female Agency in Stendhal, Ann Jefferson 6. Heine's 'Madchen und Frauen': Women and Emancipation in the Writings of Heinrich Heine, Robert C. Holub 7. Mundus Muliebris: Baudelaire's World of Women, Rosemary Lloyd 8. Flaubert's Cautionary Tales and the Art of the Absolute Mary Orr, Patricia Howe 9. Bodies in Crisis: Zola, Gender, and the Dilemmas of History, Jann Matlock 10. Karl Rossmann, or the Boy who Wouldn't Grow Up: The Flight from Manhood in Kafka's Der Verschollene, Elizabeth Boa 11. Andre Gide and the Making of the Perfect Child, Naomi Segal Postscript Notes Bibliography of Secondary Literature 1. General Works 2. Works on Specific Authors Index

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Affiche du document Cinema on the Front Line — Cinema on the Front Line
Chris Grosvenor
2h03min00
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164 pages. Temps de lecture estimé 2h03min.
Winner of the Theatre Library Association’s 2021 Richard Wall Memorial Award for an exemplary work in the field of recorded performance. Cinema on the Front Line offers the first comprehensive history and analysis of how the medium of cinema intersected with the lives of British soldiers during the First World War. Documenting the wartime use of cinema, from domestic recruitment drives to makeshift theatrical venues established on the front line, and then in convalescent hospitals and camps, this book provides evidence of the previously unacknowledged importance of the medium as recreational support and entertainment for soldiers living through the trauma of conflict. Presenting the fruits of his archival research, the author makes extensive use of war diaries and other military records to foreground the voices and perspectives of British soldiers themselves. Including discussion of over 70 films, this book will interest specialists in British film history, propaganda film, exhibition and audience studies, as well as historians and students of the First World War, propaganda and the military. DOI: https://doi.org/10.47788/LAML7430List of Illustrations Acknowledgements Introduction Chapter 1: Cinema, Recruitment Campaigns and the Outbreak of War Chapter 2: The BEF and Film Exhibition on the Western Front Chapter 3: Soldier Cinema Audiences on the Front Line Chapter 4: A War of Representation: Soldiers and Topical Films Chapter 5: The Cinema, Recovery and Rehabilitation Afterword Appendix Bibliography Index

Cinema on the Front Line
Chris Grosvenor
2h03min00
Histoire
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164 pages. Temps de lecture estimé 2h03min.
Winner of the Theatre Library Association’s 2021 Richard Wall Memorial Award for an exemplary work in the field of recorded performance. Cinema on the Front Line offers the first comprehensive history and analysis of how the medium of cinema intersected with the lives of British soldiers during the First World War. Documenting the wartime use of cinema, from domestic recruitment drives to makeshift theatrical venues established on the front line, and then in convalescent hospitals and camps, this book provides evidence of the previously unacknowledged importance of the medium as recreational support and entertainment for soldiers living through the trauma of conflict. Presenting the fruits of his archival research, the author makes extensive use of war diaries and other military records to foreground the voices and perspectives of British soldiers themselves. Including discussion of over 70 films, this book will interest specialists in British film history, propaganda film, exhibition and audience studies, as well as historians and students of the First World War, propaganda and the military. DOI: https://doi.org/10.47788/LAML7430List of Illustrations Acknowledgements Introduction Chapter 1: Cinema, Recruitment Campaigns and the Outbreak of War Chapter 2: The BEF and Film Exhibition on the Western Front Chapter 3: Soldier Cinema Audiences on the Front Line Chapter 4: A War of Representation: Soldiers and Topical Films Chapter 5: The Cinema, Recovery and Rehabilitation Afterword Appendix Bibliography Index

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Affiche du document Decoding the Movies — Decoding the Movies
Richard Maltby
3h43min30
Sciences humaines et sociales
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298 pages. Temps de lecture estimé 3h43min.
This book “decodes” 1930s Hollywood movies and explains why they looked and behaved in the way they did. Organized through a series of related case studies, the book exposes Classical Hollywood movies to a detailed analysis of their historical, industrial and cultural contexts. In the process it utilizes industry data, aesthetic analysis and the insights of New Cinema History to explain why and how these movies assumed their familiar forms. The book represents the summation of Richard Maltby’s four decades of scholarship in the field of Hollywood cinema. The essays presented here share an assumption that has increasingly informed the author’s critical method over the years: that any historical understanding of the films of this period requires a deep contextualization in the social circumstances surrounding both their production and consumption. In this way, the book introduces an innovative, overarching research methodology that synthesizes branches of research that are typically employed in isolation, including production, distribution, reception, film aesthetics, and cultural and historical context. Of the book’s nine chapters, three are presented here for the first time, and four have been substantially revised and extended from their original publication.Part 1: Decodings Introduction: “What the Hell, It’s Only History …” 2 “A Brief Romantic Interlude”: Dick and Jane Go To Threeand- a-Half Seconds of the Classical Hollywood Cinema 3 “As Close to Real Life as Hollywood Ever Gets”: Headline Pictures, Topical Movies, Editorial Cinema and Studio Realism in the 1930s Part 2: Patriarchs 4 “Just Another Good Program Picture from Warners”: The Misadventures of Barbara Stanwyck and Friedrich Nietzsche at Warner Bros., 1933 5 Clark Gable, the Production Code and the Recreation of the Patriarch: It Happened One Night 6 Sex and Shirley Temple Part 3: Criminals 7 Criminal Entertainers: Al Capone, Howard Hughes and the Production Code 8 “Gangland as It Really Is”: James Cagney, Horatio Alger and the Natural History of Delinquent Careers 9 “Any Resemblance to Actual Persons, Living or Dead …”: Martin Mooney, Edward G. Robinson and the Incorporation of Dutch Schultz 10 Afterword Notes Select Bibliography Index

Decoding the Movies
Richard Maltby
3h43min30
Sciences humaines et sociales
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298 pages. Temps de lecture estimé 3h43min.
This book “decodes” 1930s Hollywood movies and explains why they looked and behaved in the way they did. Organized through a series of related case studies, the book exposes Classical Hollywood movies to a detailed analysis of their historical, industrial and cultural contexts. In the process it utilizes industry data, aesthetic analysis and the insights of New Cinema History to explain why and how these movies assumed their familiar forms. The book represents the summation of Richard Maltby’s four decades of scholarship in the field of Hollywood cinema. The essays presented here share an assumption that has increasingly informed the author’s critical method over the years: that any historical understanding of the films of this period requires a deep contextualization in the social circumstances surrounding both their production and consumption. In this way, the book introduces an innovative, overarching research methodology that synthesizes branches of research that are typically employed in isolation, including production, distribution, reception, film aesthetics, and cultural and historical context. Of the book’s nine chapters, three are presented here for the first time, and four have been substantially revised and extended from their original publication.Part 1: Decodings Introduction: “What the Hell, It’s Only History …” 2 “A Brief Romantic Interlude”: Dick and Jane Go To Threeand- a-Half Seconds of the Classical Hollywood Cinema 3 “As Close to Real Life as Hollywood Ever Gets”: Headline Pictures, Topical Movies, Editorial Cinema and Studio Realism in the 1930s Part 2: Patriarchs 4 “Just Another Good Program Picture from Warners”: The Misadventures of Barbara Stanwyck and Friedrich Nietzsche at Warner Bros., 1933 5 Clark Gable, the Production Code and the Recreation of the Patriarch: It Happened One Night 6 Sex and Shirley Temple Part 3: Criminals 7 Criminal Entertainers: Al Capone, Howard Hughes and the Production Code 8 “Gangland as It Really Is”: James Cagney, Horatio Alger and the Natural History of Delinquent Careers 9 “Any Resemblance to Actual Persons, Living or Dead …”: Martin Mooney, Edward G. Robinson and the Incorporation of Dutch Schultz 10 Afterword Notes Select Bibliography Index

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Affiche du document The Folklore of Cornwall — The Folklore of Cornwall
Ronald M. James
2h20min15
Sciences humaines et sociales
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187 pages. Temps de lecture estimé 2h20min.
By considering the folklore of Cornwall in a Northern European context, this book casts light on a treasury of often-ignored traditions. Folklore studies internationally have long considered Celtic material, but scholars have tended to overlook Cornwall’s collections. The Folklore of Cornwall fills this gap, placing neglected stories on a par with those from other regions where Celtic languages have deep roots. The Folklore of Cornwall demonstrates that Cornwall has a distinct body of oral tradition, even when examining legends and folktales that also appear elsewhere. The way in which Cornish droll tellers achieved this unique pattern is remarkable; with the publication of this book, it becomes possible for folklorists to look to the peninsula beyond the River Tamar for insight. A very readable text with popular appeal, this book serves as an introduction to folklore studies for the novice while also offering an alternative means to consider Cornish studies for advanced scholars. The comparative analysis combined with an innovative method of The Folklore of Cornwall is not to be found in other treatments of the subject.Acknowledgements Preface by Philip Payton Introduction Chapter 1 The Collectors Chapter 2 The Droll Tellers Chapter 3 Folkways and Stories Chapter 4 Piskies, Spriggans, and Bucca Chapter 5 Piskies and Migratory Legends Chapter 6 Seeking the Companionship of People Chapter 7 Mermaids Chapter 8 The Spectral Bridegroom Chapter 9 Giants Chapter 10 Knockers in the Mines Chapter 11 Tommyknockers, Immigration, and the Modern World Conclusion Appendix: Type Index for Cornish Narrative Bibliography

The Folklore of Cornwall
Ronald M. James
2h20min15
Sciences humaines et sociales
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187 pages. Temps de lecture estimé 2h20min.
By considering the folklore of Cornwall in a Northern European context, this book casts light on a treasury of often-ignored traditions. Folklore studies internationally have long considered Celtic material, but scholars have tended to overlook Cornwall’s collections. The Folklore of Cornwall fills this gap, placing neglected stories on a par with those from other regions where Celtic languages have deep roots. The Folklore of Cornwall demonstrates that Cornwall has a distinct body of oral tradition, even when examining legends and folktales that also appear elsewhere. The way in which Cornish droll tellers achieved this unique pattern is remarkable; with the publication of this book, it becomes possible for folklorists to look to the peninsula beyond the River Tamar for insight. A very readable text with popular appeal, this book serves as an introduction to folklore studies for the novice while also offering an alternative means to consider Cornish studies for advanced scholars. The comparative analysis combined with an innovative method of The Folklore of Cornwall is not to be found in other treatments of the subject.Acknowledgements Preface by Philip Payton Introduction Chapter 1 The Collectors Chapter 2 The Droll Tellers Chapter 3 Folkways and Stories Chapter 4 Piskies, Spriggans, and Bucca Chapter 5 Piskies and Migratory Legends Chapter 6 Seeking the Companionship of People Chapter 7 Mermaids Chapter 8 The Spectral Bridegroom Chapter 9 Giants Chapter 10 Knockers in the Mines Chapter 11 Tommyknockers, Immigration, and the Modern World Conclusion Appendix: Type Index for Cornish Narrative Bibliography

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Affiche du document Reading the Cinematograph — Reading the Cinematograph
3h54min00
Histoire
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312 pages. Temps de lecture estimé 3h54min.
The birth of cinema coincided with the heyday of the short story. This book studies the relationship between popular magazine short stories and the very early British films. It pairs eight intriguing short stories on cinema with eight new essays unveiling the rich documentary value of the original fiction and using the stories as touchstones for a discussion of the popular culture of the period during which cinema first developed. The short stories are by authors ranging from the notable (Rudyard Kipling and Sax Rohmer) to the unknown (Raymond Rayne and Mrs. H.J. Bickle); their endearing tributes to the new cinematograph chart its development from unintentional witness to entertainment institution.Reading the Cinematograph: Introduction, Andrew Shail Story 1: Our Detective Story (24 January 1897) by Dagonet [George R. Sims] Chapter 1: George R. Sims and the Film as Evidence, Stephen Bottomore Story 2: The Awful Story of Heley Croft (20 May 1899) by A.S. Appelbee Chapter 2: Cinema Re-Mystified: A.S. Appelbee's Technological Ghost Story, David Trotter and Chris O'Rourke Story 3: Colonel Rankin's Advertisement (December 1901) by Raymond Rayne Chapter 3: The Great American Kinetograph: News, Fakery and the Boer War, Andrew Shail Story 4: Mrs Bathurst (September 1904) by Rudyard Kipling Chapter 4: "The Very Thing": Rudyard Kipling's 'Mrs Bathurst', Tom Gunning Story 5: The Green Spider (October 1904) by A[rthur Henry] Sarsfield Ward, a.k.a. Sax Rohmer Chapter 5: 'Only from the Senses': Detection, Early Cinema and a Giant Green Spider, Stacy Gillis Story 6: Romantic Lucy (Summer 1911) by Alphonse Courlander Chapter 6: "She Had So Many Appearances": Alphonse Courlander and the Birth of the 'Moving Picture Girl, Jon Burrows Story 7: Love and the Bioscope: A Heart-Thrilling Story of a Deserted Bride (8 June 1912) by Mrs H.J. Bickle Chapter 7: Melodrama, Sensation and the Discourse of Modernity in 'Love and the Bioscope', Lise Shapiro Sanders Story 8; The Sense of Touch (December 1912) by Ole Luk-Oie [Ernest Dunlop Swinton] Chapter 8: A visit to the cinema in 1912: 'The Sense of Touch', Andrew Higson

Reading the Cinematograph
3h54min00
Histoire
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312 pages. Temps de lecture estimé 3h54min.
The birth of cinema coincided with the heyday of the short story. This book studies the relationship between popular magazine short stories and the very early British films. It pairs eight intriguing short stories on cinema with eight new essays unveiling the rich documentary value of the original fiction and using the stories as touchstones for a discussion of the popular culture of the period during which cinema first developed. The short stories are by authors ranging from the notable (Rudyard Kipling and Sax Rohmer) to the unknown (Raymond Rayne and Mrs. H.J. Bickle); their endearing tributes to the new cinematograph chart its development from unintentional witness to entertainment institution.Reading the Cinematograph: Introduction, Andrew Shail Story 1: Our Detective Story (24 January 1897) by Dagonet [George R. Sims] Chapter 1: George R. Sims and the Film as Evidence, Stephen Bottomore Story 2: The Awful Story of Heley Croft (20 May 1899) by A.S. Appelbee Chapter 2: Cinema Re-Mystified: A.S. Appelbee's Technological Ghost Story, David Trotter and Chris O'Rourke Story 3: Colonel Rankin's Advertisement (December 1901) by Raymond Rayne Chapter 3: The Great American Kinetograph: News, Fakery and the Boer War, Andrew Shail Story 4: Mrs Bathurst (September 1904) by Rudyard Kipling Chapter 4: "The Very Thing": Rudyard Kipling's 'Mrs Bathurst', Tom Gunning Story 5: The Green Spider (October 1904) by A[rthur Henry] Sarsfield Ward, a.k.a. Sax Rohmer Chapter 5: 'Only from the Senses': Detection, Early Cinema and a Giant Green Spider, Stacy Gillis Story 6: Romantic Lucy (Summer 1911) by Alphonse Courlander Chapter 6: "She Had So Many Appearances": Alphonse Courlander and the Birth of the 'Moving Picture Girl, Jon Burrows Story 7: Love and the Bioscope: A Heart-Thrilling Story of a Deserted Bride (8 June 1912) by Mrs H.J. Bickle Chapter 7: Melodrama, Sensation and the Discourse of Modernity in 'Love and the Bioscope', Lise Shapiro Sanders Story 8; The Sense of Touch (December 1912) by Ole Luk-Oie [Ernest Dunlop Swinton] Chapter 8: A visit to the cinema in 1912: 'The Sense of Touch', Andrew Higson

Accès libre

Affiche du document Eighteenth-Century Brechtians — Eighteenth-Century Brechtians
Joel Schechter
2h22min30
Etudes littéraires
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190 pages. Temps de lecture estimé 2h22min.
Discussing the actor mutiny of 1733, theatre censorship, controversial plays and Fielding’s forgery of an actor’s biography, the book contends that some subversive Augustan and Georgian artists were early Brechtians. Reconstructions of lost episodes in theatre history include a recounting of Fielding’s last days as a stage satirist before his Little Haymarket theatre was closed, Charlotte Charke’s performances as Macheath and Polly Peachum in The Beggar’s Opera and the 1740 staging of Jonathan Swift’s Polite Conversation on a double bill with Shakespeare’s Merry Wives . . . Some documents in this collection offer another perspective on theatre history by employing fiction – speculative reconstructions of Georgian theatre events for which historical facts are scarce or missing. Brecht also employed fiction to reconsider history in short stories he wrote about Lucullus and Socrates, and a novel about Julius Caesar. The stories and several new letters attributed to Fielding delve into theatre history and keep some of its controversy alive in new ways, historicizing fiction and theatre somewhat as Brecht did. It offers an unconventional, new reading of theatre history, Brecht’s tradition and stage satire.The Cast of Brechtians in Order of Appearance List of Illustrations Foreword by Peter Thomson Introduction Eighteenth-Century Brechtians Cross-Dressing Soldiers and Anti-Militarist Rakes Polly Peachum and the New Naiveté Pirates and Polly: A Lost Messingkauf Dialogue The Duchess of Queensberry Becomes Polly Peachum Macheath Our Contemporary Swift in Hollywood: Another Messingkauf Dialogue Swift’s Polite Conversation with Falstaff Henry Fielding, Brechtian Before Brecht Fielding’s London Merchant, and Lillo’s Literarization of Fielding’s Plays Tom Thumb Jones, Child Actress A World on Fire Fielding’s Cibber Letters: Counterfeit Wit, Scurrility and Cartels Bertolt Brecht Writes The Beggar’s Opera, Fielding Rewrites Polly Stage Mutineers Charlotte Charke’s Tit for Tat; or Comedy and Tragedy at War: A Lost Play Recovered? Mrs Charke Escapes Hanging Garrick and Swift’s School for Scandal—With a Digression on Yoko Ono Brecht Praises Garrick’s Hamlet A Portrait of the Artists as Beggar’s Opera Disciples—Including David Garrick, Epic Actor Walpole in America The Future of Eighteenth-Century Brechtiana: Polly Exonerated Conclusion: The Future Promise of an Earlier Age Eighteenth-Century Brechtians: A Timetable of Events Bibliography Index

Eighteenth-Century Brechtians
Joel Schechter
2h22min30
Etudes littéraires
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190 pages. Temps de lecture estimé 2h22min.
Discussing the actor mutiny of 1733, theatre censorship, controversial plays and Fielding’s forgery of an actor’s biography, the book contends that some subversive Augustan and Georgian artists were early Brechtians. Reconstructions of lost episodes in theatre history include a recounting of Fielding’s last days as a stage satirist before his Little Haymarket theatre was closed, Charlotte Charke’s performances as Macheath and Polly Peachum in The Beggar’s Opera and the 1740 staging of Jonathan Swift’s Polite Conversation on a double bill with Shakespeare’s Merry Wives . . . Some documents in this collection offer another perspective on theatre history by employing fiction – speculative reconstructions of Georgian theatre events for which historical facts are scarce or missing. Brecht also employed fiction to reconsider history in short stories he wrote about Lucullus and Socrates, and a novel about Julius Caesar. The stories and several new letters attributed to Fielding delve into theatre history and keep some of its controversy alive in new ways, historicizing fiction and theatre somewhat as Brecht did. It offers an unconventional, new reading of theatre history, Brecht’s tradition and stage satire.The Cast of Brechtians in Order of Appearance List of Illustrations Foreword by Peter Thomson Introduction Eighteenth-Century Brechtians Cross-Dressing Soldiers and Anti-Militarist Rakes Polly Peachum and the New Naiveté Pirates and Polly: A Lost Messingkauf Dialogue The Duchess of Queensberry Becomes Polly Peachum Macheath Our Contemporary Swift in Hollywood: Another Messingkauf Dialogue Swift’s Polite Conversation with Falstaff Henry Fielding, Brechtian Before Brecht Fielding’s London Merchant, and Lillo’s Literarization of Fielding’s Plays Tom Thumb Jones, Child Actress A World on Fire Fielding’s Cibber Letters: Counterfeit Wit, Scurrility and Cartels Bertolt Brecht Writes The Beggar’s Opera, Fielding Rewrites Polly Stage Mutineers Charlotte Charke’s Tit for Tat; or Comedy and Tragedy at War: A Lost Play Recovered? Mrs Charke Escapes Hanging Garrick and Swift’s School for Scandal—With a Digression on Yoko Ono Brecht Praises Garrick’s Hamlet A Portrait of the Artists as Beggar’s Opera Disciples—Including David Garrick, Epic Actor Walpole in America The Future of Eighteenth-Century Brechtiana: Polly Exonerated Conclusion: The Future Promise of an Earlier Age Eighteenth-Century Brechtians: A Timetable of Events Bibliography Index

Accès libre

Affiche du document Marking Time — Marking Time
Mike Pearson
1h46min30
Architecture et design
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142 pages. Temps de lecture estimé 1h46min.
Marking Time: Performance, archaeology and the city charts a genealogy of alternative practices of theatre-making since the 1960s in one particular city – Cardiff. In a series of five itineraries, it visits fifty sites where significant events occurred, setting performances within local topographical and social contexts, and in relation to a specific architecture and polity. These sites – from disused factories to scenes of crime, from auditoria to film sets – it regards as landmarks in the conception of a history of performance. Marking Time uses performance and places as a means to reflect on the character of the city itself – its history, its fabric and make-up, its cultural ecology and its changing nature. Weaving together personal recollections, dramatic scripts, archival records and documentary photographs, it suggests a new model for studying and for making performance…for other artistic practices…for other cities. Marking Time is an urban companion to the rural themes and fieldwork approaches considered in ‘In Comes I’: Performance, Memory and Landscape (University of Exeter Press, 2006). Preface Map of the book Introduction: Cardiff, Performance, Premise, City, Archaeology NORTH University Arts Building; University Main Building; University Assembly Hall; 47 Park Place; Sherman Theatre; Sherman Arena Theatre; Cathays Park; National Museum Wales; Park House, 20 Park Place; University Engineering Building EAST Bridgend Street; Topaz Street; Ruby Street; Metal Street; Sanquahar Street; Moira Terrace; Adamsdown Cemetery; Howard Gardens; ‘The Vulcan’; ‘The Big Sleep’ SOUTH Windsor Esplanade; 44/46 James Street; Mount Stuart Square; 7 James Street; Wales Millennium Centre; Senedd/Welsh Assembly Government; 126 Bute Street; Butetown; St Mary’s Church; Callaghan Square WEST House; Street; School; Llanover Hall; Chapter; Chapter yard; Chapter Theatre; The Gym; Cowbridge Road; ‘Llwyn yr Eos’ CENTRAL Queen Street East; Queen Street West; Hayes Island; Morgan Arcade; Caroline Street; Central Station; St Mary’s Street; Westgate Street; Cardiff Castle; Parks Postscripts: Theatre, Archaeology, City, Cardiff

Marking Time
Mike Pearson
1h46min30
Architecture et design
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142 pages. Temps de lecture estimé 1h46min.
Marking Time: Performance, archaeology and the city charts a genealogy of alternative practices of theatre-making since the 1960s in one particular city – Cardiff. In a series of five itineraries, it visits fifty sites where significant events occurred, setting performances within local topographical and social contexts, and in relation to a specific architecture and polity. These sites – from disused factories to scenes of crime, from auditoria to film sets – it regards as landmarks in the conception of a history of performance. Marking Time uses performance and places as a means to reflect on the character of the city itself – its history, its fabric and make-up, its cultural ecology and its changing nature. Weaving together personal recollections, dramatic scripts, archival records and documentary photographs, it suggests a new model for studying and for making performance…for other artistic practices…for other cities. Marking Time is an urban companion to the rural themes and fieldwork approaches considered in ‘In Comes I’: Performance, Memory and Landscape (University of Exeter Press, 2006). Preface Map of the book Introduction: Cardiff, Performance, Premise, City, Archaeology NORTH University Arts Building; University Main Building; University Assembly Hall; 47 Park Place; Sherman Theatre; Sherman Arena Theatre; Cathays Park; National Museum Wales; Park House, 20 Park Place; University Engineering Building EAST Bridgend Street; Topaz Street; Ruby Street; Metal Street; Sanquahar Street; Moira Terrace; Adamsdown Cemetery; Howard Gardens; ‘The Vulcan’; ‘The Big Sleep’ SOUTH Windsor Esplanade; 44/46 James Street; Mount Stuart Square; 7 James Street; Wales Millennium Centre; Senedd/Welsh Assembly Government; 126 Bute Street; Butetown; St Mary’s Church; Callaghan Square WEST House; Street; School; Llanover Hall; Chapter; Chapter yard; Chapter Theatre; The Gym; Cowbridge Road; ‘Llwyn yr Eos’ CENTRAL Queen Street East; Queen Street West; Hayes Island; Morgan Arcade; Caroline Street; Central Station; St Mary’s Street; Westgate Street; Cardiff Castle; Parks Postscripts: Theatre, Archaeology, City, Cardiff

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Affiche du document The Cornish Overseas — The Cornish Overseas
Philip Payton
3h39min45
Histoire
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293 pages. Temps de lecture estimé 3h40min.
In this fully revised and updated third edition of The Cornish Overseas (2020), Philip Payton draws upon almost two decades of additional research undertaken by historians the world over since the first paperback version of this book was published in 2005. Now published by University of Exeter Press, this edition of Philip Payton’s classic history of Cornwall’s ‘great emigration’ takes account of numerous new sources to present a comprehensive, definitive picture of the Cornish diaspora. The Cornish Overseas begins by identifying some of the classic themes of Cornish emigration history, including Cornwall’s ‘emigration culture’ and ‘emigration trade’, and goes on to sketch early Cornish settlement in North America and Australia. The book then examines in detail the upsurge in Cornish emigration after 1815, showing how Cornwall became swiftly one of the great emigration regions of Europe. Discoveries of silver, copper and gold drew Cornish miners to Latin America, while Cornish agriculturalists were attracted to the United States and Canada. The discoveries of copper in South Australia and in Michigan during the 1840s offered new destinations for the emigrant Cornish, as did the Californian gold rush in 1849 and the Victorian gold rush in Australia in 1851. The crash of copper-mining in Cornwall in 1866 sped further waves of emigrants to countries as disparate as New Zealand and South Africa. In each of these places the Cornish remained distinctive as ‘Cousin Jacks’ and ‘Cousin Jennys’, establishing their own communities and making important contributions to the social, political and economic development of the new worlds. By 1914, however, Cornwall was no longer the international centre of mining expertise, the mantle having passed to America, Australia and South Africa, and Cornish emigration had dwindled as a result. Nonetheless, the Cornish at home and abroad remained aware of their global transnational identity, an identity that has been revitalised in the late twentieth and early twenty-first centuries. A Culture of Mobility The Rage for Emigration Bonanzas and Bugbears - Latin America From Famine to Frontier - The Hungry Forties and the First American Mining Boom South Australia's Copper Kingdom Gold! The Californian Rush Gold! The Victorian Rush Crashed Copper, Tumbled Tin & 'The Largest Cornish Communities Beyond Land's End' New Frontiers - Australia New Frontiers - North America 'But a Suburb of Cornwall' - South Africa 'All Hail! Old Cornwall! May Thy Glory Last' - The End of an Era An Enduring Identity? The Cornish in a Globalised World

The Cornish Overseas
Philip Payton
3h39min45
Histoire
Youscribe plus
293 pages. Temps de lecture estimé 3h40min.
In this fully revised and updated third edition of The Cornish Overseas (2020), Philip Payton draws upon almost two decades of additional research undertaken by historians the world over since the first paperback version of this book was published in 2005. Now published by University of Exeter Press, this edition of Philip Payton’s classic history of Cornwall’s ‘great emigration’ takes account of numerous new sources to present a comprehensive, definitive picture of the Cornish diaspora. The Cornish Overseas begins by identifying some of the classic themes of Cornish emigration history, including Cornwall’s ‘emigration culture’ and ‘emigration trade’, and goes on to sketch early Cornish settlement in North America and Australia. The book then examines in detail the upsurge in Cornish emigration after 1815, showing how Cornwall became swiftly one of the great emigration regions of Europe. Discoveries of silver, copper and gold drew Cornish miners to Latin America, while Cornish agriculturalists were attracted to the United States and Canada. The discoveries of copper in South Australia and in Michigan during the 1840s offered new destinations for the emigrant Cornish, as did the Californian gold rush in 1849 and the Victorian gold rush in Australia in 1851. The crash of copper-mining in Cornwall in 1866 sped further waves of emigrants to countries as disparate as New Zealand and South Africa. In each of these places the Cornish remained distinctive as ‘Cousin Jacks’ and ‘Cousin Jennys’, establishing their own communities and making important contributions to the social, political and economic development of the new worlds. By 1914, however, Cornwall was no longer the international centre of mining expertise, the mantle having passed to America, Australia and South Africa, and Cornish emigration had dwindled as a result. Nonetheless, the Cornish at home and abroad remained aware of their global transnational identity, an identity that has been revitalised in the late twentieth and early twenty-first centuries. A Culture of Mobility The Rage for Emigration Bonanzas and Bugbears - Latin America From Famine to Frontier - The Hungry Forties and the First American Mining Boom South Australia's Copper Kingdom Gold! The Californian Rush Gold! The Victorian Rush Crashed Copper, Tumbled Tin & 'The Largest Cornish Communities Beyond Land's End' New Frontiers - Australia New Frontiers - North America 'But a Suburb of Cornwall' - South Africa 'All Hail! Old Cornwall! May Thy Glory Last' - The End of an Era An Enduring Identity? The Cornish in a Globalised World

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