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Mount Robson
When Jane Gooch first camped at Lake O'Hara in 1975, she could not have foreseen how important the Rockies would become in her life. She travelled from her home in Vancouver many times during the summer months to hike in the mountains, and her love of the alpine landscape eventually inspired her to study the artists who have painted in the Rockies. Her great enjoyment of the outdoors and a lifelong interest in art were combined with her academic background in writing and research. Mount Robson: Spiral Road of Art celebrates the centennial of Mount Robson Provincial Park with over a century of remarkable landscape paintings inspired by the Robson region in the Canadian Rockies. This volume in...
Mount Assiniboine
A century of landscape art inspired by the Mount Assiniboine area of the Canadian Rockies from 1899 to 2006. Jane Lytton Gooch's Mount Assiniboine: Images in Art is a stunning collection of 42 colour plates, only seven of which have been previously published. They represent a wide variety of styles and media from 23 artists, including: A.P. Coleman Carl Rungius James Simpson Belmore Browne Barbara and A.C. Leighton Catharine and Peter Whyte W.J. Phillips A.Y. Jackson Colour plates are divided into three sections: approaching Assiniboine from the northwest; east of Assiniboine; and Mount Assiniboine itself. Each section is introduced with a black-and-white archival photograph and a quotation. In addition, four black-and-white archival photographs, along with five colour reproductions of Mary Vaux Walcott's stunning watercolours of wildflowers sketched in the Assiniboine area, complement Gooch's introduction. Gooch also discusses the history of exploration of the region, early ascents of Mount Assiniboine , the development of tourism and the significant artistic activity this majestic peak has inspired.
Bow Lake
Bow Lake in the Canadian Rockies has inspired artists for almost a century. An early explorer who recognized the beauty of this alpine landscape was Jimmy Simpson, a legendary guide and outfitter who also collected art and painted in watercolours. He welcomed artists such as Carl Rungius, Belmore Browne and Peter and Catharine Whyte to his camp beside Bow Lake, which eventually became the storied Num-Ti-Jah Lodge. A.C. Leighton and his wife, Barbara, along with Walter J. Phillips were among the early artists at Bow Lake. This artistic tradition has been carried on with the current artist-in-residence program at Num-Ti-Jah, attracting many contemporary artists to paint the spectacular landscape. This volume includes an introduction describing the history of exploration and the early artistic activity generated by Jimmy Simpson, followed by brief biographies of 18 contemporary artists whose works are also included in the 47 colour plates, all documented and described, of which only 6 have ever been published before.
Drama and the Succession to the Crown, 1561-1633
The succession to the throne, Lisa Hopkins argues here, was a burning topic not only in the final years of Elizabeth but well into the 1630s, with continuing questions about how James's two kingdoms might be ruled after his death. Because the issue, with its attendant constitutional questions, was so politically sensitive, Hopkins contends that drama, with its riddled identities, oblique relationship to reality, and inherent blurring of the extent to which the situation it dramatizes is indicative or particular, offered a crucial forum for the discussion. Hopkins analyzes some of the ways in which the dramatic works of the time - by Marlowe, Shakespeare, Webster and Ford among others - reflect, negotiate and dream the issue of the succession to the throne.
Late Shakespeare
This text examines Shakespeare's late plays, which are usually seen in terms of courtliness and escapism. Post-structuralist and historicist approaches show the indeterminacy and materiality of language, but rarely identify how particular figures capture and energize contested history.
Illegitimate Power
In Renaissance Drama, the bastard is an extraordinarily powerful and disruptive figure. We have only to think of Caliban or of Edmund to realise the challenge presented by the illegitimate child. Drawing on a wide rage of play texts, Alison Findlay shows how illegitimacy encoded and threatened to deconstruct some of the basic tenets of patriarchal rule. She considers bastards as indicators and instigators of crises in early modern England, reading them in relation to witch craft, spiritual insecurities and social unrest in family and State. The characters discussed range from demi-devils, unnatural villains and clowns to outstanding heroic or virtuous types who challenge officially sanctioned ideas of illegitimacy. The final chapter of the book considers bastards in performance; their relationship with theatre spaces and audiences. Illegitimate voices, Findlay argues, can bring about the death of the author/father and open the text as a piece of theatre, challenging accepted notions of authority.
British Drama 1533-1642: A Catalogue
Volume 4 covers the years 1598-1602 during which dramatic satire emerged, as well as the opening of the original Globe theatre in London.
Theatrical Convention and Audience Response in Early Modern Drama
This book gives a detailed and comprehensive survey of the diverse, theatrically vital formal conventions of the drama of Shakespeare and his contemporaries. Besides providing readings of plays such as Hamlet, Othello, Merchant of Venice, and Titus Andronicus, it also places Shakespeare emphatically within his own theatrical context, and focuses on the relationship between the demanding repertory system of the time and the conventions and content of the plays. Lopez argues that the limitations of the relatively bare stage and non-naturalistic mode of early modern theatre would have made the potential for failure very great, and he proposes that understanding this potential for failure is crucial for understanding the way in which the drama succeeded on stage. The book offers perspectives on familiar conventions such as the pun, the aside and the expository speech; and it works toward a definition of early modern theatrical genres based on the relationship between these well-known conventions and the incoherent experience of early modern theatrical narratives.
The Drama of Complaint
The Drama of Complaint: Ethical Provocations in Shakespeare's Tragedy is the first book-length study of complaint in Shakespearean drama. Emily Shortslef makes two main arguments. One is that poetic forms of complaint—expressions of discontent and unhappiness—operate in and across the period's literary and nonliterary discourses as sites of thought about human flourishing, the subject of ethical inquiry. The other is that Shakespearean configurations of these ubiquitous forms in theatrical scenes of complaint model new ways of thinking about ethical subjectivity, or ways of desiring, acting, and living consonant with notions of the good life. The Drama of Complaint develops these interlo...
Roman Invasions
This study locates the main cause for this abiding presence of the British History in its relevance to Protestant patriotism."
