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Rutgers University’s Douglass Residential College is the only college for women that is nested within a major public research university in the United States. Although the number of women’s colleges has plummeted from a high of 268 in 1960 to 38 in 2016, Douglass is flourishing as it approaches its centennial in 2018. To explore its rich history, Kayo Denda, Mary Hawkesworth, Fernanda H. Perrone examine the strategic transformation of Douglass over the past century in relation to continuing debates about women’s higher education. The Douglass Century celebrates the college’s longevity and diversity as distinctive accomplishments, and analyzes the contributions of Douglass administrat...
It was the measure of Shakespeare's poetic greatness, an early commentator remarked, that he thoroughly blended the ideal with the practical or realistic. “If this be so,” Walt Whitman wrote, "I should say that what Shakespeare did in poetic expression, Abraham Lincoln essentially did in his personal and official life." Whitman was only one of many to note the affinity between these two iconic figures. Novelists, filmmakers, and playwrights have frequently shown Lincoln quoting Shakespeare. In Lincoln and Shakespeare, Michael Anderegg for the first time examines in detail Lincoln’s fascination with and knowledge of Shakespeare’s plays. Separated by centuries and extraordinary circums...
Shows how the earliest representations of Jewish characters on American stages mirrored treatment of Jewish Americans outside the playhouse
It was in part for this service to the American public at large that Presidents John Tyler and James K. Polk awarded him, late in his life, with an appointment to the Customs House at the Port of New York, where, venerable and white-haired, Cooper held a position during the final years of his life, still a handsome and striking figure as he went about the routine duties of a customs inspector.
This book recounts the personal and professional life of Thomas Souness Hamblin (1800-1853), Shakespearean actor and Bowery Theatre manager. Primarily responsible for the popularity of “blood and thunder” melodramas with working class audiences in New York City, Hamblin discovered, trained and promoted many young actors and, especially, actresses who later became famous in their own right. He also epitomized the “sporting man” of mid-nineteenth century life, conducting a scandalous series of affairs and visits to Manhattan brothels, which cost him his marriage to Elizabeth Blanchard Hamblin (1799-1849) and made him the brunt of moralist, religious and journalistic crusades, notably that of James Gordon Bennett’s New York Herald. His machinations and perseverance through trying challenges, including several destructions of the Bowery Theatre by fire, extensive financial and legal complications, and the untimely deaths of several young protégées, earned him equal measures of admiration and opprobrium.
The Greenes were representative of a class of journeymen actors, who received but little attention by chroniclers of early nineteenth-century theatre history. Along with hundreds of other craftsmen of their day, they experienced frequent moments of tribulation and rare occasions of triumph-respected artists who bore their daily vicissitudes as an expected part of the theatrical life. They traveled from place to place applying their craft, appearing with many of the major performers of the era. Mrs. Greene's personal memoirs were originally serialized in The New York Clipper in the 1860s by Charles Durang, who supplied additional material from his experiences as an actor, promoter, and dancing master. The original publication has now been greatly expanded by William L. Slout. Contains a helpful Chronology, comprehensive Notes, and a detailed Bibliography, and Index.
Since its origin, opera has been identified with the performance and negotiation of power. Once theaters specifically for opera were established, that connection was expressed in the design and situation of the buildings themselves, as much as through the content of operatic works. Yet the importance of the opera house’s physical situation, and the ways in which opera and the opera house have shaped each other, have seldom been treated as topics worthy of examination. Operatic Geographies invites us to reconsider the opera house’s spatial production. Looking at opera through the lens of cultural geography, this anthology rethinks the opera house’s landscape, not as a static backdrop, b...
This is the story of the survival of American circuses throughout one of the most perilous periods in our nation's history: 1860-1865. This was a period of transition for traveling exhibitions. The size of equipment and personnel had leveled off, performances were fixed, and the number of proprietors had reached a peak that would not be exceeded until the early 1870s. But still the show had to go on! Complete with notes, index, bibliography, and contemporaneous illustrations.
"Author Edward L. Miller has delved into previously unused or overlooked papers housed in New Orleans to reconstruct a chain of events that set the Crescent City, in many ways, at the center of the Texian fight for independence. Not only did Now Orleans business interests send money and men to Texas in exchange for promises of land, but they also provided newspaper coverage that set the scene for later American annexation of the young republic."--BOOK JACKET.