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A witty guide to managing a real life wisely in a work-centered world. What do your colleagues, overlords, underlings, clients, and customers have in common? Not knowing how much they annoy you. Not to mention how much you may be annoying them. The route from cubicle to corner office is strewn with etiquette landmines. And now that the boundaries that once cleanly separated work from personal life are blurred, even polite people don’t recognize the difference between professional and social manners. What do you say to a colleague who has just been fired? How do you maintain a family-friendly office without discriminating against singles? What’s the difference between showing romantic int...
A brilliant postmodern critique of Renaissance subjectivity, Cultural Aesthetics explores the simultaneous formation and fragmentation of aristocratic "selfhood" in the late sixteenth and early seventeenth centuries. Patricia Fumerton situates the self within its sumptuous array of "trivial" arts—including the court literatures of chivalric romance, sonnet, and masque and the arts of architecture, miniature painting, stage design, and cuisine. Her integration of historicist and aesthetic perspectives makes this a provocative contribution to the vigorous field of Renaissance cultural studies.
Questions have been raised in recent decades about the place of women in the eighteenth and nineteenth centuries, in church and society during a time of vast industrial change. These topics are broad, but can be seen in microcosm in one small area of the English Midlands: the parish of Madeley, Shropshire, in which Coalbrookdale became synonymous with the industrial age. Here, the evangelical Methodist clergyman John Fletcher (1729-1785) ministered between 1760 and 1785, among a population including Roman Catholics and Quakers, as well as people indifferent to religion. For nearly sixty years after his death, two women, Fletcher's widow and later her protege, had virtual charge of the parish...