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This volume brings together for the first time all the writings of John Stuart Mill and Harriet Taylor Mill on equality between the sexes, including John Stuart Mill's The Subjection of Women, a classic in the history of the women's rights movement since its publication one hundred years ago. Also contained in this volume is a major interpretative essay by Alice S. Rossi on Mill and Harriet Taylor which describes and analyzes their long personal and intellectual relationship.
The Voice of Harriet Taylor Mill is a work about collaboration: Harriet's life with her lover, friends, and members of her family; Harriet's joint work with John Stuart Mill; and the author's interaction with the reader. Jo Ellen Jacobs explores and expands the concept of biography using Salman Rushdie's analogy of history as a process of "chutnification." She gives Harriet's life "shape and form -- that is to say, meaning" in a way that will "possess the authentic taste of truth." In the first chapter, the first 30 years of Harriet's life are presented in the format of a first-person diary -- one not actually written by HTM herself. The text is based on letters and historical context, but the style suggests the intimate experience of reading someone's journal. The second chapter continues the chronological account of HTM until her death in 1858. In an interlude between the first and second chapters, Jacobs pauses to explore Harriet's life with John Stuart Mill; and in the final chapter, she argues persuasively that Harriet and John collaborated extensively on many works, including On Liberty.
This book explores traditional approaches to the play, which includes an examination of the play in light of current history, in the context of Renaissance England, and in relation to Shakespeare's other Roman plays as well as structural examination of plot, language, character, and source material. Julius Caesar: Critical Essays also examines the current debates concerning the play in Marxist, psychoanalytic, deconstructive, queer, and gender contexts.
Professor Ripley, in this 1980 study of Julius Caesar, offers one of the most detailed stage histories ever attempted, focusing upon aspects both of English and American staging from 1599 to 1973. His primary sources include promptbooks and groundplans, letters, diaries and reviews. He approaches the play from four different angles: he examines the texts used in all major productions, and makes valuable deductions about the taste and sensibility of an age from cuts, alterations, additions and redistribution of parts. He explains in detail the staging of the play at various points in time, and demonstrates how sets and costumes, bits of business, handling of crowd scenes and lighting affected its business. He reconstructs performances of the four main roles by the greater and lesser lights of each period. Finally, he comments on the way in which the theories of critics and, in modern times, directors' ideas have influenced understanding of the play.