No one expressed the heart and soul of the Sixties as powerfully as the Beatles did through the words, images, and rhythms of their music. In Magic Circles, Devin McKinney uncovers the secret history of a generation and a pivotal moment in twentieth-century culture. He reveals how the Beatles enacted the dream life of their time and shows how they embodied a kaleidoscope of desire and anguish for all who listened—hippies or reactionaries, teenage fans or harried parents, Bob Dylan or Charles Manson. The reader who dares to re-enter the vortex that was the Sixties will appreciate, perhaps for the first time, much of what lay beneath the social trauma of the day.
Delving into concerts and interviews, films and music, outtakes and bootlegs, Devin McKinney brings to bear the insights of history, aesthetics, sociology, psychology, and mythology to account for the depth and resonance of the Beatles’ impact. His book is also a uniquely multifaceted appreciation of the group’s artistic achievement, exploring their music as both timeless expression and visceral response to their historical moment. Starting in the cellars of Liverpool and Hamburg, and continuing through the triumph of Beatlemania, the groundbreaking studio albums, and the last brutal, sorrowful thrust of the White Album, Magic Circles captures both the dream and the reality of four extraordinary musicians and their substance as artists. At once an entrancing narrative and an analytical montage, the book follows the drama, comedy, mystery, irony, and curious off-ramps of investigation and inquiry that contributed to one of the most amazing odysseys in pop culture.
In time for the centennial celebration of her classic Mysticism, this volume of Underhill's letters will enable readers and researchers to follow her as she reconciled her beliefs with her daily life. The letters reveal her personal and theological development and clarify the relationships that influenced her life and work. Hardly aloof, she enjoyed the interests, mirth, and compassion of close friendships.
Drawing from collections previously unknown to scholars, The Making of a Mystic shows the range of Evelyn Underhill's mind and interests as well as the immense network of her correspondents, including Sir James Frazier and Nobel Prize laureate Rabindranath Tagore. This substantial selection of Underhill's correspondence demonstrates an exceptional scope, beginning with her earliest letters from boarding school to her mother and extending to a letter written to T. S. Eliot from what was to be her deathbed in London in 1941 as the London Blitz raged around her.
Alice’s Adventures in Wonderland and Through the Looking-Glass are two of the most famous, translated, and quoted books in the world. What began as a simple tale told by eccentric Oxford mathematician Charles Dodgson (better known as Lewis Carroll) to Alice Liddell, daughter of the Dean of Christ Church, become a worldwide phenomenon. Fostering film adaptations and retellings, and influencing countless other works, the Alice books have a deeply cherished place in popular culture. Known for their oddities and absurdities, the books have been endlessly interpreted and analyzed for symbolism and hidden messages.
Peter Hunt cuts away the psychological speculation that has grown up around the Alice books, and instead traces the historical sources of their multilayered in-jokes and political, literary, and philosophical satire. He situates the books in the history of children’s literature and explores the local and personal references that the real Alice would have understood. Equally fascinating are the rich fragments about everything from the “sensation” novel to Darwinian theory—not to mention Dodgson’s personal feelings—that he wove into the books as they developed.
Illustrated with manuscripts, portraits, Sir John Tenniel’s original line drawings for the first editions, and contemporary photographs, this is an innovative look at two remarkable stories. The Making of Lewis Carroll’s Alice and the Invention of Wonderland takes us on a guided tour from the treacle wells of Victorian Oxford through an astonishing world of politics, philosophy, humor, and nightmare.
In England in the seventeenth century, childbirth was the province of women. The midwife ran the birth, helped by female "gossips"; men, including the doctors of the day, were excluded both from the delivery and from the subsequent month of lying-in.
But in the eighteenth century there emerged a new practitioner: the "man-midwife" who acted in lieu of a midwife and delivered normal births. By the late eighteenth century, men-midwives had achieved a permanent place in the management of childbirth, especially in the most lucrative spheres of practice.
Why did women desert the traditional midwife? How was it that a domain of female control and collective solidarity became instead a region of male medical practice? What had broken down the barrier that had formerly excluded the male practitioner from the management of birth?
This confident and authoritative work explores and explains a remarkable transformation--a shift not just in medical practices but in gender relations. Exploring the sociocultural dimensions of childbirth, Wilson argues with great skill that it was not the desires of medical men but the choices of mothers that summoned man-midwifery into being.
Today's successful plays and playwrights achieve their prominence not simply because of their intrinsic merit but because of the work of mediators, who influence the whole trajectory of a playwright's or a theatre company's career. Critics and academic writers are primarily considered the makers of reputations, but funding organizations and various media agents as well as artistic directors, producers, and directors also pursue separate agendas in shaping the reputations of theatrical works. In The Making of Theatrical Reputations Yael Zarhy-Levo demonstrates the processes through which these mediatory practices by key authority figures situate theatrical companies and playwrights within cultural and historical memory.
To reveal how these authorizing powers-that-be promote theatrical events, companies, and playwrights, Zarhy-Levo presents four detailed case studies that reflect various angles of the modern London theatre. In the case of the English Stage Company's production of John Osborne's Look Back in Anger, she centers on a specific event. She then focuses on the trajectory of a single company, the Theatre Workshop, particularly through its first decade at the Theatre Royal, Stratford East, London. Next, she explores the career of the dramatist John Arden, especially its first ten years, in part drawing upon an interview with Arden and his wife, actress and playwright Margaretta D'Arcy, before turning to her fourth study: the playwright Harold Pinter's shifting reputation throughout the different phases of his career.
Zarhy-Levo's accounts of these theatrical events, companies, and playwrights through the prism of mediation bring fresh insights to these landmark productions and their creators.
In the reign of James II, minority groups from across the religious spectrum, led by the Quaker William Penn, rallied together under the Catholic King James in an effort to bring religious toleration to England. Known as repealers, these reformers aimed to convince Parliament to repeal laws that penalized worshippers who failed to conform to the doctrines of the Church of England. Although the movement was destroyed by the Glorious Revolution, it profoundly influenced the post-revolutionary settlement, helping to develop the ideals of tolerance that would define the European Enlightenment.
Based on a rich array of newly discovered archival sources, Scott Sowerby’s groundbreaking history rescues the repealers from undeserved obscurity, telling the forgotten story of men and women who stood up for their beliefs at a formative moment in British history. By restoring the repealer movement to its rightful prominence, Making Toleration also overturns traditional interpretations of King James II’s reign and the origins of the Glorious Revolution. Though often depicted as a despot who sought to impose his own Catholic faith on a Protestant people, James is revealed as a man ahead of his time, a king who pressed for religious toleration at the expense of his throne. The Glorious Revolution, Sowerby finds, was not primarily a crisis provoked by political repression. It was, in fact, a conservative counter-revolution against the movement for enlightened reform that James himself encouraged and sustained.
Fisher places the work of George Eliot within the great evolution that constitutes the nineteenth-century English novel. He reports not only about her work, but about an evolving complex literary form. Fisher examines Eliot’s work as responding to “the loss of society,” the breakdown between public life and individua moral history. As trust in the community as a base of moral life weakens, decisive changes occur: the English novel accommodated itself to the disappearance of society and changed from the representation of individuals as members of a social order to the description of the self surrounded by collections of unrelated others.
Born by mistake, or connivance, to struggling parents in a small Lancashire cotton town in 1903, an uninspired Darlington inadvertently escaped the obscurity of farming life and rose instead, against all odds, to become within a few short years the world's greatest expert on chromosomes, and one of the most penetrating biological thinkers of the twentieth century. Harman follows Darlington's path from bleak prospects to world fame, showing how, within the most miniscule of worlds, he sought answers to the biggest questions--how species originate, how variation occurs, how Nature, both blind and foreboding, random and insightful, makes her way from deep past to unknown future. But Darlington did not stop there: Chromosomes held within their tiny confines untold, dark truths about man and his culture. This passionate conviction led the once famed Darlington down a path of rebuke, isolation, and finally obscurity.
As The Man Who Invented the Chromosome unfolds Darlington's forgotten tale--the Nazi atrocities, the Cold War, the crackpot Lysenko, the molecular revolution, eugenics, Civil Rights, the welfare state, the changing views of man's place in nature, biological determinism--all were interconnected. Just as Darlington's work provoked him to ask questions about the link between biology and culture, his life raises fundamental questions about the link between science and society.
Published to commemorate the four hundredth anniversary of the publication of the King James Bible, Manifold Greatness tells the story of the creation and immediate afterlife of the King James translation of the Bible, first published in 1611. Revolutionary at its time, the King James translation quickly became the dominant authorized translation of the Christian Bible in English. There are more than one billion copies in print, making it the best-selling book of all time, and its effect on the English language is incalculable, both in common speech and in literature.
This accessible and richly illustrated visual history contains eighty color illustrations, including images of rare manuscripts, artifacts, and archival material such as the annotated Bodleian Bishops’ Bible of 1602, pages from the Wycliffite and Tyndale Bibles, and an edition of the Bishop’s Bible owned by Elizabeth I. Eight chapters contributed by leading academics in the field discuss the history of biblical translation, the political background of the project, the Oxford Translators—including Henry Savile, John Rainolds, and John Harmar—and their working milieu, the cultural politics, and the reception and influence of the King James Bible up until the 1769 publication of the Oxford Standard Edition, which was the first revision of the original 1611 translation. Also included is a look at the later reception of the King James Bible in America, including a chapter specifically on the King James Bible and the Folger Shakespeare Library.
Manifold Greatness brings together key research and documentation to provide a lively and comprehensive visual account to celebrate one of the most important occasions in publishing and modern religious history.
Jane Austen’s most ambitious novel, Mansfield Park, has always generated debate. Austen herself noted that debate when she conducted a reader survey, recording her acquaintances’ mixed reviews in a booklet she entitled “Opinions of Mansfield Park.” Is this novel’s dutiful heroine, Fanny Price, admirable? Or is she (as Austen’s own mother asserted) “insipid”? Is Fanny actually the heroine, or does that title belong more properly to her rival, Mary Crawford? Does Fanny’s uncle, Sir Thomas Bertram, act as her benefactor, or as a domestic tyrant? In her notes and introduction to this final volume in Harvard’s celebrated annotated Austen series, Deidre Shauna Lynch outlines the critical disagreements Mansfield Park has sparked and suggests that Austen’s design in writing the novel was to highlight, not downplay, the conflicted feelings its plot and heroine can inspire.
Lynch also engages head-on with the novel’s experimentalism, its technical virtuosity, and its undiminished capacity, two centuries later, to disturb and to move. Annotations clarify the nuances of Austen’s language and explain the novel’s literary allusions and its engagements with topical controversies over West Indian slavery and the conduct of Britain’s war against France. The volume’s numerous illustrations enable readers to picture the world Mansfield Park’s characters inhabit, underscoring the novel’s close attention to setting and setting’s impact on character.
Mansfield Park: An Annotated Edition opens up facets of the novel for even devoted Janeites while extending an open hand to less experienced readers. It will be a welcome addition to the shelf of any library.
To posterity, William Shakespeare may be the Bard of Avon, but to mid-seventeenth-century theatergoers he was just another dramatist. Yet barely a century later, he was England’s most popular playwright and a household name. In this intriguing study, Don-John Dugas explains how these changes came about and sealed Shakespeare’s reputation even before David Garrick performed his work on the London stage.
Susan Staves’s venture in feminist critical legal history is a comprehensive account of the changing laws governing married women’s property and a critical analysis of those laws and the ideology behind them. Staves offers an argument differing sharply from conventional appraisals of rule change as “progress.” She shows that, although there was a brief period in the mid-eighteenth century when contract law was applied to women’s rights to own and dispose of property, the results were socially intolerable, and the courts soon retreated to the older patriarchal structures that deprived married women of full ownership of property.
These patriarchal structures had always functioned to facilitate the transmission of significant property from male to male. Entitlements of women were designed to provide them with subsistence for themselves and minor children dependent upon them and to prevent their becoming an expense to the community. In examining several species of married women’s property—dower, jointure, pin money, and separate maintenance allowances—Staves shows that, despite the supposed importance of the of precedent in the legal system, judges had considerable room to maneuver and acted on their own ideological biases.
This story is packed with human interest and illustrative anecdote. Staves uses vivid examples from literature of the times, including plays such as Vanbrugh’s Relapse, Congreve’s Way of the World, and Sheridan’s School for Scandal, and novels like Tom Jones and Pride and Prejudice. Her book will interest a diverse audience of historians, legal scholars, students of eighteenth-century culture and literature, and general readers concerned with women’s issues.
Numerous documents attest to the horrific conditions endured by African slaves during the centuries of the Atlantic slave trade. Less well known is the perspective of those who wielded power during this dark time in human history. The Bodleian Library fills that gap here with the memoirs of a principal figure in the slave trade, Captain Hugh Crow.
The first-hand account of a man who commanded one of the last legal slave vessels to cross the Atlantic, Life and Times of a Slave Trade Captain offers a revealing if frequently troubling look into the psyche of a slave trader. His chronicle leaves nothing to the imagination, as he recounts the harsh routine of daily life on a slave vessel, where on average a fifth of the crew—let alone the human cargo—never survived the crossing. Crow portrays himself as an “enlightened” slaver, a claim he justifies through the link between his close attention to his “negroes” and his financial success, and the songs composed for him by the slaves. His account also includes commentary on the social propriety of the slave trade and notes about the conditions on West Indian and Caribbean plantations as well as on slave ships. John Pinfold’s illuminating introduction recounts the life of Hugh Crow and sets him in the rich historical context of eighteenth-century mercantilism and its battle with the abolitionist movement. An eye-opening read, Life and Times of a Slave Trade Captain reveals an often overlooked facet in the complicated history of transatlantic slavery.
In Jennifer Summit’s account, libraries are more than inert storehouses of written tradition; they are volatile spaces that actively shape the meanings and uses of books, reading, and the past. Considering the two-hundred-year period between 1431, which saw the foundation of Duke Humfrey’s famous library, and 1631, when the great antiquarian Sir Robert Cotton died, Memory’s Library revises the history of the modern library by focusing on its origins in medieval and early modern England.
Summit argues that the medieval sources that survive in English collections are the product of a Reformation and post-Reformation struggle to redefine the past by redefining the cultural place, function, and identity of libraries. By establishing the intellectual dynamism of English libraries during this crucial period of their development, Memory’s Library demonstrates how much current discussions about the future of libraries can gain by reexamining their past.
First published in 1974 as a companion volume to Darwin on Man by Howard E. Gruber, Paul Barrett’s transcriptions of Darwin’s M and N notebooks served to shed new light on the evolutionist’s methods and motivation.
According to Stephen Jay Gould in the New York Times Book Review, “Darwin kept [these notebooks] primarily in 1838, when he was 29 years old. In them, he recorded his early conviction of evolutionary continuity between humans and all other animals. . . . These notebooks display all the features of humanistic intellect that his detractors denied. We find erudition in his comments on Plato, Locke, Hume, Adam Smith, Whewell, Burke, Montaigne, Lessing and Spencer. . . . We appreciate an artistic bent in his delight with nature and her prophet Wordsworth. . . . We grasp the breadth of his bold attempt to clothe all human thought and behaviour in a new evolutionary garb. . . . Charles Darwin was reconstructing the world and he knew exactly what he was doing.”
Featuring period drawings and prints of swordplay, this book examines and compares three Elizabethan fencing manuals written in English before 1600: Giacomo Di Grassi’s His True Arte of Defense (1594), Vincentio Saviolo’s His Practice in Two Bookes (1595), and George Silver’s Paradoxes of Defence and Bref Instructions upon My Paradoxes of Defence (1599).
More than a technical manual on swordplay, this book explores the influence of a new form of violence introduced into Elizabethan culture by the invention of the rapier. The authors examine the rapier’s influence on the various social classes, the clash between the traditional English fencing masters and those embracing the new style, the growing concern with unregulated dueling, and the frequent references to rapier play in the works of Shakespeare and his contemporaries.
As producer Joseph Papp notes in his foreword, this is a book that "makes a difference in performance."
England's seventeenth-century colonial empire in North America and the Caribbean was created by migration. The quickening pace of this essential migration is captured in the London port register of 1635, the largest extant port register for any single year in the colonial period and unique in its record of migration to America and to the European continent. Alison Games analyzes the 7,500 people who traveled from London in that year, recreating individual careers, exploring colonial societies at a time of emerging viability, and delineating a world sustained and defined by migration.
The colonial travelers were bound for the major regions of English settlement--New England, the Chesapeake, the West Indies, and Bermuda--and included ministers, governors, soldiers, planters, merchants, and members of some major colonial dynasties--Winthrops, Saltonstalls, and Eliots. Many of these passengers were indentured servants. Games shows that however much they tried, the travelers from London were unable to recreate England in their overseas outposts. They dwelled in chaotic, precarious, and hybrid societies where New World exigencies overpowered the force of custom. Patterns of repeat and return migration cemented these inchoate colonial outposts into a larger Atlantic community. Together, the migrants' stories offer a new social history of the seventeenth century. For the origins and integration of the English Atlantic world, Games illustrates the primary importance of the first half of the seventeenth century.
During the Thirty Years' War, a war that seemed to be determining the future of Protestantism, those who believed that they were the most truly Protestant part of English society, the Puritans, frequently opposed the foreign policies of the English government. In this perceptive study of the Puritans' contribution to English nationalism between 1618 and 1640, Marvin Arthur Breslow analyzes their attitudes toward foreign nations. He demonstrates how their views of the warring European nations also expressed certain aspects of their thinking about England and how in these views there was mirrored an image of England--an image against which they measured the religion and patriotism of the true Englishman.
Drawing on contemporary parliamentary diaries, letters, memoirs, sermons, and tracts, Breslow discusses specifically the Puritans' attitudes toward Germany, the area in which the Thirty Years' War began; toward Spain, English fear and hatred of which were already firmly established; the Netherlands, with which there was trade rivalry; France, where they were forced to harmonize conflicting interests; and, finally, Sweden. The author identifies several recurrent themes, including a fundamental concern for Protestantism and the effective mythologizing of the Elizabethan past. He also reveals that while Puritan foreign policy was often opposed to the policies of the English government, it accorded closely with the attitudes, however passive, of the general public. The significant differences were the greater degree of intensity with which the Puritans vigorously expressed their concern and their efforts to arouse the general public.
Breslow emphasizes the importance of Puritan foreign-policy attitudes, the fusion of religious and political concerns in the patriotic Englishman, and the Puritan definition of the English nation in the decades preceding the Civil War and Revolution.
Social workers produced thousands of case files about the poor during the interwar years. Analyzing almost two thousand such case files and traveling from Boston, Minneapolis, and Portland to London and Melbourne, Miss Cutler and the Case of the Resurrected Horse is a pioneering comparative study that examines how these stories of poverty were narrated and reshaped by ethnic diversity, economic crisis, and war.
During the years leading up to her marriage with Leonard Woolf in 1912, the year in which she finished The Voyage Out and sent it to be published by her cousin at Duckworth’s, the future Virginia Woolf was teaching herself how to be a writer. While her brothers were sent first to private schools, then to Cambridge to be educated, Virginia Stephen and her sister Vanessa were informally educated at home. With this background, how did she know she was a writer? What were her struggles? How did she teach herself? What made Miss Stephen into the author Virginia Woolf?
Miss Stephen’s Apprenticeship explores these questions, delving into Virginia Woolf ’s letters and diaries, seeking to understand how she covered the distance from the wistful “I only wish I could write,” to the almost casual statement, “the novels are finished.” These days, the trajectory of a writer very often starts with studying for an MFA. In Woolf ’s case, however, it’s instructive to ask: How did a great writer, who had no formal education, invent for herself the framework she needed for a writing life? How did she know what she had to learn? How did she make her own way?
Novelist Rosalind Brackenbury explores these questions and others, and in the process reveals what Virginia Woolf can give to young writers today.
This book explores the inter-relationships between Agatha Christie and her works to seek the wholeness in the Christie experience. The authors perceive an integration in personal experience and moral and aesthetic values between the woman and her art.
The late-Victorian discovery of the music hall by English intellectuals marks a crucial moment in the history of popular culture. Music Hall and Modernity demonstrates how such pioneering cultural critics as Arthur Symons and Elizabeth Robins Pennell used the music hall to secure and promote their professional identity as guardians of taste and national welfare. These social arbiters were, at the same time, devotees of the spontaneous culture of “the people.”
In examining fiction from Walter Besant, Hall Caine, and Henry Nevinson, performance criticism from William Archer and Max Beerbohm, and late-Victorian controversies over philanthropy and moral reform, scholar Barry Faulk argues that discourse on music-hall entertainment helped consolidate the identity and tastes of an emergent professional class. Critics and writers legitimized and cleaned up the music hall, at the same time allowing issues of class, respect, and empowerment to be negotiated.
Music Hall and Modernity offers a complex view of the new middle-class, middlebrow mass culture of late-Victorian London and contributes to a body of scholarship on nineteenth-century urbanism. The book will also interest scholars concerned with the emergence of a professional managerial class and the genealogy of cultural studies.
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