Search results for ""Lehigh University Press""

This study draws upon Thomas Barton's Forbes expedition journal, and a vast collection of manuscript letters, sermons, and other contemporary documents to illuminate his career and help readers appreciate the complex world of the pre-Revolutionary Pennsylvania frontier and more generally of the colonial American back country. As a missionary for the Church of England's Society for the Propagation of the Gospel in Foreign Parts in York, Cumberland, and Lancaster counties of Pennsylvania, Barton championed the interests of the Anglican church and the proprietary of William Penn's children in a turbulent borderland beset by both threats from the French and their Native American allies and challenges to English authority from a largely Scots-Irish Presbyterian population. After participating in General John Forbes' successful campaign against the French stronghold of Fort Duquense during the French and Indian War in 1758, Barton assumed the incumbency of St. James church in Lancaster. In that city's religiously turbulent and culturally diverse world, he advanced Enlightenment ideals and religious moderation. Targeted by extreme sectarian and political fanatics during the years leading up to the American colonies break with Great Britain, however, Loyalist Barton, ultimately deprived of his vocation and family, was evicted from Pennsylvania. After struggling against poor health and dire financial need in New York City for two years, he died in 1780, a self-defined martyr for his church and king.

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This book is the first biography of nineteenth-century magazine editor and reformer Charlotte Smith. Based on years of research, and previously untapped sources, it shows both why she should be remembered and why she was forgotten. Her story is quintessentially American: this daughter of Irish immigrants, despite having only a grade-school education and supporting two children alone, became a force to be reckoned with, first in journalism and then in reform. Her first periodical, the Inland Monthly, was doubly rare: edited by a woman but not a women's magazine; and a profitable venture, bringing a large sum when sold. If Smith had stopped there, she wold still deserve recognition, but she was just beginning. Not satisfied with just regional fame, she moved to Washington, D.C. in 1878. There she soon gained the ear of a powerful senator and the respect of many others in Congress through her unfailing attendance at its sessions and hearings, her undercover investigations of working conditions, and, after 1882, her all-female union. The Librarian of Congress praised her pioneering expertise in labor statistics. Smith became a tireless advocate for working women, women inventors, prostitutes, the poor or less fortunate in general, and many individual underdogs as well. She also worked for public health and safety, demanding things we take for granted today, such as bans on adulteration, and ingredient lists on product labels. By 1891 she was already credited for fifty bills passed by Congress. By the 1880s Charlotte Smith was nationally famous, with frequent coverage in the New York Times, the Washington Post, and newspapers as distant as Montana and Hawaii. In 1886 she founded her second periodical, the Working Woman. Again, if her resume contained only her successful lobbying and her reform campaigns in Washington, Charlotte Smith would deserve mention in American history. But in the late 1880s she engineered the compilation of a list of American women patentees, and in 1891 founded her third periodical, the Woman Inventor. She continued her crusades until her death in 1917. These achievements (and others too numerous to mention here) make Smith's omission from American history mysterious indeed. This book suggests several explanations, including historians' traditional adeptness at "Vanishing the Lady." Perhaps most persuasive is the suggestion that Charlotte Smith's ideas were forgotten because they were too far ahead of their time. For example, her prostitution reforms—including regulation, medical care, and retraining programs—have yet to be adapted in much of the world. All those who like a good mystery, as well as those who delight in seeing long overdue credit given at last, should enjoy this book.

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This book is the first ethnography of "comunero culture" in an agricultural community in the Coquimbo region of Chile. In this unforgiving environment of limited resources and cyclical drought, the comunidades agrícolas make use of indivisible communal land, democratic decision-making, cooperative relations of production and resource conservation, and diverse economic activities closely linked to changing environmental conditions. Based on fieldwork spanning several years, through vivid details of daily life in a peasant community the book brings to light a determined struggle to protect land and livelihood. One particular family's story is told to illustrate the extraordinary resiliency of these communities in response to the sometimes harsh natural, political, and economic development environments in which they are situated. Exploring the ways in which social behavior is shaped by environmental factors and focusing on the strength of cultural expression, this work challenges many conventional ideas about seemingly marginalized people living in marginal lands. Resiliency in Hostile Environments places these issues within the political economy of Chile's 'transition to democracy,' an era of significant interest to students and scholars of post-dictatorship Latin American societies. Although comunero democracy has been revitalized since the return of civilian rule after the Pinochet regime, the failure of some rural assistance programs is often attributed to the government's continued use of the dictatorship's model of economic development. While the state is more attentive to rural poverty in the post-dictatorship era, some programs and policies informed by a discourse of modernization and standardization conflict with local ideals and limit the flexibility of traditional livelihood strategies practiced by community members.

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Benjamin Peirce gained international prominence in nineteenth-century American science from his work on the perturbations of Neptune. He played an important role in the education of many American scientists. The intellectual tradition in Peirce’s family is apparent from his feminist mother and scholarly father and climaxes in Peirce’s son, Charles, perhaps the most exceptional mind the United States has yet produced.

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This study puts Shakespearean drama into the context of one of the centuryOs greatest preoccupations, the study and use of rhetoric

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This work documents the history of Lehigh University. The University was founded by Asa Packer to provide a useful education for men planning careers in engineering, applied science, and the professions. Today Lehigh continues in its traditions of providing varied and high quality educational opportunities.

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Drawing on the methods of textual and reception studies, book history, print culture research, and visual culture, this interdisciplinary study of James Thomson’s The Seasons (1730) understands the text as marketable commodity and symbolic capital which throughout its extended affective presence in the marketplace for printed literary editions shaped reading habits. At the same time, through the addition of paratexts such as memoirs of Thomson, notes, and illustrations, it was recast by changing readerships, consumer fashions, and ideologies of culture. The book investigates the poem’s cultural afterlife by charting the prominent place it occupied in the visual cultures of eighteenth- and early nineteenth-century Britain. While the emphasis of the chapters is on printed visual culture in the form of book illustrations, the book also features discussions of paintings and other visual media such as furniture prints. Reading illustrations of iconographic moments from The Seasons as paratextual, interpretive commentaries that reflect multifarious reading practices as well as mentalities, the chapters contextualise the editions in light of their production and interpretive inscription. They introduce these editions’ publishers and designers who conceived visual translations of the text, as well as the engravers who rendered these designs in the form of the engraving plate from which the illustration could then be printed. Where relevant, the chapters introduce non-British illustrated editions to demonstrate in which ways foreign booksellers were conscious of British editions of The Seasons and negotiated their illustrative models in the sets of engraved plates they commissioned for their volumes.

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Readers of Old English would generally agree that the poem Genesis B, a translation into Old English of an Old Saxon (that is, continental) retelling of the story of the Fall, is a vigorous and moving narrative. They would disagree, however, as to the meaning of the poem. Some hold that it reflects an orthodox Christian viewpoint and others claim that it assumes a distinctly unorthodox position in portraying Adam and Eve as not morally culpable in their disobedience but merely tricked into disobedience through the wiles of the Devil's agent. The study Genesis B and the Comedic Imperative, examining these incompatible readings, infers that the poem is essentially orthodox, that it demonstrates sufficiently the moral culpability of Adam and Eve, and that it departs from orthodoxy only insofar as it conveys a strong impression that Adam and Even will undertake what amounts to Christian penance, leading them eventually to Heaven. The poem thereby attains the happy ending typical of early medieval Christian narrative. Hence the titular "Comedic Imperative." The inference of orthodoxy follows as a nigh-inevitable conclusion of the interpretation of several motifs: the poem's culturally imbued martiality, its allegorical bent, and also what A. N. Doane noted as its tropological bent. The argument depends heavily upon philological inquiry and on examination of prevailing beliefs and attitudes of contemporaneous Frankish society, religious and civil, leading to the reinterpretation of crucial passages. Of these, most notably, is the passage in which Adam, in refusing the Tempter's invitation to eat the fruit, observes that the Tempter has given no tacen ‘sign’ as evidence that he truly is God’s emissary. Other passages that have impeded critical perception of the poem's significance are also examined, such as the notorious micel wundor clause (lines 595-98) and the pseudo-gnomic declaration swa hire eaforan sculon after lybban (623-35). In sum, Genesis B sustains the orthodoxy otherwise of the Junius 11 manuscript.

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Theatre in Dublin,1745–1820: A Calendar of Performances is the first comprehensive, daily compendium of more than 18,000 performances that took place in Dublin’s many professional theatres, music halls, pleasure gardens, and circus amphitheatres between Thomas Sheridan’s becoming the manager at Smock Alley Theatre in 1745 and the dissolution of the Crow Street Theatre in 1820. The daily performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening’s entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre’s daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component’s entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim. The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons’s offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of “special Irish interest.” The various kinds of benefit performance and command performances are also noted. Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important “minors.” This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.

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The specter of psychological dysfunction has marched beside all soldiers in all wars. This book presents the true story of one young Pennsylvanian who marched into war with a patriotic chip on his shoulder only to stagger home under the burden of a two-year life-and-death struggle.

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In 1804, a kind of madness descended upon Britain. A thirteen-year-old boy, William-Henry West Betty, arrived and, in a seeming instant, took Ireland, Scotland, and England by storm. Crowds were so intent upon securing tickets for Betty's performances that officers were called out to stop rioters in the streets. Like the groupies who would a century and a half later mob Elvis or The Beatles, fans raved and regularly fainted when near "the divine Master Betty." The Caledonian Mercury reported that on Betty's first London appearance, the "screams of the females were very distressing, and several fainted away." The Morning Chronicle reported that during a performance of Betty's Romeo, "nearly thirty persons were pulled from the pit, in fainting fits." Even older, sophisticated men were strangely overcome by emotion by "Bettymania." When watching the boy perform, Drury Lane's manager R. B. Sheridan shed sighs, tears, and sobs; a similarly affected William Pitt, the Prime Minister of England, wept openly and uncontrollably. Professor Kahan's study is the first to link Bettymania to nineteenth-century consumerism: to point out that marketings of Bettymania in Ireland and Scotland differed radically; to argue that English Bettymania was a splintered rebuke of both King George III and Napoleon, to suggest that interest in Betty reflected the unique gender dynamics of early nineteenth-century Britain; to include a discussion of Betty's standing among the major Romantic poets; to survey Betty's later life; to detail the theatrical career of Betty's son, Henry Betty. Percy H. Fitzgerald, in his conversations with various members of The Garrick Club, recorded that the "Young Roscius was the only actor who ever knew exactly when to quit the stage." The truth is that Betty continued to play until virtually no audience in Britain remained interested in seeing him. However, the disintegration of Betty's popularity was not a sign of celebrity culture's failure but of its appropriate function. One idol must be replaced with another and another and another and another. A study of Bettymania may well offer us some insight into the emergence of celebrity culture and the means by which it continues to be fashioned and maintained.

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This study explores womenOs central involvement in the creation of an elite class in colonial Philadelphia. It shows how major mercantile families adopted an English model of class identity and adapted it to the realities of colonial life in the mid-Atlantic region.

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The Irish artist, James Barry, is a major neoclassical artist of international significance. A keen exponent of the grand style of history painting, his work virtually disappeared from view following his death. His reputations was raised from obscurity in the 1980s by Robert R. Wark and David Solkin, but especially by William Pressley’s excellent biography and catalogue raisonné. This collection of essays examines in more detail Barry’s relationship with the (Royal) Society of Arts, and their encouragement of “high” art and the arts of design, to put into practice Barry’s belief that “one great maxim of moral truth, viz. that the obtaining of happiness, individual as well as public, depends upon cultivating the human faculties.” By taking different aspects of Barry’s mural cycle The Progress of Human Knowledge and Culture that he painted for the “Great Room” of the (Royal) Society of Arts (1777-1801), the contributors show the wider contemporary art and design debates focusing on nationalism and improvement, publicity and patronage, thereby establishing new connections between theory (political, social, and cultural) and practice. The first half of this volume considers the development of the premiums offered by the Society for the encouragement of Arts, Manufactures and Commerce in the “polite arts,” from its initial focus on designs for manufacturers to a program that tended toward “high” art. Consideration is also given to the Society’s encouragement of female excellence, which Barry featured in his mural series for the Society. The second half looks in more detail at Barry’s The Progress of Human Knowledge and Culture. Recent discoveries have shed new light on Barry’s innermost thoughts and intentions, and his constant reworking of the Society’s murals, illustrating the artist’s belief that “art and artists play a fundamental role in the advancement of society.” As part of the bicentenary celebrations of Barry’s death, an important exhibition and international conference were held at the Crawford Gallery, Cork, in 2006. This collection of essays is a further opportunity to re-evaluate the extraordinary contribution of Barry to the eighteenth-century artistic world. It also acknowledges the work of Dr. David G. C. Allen as a writer and teacher on RSA history, as well as Barry’s murals, for more than fifty years. A memorial tablet was erected in 2009 on the site of Barry’s London home in Castle Street, as a further recognition of this extraordinary artist. In light of recent discoveries, and drawing heavily on the RSA archives and collections, this volume will appeal to all those interested in a detailed account of artistic development in Britain in the eighteenth century. It also contains fifty-two black-and-white illustrations.

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This book explores the adaptations by filmmakers of existing occult religions as framing devices for their work. It also discusses the cultural implications of these films, both as flash points in the national discourse on religion and as springboards for social criticism.

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Thaddeus William Harris first made his living as a physician and for many years thereafter as Harvard librarian. He also taught natural history in Harvard College—Henry David Thoreau was one of his students—but his desire for a full-time professorship was never realized. He is chiefly remembered as a naturalist and is generally considered the 'founder of applied entomology' in the United States. His historical reputation is linked to his Treatise on Some of the Insects Injurious to Vegetation. Going beyond the Treatise and examining Harris's life through his correspondence, reveals a picture that is more complex than his traditional reputation would suggest. In addition to a review of his familial and scientific origins, the author explores how Harris tried to build a scientific career, and looks at his work as an academic librarian. His research and writing per se is examined. While his work on insects as agricultural pests is well-known, in the 1830s Harris prepared the earliest systematic listing and classification of American insects. Most importantly, in his more specialized studies, he became interested in nocturnal Lepidoptera (moths), a group not much studied in America at the time. Here, Harris brought to bear his great knowledge of life histories of insects that was so germane to his agricultural effort, as well as some innovative uses of wing vein patterns, as aids to taxonomy. The book discusses his publishing strategies for scientific and popular work and his relations to individuals and organizations in the scientific community. Harris's well-formulated views on correct personal and communal conduct in natural history presents the context for a consideration of scientific practice in his era. The study also delves into his political and religious beliefs and his attitudes to the natural world and how these related to his scientific program.

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This book offers detailed studies of eight works of poetry written by Spanish women in the years following the death of Francisco Franco and the evolution of a democratic government. Each chapter, devoted to a single work, shows how the poet defines herself as both as a woman and a poet by portraying a female figure in the text of the poem. The linguistic interaction between the woman writing and the figure portrayed in the poem sets in motion a fascinating play of similarity and difference through which these poets inscribe themselves as women and writers in the new, democratic Spain.

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This study, spanning the years 1520–1570, explores the rhetoric of martyrdom in the historical context of Reformation France. The focal points include questions of authority, gender, and community.

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Lee de Forest invented the three-electrode vacuum tube, one of the foundations of radio technology. As one of the most prolific inventors in American history, he experimented in fields from talking pictures to solar energy. His biography is a history of the religion of technology. Illustrated.

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Theatre in Dublin,1745–1820: A Calendar of Performances is the first comprehensive, daily compendium of more than 18,000 performances that took place in Dublin’s many professional theatres, music halls, pleasure gardens, and circus amphitheatres between Thomas Sheridan’s becoming the manager at Smock Alley Theatre in 1745 and the dissolution of the Crow Street Theatre in 1820. The daily performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening’s entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre’s daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component’s entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim. The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons’s offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of “special Irish interest.” The various kinds of benefit performance and command performances are also noted. Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important “minors.” This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.

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This book links popular British fiction from the 1790s through the 1860s to anxieties about time. The cataclysm of the French Revolution, discoveries in geology, biology, and astronomy that greatly expanded the age and size of the universe, and technological developments such as the railway and the telegraph combined to transform the experience of time and dramatize its aporetic nature¯time as inarticulable contradiction. Themes of usurpation, bigamy, and stolen identity that characterize popular fiction during this period reflect anxieties about inheritance. Edmund Burke’s Reflections on the Revolution in France characterizes English history as an unbroken and orderly chronicle of property, generations, and values, in contrast to the chaotic events taking place in France. Albright uses Burke’s “sure principle of transmission” as the idealized, coherent view of time as narrative and argues that many popular novels of this period encode discourses on temporality in which time’s aporias are imaginatively reconciled through a variety of narrative strategies. Ann Radcliffe’s The Mysteries of Udolpho, written during the Terror of the French Revolution, uses a past setting, descriptions of sublime and picturesque landscapes, and the heroine’s prolonged suspension between memory and expectation to create a dreamy temporality that offers an antidote to revolutionary fears. Charles Robert Maturin’s Melmoth the Wanderer employs narrative to “humanize” what Frank Kermode calls the “disorganized time” represented by “the interval between tick and tock,” an effort that assumes greater importance in response to industrialization’s dehumanizing effects. Mary Shelley’s The Last Man capitalizes on the Romantic theme of “lastness,” weaving together memory and prophecy to attain a narrative perspective that encompasses the whole of human history. Albright concludes with a chapter on the sensation novels of the 1860’s, which bring Gothic themes of usurpation from the distant past to the contemporary world of railways and divorce courts. Writing the Past, Writing the Future offers a fresh approach that focuses less on feminist and psychoanalytic approaches to Gothic and sensation fiction than on the contemporary temporal anxieties often encoded in these popular genres. While there has been some criticism that has dealt with temporal discourses within individual works—most notably, The Last Man?there has not been a wider exploration of the topic that encompasses the period from about 1790 to 1870. Rather than attempt an exhaustive survey of a large number of novels, Albright has focused on several key texts from this period, analyzing them with the aid of the temporal meditations of Aristotle, Augustine, and Heidegger, as well as Paul Ricoeur’s work on the relationship between time and narrative.

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More than fifty years after the death of Hitler, the defeat of Nazism, and the horrors of the Holocaust, the concept of a Jewish race is still alive and well in the minds of too many. This book is an attempt to destroy such a myth from both a biological and historical point of view.

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Dolls and puppets can be viewed as the Freudian Uncanny, the Lacanian Other, the Kristevan Abject, and The Miniature and The Gigantic of Susan Stewart. The psychological implications of their creation are traced through several centuries of literature, primarily British fiction and poetry from the latter half of the eighteenth century to the present, plus some examples from American and Continental fiction.

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Dr. Ailie Gale was one of many twentieth-century women missionaries in China whose letters to supporters played an important role in American conceptions of a Ospecial Sino-American friendship.O This book shows how these letters from China reveal as much about the strivings of readers at home as they do about China during the tumultuous period from 1911 to 1949.

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Theatre in Dublin,1745–1820: A Calendar of Performances is the first comprehensive, daily compendium of more than 18,000 performances that took place in Dublin’s many professional theatres, music halls, pleasure gardens, and circus amphitheatres between Thomas Sheridan’s becoming the manager at Smock Alley Theatre in 1745 and the dissolution of the Crow Street Theatre in 1820. The daily performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening’s entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre’s daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component’s entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim. The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons’s offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of “special Irish interest.” The various kinds of benefit performance and command performances are also noted. Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important “minors.” This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.

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This book examines the ways six remarkably disparate novels formulate critiques of a late-capitalist consumer culture proclaimed in recent years to be all but unassailable. Beginning with a consideration of John Gardner’s October Light and Bret Easton Ellis’s American Psycho—two novels demonstrating the poverty of traditional (or essentialist) right- and left-wing attacks on mass culture—the volume later turns its attention to the more postmodernist and poststructuralist critiques of Thomas Pynchon (Vineland), Mark Leyner (Et Tu, Babe), Bobbie Ann Mason (In Country) and Don DeLillo (White Noise), connecting these novelists’ ideas to those of such cultural theorists as Fredric Jameson, Jean Baudrillard, Gayatri Spivak, and Jean-François Lyotard, among others. With their assertions that neither capital (which becomes analogous to language itself) nor the simulation-laden culture it spawns must be razed or escaped before we can build a more humane society, these novelists and thinkers illuminate the “post-Marxist” habits of mind our culture’s most serious dissenters will have to employ from now on. Offering close and insightful readings of the aforementioned novels and providing a refreshingly lucid introduction to significant critical and philosophical trends of recent decades, History and Refusal will be useful to both instructors and students of contemporary literature and theory. It will also be of interest to thinkers in any field concerned with how best to advance progressive political interests in a United States—and, indeed, a world—as thoroughly corporatized a the present one. Like the novelists and postmodern theorists it examines, this book draws out attention to the progressive possibilities inherent in the market and the susceptibility of “dominant” discourses and media to appropriation by those with non-corporate agendas. In doing so, it works to alleviate the “politics of resignation and despair” Douglas Kellner has named, illustrating that corporatism and progressivism do not have to be mutually exclusive terms; that media-shaped subjectivity does not have to be passive subjectivity; and that capital is a language that can be used to speak any will, forward any cause. It is a book well-suited to a cultural moment when more and more citizens want alternatives to the over-reductive, left-versus-right paradigm that has dominated our critical and cultural imaginations too long.

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This book begins with the understanding that, in addition to its aesthetic qualities, Asian art and material artifacts are expressive of cultural realities and constitute a "visible language" with messages that can be read, interpreted, and analyzed. Asian art and artifacts are understood in their contexts, as "windows" into cultures, and as such can be used as a powerful pedagogical tool in many academic disciplines. The book includes essays by scholars of Asian art, philosophy, anthropology, and religion that focus on objects held in ASIANetwork schools. The ASIANetwork collections are reflective of Asian societies, historical and religious environments, political positions, and economic conditions. The art objects and artifacts were discovered sometimes in storage and were sometimes poorly understood and variously described as fine art, curiosities, souvenirs, and markers of events in a school's history. The chapter authors tell the stories of the collections, and the collections themselves tell stories of the collectors. This volume is intended for use in many disciplines, and its interpretive structures are adaptable to other examples of art and artifacts in other colleges, universities, and museums. An online database of some 2000 art objects held in the ASIANetwork schools' collections supplements this book.

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Restivo offers sociological insights on and analyses of the scientific revolution, scientific progress, laboratory life, science policy, mathematics, and epistemology.

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The Garden of Perfect Brightness (Yuanming Yuan) in the western suburbs of the Qing capital, Beijing, was begun by the great Kangxi (r. 1661–1722) and expanded by his son, Yongzheng (r. 1722–1735) and brought to its greatest glory by his grandson, Qianlong (r. 1736–1796). A lover of literature and art, Qinglong sought an earthly reflection of his greatness in his Yuanming Yuan. For many years he designed and directed an elaborate program of garden arrangements. Representing two generations of painstaking research, this book follows the emperor as he ruled his empire from within his garden. In a landscape of lush plants, artificial mountains and lakes, and colorful buildings, he sought to represent his wealth and power to his diverse subjects and to the world at large. Having been looted and burned in the mid-nineteenth century by western forces, it now lies mostly in ruins, but it was the world’s most elaborate garden in the eighteenth century. The garden suggested a whole set of concepts—religious, philosophical, political, artistic, and popular—represented in landscape and architecture. Just as bonsai portrays a garden in miniature, the imperial Yuanming Yuan at the height of its splendor represented the Qing Empire in microcosm. Includes 62 color plates and 35 black & white photographs.

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Theatre in Dublin,1745–1820: A Calendar of Performances is the first comprehensive, daily compendium of more than 18,000 performances that took place in Dublin’s many professional theatres, music halls, pleasure gardens, and circus amphitheatres between Thomas Sheridan’s becoming the manager at Smock Alley Theatre in 1745 and the dissolution of the Crow Street Theatre in 1820. The daily performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening’s entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre’s daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component’s entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim. The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons’s offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of “special Irish interest.” The various kinds of benefit performance and command performances are also noted. Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important “minors.” This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.

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Theatre in Dublin, 1745–1820: A History, the first comprehensive history of the Dublin theatres in the eighteenth and early nineteenth centuries, reconstructs the milieu of popular public entertainment in the city of Dublin during these seventy-five years. Synthesizing and analyzing all known surviving information about the many Dublin theatres, pleasure gardens, circuses, and concert halls, John C. Greene incorporates details of over 18,000 performances. This book presents detailed illustrations of the theatre buildings based on recent archaeological and architectural discoveries, showing the seating arrangements, capacities, entrances, exits, and dimensions. This information is essential in trying to reach a clearer idea of the composition of the Dublin audience. Using population figures and architectural details, Greene demonstrates that the Dublin theatres could not have been the coterie venues as previously thought, but were, in fact, composed of a majority of Catholic patrons. This answers important questions about the rationale behind the choice of plays and other entertainment. Theatre in Dublin also presents an extensive amount of new information on the government regulation of entertainment, including a close study of the legislative process leading to the Stage Act of 1786. Greene also analyzes business elements such as advertising, benefit performances, finances, theatre management practices, repertory, and the costume and prop details. He takes care to consider the socioeconomic position and mobility of both the entertainers and audience. It also includes detailed chronological surveys of dancers and dancing, costumes, scenery, scenographers, machinists, and specialty performers, such as rope-dancers and equestrians. These two volumes include forty-eight illustrations.

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This book examines the life of Lady Charlotte Guest Schreiber, who provided the first complete translation of the Mabinogion and ran her late husband’s ironmongery. This book examines how collecting porcelain, playing cards, and fans allowed her to create a series of private signifying systems that countered the prevailing Victorian discourse assigned to women.

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Foreign Exchange is the story of Yeh Yuanshuang and Dorothea Kingsley Wakeman and their experiences at the American missionary school. Founded in 1875, the school that would become St. Hilda's School for Girls was intended to provide a strong, Christian education for its students. Daily student-teacher interactions, however, created an environment that allowed for a foreign exchange which led to the creation of a new culture that subverted both American and Chinese gender constructs. The walls that surrounded the St. Hilda's compound not only served to protect the school from outside danger, but to also create a space where new gender expectations could be nurtured away from the gaze of prying eyes. Thus, the American teachers as well as the Chinese students were acculturated and socialized in ways that liberated them from their respective patriarchal situations. For Dorothea, serving as a teacher allowed her to remain single yet still be engaged in a professional career that would not be as socially stigmatizing as it would be if she remained at home. As a teacher at St. Hilda's, not only was she educating a future generation of Chinese women, but as an independent woman who served in an important position, she was an example for the girls at St. Hilda's what women could do when given an education. For Yuanshuang, her education provide her with the means to aspire to roles outside the culturally prescribed positions as daughter, wife, and mother by giving her the intellectual tools that enabled her to find work as a teacher at the start of the War of Resistance against the Japanese. Her involvement in school activities developed self-reliance, independence, and leadership skills that served her both in China and eventually in the United States. Her education socialized her to American values and customs so that when she arrived in the United States, she was able to adapt readily. Yuanshuang and Dorothea's stories also reveal the impact of the modern world on their parents' generation.

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This book traces Moravian educational ideas and practices in the eighteenth century. A transnational fellowship rather than a nation state, the Moravians had established themselves by the early 1740s as an Atlantic community under the leadership of a German count, Nikolaus Ludwig von Zinzendorf. This cosmopolitanism, paralleled only in the aristocratic culture and the expanding network of Masonic lodges, became a natural, self-evident experience of the Moravians in Germany, Holland, England, the Caribbean and North American colonies, and Africa. What made this global educational experience possible? This book answers the question by exploring Moravian education at three different but closely intertwined levels: the place of Moravian education in the eighteenth-century political and intellectual landscape, its attention to the individual development of its members, and its distinctive communal organization. The book is divided into five sections. In the first section, Jon Sensbach explores the Moravians' transnational and Atlantic experiences and lays the groundwork for many of the subsequent essays. Alexander Schunka traces the connections between the ancient Unity of the Brethren and the renewed Moravian Church. In the second section, Julie Tomberlin Weber's innovative work places Moravians in the context of eighteenth-century German cultural history by exploring Lessing's Zinzendorf reception, while Jonathan Yonan situates Moravian experience in eighteenth-century England. Peter Vogt surveys the limitations of Moravian educational thinking. Continuing this exploration in the section on Self, Katherine Faul and Pia Schmid study the educational uses of autobiographies and pastoral listening, while Gisela Mettele analyzes the Moravian practice of autobiographical writing as a collective ritual. The section on Art examines a central component of the varied Moravian educational experience. Sarah Eyerly's and Laurence Libin's essays investigate the role of music and instruments as medium and form of Moravian communal life. Paul Peucker's study shows the varied uses of images in Moravian communities. In conclusion, Heikki Lempa sets the educational practices of the Moravians in the larger context of the eighteenth-century world.

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This book begins with the understanding that, in addition to its aesthetic qualities, Asian art and material artifacts are expressive of cultural realities and constitute a "visible language" with messages that can be read, interpreted, and analyzed. Asian art and artifacts are understood in their contexts, as "windows" into cultures, and as such can be used as a powerful pedagogical tool in many academic disciplines. The book includes essays by scholars of Asian art, philosophy, anthropology, and religion that focus on objects held in ASIANetwork schools. The ASIANetwork collections are reflective of Asian societies, historical and religious environments, political positions, and economic conditions. The art objects and artifacts were discovered sometimes in storage and were sometimes poorly understood and variously described as fine art, curiosities, souvenirs, and markers of events in a school's history. The chapter authors tell the stories of the collections, and the collections themselves tell stories of the collectors. This volume is intended for use in many disciplines, and its interpretive structures are adaptable to other examples of art and artifacts in other colleges, universities, and museums. An online database of some 2000 art objects held in the ASIANetwork schools' collections supplements this book.

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Long overdue, this is the first-ever biography of Thomas Barclay (1728-93), the first American consul to serve the United States abroad and the first representative to successfully negotiate for America in North Africa, then known as Barbary. It is the account of an Ulster-born immigrant earning his fortune as a Philadelphia merchant and then losing it as he gives priority to his adopted country's fight to gain and build its independence. Thomas Barclay's association with Benjamin Franklin, Thomas Jefferson, and John Adams brings new insights into the personalities of these men and the international issues they and America faced when peace returned - among them the Barbary corsairs. Challenged by the absence of Barclay letter-books and collections of private writings, the authors traveled widely and dug deeply to tap primary source material in the U.S., Great Britain, France, Holland, Spain, Portugal, and Morocco.

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This volume explores the vitality of cultural, economic, and political life of Pennsylvania's Lehigh Valley, whose unique location (close enough to New York and Philadelphia to market grain, iron, coal, and steel but distant enough to develop its own cultural live) offers a regional model persisting for more than two centuries.

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This collection of essays forms an outstanding resource about the music of the Moravians, eighteenth-century America in general, and the organ-building trade. The bibliography includes additional related resources on American Moravian organs.

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Founding Friends is a history of day-to-day life inside the Friends Asylum for the Insane in early nineteenth-century Philadelphia. By building on an extraordinarily rich data source—the daily diaries that the asylum’s lay superintendents kept between 1814 and 1850—this book offers a new perspective on institutional life.

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Within a simple dependency-oriented framework this book analyzes the effects of liberalization policies in Turkey.

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This book tells of the difficulties of setting up and operating a joint Chinese-American airline, China National Aviation Corporation (CNAC) in the 1930s and 1940s in a China beset by internal conflicts and an expanding war with Japan. BondOs personal stories of the evacuations of Shanghai and Hankow, and of the successful but heartbreaking CNAC evacuation of Hong Kong are truly memorable. The book looks at the forces that shaped China in the early-to-mid twentieth century, and chronicles BondOs interactions with notables including Generalissimo and Madame Chiang Kai-shek, Generals Claire Lee Chennault, Douglas MacArthur, and George Marshall.

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Chinese Christian women before 1919 have been largely invisible in the records of China missions and Chinese Christianity. With few exceptions we have known little about them either as individuals or as a group. In this volume the contributors’ goal is to bring to light the life and work of these pioneer Chinese Christian women. The contributors have scoured a variety of sources in order to recreate the role of early Chinese women Christians in the church and in Chinese society and also to illustrate how gender affected their under-standing of Christianity and their career choices. How did the Chinese context alter their relations with the church and with both Christian and non-Christian communities? What was the legacy of pioneer Chinese Christian women? To provide context for this study, the work opens with an essay on women in imperial China, examining the ideal, the stereotypes, and the reality. Essays on Chinese Christian educators, doctors, nurses, and evangelists indicate the role of the missionaries and the church in making mobility and broadened horizons possible for women. They reveal also the contributions of these women and homemakers to a changing China. Chinese women before 1919, though a minority of church membership, were in many ways the mainstay of the church: the most faithful in attendance at worship services and Mass, responsible for teaching Sunday School, leading the choir, and organizing Bible study classes. They visited the sick, engaged in charity work, prepared the altar for services, and performed various other services. Many women followed their husbands in joining the church, but Roman Catholic Virgins, Protestant Bible women, and church workers were primarily responsible for evangelizing among women and children since Western male missionaries found it almost impossible to proselytize among women in Chinese society. Missionaries soon realized that establishing Chinese Christian families was essential to the stability and continuity of congregations, and Christian wives and mothers were vital to creating Christian homes and rearing children in the faith. Particularly during periods of persecution, such as the years from 1724 to 1846 and the recent era of the Anti-Rightist Campaigns and the Cultural Revolution, the Catholic Virgins and Christian families can be credited with the survival of Chinese Christianity. With liberalization during the 1980s many of these Christian families emerged as the basis for a growing Chinese church. The Christian church and Christian missions provided avenues for women’s social mobility as well. Missionary wives founded girls schools and eventually most central stations included a primary and secondary school for girls. Virgins and Bible women memorized or learned to read religious texts. Thus, a significant proportion of female converts attained literacy and, with this, new self-esteem. The first women's colleges prepared women for new careers and economic independence, while the establishment of hospitals opened up careers for women as doctors and nurses.

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This is the first full-length study of the medical ministries of Kang Cheng and Shi Meiyu, who graduated from the medical school at the University of Michigan in 1896 and then ran dispensaries, hospitals, and nursing schools in China from the 1890s to the 1930s. Known in English-speaking countries as Drs. Ida Kahn and Mary Stone, they were well-known both in China and in the United States in the early twentieth century, but today have largely been forgotten. This book gives readers today the chance to know these fascinating women, whose stories shed light on many aspects of U.S.-China relations. At its broadest level, this study contributes to the development of a transnational women’s history, deepening our understanding of how ideas about women have traveled across national boundaries.

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This book explores how the Erie Railway, in developing a series of sophisticated travel guides, made significant contributions to nineteenth-century visual culture and shaped the social life of Americans. The Erie Railway emerged during a time in which a societal response to the production of landscape paintings and prints led to a concurrent development of tourism. The era promoted a visual culture that encouraged scenic thinking in which closely viewed scenes and deep prospects became the basis for engaging physical landscapes and their representations. Revealing how visual culture apprehends aspects of reality that texts only partially grasp, the Erie guides became an important part of the commentary on the role of landscape in nineteenth-century American life. Their images and texts are worth our attention as annotations on the production of culture.

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Drawing on the methods of textual and reception studies, book history, print culture research, and visual culture, this interdisciplinary study of James Thomson’s The Seasons (1730) understands the text as marketable commodity and symbolic capital which throughout its extended affective presence in the marketplace for printed literary editions shaped reading habits. At the same time, through the addition of paratexts such as memoirs of Thomson, notes, and illustrations, it was recast by changing readerships, consumer fashions, and ideologies of culture. The book investigates the poem’s cultural afterlife by charting the prominent place it occupied in the visual cultures of eighteenth- and early nineteenth-century Britain. While the emphasis of the chapters is on printed visual culture in the form of book illustrations, the book also features discussions of paintings and other visual media such as furniture prints. Reading illustrations of iconographic moments from The Seasons as paratextual, interpretive commentaries that reflect multifarious reading practices as well as mentalities, the chapters contextualise the editions in light of their production and interpretive inscription. They introduce these editions’ publishers and designers who conceived visual translations of the text, as well as the engravers who rendered these designs in the form of the engraving plate from which the illustration could then be printed. Where relevant, the chapters introduce non-British illustrated editions to demonstrate in which ways foreign booksellers were conscious of British editions of The Seasons and negotiated their illustrative models in the sets of engraved plates they commissioned for their volumes.

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Queer Retrosexualities: The Politics of Reparative Return examines the retrospective logic that informs contemporary queer thinking; specifically the narrative return to the 1950s in post-1990s queer and LGBT culture in the United States. The term “Queer Retrosexuality” marks the intersection between retrospective thinking and queerness—to illustrate not only how to “queer” retrospection, but also how retrospection, in some senses can be thought of as always already queer. This book examines the historical possibilities that inform the narrative return to the 1950s in queer cultural and literary productions such as Samuel Delany’s The Motion of Light in Water, Todd Haynes’s Far from Heaven, Sarah Schulman’s Shimmer, and Mark Merlis’s American Studies—all texts that return to a traumatic past marked by shame, exile, and persecution. Queer Retrosexualities inquires into what motivates the return in these texts to a historical moment informed by the bruises and wounds of history; but more importantly, it poses the question of how such a turn backwards could be theorized as reparative or even hopeful. This book shows how the framework of queer retrospection offers new ways of understanding history and culture, of reformulating disciplines and institutions, and of rethinking traditional modes of political activism and knowledge production. Even while it seems counterproductive to return to a historical moment that is marked by the persecution of sexual and racial minorities, the book examines how a shared feeling of relationality and community produced by the exile of shame shapes the political value of queer retrosexualities. The retrospective return to the 1950s allows queer thinking to move away from the commodification of queer culture in the present that masquerades as progress. Thus, the book theorizes how traumatic history becomes a valuable resource for the political project of assembling collective memory as the base materials for imagining a different—and more queer—future.

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Theatre in Dublin,1745–1820: A Calendar of Performances is the first comprehensive, daily compendium of more than 18,000 performances that took place in Dublin’s many professional theatres, music halls, pleasure gardens, and circus amphitheatres between Thomas Sheridan’s becoming the manager at Smock Alley Theatre in 1745 and the dissolution of the Crow Street Theatre in 1820. The daily performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening’s entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre’s daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component’s entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim. The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons’s offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of “special Irish interest.” The various kinds of benefit performance and command performances are also noted. Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important “minors.” This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.

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Theatre in Dublin,1745–1820: A Calendar of Performances is the first comprehensive, daily compendium of more than 18,000 performances that took place in Dublin’s many professional theatres, music halls, pleasure gardens, and circus amphitheatres between Thomas Sheridan’s becoming the manager at Smock Alley Theatre in 1745 and the dissolution of the Crow Street Theatre in 1820. The daily performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening’s entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre’s daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component’s entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim. The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons’s offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of “special Irish interest.” The various kinds of benefit performance and command performances are also noted. Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important “minors.” This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.

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The Fragmentary Poetic: Eighteenth-Century Uses of an Experimental Mode is the first study of the mode of the fragmentary in eighteenth-century poetry. Revisiting traditional literary historiography, it offers a fresh account of the "Pindaric" impulse, a mode informing deliberate fragmentation. It distinguishes itself from the work of Thomas McFarland, Marjorie Levinson (on the Romantic fragment poem), and Elizabeth Wanning Harries (on the prose fragment in the late eighteenth century) through its familiarity with the varied poetic landscape of the period. Through its immersion in the (still) under-researched field of eighteenth-century poetry and its inclusive, historicist approach, it introduces original but rarely discussed poems, thereby contributing to the mapping, and better understanding, of the growing canon of poetry. Rather than being overtly contrasted with the preceptive poetics of early eighteenth-century Neoclassicism, the fragmentary impulse is read as integral to "new" genres such as the long-poem and the Pindaric ode. Its "amphibian" nature accommodates its transgeneric use in genres as varied as the ode and the epic, deploying the ruin as an emblem of its deliberate resistance to closure or the sublime to indicate rupture. The study discusses the ode, the long-poem, imitations of Spenser, Macpherson's "reinventions" of the epic, and poems engaging with (personal and cultural) memory and ruin. It further explores intermodal cooperation in productions ranging from satire to the epic. Poets variously utilized the fragmentary as a mode reflecting human fallenness and the fragmentedness of human existence, but also (paradoxically) as evidence for original completeness and authenticity. In addition, the ruin as a cultural construct facilitated the recognition of the fragmentary as a valid mode. Detailed discussions of poems include works by authors ranging from James Thomson and Edward Young to James Macpherson, Charlotte Smith, and Wordsworth. Scholars of both eighteenth-century and Romantic period poetry will find The Fragmentary Poetic a useful guide to the generic complexity that characterizes the poetry of the eighteenth century. This account of the polymorphous nature of the fragment and its definitional and formal fluidity enables scholars to rethink eighteenth-century form and to appreciate a pervasive mode that found its most varying expression in the poetry of the period.

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