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FALL 2021 FALL 2021 Dear Readers
UNIVERSITY OF CALIFORNIA PRESS FALL 2021 FALL 2021 Dear Readers, Welcome to the University of California Press Fall 2021 1 TRADE catalog—as always, a labor of intellect and heart that brings 17 ACADEMIC TRADE news of expert works on the most pressing issues of the day. 39 ART 46 NEW IN PAPERBACK Let’s start with two of the most central issues of the past year: 55 SOCIAL SCIENCES racial justice and the pandemic. In Blue Eyes, Brown Eyes, 65 POLITICAL SCIENCE acclaimed writer Stephen G. Bloom tells the inside story of one 66 HISTORY teacher’s famed, flawed, and immensely consequential social 72 FILM & MEDIA STUDIES experiment conducted to reveal the pernicious consequences 74 MUSIC of bias and stigma. In A Field Guide to White Supremacy, well-known public intellectuals define the contours of one of 74 LITERARY COLLECTIONS the most enduring threats we face. And from the front lines 75 LANGUAGE ARTS of the pandemic, we bring you the Auntie Sewing Squad, 76 LAW the intrepid collective known as A.S.S., which in the face of 77 BUSINESS government inaction, set up production lines in their living 77 TECHNOLOGY rooms to save the world, one mask at a time. 78 BACKLIST HIGHLIGHTS 81 SALES INFO I also wanted to call attention to two titles that have both 83 INDEX OF AUTHORS AND immediate and international resonance. In the fall, the San TITLES Francisco Bay Area experienced a stunning twelve weeks of fire. We all live in the “age of fire”—the Pyrocene. But, as Stephen Pyne argues, we still have a chance to salvage our future. -
Magdalena Kozˇená & Yefim Bronfman in Recital
Magdalena Kozˇ ená & Yefim Bronfman in recital Monday 20 May 2019 7.30pm, Hall Brahms Meine Liebe ist grün; Nachtigall; Verzagen; Bei die sind meine Gedanken; Von ewiger Liebe; Anklänge; Das Mädchen spricht; Meerfahrt; Der Schmied; Ach, wende diesen Blick; O wüsst ich doch den Weg zurück; Mädchenlied; Unbewegte laue Luft; Vergebliches Ständchen interval 20 minutes Mussorgsky The Nursery – Selected Songs Shostakovich Satires, Op 109 Bartók Village Scenes Oleg Rostovtsev Magdalena Kozˇená mezzo-soprano Yefim Bronfman piano Part of Barbican Presents 2018–19 Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during Frank Stewart Frank a performance is strictly prohibited. Please remember that to use our induction loop you should switch your hearing aid to T setting on entering the hall. If your hearing aid is not correctly set to T it may cause high-pitched feedback which can spoil the enjoyment of your fellow audience members. We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it The City of London with a handkerchief. Corporation is the founder and If anything limits your enjoyment please let us know principal funder of during your visit. Additional feedback can be given the Barbican Centre online. Welcome A warm welcome to tonight’s recital given sequence of acerbic texts, written by the by two of today’s most remarkable artists, composer himself, centred around Nanny Czech mezzo-soprano Magdalena Kožená and her young charge Misha. -
<H1>The Lodger by Marie Belloc Lowndes</H1>
The Lodger by Marie Belloc Lowndes The Lodger by Marie Belloc Lowndes The Lodger by Marie Belloc Lowndes "Lover and friend hast thou put far from me, and mine acquaintance into darkness." PSALM lxxxviii. 18 CHAPTER I Robert Bunting and Ellen his wife sat before their dully burning, carefully-banked-up fire. The room, especially when it be known that it was part of a house standing in a grimy, if not exactly sordid, London thoroughfare, was exceptionally clean and well-cared-for. A casual stranger, more particularly one of a Superior class to their own, on suddenly opening the door of that sitting-room; would have thought that Mr. page 1 / 387 and Mrs. Bunting presented a very pleasant cosy picture of comfortable married life. Bunting, who was leaning back in a deep leather arm-chair, was clean-shaven and dapper, still in appearance what he had been for many years of his life--a self-respecting man-servant. On his wife, now sitting up in an uncomfortable straight-backed chair, the marks of past servitude were less apparent; but they were there all the same--in her neat black stuff dress, and in her scrupulously clean, plain collar and cuffs. Mrs. Bunting, as a single woman, had been what is known as a useful maid. But peculiarly true of average English life is the time-worn English proverb as to appearances being deceitful. Mr. and Mrs. Bunting were sitting in a very nice room and in their time--how long ago it now seemed!--both husband and wife had been proud of their carefully chosen belongings. -
The Perfect Fool (1923)
The Perfect Fool (1923) Opera and Dramatic Oratorio on Lyrita An OPERA in ONE ACT For details visit https://www.wyastone.co.uk/all-labels/lyrita.html Libretto by the composer William Alwyn. Miss Julie SRCD 2218 Cast in order of appearance Granville Bantock. Omar Khayyám REAM 2128 The Wizard Richard Golding (bass) Lennox Berkeley. Nelson The Mother Pamela Bowden (contralto) SRCD 2392 Her son, The Fool speaking part Walter Plinge Geoffrey Bush. Lord Arthur Savile’s Crime REAM 1131 Three girls: Alison Hargan (soprano) Gordon Crosse. Purgatory SRCD 313 Barbara Platt (soprano) Lesley Rooke (soprano) Eugene Goossens. The Apocalypse SRCD 371 The Princess Margaret Neville (soprano) Michael Hurd. The Aspern Papers & The Night of the Wedding The Troubadour John Mitchinson (tenor) The Traveller David Read (bass) SRCD 2350 A Peasant speaking part Ronald Harvi Walter Leigh. Jolly Roger or The Admiral’s Daughter REAM 2116 Narrator George Hagan Elizabeth Maconchy. Héloïse and Abelard REAM 1138 BBC Northern Singers (chorus-master, Stephen Wilkinson) Thea Musgrave. Mary, Queen of Scots SRCD 2369 BBC Northern Symphony Orchestra (Leader, Reginald Stead) Conducted by Charles Groves Phyllis Tate. The Lodger REAM 2119 Produced by Lionel Salter Michael Tippett. The Midsummer Marriage SRCD 2217 A BBC studio recording, broadcast on 7 May 1967 Ralph Vaughan Williams. Sir John in Love REAM 2122 Cover image : English: Salamander- Bestiary, Royal MS 1200-1210 REAM 1143 2 REAM 1143 11 drowned in a surge of trombones. (Only an ex-addict of Wagner's operas could have 1 The WIZARD is performing a magic rite 0.21 written quite such a devastating parody as this.) The orchestration is brilliant throughout, 2 WIZARD ‘Spirit of the Earth’ 4.08 and in this performance Charles Groves manages to convey my father's sense of humour Dance of the Spirits of the Earth with complete understanding and infectious enjoyment.” 3 WIZARD. -
Belonging and Narrative
Laura Bieger Belonging and Narrative Lettre Laura Bieger is Professor of American Studies, Political Theory and Culture at the University of Groningen. She held teaching and research positions at Uni- versität Freiburg, FU Berlin, UC Berkeley, Universität Wien and IFK Wien. Her essays have appeared in New Literary History, Amerikastudien/American Studies, Studies in American Naturalism, Narrative and ZAA. She is currently working on reading publics in U.S. democracy. Laura Bieger Belonging and Narrative A Theory of the American Novel An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative de- signed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-3-8394-4600-3. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Na- tionalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-No- Derivatives 4.0 (BY-NC-ND) which means that the text may be used for non-commer- cial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commer- cial use, further permission is required and can be obtained by contacting rights@ transcript-verlag.de Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder. -
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials ..................................................................................................................................... -
The Use of Brechtian Devices in Howard Brenton's Hitler
Hacettepe University Graduate School of Social Sciences Department of English Language and Literature English Language and Literature THE USE OF BRECHTIAN DEVICES IN HOWARD BRENTON’S HITLER DANCES, MAGNIFICENCE AND THE ROMANS IN BRITAIN Ozan Günay AYGÜN Master’s Thesis Ankara, 2019 THE USE OF BRECHTIAN DEVICES IN HOWARD BRENTON’S HITLER DANCES, MAGNIFICENCE AND THE ROMANS IN BRITAIN Ozan Günay AYGÜN Hacettepe University Graduate School of Social Sciences Department of English Language and Literature English Language and Literature Master’s Thesis Ankara, 2019 In memory of my aunt Zehra Aygün, who always treated us as one of her own. v ACKNOWLEDGEMENTS First and foremost, I would like to express my deepest gratitude to my supervisor, Prof. Dr. A. Deniz Bozer, for her patience, support and invaluable academic guidance. She was always understanding throughout the writing process of this thesis, and she encouraged me in times of stress and guided me with her wisdom. Without her, I would not be able to complete this thesis and I am most grateful and honored to have studied under her supervision. I am also indebted to the head of our department, Prof. Dr. Burçin Erol, for her patient guidance whenever I was unsure of how to proceed with my studies during my time as a student at Hacettepe University. I would also like to extend my gratitude to the distinguished members of the jury, Prof. Dr. Aytül Özüm, Assoc. Prof. Dr. Şebnem Kaya, Assoc. Prof. Dr. Sıla Şenlen Güvenç, Asst. Prof. Dr. İmren Yelmiş and Asst. Prof. Dr. F. Neslihan Ekmekçioğlu for their valuable feedback and critical comments which had an immense effect in the development of this thesis. -
T. E. Lawrence Papers: Finding Aid
http://oac.cdlib.org/findaid/ark:/13030/c8bg2tr0 No online items T. E. Lawrence Papers: Finding Aid Finding aid prepared by Gayle M. Richardson, April 30, 2009. The Huntington Library, Art Collections, and Botanical Gardens Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2129 Email: [email protected] URL: http://www.huntington.org © 2009 The Huntington Library. All rights reserved. T. E. Lawrence Papers: Finding mssTEL 1-1277 1 Aid Overview of the Collection Title: T. E. Lawrence Papers Dates (inclusive): 1894-2006 Bulk dates: 1911-2000 Collection Number: mssTEL 1-1277 Creator: Lawrence, T. E. (Thomas Edward), 1888-1935. Extent: 8,707 pieces. 86 boxes. Repository: The Huntington Library, Art Collections, and Botanical Gardens. Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2129 Email: [email protected] URL: http://www.huntington.org Abstract: The collection consists of papers concerning British soldier and author T.E. Lawrence (1888-1935) including manuscripts (by and about Lawrence), correspondence (including over 150 letters by Lawrence), photographs, drawings, reproductions and ephemera. Also included in the collection is research material of various Lawrence collectors and scholars. Language: English. Access Open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Boxes 82-86 -- Coin & Fine Art, Manuscript & Rare Book Dealers. Restricted to staff use only. These boxes include provenance, price and sale information; please see Container List for an item-level list of contents. Publication Rights All photocopies, for which the Huntington does not own the original manuscript, may not be copied in any way, as noted in the Container List and on the folders. -
Simply-Hitchcock-1587911892. Print
Simply Hitchcock Simply Hitchcock DAVID STERRITT SIMPLY CHARLY NEW YORK Copyright © 2017 by David Sterritt Cover Illustration by Vladymyr Lukash Cover Design by Scarlett Rugers All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher at the address below. [email protected] ISBN: 978-1-943657-17-9 Brought to you by http://simplycharly.com Dedicated to Mikita, Jeremy and Tanya, Craig and Kim, and Oliver, of course Contents Praise for Simply Hitchcock ix Other Great Lives xiii Series Editor's Foreword xiv Preface xv Acknowledgements xix 1. Hitch 1 2. Silents Are Golden 21 3. Talkies, Theatricality, and the Low Ebb 37 4. The Classic Thriller Sextet 49 5. Hollywood 61 6. The Fabulous 1950s 96 7. From Psycho to Family Plot 123 8. Epilogue 145 End Notes 147 Suggested Reading 164 About the Author 167 A Word from the Publisher 168 Praise for Simply Hitchcock “With his customary style and brilliance, David Sterritt neatly unpacks Hitchcock’s long career with a sympathetic but sharply observant eye. As one of the cinema’s most perceptive critics, Sterritt is uniquely qualified to write this concise and compact volume, which is the best quick overview of Hitchcock’s work to date—written with both the cineaste and the general reader in mind. -
British Film Institute Report & Financial Statements 2006
British Film Institute Report & Financial Statements 2006 BECAUSE FILMS INSPIRE... WONDER There’s more to discover about film and television British Film Institute through the BFI. Our world-renowned archive, cinemas, festivals, films, publications and learning Report & Financial resources are here to inspire you. Statements 2006 Contents The mission about the BFI 3 Great expectations Governors’ report 5 Out of the past Archive strategy 7 Walkabout Cultural programme 9 Modern times Director’s report 17 The commitments key aims for 2005/06 19 Performance Financial report 23 Guys and dolls how the BFI is governed 29 Last orders Auditors’ report 37 The full monty appendices 57 The mission ABOUT THE BFI The BFI (British Film Institute) was established in 1933 to promote greater understanding, appreciation and access to fi lm and television culture in Britain. In 1983 The Institute was incorporated by Royal Charter, a copy of which is available on request. Our mission is ‘to champion moving image culture in all its richness and diversity, across the UK, for the benefi t of as wide an audience as possible, to create and encourage debate.’ SUMMARY OF ROYAL CHARTER OBJECTIVES: > To establish, care for and develop collections refl ecting the moving image history and heritage of the United Kingdom; > To encourage the development of the art of fi lm, television and the moving image throughout the United Kingdom; > To promote the use of fi lm and television culture as a record of contemporary life and manners; > To promote access to and appreciation of the widest possible range of British and world cinema; and > To promote education about fi lm, television and the moving image generally, and their impact on society. -
Bigamy, the French Invasion, and the Triumph of British Nationhood In
SENSATION FICTION AND THE LAW: DANGEROUS ALTERNATIVE SOCIAL TEXTS AND CULTURAL REVOLUTION IN NINETEENTH-CENTURY BRITAIN A dissertation presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Elizabeth Godke Koonce August 2006 This dissertation entitled SENSATION FICTION AND THE LAW: DANGEROUS ALTERNATIVE SOCIAL TEXTS AND CULTURAL REVOLUTION IN NINETEENTH-CENTURY BRITAIN by ELIZABETH GODKE KOONCE has been approved for the Department of English and the College of Arts and Sciences by Joseph P. McLaughlin Associate Professor of English Benjamin M. Ogles Dean, College of Arts and Sciences Abstract KOONCE, ELIZABETH GODKE. Ph.D. August 2006. English SENSATION FICTION AND THE LAW: DANGEROUS ALTERNATIVE SOCIAL TEXTS AND CULTURAL REVOLUTION IN NINETEENTH-CENTURY BRITAIN (238 pp.) Director of Dissertation: Joseph P. McLaughlin This dissertation argues that nineteenth-century sensation fiction evoked a cultural revolution that threatened to challenge accepted norms for personal behavior and increase possibilities for scripting one’s life outside of established norms for respectable behavior. Because of the ways that it threatened to represent new scripts for personal behavior, sensation, which I term a “dangerous alternative social text,” disrupted hegemony and provided new ways of thinking amongst its Victorian British readership; it became a vehicle through which the law and government (public discourses) ended up colliding with domesticity -
The Rattigan the Newsletter of the Terence Rattigan Society ISSUE NO
The Rattigan The Newsletter of The Terence Rattigan Society ISSUE NO. 18 AUGUST 2016 Version The first night of The Sleeping Prince An extract from the diary of our President, 5th November 1953 “Michael Franklin called for Several photographers me at 6.45. I was very excited, made me pose for them when we were going to Terry’s I arrived, it must have been opening of The Sleeping the white mink - much to Prince. Mr Hastings at Brad- Mara Lane’s annoyance, she is ley’s had lent me a white mink a regular first nighter, just to stole (£2,000) as I had told him be noticed and get into the I was going onto the party papers. We had excellent Terry was giving for Vivien seats on the left side of the Leigh and Larry Olivier. Was aisle, fourth row of the wearing my Susan Small blue stalls. Sheilagh Wilson was in dress, had to cut a lot of the a box above us with Lionel hem off as it had got so muddy Green, I was worried she and tattered. Unfortunately would wonder why I was not got home at 5.30 so didn’t with Terry, but he officially have a lot of time; also had to does not watch his first put my false eyelashes on, they nights, but hovers around in looked very false but there the background to gauge the was no time to change them. reactions. Noel Coward was Laurence Olivier and Vivien Leigh in Michael had a Daimler hire The Sleeping Prince, 1953 in our row.