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Historic Costuming Presented by Jill Harrison
Historic Southern Indiana Interpretation Workshop, March 2-4, 1998 Historic Costuming Presented By Jill Harrison IMPRESSIONS Each of us makes an impression before ever saying a word. We size up visitors all the time, anticipating behavior from their age, clothing, and demeanor. What do they think of interpreters, disguised as we are in the threads of another time? While stressing the importance of historically accurate costuming (outfits) and accoutrements for first- person interpreters, there are many reasons compromises are made - perhaps a tight budget or lack of skilled construction personnel. Items such as shoes and eyeglasses are usually a sticking point when assembling a truly accurate outfit. It has been suggested that when visitors spot inaccurate details, interpreter credibility is downgraded and visitors launch into a frame of mind to find other inaccuracies. This may be true of visitors who are historical reenactors, buffs, or other interpreters. Most visitors, though, lack the heightened awareness to recognize the difference between authentic period detailing and the less-than-perfect substitutions. But everyone will notice a wristwatch, sunglasses, or tennis shoes. We have a responsibility to the public not to misrepresent the past; otherwise we are not preserving history but instead creating our own fiction and calling it the truth. Realistically, the appearance of the interpreter, our information base, our techniques, and our environment all affect the first-person experience. Historically accurate costuming perfection is laudable and reinforces academic credence. The minute details can be a springboard to important educational concepts; but the outfit is not the linchpin on which successful interpretation hangs. -
A Plantation Family Wardrobe, 1825 - 1835
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2010 A Plantation Family Wardrobe, 1825 - 1835 Jennifer Lappas Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Theatre and Performance Studies Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/2299 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. 1 The Carter Family Shirley Plantation claims the rightful spot as Virginia’s first plantation and the oldest family-run business in North America. It began as a royal land grant given to Sir Thomas West and his wife Lady Cessalye Shirley in 1613 and developed into the existing estate one can currently visit by 1725. The present day estate consists of the mansion itself and ten additional buildings set along a Queen Anne forecourt. These buildings include a Root Cellar, Pump House, two-story Plantation Kitchen, two story Laundry, Smokehouse, Storehouse with an Ice House below, a second Storehouse for grain, Brick Stable, Log Barn and Pigeon House or Dovecote. At one time the Great House was augmented by a North and a South Flanker: they were two free standing wings, 60 feet long and 24 feet wide and provided accommodations for visitors and guests. The North Flanker burned and its barrel-vaulted basement was converted into a root cellar and the South Flanker was torn down in 1868. -
The Characters of a Christmas Carol Page 10: Pre and Post Show Questions & Discussion Starters Page 11: Resources Language Arts Core Curriculum Standards CCRR3
Theatre for Youth and Families A Christmas Carol Based on the story by Charles Dickens Adapted by David Bell Directed by Rosemary Newcott Study Guide, grades K-5 Created by the Counterpane Montessori Middle and High School Dramaturgy Team of Martha Spring and Katy Farr As part of the Alliance Theatre Institute for Educators and Teaching Artists’ Dramaturgy by Students program Under the guidance of Resident Teaching Artist Kim Baran Now in its 25th season, a magical holiday tradition for the whole family. On the Alliance Theatre stage November 21 through December 24, 2014 A Christmas Carol Study Guide 1 Happy Holidays from the Alliance Theatre! Welcome to the Alliance Theatre’s production of A Christmas Carol, written by Charles Dickens and adapted for stage by David H. Bell. This Study Guide has been created with the student audience in mind with the intent of providing a starting point as the audience prepares and then reflects together upon the Alliance Theatre for Youth and Families’ series production of A Christmas Carol. A note from the director, Rosemary Newcott, the Sally G. Tomlinson Artistic Director of Theatre for Youth and Families: “I think of this show as a gift to Atlanta . I always hope it reflects the look and spirit of our community. The message is one that never grows old – that one is still capable of change — no matter what your age or what you have experienced!” Table of Contents Page 3: Charles Dickens Page 4-5: Vocabulary **(see note below) Page 6: Cast of Characters; Synopsis of the story Page 7: Money of Victorian England Page 8: Design your Own Christmas Carol Ghost Costume! Page 9: Word Search: The Characters of A Christmas Carol Page 10: Pre and Post show questions & discussion starters Page 11: Resources Language Arts Core Curriculum Standards CCRR3. -
The Heart of London: Charles Dickens and Social Reform
The Heart of London Charles Dickens and Social Reform HEART OF LONDON, THERE IS A MORAL IN THY EVERY STROKE! as I look on at thy indomitable working, which neither death, nor press of life, nor grief, nor gladness out of doors will influence one jot, I seem to hear a voice within thee which sinks into my heart, bidding me, as I elbow my way among the crowd, have some thought for the meanest wretch that passes, and, being a man, to turn away with scorn and pride from none that bear the human shape. Master Humphrey's Clock (1840) THE LIFE of Charles Dickens (1812-1870) spanned much of the century transformed by the Industrial Revolution, and he witnessed the results, both positive and negative, that impacted England and especially his beloved London. Thousands of people who migrated from rural areas to the capital found a city almost entirely without social infrastructure and lacking the central organization needed to manage such urban necessities as police, fire control, water and sewage, and roads and bridges. The traditional parish oversight was quickly overwhelmed, and it would be the end of the century before many of these problems were properly addressed. The atmosphere, however, was one of progress and the possibilities of reform. Education and therefore literacy were seen as the means to improve the lives of the masses, and the mechanization of printing provided the means to distribute an increasing amount of reading material. The periodical press boomed, generating dailies, weeklies and monthlies that distributed fiction and non-fiction to a voracious reading public. -
WILLIAM HONE and the READING PUBLIC, 1825-26 Lucy Hodgetts
8 WILLIAM HONE AND THE READING PUBLIC, 1825-26 Lucy Hodgetts (University of York) Abstract This article will offer a detailed understanding of the cultural, literary and political space occupied by William Hone’s popular anthology The Every-Day Book (1825-26) within the literary marketplace of the early nineteenth-century. I will be focusing on aspects of The Every-Day Book which contribute to Hone’s notion of “the people” as a political and commercial entity, beginning by outlining the diverse literary attitudes towards the growth of the reading public at this time. The article will go on to explain Hone’s attempts to combat this tension with his own egalitarian definition of the common readership and its new commercial and political character. I will detail the journalistic methods of compilation and circulation which Hone exploited in order to anchor his anthology within the tradition of print publication. The article also aims to open up a new critical discourse on literary consumption by considering pre-Victorian figures such as Hone alongside later chroniclers of popular culture, whilst also giving credence to the anthology in its own right. Comparing accounts of Greenwich Fair by Hone and Dickens will illuminate a topography of influence across the period. I also address the dearth of material on Hone’s antiquarian endeavours. Critical interest in radical literary culture has surged in recent years, but there is little attempt to address the broader implications of the radical underpinnings of Hone’s later work. This article aims to elevate The Every-Day Book beyond its current status as a footnote in literary history. -
A Dictionary of Men's Wear Works by Mr Baker
LIBRARY v A Dictionary of Men's Wear Works by Mr Baker A Dictionary of Men's Wear (This present book) Cloth $2.50, Half Morocco $3.50 A Dictionary of Engraving A handy manual for those who buy or print pictures and printing plates made by the modern processes. Small, handy volume, uncut, illustrated, decorated boards, 75c A Dictionary of Advertising In preparation A Dictionary of Men's Wear Embracing all the terms (so far as could be gathered) used in the men's wear trades expressiv of raw and =; finisht products and of various stages and items of production; selling terms; trade and popular slang and cant terms; and many other things curious, pertinent and impertinent; with an appendix con- taining sundry useful tables; the uniforms of "ancient and honorable" independent military companies of the U. S.; charts of correct dress, livery, and so forth. By William Henry Baker Author of "A Dictionary of Engraving" "A good dictionary is truly very interesting reading in spite of the man who declared that such an one changed the subject too often." —S William Beck CLEVELAND WILLIAM HENRY BAKER 1908 Copyright 1908 By William Henry Baker Cleveland O LIBRARY of CONGRESS Two Copies NOV 24 I SOB Copyright tntry _ OL^SS^tfU XXc, No. Press of The Britton Printing Co Cleveland tf- ?^ Dedication Conforming to custom this unconventional book is Dedicated to those most likely to be benefitted, i. e., to The 15000 or so Retail Clothiers The 15000 or so Custom Tailors The 1200 or so Clothing Manufacturers The 5000 or so Woolen and Cotton Mills The 22000 -
Annamari Vänskä ‘Vanska Offers New Perspectives on the Common Media Refrains Surrounding Children’S Appearance, Sexuality, and ‘Lost’ Innocence
Trans Annamari Vänskä Annamari ‘Vanska offers new perspectives on the common media refrains surrounding children’s appearance, sexuality, and ‘lost’ innocence. This welcome contribution to the Malkki Eva by lated literature on children, fashion, and advertising provides Annamari Vänskä important historical and theoretical context for a frank analysis of contemporary controversies.’ Translated by Eva Malkki JENNIFER FARLEY GORDON, IOWA STATE UNIVERSITY, USA ‘Little has been written about the impact of fashion imagery and the representation of children’s identities until now. Original, highly informed and well researched, this book is an important contribution to the field of fashion scholarship.’ FASHIONABLE VICKI KARAMINAS, MASSEY UNIVERSITY, WELLINGTON, NEW ZEALAND ‘Reader Alert: This book turns heads. Fashionable Childhood is a compelling and insightful analysis of the significance of fashion and the contested terrain of childhood innocence. Anyone who thought fashion was marginal or trivial will think again. Annamari Vanska makes a valuable and timely contribution to the field, with a strikingly thought-provoking approach to making sense of modern childhood in contemporary times.’ MARY JANE KEHILY, THE OPEN UNIVERSITY, UK ANNAMARI VÄNSKÄ is Professor of Fashion Research at the Aalto University, Finland, and Adjunct Professor of CHILDHOOD Art History and Gender Studies at the University of Helsinki, Finland. She is also a Visiting Professor at Shanghai College of Fashion, Donghua University, China. Translated by EVA MALKKI, professional -
The Strange Gentleman – by Charles Dickens (1836) Foreword the Farce
The Strange Gentleman – by Charles Dickens (1836) Foreword The farce [The Strange Gentleman] I also did as a sort of practical joke, for Harley, whom I have known a long time. It was funny—adapted from one of the published sketches called the “Great Winglebury Duel,” and was published by Chapman and Hall. But I have no copy of it now, nor should I think they have. But both these things were done without the least consideration or regard to reputation. | I wouldn't repeat them for a thousand pounds apiece, and devoutly wish them to be forgotten. ‐ Letters of Charles Dickens (the Pilgrim Edition), 3:598 [13 Nov 1843]. It’s not that bad. Dickensians will probably never forget The Strange Gentleman, and indeed Dickensians will probably never forget any of Dickens’s work. In that respect we are an elephantine lot. Those of us who admire Dickens’s work, admire it a lot, and we are sometimes in the paradoxical position of having to disregard one of the author’s wishes, with regrets, in order to read a little more of the work we admire so much. With this apologia is here presented Dickens’s first-produced play. First a little background on the creation of The Strange Gentleman. As Dickens notes above, the play was based on “The Great Winglebury Duel”, one of the Sketches by Boz. Dickens wrote “Duel” in October 1835, and expected it to go into the Monthly Magazine for December. Instead, it appeared as one of the three previously-unpublished stories included when the Sketches were first collected in book form (First Series, 8 Feb 1836). -
A DICKENS COMPANION Macmillan Literary Companions
A DICKENS COMPANION Macmillan Literary Companions J. R. Hammond AN H. G. WELLS COMPANION AN EDGAR ALLAN POE COMPANION A GEORGE ORWELL COMPANION A ROBERT LOUIS STEVENSON COMPANION John Spencer Hill A COLERIDGE COMPANION Norman Page A DICKENS COMPANION A KIPLING COMPANION F. B. Pinion A HARDY COMPANION A BRONTE COMPANION A JANE AUSTEN COMPANION A D. H. LAWRENCE COMPANION A WORDSWORTH COMPANION A GEORGE ELIOT COMPANION A DICKENS COMPANION NORMAN PAGE ~ MACMILLAN © Norman Page 1984 Softcover reprint of the hardcover 1st edition 1984 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London WIP 9HE. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. First published 1984 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 2XS and London Companies and representatives throughout the world ISBN 978-1-349-06006-1 ISBN 978-1-349-06004-7 (eBook) DOI 10.1007/978-1-349-06004-7 A catalogue record for this book is available from the British Library. 10 98 7 65432 03 02 0 I 00 99 98 97 96 95 To Valerie and Campbell Purton, and the Infant Phenomena Dinah and Tom Contents List of Plates IX Preface XI Abbreviations XV A Dickens Chronology The Dickens Circle 19 DICKENS' WRITINGS 53 Sketches by Boz:. -
Dickens Brochure
Message from John ne of the many benefits that came to us as students at the University of Oklahoma and Mary Nichols during the 1930s was a lasting appreciation for the library. It was a wonderful place, not as large then as now, but the library was still the most impressive building on campus. Its rich wood paneling, cathedral-like reading room, its stillness, and what seemed like acres of books left an impression on even the most impervious undergraduates. Little did we suspect that one day we would come to appreciate this great OOklahoma resource even more. Even as students we sensed that the University Library was a focal point on campus. We quickly learned that the study and research that went on inside was important and critical to the success of both faculty and students. After graduation, reading and enjoyment of books, especially great literature, continued to be important to us and became one of our lifelong pastimes. We have benefited greatly from our past association with the University of Oklahoma Libraries and it is now our sincere hope that we might share our enjoyment of books with others. It gives us great pleasure to make this collection of Charles Dickens’ works available at the University of Oklahoma Libraries. “Even as As alumni of this great university, we also take pride in the knowledge that the library remains at the students center of campus activity. It is gratifying to know that in this electronic age, university faculty and students still we sensed that find the library a useful place for study and recreation. -
Genesis and Revision of Sketches by Boz
GENESIS AND REVISION OF SKETCHES BY BOZ NOBUYUKI MURATA There is little original in this paper. It is merely an effort to present in coordinated form for easy reference a collage of the essays of some distinguished sch- (I) olars who have dealt with the surroundings of Sketches by Boz. It is in reality im. possible for students outside Dickens's mother-country England to examine and quote the original texts in several periodicals of his pieces or to give their own essays credit for originality and authenticity. They are obliged to make accurate use of the criticism of others, with more or less regret. This paper deals with the genesis and publication of the Sketches in various periodicals, their revision and collection for the two-volume edition of 1836 (Feb. and Dec.), their further revision for the monthly part issues in 1837-39, eventually collected in the one·volume edition of 1839, and the final revision in 1850 for the Cheap Edition. They are followed by typical exam ples of revision in some aspects, and by a study of Dickens's intention and meaning in all his revision. It is clear at a glance that he is endowed with a talent for journalism. As his many biographies show us, he would have succeeded as journalist (an editor or a newspaper reporter) to the extent of general recognition. He was, of course, unable to satisfy himself with such trifling jobs as these. His ambition was on a larger scale and was boundless. As a matter of fact, however, Dickens got deeply involved in the journalistic world of magazines from his very start as an author. -
"A Melancholy Clown" -- the Relationship of Robert Seymour and Charles Dickens
"A melancholy clown" -- The relationship of Robert Seymour and Charles Dickens The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Cohen, Jane R. 1971. "A melancholy clown" -- The relationship of Robert Seymour and Charles Dickens. Harvard Library Bulletin XIX (3), July 1971: 250-279. Citable link https://nrs.harvard.edu/URN-3:HUL.INSTREPOS:37364245 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA "A Melancholy Clown"- The Relationship of ltobert Seymour and Charles Dickens* Jane R. Coben ICKEN s' first illustrator ir nme asurab1 y aidc d his literary as- cent; his second inadvertently skyrocketed him to fan1e.. If the young ,vriter found ,vorking \Yith established vet- erans a mixed hlessing~the consequences for the arrisrs \vcre tragic~ Cruiksha.nk~s extended re]2tJonsl1ip,virh Dickens contributed to his 1nental dernnge111ent;Robert Scyn1our's hrie.f jnvolve,nent ,vith the author fatally· unbah1nced a long-disturbed 1nind. Seyn1011r,,vho ,vas kno,vn in the early 183o's for his hu1norous sporting .sl~etches., is ren1em here d no, v 1112i 111} 7 ns th c first of Pickwick"s t hrcc illustrators; his heirs., like Cruikshank, clai1ncd the artist originated u "~ork of Dickens. Un]i ke Crniksh~nk, Scyn1our recci vc d n1orc attention f ro1n Dickens after his deatl1 than during· l1is nbbrevjatcd Jifetin1e, but less frorn posterity· -asan original genius in his o,vn right.