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This book explains how and why the landscape changed between the times of the early Spanish settlers and the impact of industrialization. The builders who created and maintained the American landscape until 1845 learned mostly from one another.
Emanating from the cabarets of modernist Paris, a short-lived vogue spread around the world for avant-garde journals known in English as "ephemeral bibelots." For a time, it seemed that all the young bohemians passing through Paris started their own bibelots modeled on Le Chat Noir, the esoteric magazine of the famed Montmartre cabaret. These journals were recognizable for their decadence, campy queerness, astounding art nouveau illustrations, fin-de-siècle color schemes, innovative typefaces, and practiced bohemianism. In Ephemeral Bibelots, Brad Evans relays the untold story of this late-nineteenth-century craze for bibelots, dusting off a trove of periodicals largely untouched by digitization. In excavating this forgotten archive, Evans calls into question the prehistory of modernist little magazines as well as the history of American art and literature at the turn of the twentieth century. Considering how artistic movements take shape, move, and disappear, the book is organized around three major themes—"vogue," "ephemera," and "obscurity"—with authors and artists to match. A full-color insert reveals a glorious array of bibelot covers. This revisionary history of print culture incorporates discussions of pragmatist philosophy and relational aesthetics; women writers like Juliet Wilbor Tompkins and Carolyn Wells; the graphic artists Will Bradley, Louis Rhead, and John Sloan; the dancer Loie Fuller; and twentieth-century figures like H. L. Mencken, Amy Lowell, and Anita Loos. Bringing nineteenth-century American literature and culture into conversation with modern art movements from around the world, Ephemeral Bibelots provides new ways of thinking about the centrality of various media cultures to the attribution of aesthetic innovation and its staying power.
Proposing a new, dynamic conception of citizenship, this book argues against understandings of citizenship as a collection of rights that can be either possessed or endowed, and demonstrates it is an emergent condition that has temporal and spatial dimensions. Furthermore, citizenship is shown to be continually and contingently reconstituted through the struggles between those considered insiders and outsiders. Significantly, these struggles do not result in a clear division between citizens and non-citizens, but in a multiplicity of states that are at once included within and excluded from the political community. These liminal states of citizenship are elaborated in relation to three specific forms of non-citizenship: the ’respectable illegal, the ’intimate foreigner’ and the ’abject citizen’. Each of these modalities of citizenship corresponds to either the figure of the clandestino/a or the nomad as invoked in the 2008 Italian Security Package and a second set of laws, commonly referred to as the ’Nomad Emergency Decree’. Exploring how this legislation affected and was negotiated by individuals and groups who were constituted as ’objects of security’, author Kate Hepworth focuses on the first-hand experience of individuals deemed threats to the nation. Situated within the field of human geography, the book draws on literature from citizenship studies, critical security studies and migration studies to show how processes of securitisation and irregularisation work to delimit between citizens and non-citizens, as well as between legitimate and illegitimate outsiders.
Emerging in Italy in the mid-sixteenth century, pastoral drama is one of the most characteristic genres of its time. Sampson traces its uneven development into the following century by exploring masterpieces by Tasso and Guarini, and many lesser known works, some by women writers. She examines the treatment of key themes of love, Nature and Art, and the Golden Age against the background of the textual and stage production of the plays. An investigation of critical writings associated with the genre further reveals its significance to the contemporary literary scene. Sampson argues that pastoral drama stimulated not only 'modernizing' attitudes towards the canon but also new enquiries into the function and possibilities of art.
In mid-seventeenth-century Venice, opera first emerged from courts and private drawing rooms to become a form of public entertainment. Early commercial operas were elaborate spectacles, featuring ornate costumes and set design along with dancing and music. As ambitious works of theater, these productions required not only significant financial backing, but also strong managers to oversee several months of rehearsals and performances. These impresarios were responsible for every facet of production from contracting the cast to balancing the books at season's end. The systems they created still survive, in part, today. Inventing the Business of Opera explores public opera in its infancy, from 1637 to 1677, when theater owners and impresarios established Venice as the operatic capital of Europe. Drawing on extensive new documentation, the book studies all of the components necessary to opera production, from the financial backing and the issue of patronage to the commissioning and creation of the libretto and the score; the recruitment and employment of singers, dancers, and instrumentalists; the production of the scenery and the costumes; and the nature of the audience. The authors examine the challenges faced by four separate Venetian theaters during the seventeenth century, and focus particularly on the progress of Marco Faustini, the impresario most well known today. Faustini made his way from one of Venice's smallest theaters to one of the largest, and his advancement provides a personal view of an impresario and his partners, who ranged from Venetian nobles to artisans. Throughout the book, Venice emerges as a city that prized novelty over economy, with new repertory, scenery, costumes, and expensive singers the rule rather than the exception. Through close examination of an extraordinary cache of documents--including personal papers, account books, and correspondence--Beth and Jonathan Glixon provide a comprehensive view of opera production in mid seventeenth- century Venice. For the first time in a study of Venetian opera, an emphasis is placed on the physical production-- the scenery, costumes, and stage machinery--that tied these opera productions to the social and economic life of the city. This original and meticulously researched study will be of strong interest to all students of opera and its history.

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