Contributors. Jack Birner, Marcel Boumans, A. W. Coats, Avi J. Cohen, I. Bernard Cohen, Neil de Marchi, Steve Fuller, Clifford G. Gaddy, Wade Hands, Albert Jolink, Arjo Klamer, Robert Leonard, Philip Mirowski, Theodore M. Porter, Margaret Schabas, E. Roy Weintraub
In Reflecting a Prairie Town Drake Hokanson takes a prolonged look at a common place in an uncommon fashion. He presents Peterson, Iowa, through a singular combination of words and images, a remarkable synthesis of history, geography, direct observation, climatology, botany, oral history, archaeology, agricultural science, literature, geology, photography, and even a bit of astronomy. This vernacular landscape study is lavishly illustrated with photographs taken by the author, including stunning panoramic views.
The fundamental truth of experience on this continent has always lain in the challenges and opportunities of space. Place mattered because we were so few before the immensity of the land. But place at the same time rooted us in that immensity. Even now our appreciation for place is not quite dead; locked in our urban environments we continue to crave a “view,” be it of mountains, forests, or prairies. These “views” crop up unexpectedly as photographic murals in office buildings or posters in dentists' offices. It is to this stifled sense of the importance of place that Hokanson speaks; he invites us to remember and to be revitalized.
The magic of Reflecting a Prairie Town is the revelation that Peterson, Iowa, is a small town that is also uncannily large. In capturing the essence of this one place Hokanson helps us to understand our own worlds better—he asks the simple questions many of us would like to ask were we given the opportunity. To enter this book is to come back to a place we have never really seen before.
This innovative work begins to fill a large gap in theatre studies: the lack of any comprehensive study of nineteenth-century British theatre audiences. In an attempt to bring some order to the enormous amount of available primary material, Jim Davis and Victor Emeljanow focus on London from 1840, immediately prior to the deregulation of that city's theatres, to 1880, when the Metropolitan Board of Works assumed responsibility for their licensing. In a further attempt to manage their material, they concentrate chapter by chapter on seven representative theatres from four areas: the Surrey Theatre and the Royal Victoria to the south, the Whitechapel Pavilion and the Britannia Theatre to the east, Sadler's Wells and the Queen's (later the Prince of Wales's) to the north, and Drury Lane to the west.
Davis and Emeljanow thoroughly examine the composition of these theatres' audiences, their behavior, and their attendance patterns by looking at topography, social demography, police reports, playbills, autobiographies and diaries, newspaper accounts, economic and social factors as seen in census returns, maps and transportation data, and the managerial policies of each theatre.
Reflecting the Past is the first English-language study to address the role of historiography in medieval Japan, an age at the time widely believed to be one of irreversible decline. Drawing on a decade of research, including work with medieval manuscripts, it analyzes a set of texts—eight Mirrors—that recount the past in an effort to order the world around them. They confront rebellions, civil war, “China,” attempted invasions, and even the fracturing of the court into two lines. To interrogate the significance for medieval writers of narrating such pasts as a Mirror, Erin Brightwell traces a series of innovations across these and related texts that emerge in the face of disorder. In so doing, she uncovers how a dynamic web of evolving concepts of time, place, language use, and cosmological forces was deployed to order the past in an age of unprecedented social movement and upheaval.
Despite the Mirrors’ common concerns and commitments, traditional linguistic and disciplinary boundaries have downplayed or obscured their significance for medieval thinkers. Through their treatment here as a multilingual, multi-structured genre, the Mirrors are revealed, however, as the dominant mode for reading and writing the past over almost three centuries of Japanese history.
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