A Guide to Speleological Literature of the English Language


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"This is a family story of America's most famous cave explorer who was trapped and died in Sand Cave in 1925. That story has been told many times, but never before has the complete life of Floyd Collins been presented. Floyd's younger brother Homer tells how Floyd was fascinated with caves from his childhood, of his discovery of the famous Crystal Cave on the home property, and of the rescue attempts from the viewpoint of a brother so devoted that his extraordinary efforts to save Floyd were rewarded by his being removed from the premises while others inexperienced in working in caves carried on the unsuccessful attempt. It is a warm story of a man whose love in life was exploring caves, a man who endured his grim death with dignity and pride in his vocation."--Page 4 of cover




The Michiganensian


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Hollywood Highbrow


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Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.




House Smart


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Silent Witness


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From the critically acclaimed New York Times bestselling author Richard North Patterson comes Silent Witness, an "intense courtroom drama... as startling as the bang of a gavel.” (People). After the murder of his high school sweetheart left him shattered, Tony Lord vowed never to return to his Ohio hometown of Lake City. Twenty-eight years later, Tony is a successful California criminal lawyer with a beautiful celebrity wife. He's living the good life...until long-buried memories come crashing down when he hears from an old friend, who needs his help. Sam Robb is a track coach at Lake City High. He swears he is not responsible for the death of one of his female team members...even though forensic evidence reveals that he's the father of her unborn child. Back when they were teenagers, Sam stood by Tony when he was a suspect in his young girlfriend's murder—and Tony desperately wants to do the same for him today. In doing so, Tony will have to revisit his troubled past and probe the darkest secrets of small-town life to get to the truth. And what he will find is more shocking than he ever could have imagined....










Stages of Power


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It is October 1592. Christopher Marlowe, the most accomplished playwright in London, has written The Massacre at Paris for his company, the Lord Admiral's Men. Bubonic plague has hit outlying parishes, forcing theaters to close and postponing the season. Ordinarily, the Rose Theatre would debut Marlowe's work, but its subject—the St. Bartholomew Day's Massacre—is unpleasant and might inflame hostilities against Catholics and their sympathizers, such as merchants on whom trade depends. A new company, the Lord Strange's Men, boasts a young writer, William Shakespeare, who is said to have several barnburners in the queue. A competition is called to decide which company will reopen the theaters. Who will most effectively represent the nation's ideals and energies, its humor and grandeur? One troupe will gain supremacy, primarily for literary but also for cultural, religious, and political reasons. Free supplementary materials for this textbook are available at the Reacting to the Past website. Visit https://reacting.barnard.edu/instructor-resources, click on the RTTP Game Library link, and create a free account to download what is available.




Homemaking


Book Description

Twenty-nine collected essays represent a critical history of Shakespeare's play as text and as theater, beginning with Samuel Johnson in 1765, and ending with a review of the Royal Shakespeare Company production in 1991. The criticism centers on three aspects of the play: the love/friendship debate.




Narrating the Past


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The relationship between fiction and historiography in Francoist Spain (1939–1975) is a contentious one. The intricacies of this relationship, in which fiction works to subvert the regime’s authority to write the past, are the focus of David K. Herzberger’s book. The narrative and rhetorical strategies of historical discourse figure in both the fiction and historiography of postwar Spain. Herzberger analyzes these strategies, identifying the structures and vocabularies they use to frame the past and endow it with particular meanings. He shows how Francoist historians sought to affirm the historical necessity of Franco by linking the regime to a heroic and Christian past, while several types of postwar fiction—such as social realism, the novel of memory, and postmodern novels—created a voice of opposition to this practice. Focusing on the concept of writing history that these opposing strategies convey, Herzberger discloses the layering of truth and meaning that lies at the heart of postwar Spanish narrative from the early 1940s to the fall of Franco. His study clearly reveals how the novel in postwar Spain became a crucial form of dissent from the past as it was conceived and used by the State. Making a decisive intervention in the debate about the ways in which narration determines both the meaning and truth of history and fiction, Narrating the Past will be of special interest to students and scholars of the politics, history, and literature of twentieth-century Spain.