Retrospections of America, 1797-1811


Book Description

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.







Retrospections of America, 1797-1811 (Classic Reprint)


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Excerpt from Retrospections of America, 1797-1811 On his retirement from the stage and return to England, Bernard began the preparation of his biography; and about a year before his death he completed the work, but, as his son tells us, in too voluminous a state for publication. His son was the late W. Bayle Bernard, who was born in Boston, Mass, in 1808, and died in Lon don, England, in 1875. He began life as an actor, but soon turned critic and dramatist, and was the author of the Nervous Man, the Dumb Belle, and His Lost Legs. For Hackett he wrote the earliest drama of Rip Van Winkle, and for Yankee Hill, Silsbee, and other American character actors, he wrote many other plays which entitle him to be considered one of the inventors of the Stage Yankee. After John Bernard's death, in 1828, Bayle Bernard selected and condensed from his father's autobiography the interesting Retrospections of the Stage, by the Late John Bernard, Manager of the American Theatres, and formerly Secretary of the Beefsteak Club. 2 vols. Lon don, Henry Colburn and Richard Bentley, This work met with great and instant success, and is still high ly prized by all collectors of theatrical literature on both sides of the Atlantic. It was republished by Carter 85 Hendee, in Boston, in 1832, but both editions have been long out of print. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.







From Fair Sex to Feminism


Book Description

First published in 1987 with the aim of deepening understanding of the place of women in the cultural heritage of modern society, this collection of essays brings together the previously discrete perspectives of women's studies and the social history of sport. Using feminist ideas to explore the role of sport in women's lives, From Fair Sex to Feminism is a central text in the study of sport, gender and the body.







The Triumph of Vulgarity


Book Description

The Triumph of Vulgarity in a thinker's guide to rock 'n' roll. Rock music mirrors the tradition of nineteenth-century Romaniticsm, Robert Patison says. Whitman's "barbaric yawp" can still be heard in the punk rock of the Ramones, and the spirit that inspired Poe's Eureka lives on in the lyrics of Talking Heads. Rock is vulgar, Pattison notes, and vulgarity is something that high culture has long despised but rarely bothered to define. This book is the first effort since John Ruskin and Aldous Huxley to describe in depth what vulgarity is, and how, with the help of ideas inherent in Romaniticism, it has slipped the constraints imposed on it by refined culture and established its own loud arts. The book disassembles the various myths of rock: its roots in black and folk music; the primacy it accords to feeling and self; the sexual omnipotence of rock stars; the satanic predilictions of rock fans; and rock's high-voltage image of the modern Prometheus wielding an electric guitar. Pattison treats these myths as vulgar counterparts of their originals in refined Romantic art and offers a description and justification of rock's central place in the social and aesthetic structure of modern culture. At a time when rock lyrics have provoked parental outrage and senatorial hearings, The Triumph of Vulgarity is required reading for anyone interested in where rock comes from and how it works.