Dramatic Scenes Research Articles

AATS 2012: “To model excellence”

In Dr Schaff’s exceedingly generous introduction, you have learned more than you need to know about this 60-year-old smiling public man. These introductions often evoke 2 reactions: of predestination and inevitability, looking back, or uncertainty, even impossibility, when trying to imagine looking forward from the past. I score myself highly on the impossibilities. Not that many years ago, I stood in the back of this meeting and very sincerely doubted that I would ever be a member, let alone your President, and for this miracle I am humbly grateful to you all—and, like everyone who has stood here before, I owe much of my good fortune to many, many others, who I cannot begin to enumerate. A select few include my administrative staff (Figure 1), our physician’s assistants (Figure 2), the cardiac anesthesia team (Figure 3), and the perfusion team (Figure 4). Seymour Schwartz is an amazing, multitalented man who convinced me to train at Columbia Presbyterian—once he accepted that I could not be dissuaded from what he called ‘‘that cardiac junk’’ (Figure 5). At Columbia, I had the good fortune to be trained by many outstanding surgeons—Henry Spotnitz, Tom King, and Fred Jaretzki and, in very special ways, by Eric Rose and Fred Bowman (Figure 6). I also had the privilege of training under 2 previous American Association for Thoracic Surgery (AATS) presidents, Jim Malm and Keith Reemtsma (Figure 7). Dr Malm was my host at my first AATS meeting, and I am honored that he and Connie are here today. Standing out, even among these standouts, are the 4 people who make it all work every day, and I am flattered that Angie, Suzanne, Dana, and Larry are also here today (Figure 8). Last, but not least, I thank the outstanding group of

Review: Open House Dublin

Open House Dublin . Irish Architecture Foundation. 7–9 October 2011 Henrietta Street, 8 October 2011. We are in theatrical surroundings: a short, sloped cul-de-sac in an unloved part of Dublin’s northern inner city, lined with thirteen enormous, stark Georgian houses of which a few have been restored, while the others are intact but tottering. There is a crowd of people, nervous and excited as befits the drama of the place, and jostling to be among the first to have access to number 10. Probably built in the late 1720s, this was the townhouse of Luke Gardiner, the developer who created some of the most important urban set pieces of Dublin, including this one, the city’s grandest residential street from the early eighteenth century (Figure 1). Groups of ten at a time are admitted for tours all afternoon, and are lucky to be guided by an architect who knows the much-remodeled house intimately and is from the firm that recently carried out conservation and restoration work on it. Now a Catholic convent, on any other day of the year 10 Henrietta Street is only accessible to its resident nuns and their guests. But this is Open House weekend, when buildings all over the city and suburbs of Dublin can be visited by anyone interested in architecture, and, in many cases, willing to wait in line. This year’s program involves 130 events including building visits, walking tours, exhibitions and symposia. Figure 1 10 Henrietta Street, 1720s, Dublin (Irish Architecture Foundation) The first Open House was held in London almost twenty years ago, and the idea has spread around the world. While the Open House Worldwide network has twelve official members including Open House Tel Aviv, openhousenewyork and Open House Melbourne; related events include “Doors Open” weekends in many American cities. Dublin’s Open House is distinctive in being directed by an organization with a specific …

Why Can’t Mental Health Services be More Like Modern Baseball?

I am not much of a sports fan but I enjoyed the 2011 movie Moneyball, starring Brad Pitt. The movie is a true story based a book by Michael Lewis, published in 2003, Moneyball: The Art of Winning an Unfair Game (Lewis, 2003). It is about the Oakland Athletics baseball team and its general manager Billy Beane. For those of you who have not seen the movie or read the book I will quote from Wikipedia. ‘‘Its focus is the team’s analytical, evidencebased, sabermetric approach to assembling a competitive baseball team, despite Oakland’s disadvantaged revenue situation... The central premise of Moneyball is that the collected wisdom of baseball insiders (including players, managers, coaches, scouts, and the front office) over the past century is subjective and often flawed. Statistics ... typically used to gauge players, are relics of a 19th century view of the game ... Rigorous statistical analysis had demonstrated that on-base percentage and slugging percentage are better indicators ...These observations often flew in the face of conventional baseball wisdom and the beliefs of many baseball scouts and executives... Moneyball has made such an impact in professional baseball that the term itself has entered the lexicon of baseball... the impact of Moneyball upon major league front offices is undeniable...’’ (Moneyball (film), 2011). The most dramatic scene in the movie for me is when Beane confronts a room filled with the veteran scouts who were making recommendations about which players to recruit. Bean told the scouts they were using the wrong criteria for the last century to select players. ‘‘The team’s scouts are first dismissive of and then hostile... Despite vehement objections from the scouts, Beane ...hires the players he selected. Ultimately, the Athletics win an unprecedented 20 consecutive games, setting the American League record (Moneyball, 2011)’’. Moreover, this was a sustained effect. The A’s made the playoffs five times over a period of 7 years while having one of the lowest payrolls in a league typically dominated by teams with the highest payrolls. Of course professional baseball is not the only sport that has extensive statistics, ask almost any 12-year-old child to cite statistics about his or her favorite sport. Clearly, the statistics are derived from abundant data. What widespread measures do we have in mental health? Probably the most frequent measure is location i.e., inpatient, outpatient, residential etc. Some believe that location tells us something about the type of treatment a client may have received. I believe it tells us about location, period. The price of the service is also frequently recorded, not to be confused with cost. Typically, there may be a date of service recorded. So we have a location, a date and a price. I would hazard a guess that you would not buy a used car with that amount of information, yet that is how we most often describe and sell mental health services. Clearly, there is not much to learn from these measures. We can produce some statistics but they are vastly impoverished compared to what we know about the sport of baseball. Another interesting difference between professional baseball and mental health services is how we pay the practitioners. Economists have studied factors that influence professional sports salaries and concluded that a large percentage is based on the individual performance of the player. Moreover, the relationship between pay and experience is curvilinear with pay being highest in the ‘‘midlife’’ and lower at the start and end of a career (Hakes & Turner, 2011). In contrast the little data I could find on pay for clinicians comes from the American Psychology L. Bickman (&) Vanderbilt University, Nashville, TN, USA e-mail: leonard.bickman@vanderbilt.edu

The Spouters' Revenge: Apprentice Actors and the Imitation of London's Theatrical Celebrities

Spouters were tradesmen and apprentices who met in public houses to act favorite dramatic speeches and scenes in imitation of famous London actors. Not only did spouters' imitations foster theatric celebrity, but charting the speeches in their manuals, or "spouting companions," locates the moments of striking expression, wit, gesture, and sympathy which late eighteenth-century British audiences most valued. This paper uncovers fresh information about spouters' practices, tastes, and engagement with professional actors and acting techniques. It situates spouting as contemporaneous to the growth of illegitimate theatre and genteel country-house dramatics, and as revelatory of techniques for representing theatrical sentiment.

Khon Performance through Khon Scripts in the Rattanakosin Period

The three objectives of the research on Khon performance through Khon scripts in the Rattanakosin Period were to 1) study the development of Khon scripts, 2) search for the formats of Khon performance -and 3) explain the functions of stage direction and each unit of dramatic works constructed in Khon scripts. The study results could be concluded as follows: In the aspect of Khon construction in Rattanakosin period, it was found that Khon scripts could be divided into four eras, according to the novelties of construction. In the aspect of Khon performance and performance characteristics of Khon, it was found that the formats could be generally divided into two dramatic scenes, “Lanka City” and “The Pavilion”. In the aspect of functions of dramatic scenes, it was found that there were two groups: 1) functioning through narrators and 2) functioning through Khon characters.

Light on the Devils: Coming of Age on the Klamath by Louise Wagenknecht

 Reviews Richard Louv writes in the introduction, “A growing body of scientific evidence strongly suggests that all of us are starved for nature time” and that spending time outdoors is a central part of healthy living (as proof of that, look no further than North Portland’s new Randall Children’s Hospital on the Emanuel campus, which provides outdoors spaces and plants and trees for patients precisely for their therapeutic benefits).The new edition also contains several walks and essays focused on green infrastructure,which has become a much moreprominentpartof thecity’sbuiltenvironment .A stroll down North Mississippi Avenue can be a lesson in stormwater management, nicely leavened by the thriving food-drinkand -shopping scene. It should be noted that the new edition of the book was supported financially by seemingly every government agency in town with an interest in this subject,from Portland’s Bureau of Environmental Services to the U.S. Fish & Wildlife Service. Many critics of the region’s governmental establishment will no doubt look with suspicion at the values trumpeted in this book. But for readers who simply want a fuller appreciation of what they are seeing as they amble along the Willamette or march determinedly to the top of Mt. Tabor, Wild in the City will be a valuable guide for years to come — until the third edition, no doubt. Jeff Mapes Portland, Oregon Light on the Devils: Coming of Age on the Klamath by Louise Wagenknecht Oregon State University Press, Corvallis, 2011. Illustrations, bibliography. 232 pages. $19.95 paper. Light on the Devils is a memoir set in the remote timber town of Happy Camp, California, in the early 1960s. The book will appeal to readers interested in the history of the Northwest timber industry and particularly in the role of the U.S.Forest Service.The author’s stepfather was a Forest Service forester who vigorously practiced the ethic of scientific “sustained yield”forestry, and who spent his career liquidating the last big tracts of old-growth Douglas fir forest in the Pacific Northwest (pp. 180–81). As Wagenknecht recounts, even her stepfather had his doubts about sustained-yield forestry in the end (pp. 210–11). Her tale is animated by the tension between her early,naïve belief in the rightness and goodness of her way of life,which was dependent on the timber industry,and the dawning realization that she and her close-knit community inhabited a vanishing reality. She begins the book with an essay called “Where it Ended,” an account of the suicide of a man she knew in high school, an outof -work millhand whose wife had left him. This dramatic scene sets up what I took to be the book’s premise: that the implosion of the timber economy was responsible for the man’s death. So I was expecting some sort of hardhitting exposé. To my relief, what emerged instead was a tender, funny autobiography of a bookish, unconsciously charming tomboy, a family-challenged eldest girl perfectly at home in the woods and less at ease in the befuddling thickets of domestic tension and the high school caste system. The first chapter, then, strikes a major false note. It is a cliché — private-tragedy-asmetaphor -for-social-decline is an overworked trope,especiallyinthiscontext.Moreimportant, Wagenknecht does not need it.Her own private perplexities, observations, and awakenings distill the larger story she is trying to tell. There are other rough spots, mostly occurring when Wagenknecht turns from her own experience and begins to explain things. She tells, for example, of a glorious solitary ramble through woods near her house. “My parents didn’t know exactly where I was,”she confides. “I hugged my knees, delighted.”She sits on the ground, “picking deerbrush twigs out of my  OHQ vol. 113, no. 4 hair.”Then she writes:“Deerbrush (Ceanothus integerrimus) is a fast-growing,nitrogen-fixing deciduous shrub that can reach over six feet in height” (p. 57). The shift of voice is jarring. I pictured the adult author sitting at her computer , reaching for her field guide to check the spelling of the binomial. Fortunately, Wagenknecht does not abandon her storytelling voice for long.She lyrically depicts the astonishing...

Sounding the Charge for Change

[Formula: see text] How Leaders Communicate can Inspire or Defeat the Troops.

Maulbertsch öröksége és a szombathelyi székesegyház mennyezetképei 1. Winterhalder mint Maulbertsch legjobb tanítványa – a szentély Angyali Üdvözlet-kompozíciója

The author devotes a series of articles to the iconographic and pictorial specificities of the perished ceiling frescoes of Szombathely cathedral. The frescoes were painted on the basis of Franz Anton Maulbertsch's sketches after his unexpected death by Joseph Winterhalder jr. and after the latter's death, by Anton Spreng between 1798 and 1808. Each of the three great frescoes has a different relationship with Maulbertsch's sketches and his concept of ceiling decoration, and in the course of the execution of the work Winterhalder, “the best pupil of Maulbertsch” also changed his attitude to the ongoing work. The present paper introduces the first piece of the cycle, the Annunciation in the chancel. After Maulbertsch's death Bishop János Szily asked Maulbertsch's father-in-law the engraver Jakob Schmutzer to find a competent fresco painter. He recommended Winterhalder, reporting in enthusiastic terms about the striking resemblance of his style with Maulbertsch's. As the sources reveal, the client did not want to find a Maulbertsch imitator at first and would have respected the artistic originality of the new painter. He was not aware that Winterhalder's successes as a fresco painter were largely due to his ability to reproduce and vary the formal and compositional solutions learnt from his master. After arriving in Szombathely, the painter assured the bishop to continue the original concept of Maulbertsch and not to work after own invention. When Winterhalder began decorating the chancel ceiling, he had a lot of work ahead on the basis of the bozzetto he received. It was exceptionally rare that Maulbertsch elaborated a detailed design corresponding exactly with the final composition. Usually he only determined the foci of the composition and the protagonists, adding the details ad lib on the ceiling, drawing them in free hand with the brush. Having learnt this method working in Maulbertsch's workship, experienced Winterhalder seems to not have been perplexed by the job of filling the huge vault with a rich composition whereas the sketch only contained the chief motifs. Apart from the bozzetto, another source of the Maulbertschian motifs was a work in Moravia, the central ceiling fresco in the nave of the church of Dyje (Mühlfraun). Winterhalder, too, had been involved in the execution of the fresco and – just like in many other places – he probably made ricordi of Maulbertsch's composition and figural groups, which he must have found appropriate to be used in Szombathely as well. The figure of the adoring angel leaning over a cloud or Saint Michael sitting in contrapposto are exact borrowings from Dyje, and the basic concept of the composition also derives from there. The female figures of the Old Testament in the window zone are also based on another Maulbertsch work, the figures of the Carmelite church in Székesfehérvár. Winterhalder also relied on his own imagination. It is to the credit of his inventiveness that he turned a biblical scene of meagre external features into a dramatic scene filling a whole vault. On the basis of the Tridentine representations of the Annunciation, he fully exploited the possibilities of the theological metaphors with a huge host of angels, an array of different symbols to enrich the iconographic arsenal of the scene. The foundation for this was Winterhalder's great theological culture and ability to invent symbols, which are obvious in other works of his as well. Thus, in the first phase of the commisson – the decoration of the ceiling of the chancel – Winterhalder apparently acted as the talented pupil of Maulbertsch in confirmation of his fame. He eminently rehearsed what he had learnt about the elaboration of a sketch and the incorporation of pictorial panels. He dazzled his client – like so many times earlier – by creating a “real” Maulbertsch work. The next phase of the work – the decoration of the central dome – was a more taxing task confronting the painter with a new challenge.

The Ravishing Restoration: Aphra Behn, Violence, and Comedy (review)

Reviewed by: The Ravishing Restoration: Aphra Behn, Violence, and Comedy Misty Krueger Stewart, Anne Marie . The Ravishing Restoration: Aphra Behn, Violence, and Comedy. Selinsgrove: Susquehanna University Press, 2010. 134 pp. As the title of Ann Marie Stewart's The Ravishing Restoration: Aphra Behn, Violence, and Comedy suggests, Stewart examines the presence of sexual violence—rape and attempted rape—in Aphra Behn's comedies. In her introduction, Stewart claims to "deconstruct" Behn's plays in order to isolate how "cultural assumptions" shaped dramatic scenes of violence against women (16). Stewart explains that the purpose of her study is to question "how and why Behn utilizes sexual violence in her plays" and to examine the relationship between such scenes of violence and the genre of comedy of intrigue (21). Ultimately, Stewart concludes that Behn's "creations" are both "unique" and "complex" (21). For the most part, The Ravishing Restoration is concerned with isolating tokens of rape or attempted rape scenes in Restoration drama, complicating genre distinctions, and providing close readings of Behn's and other playwrights' plays. Readers who desire a lengthy discussion of how sexual violence functions in a specific Behn play will be delighted, for Stewart studies nine of Behn's plays that include rape or attempted rape scenes. Further, Stewart includes an overview of other Restoration dramatists' renderings of sexual violence in order to offer a context for studying Behn's plays. After an introduction that sets up Stewart's argument and provides some (albeit not enough) context for critical scholarship on sexual violence against women in the Restoration, Stewart focuses an entire chapter on Restoration dramatists other than Behn. With an argument that spans approximately one hundred pages, Stewart gives [End Page 10] other dramatists a large amount of textual space in The Ravishing Restoration. After quickly introducing comedy of intrigue as a genre in the first chapter, Stewart discusses approximately sixty plays, some comedies and many tragedies. In a book about Aphra Behn's comedies, a reader might wonder why half of the chapter examines tragedies. However, Stewart contends that some of Behn's "comedies" might better be understood as "tragicomedies" because of their blending of "life-threatening attacks" and "serious action" with playfulness and happy endings (25). After reading the first chapter, it is apparent that Stewart's close readings of fourteen plays by playwrights other than Behn serve as a springboard for her discussion of the author's work in the second half of the book. Playwrights studied in the first chapter include John Dryden, John Crowne, Susanna Centlivre, John Vanbrugh, William Congreve, William Wycherley, the Earl of Rochester, Thomas Otway, and Mary Pix. Ultimately, Stewart describes these authors' works in order to show how Behn's examples of rape or attempted rape compare to other playwrights' treatment of sexual violence. The Ravishing Restoration shows that Behn created different kinds of heroines subjected to assault; as an early example in the book, Stewart argues that Behn's characters are "typically virtuous, unmarried, and vulnerable" whereas playwrights such as Crowne's are "loose, worldly women" (26). Stewart also portends that Behn's comedies include more scenes of rape than her contemporaries' work; and Stewart astutely points out that threats of sexual assault in Restoration comedies are part and parcel of the battle of the sexes, in addition to observing the ways in which Behn's rape scenes bear rhetorical similarity to late seventeenth-century she-tragedies and heroic tragedies. Stewart's second chapter, interestingly titled "Seducing Behn: Staging Power and Persuasion," exclusively analyzes nine of Behn's plays and all of her rape or attempted rape scenes. The Ravishing Restoration seldom discusses performance history, but it does consider how Behn's plays reflect cultural values and attitudes about women in late seventeenth-century England. Further, the book's close readings provide a helpful evaluation of Behn's characters and plot development as Stewart demonstrates why plots "suddenly [turn] violent" and the tones of scenes change "from seduction to attempted rape"—oftentimes due to a breakdown in communication between characters (61). Stewart does a fine job of tackling the frequently studied The Rover, and the book particularly shines in its analysis of Behn's tragicomedies such as...

Abstract A27: Using community theater to educate the underserved about cancer screening and prevention

Abstract Background: In an effort to engage the lay community around issues related to colorectal and cervical cancer prevention and screening, we formed the Community Network for Cancer Prevention Forum Theater Project, a three-year funded program bringing together collaborators from several disciplines. The goal of the project is to foster communication and understanding of colorectal and cervical cancer risks and prevention strategies among target populations by discovering and addressing barriers to care. This will be accomplished by using an interactive form of community theater in a campaign that addresses health disparities and inequities. Drawing on a method that creates theater in direct collaboration with the community, we are using Forum Theater as a platform for developing colorectal and cervical cancer screening messages to be communicated at performances. Experimental Procedures: As part of the project, we have trained the first group of Community Health Workers (CHWs) to implement the theater project in Spanish-speaking Hispanic communities. The training took place once a week for seven weeks, with 16 people in attendance. A faculty member from the School of Allied Health conducted the first session, which was an evidence-based cervical and colorectal cancer content session; another faculty member from the School of Allied Health attended most of the sessions not only as an expert on behavioral psychology but as a participant in the Forum Theater training. The remaining six weeks focused in depth on Forum Theater methods and techniques, such as trust exercises, improvisation, building dramatic scenes, rehearsal techniques, maintaining effective dramatic flow, and encouraging audience participation. Throughout the training, participants developed their skills for addressing barriers and myths related to cancer screening and prevention, as well as how to address these issues with community members. Once CHWs are trained, their tasks are to identify and coordinate locations for performances, encourage participation from the communities that they serve, and to facilitate the production of linguistically and culturally appropriate performances. Expected Results and Conclusions: All of the participants completed a pre-post knowledge and attitudes survey of the content session and a self-administered questionnaire at the end of the seven weeks of training. Results of the pre-post tests indicate that the content session was effective in increasing knowledge levels and improving attitudes about the efficacy of screening and prevention for underserved populations. Findings from the questionnaire, which asked about leadership confidence, skill development, self-efficacy, and satisfaction with the program, suggest that the training program provided CHWs with the necessary tools to implement a successful community theater program for cancer prevention and screening. Citation Information: Cancer Epidemiol Biomarkers Prev 2011;20(10 Suppl):A27.

Gail Marshall, The Cambridge Companion to the Fin de SiècleThe Cambridge Companion to the Fin de Siècle. Edited by GailMarshall. Cambridge: Cambridge University Press, 2007. Pp. xvii+266.

<i>Gail Marshall,</i> The Cambridge Companion to the Fin de Siècle<i>The Cambridge Companion to the Fin de Siècle</i>. Edited by GailMarshall. Cambridge: Cambridge University Press, 2007. Pp. xvii+266.

The Trouble with History and Fiction

The Trouble with History and Fiction

Fictional Frontiers: The Interrelation of Fact and Fiction between the World and the Text

This article explores the pervasiveness of fiction in our everyday world and in written discourse. It also examines the boundaries between factual and fictional works which have been challenged, particularly in the twentieth century, with works such as the nonfiction novel. We interpret the world in terms of fiction which, in its broadest sense, shapes our everyday world. We tell stories about events in our lives and create characters from people we know. Translating the world into discourse is also characterized by poiesis. It involves an imaginative leap and a shaping force which creates different genres. Verisimilitude, an image of reality accepted by a particular age, is necessary, not only in translating the world into a fictional work, but equally in the representation of the real in factual works. Moving from the general to the specific, the article then turns to the example of nineteenth-century historical works, both factual and fictional, focusing on the examples of Michelet’s Histoire de la revolution francaise and Balzac’s Les Chouans. But what separates a factual work from a fictional one, given the often complex interrelation of fact and fiction in discourse? Facts are themselves a construct and the product of nineteenth-century positivism. Many modern factual histories use the narrative form, into which the truth or facts of history are incorporated and which must of necessity include subjective interpretation and selectivity. Often a more obvious fictional technique is introduced into factual works. Michelet uses dramatic scenes to bring his story of history alive. Balzac introduces many historical facts into his novel Les Chouans, but these facts are used in very different ways to those found in factual histories. In addition, much of the material in the novel, such as the composite characters, is invented. However, the issue is far more complex than a simplistic distinction between factual and fictional elements in a text, and fictional works often have a purpose which is very different from that of simply imitating factual paradigms, as this article seeks to demonstrate.

“Integrated as Outsiders”: Teague’s Blanket and the Irish Immigrant “Problem” in Early Modern Britain

“Integrated as Outsiders”: Teague’s Blanket and the Irish Immigrant “Problem” in Early Modern Britain Helen Burke (bio) The construction of integration as a two-way process conceals the relations of power in which the discourse of tolerance is grounded. Refugees and immigrants are to be unquestionably integrated and included by those who are invited to be mindful of, understand and recognize those in need of integration, who are thereby always identified as un-integrated. The invitation to be tolerant reinstates and disguises rather than changes those power relations and reconstitutes those to be integrated as outsiders.1 In the opening act of Sir Robert Howard’s The Committee (1662), the play’s two Cavalier, or Royalist, heroes, Colonel Careless and Colonel Blunt, are on a London street discussing how they might recover their confiscated estates from the Puritans when they are suddenly interrupted by a shrouded figure.2 “How now, who art thou?” Careless asks, to which this intruder responds, “A poor Irishman, and Christ save me and save you all. I prithee give me six pence, gad mastero.”3 During the century that followed, this first [End Page 20] encounter between the poor Irishman, Teague, and Careless, his future English employer, also became one of those “points” or set pieces that audiences used to assess and compare the skills of those performers who were engaged to perform the Stage Irishman “line of business,”4 and virtuoso performances at this dramatic “point,” the evidence suggests, continued to live on in the British collective memory long after the actors who had made them famous had passed away. Speaking in 1844 of John Henry Johnstone (1749?–1828), one of the most famous Teagues of the late eighteenth and early nineteenth century, Mrs. Mathews writes nostalgically: “Who . . . has not a recollection of the incomparable Johnstone (Irish Johnstone) in ‘Teague,’ picturesquely draped in his blanket, pouring forth his exquisite humor and mellifluous brogue in equal measure?”5 As this comment reveals, the blanket that Johnstone was wearing also contributed significantly to the pleasure that this lady derived from this dramatic scene, and from the prominence of this blanket in the artistic depictions of some of the century’s other famous Teagues, it is clear that others shared this blanket fixation. Joseph Miller (1684–1738) (see figure 1), John Moody (1727?–1812) (see figure 2), and Edward Anthony Rock (O’Rourke?) (d. 1815) (see figure 3) are all are shown with the outstretched hand or hat of the begging Teague, and all are wrapped in some form of blanket. In this paper I will argue that Howard’s blanket-clad, beggarly figure acquired its cultural currency because it provided a comforting fiction of immigrant management and control for the expansionist, market-driven nation that came into being in the post-Restoration period, and I will suggest that an understanding of the prehistory and afterlife of this fetishized subject/object also helps to explain the entrenched nature of the resistance that Irish immigrants faced as they sought to advance socially or economically in Britain in the centuries that followed. Recent scholarship on the treatment of the non-Irish immigrant in contemporary Ireland [End Page 21] Click for larger view View full resolution Figure 1. Joseph Miller as Teague in The Committee. From a messotint by A. Miller, after C. Stoppelaer. The Theatrical Print Collection, the University of Illinois at Urbana-Champaign. [End Page 22] Click for larger view View full resolution Figure 2. John Moody as Teague in The Committee. From Bell’s Edition (London, 1776). The Theatrical Print Collection, the University of Illinois at Urbana-Champaign. [End Page 23] Click for larger view View full resolution Figure 3. Edward Anthony Rock as Teague in The Committee. From Bell’s British Theatre, vol. 20 (London, 1797). The Theatrical Print Collection, the University of Illinois at Urbana-Champaign. [End Page 24] also provides a useful point of entry into this analysis. Present-day Ireland prides itself on having become more cosmopolitan and more multicultural in recent years, a self-congratulatory image that, as Gavin Titley points out, is reflected in advertisements and in the media in “stylised and aestheticised tableaux of difference and diversity.”6 This...

Samuel Luke Pratt, 1805-1878

Samuel Luke Pratt, 1805-1878 Nanette Thrush (bio) This well-known antiquary and dealer wielded a pivotal influence in mid-Victorian London. Even today, curators and historians denote him as "the well-known forger" with regard to the suits of armour he provided for the Eglinton Tournament of 1839. He was also the focus of blame when the tournament disintegrated both literally and figuratively in heavy rain. Charles Beard, the editor of The Connoisseur in 1933, wrote that "in the history of faking, Samuel Pratt deserves a chapter to himself. His imitations of medieval armour, wildly improbable though they often were, came gratefully to a world awakened to the joys of antiquarian romance by the genius of Scott" (Beard 245). Of course Pratt's career was much broader and his character less questionable than such statements imply. If we consider Pratt not as a forger, but as a marketer, the story reads differently. [End Page 13] Pratt began his career working for his father, a trunk maker, at 3 Lower Grosvenor Street and 47 Bond Street. He succeeded Thomas Gwennap of the Oplotheca in Lower Brook Street and the Gothic Hall in Pall Mall (Cripps-Day xlviii). In 1837, Pratt organized an exhibition of armour in the Tower of London, all of which was for sale; this was quickly followed by the 1838 exhibition of armour, which was so large that it took up both addresses, the Grosvenor street shop having been modified by L.N. Cottingham for the occasion (Anstruther 128, 131). Quickly following was his involvement with the Eglinton Tournament of 1839, which he costumed, designed, and planned almost entirely. Immediately after this event, Pratt's genius for marketing became evident: he resold all of the material culture of the event at an 1840 sale. Some of it was purchased by the Tower Armoury (Anstruther 234; Cripps-Day lvii). The 1838 exhibition had a full catalogue, containing 670 illustrated and described pieces. In this, Pratt's first catalogue, we see the model by which he would distinguish his wares throughout his career. The sale room at Pratt's showed all his pieces in a period interior and the catalogue illustrated the pieces in use, showing dramatic scenes of fighting knights (Anstruther 130). In this catalogue, Pratt wrote that "to gaze on the plumed casque of the Mailed Knight equipped for the Tournament, and to grasp the ponderous mace, yet encrusted with the accumulated rust of centuries, cannot fail to inspire admiration for the chivalrous deeds of our ancestors" (qtd. in Watts, "150 Years" 24). But Pratt's dealings in armour were far more substantive and complicated than just those of the Eglinton Tournament. Between 1840 and 1847, at least twenty-three anonymous sales of his pieces took place at London auction houses (Cripps-Day lvi). His clients were elite and educated: they included the Tower of London, Viscount Dillon, the Russells of Brancepeth Castle, George Tennyson of Bayons Manor, the Lord Brougham and Vaux, and Robert Curzon, Lord Zouch. Curzon bought many pieces from Pratt, and described and justified his collection in the Archaeological Journal. Seventy-five helmets purchased from Pratt were used to decorate the Baron's Hall, and although Watts today describes them as forgeries, Curzon himself did not think they were (Watts, "Samuel Pratt" 101). Pratt also sold a number of pieces from the Meyrick Collection to Lord Warwick during the 1870s and no doubt helped with the renovations of the Warwick's Great Hall following a fire in 1871 (AS250608 n.pag.). Several examples of the armour used for the Eglinton Tournament show the common movement of pieces through Pratt's shop. Captain James Ogilvy Fairlie rode as Knight of the Golden Lion in gilt and emblazoned armour secured for him by Pratt. Pratt added black paint with gold scrolls, later removed in 1964. This armour was kept by his family until 1998, when it sold at Christie's for $56,363 ("A Composite" n.pag.). William Craven, second Earl of Craven, rode as the Knight of the Griffin in a suit of inlaid and engraved Milanese armour. Pratt purchased this armour from the Marchese Tassoni d'Estense, and Craven believed it to have...

Is There Anything More to Say About the Rosenberg Case?

For more than forty years, defenders of the Rosenbergs have offered an argument unchanged in its essentials. The prosecution obtained the ultimate punishment…[—and that] punishment…was disproportionate and barbaric. However, the Rosenbergs' defenders now concede that "Julius Rosenberg, code-named 'Antenna' and later 'Liberal,' had worked as a spy for the Soviet Union."… The reason for this turnaround is that in 1995 the federal government made public a series of cables, referred to as the "Venona" messages, which were exchanged between the Soviet government and its operatives in the United States during and after the Second World War.… At the end of the play [Waiting for Lefty] a man runs up the center aisle carrying important information that the title character has been killed. These days, I want to shout out to the audience, as did that man, but with a different message. My imagined dramatic scene goes as follows. "Wait, wait!… Listen to me. Please listen.… You've heard the Thesis of the defense. You've heard the Antithesis of the prosecution. Don't you want to hear the Synthesis?"This article can also be found at the Monthly Review website, where most recent articles are published in full.Click here to purchase a PDF version of this article at the Monthly Review website.

Exposed (review)

Reviewed by: Exposed Deborah Stevenson Marcus, Kimberly. Exposed. Random House, 2011. [272p.] Library ed. ISBN 978-0-375-96693-4 $19.99 Trade ed. ISBN 978-0-375-86693-7 $16.99 E-book ed. ISBN 978-0-375-89724-5 $16.99 Reviewed from galleys Ad Gr. 8-12. Liz is unhappy and puzzled when her best friend, Kate, starts to avoid her after a brief (but not unusual) fight. She's stunned to find out that Kate says she was raped, the night of the argument, by Liz's college-guy older brother, Mike, and that charges are being pressed. Mike, however, claims that the sex was consensual, leaving Liz torn between family and best friend, unsure of whom to believe and to support. Marcus tells the story in a series of titled free-verse poems, with Liz narrating in the present tense. The short lines, compelling subject, and unintimidatingly spacious pages make the novel an inviting read, especially for reluctant readers. Liz herself is interesting as a girl who doesn't initially have a whole lot of use for compassion, tending to be savagely dismissive of those outside her inner circle; her struggle with a serious moral dilemma will definitely elicit audience interest. The poetry is fairly [End Page 245] literal and prosy, however, and the playing out of Liz's anxiety through her photography and photographic metaphors is more contrived than naturally effective. The legal case, including an extraordinarily swift and preparation-free progress to trial and a dramatic courtroom scene, owes more to TV law than to real-world process. It's Liz's emotional quandary that will really hook readers, though, and they'll eat up her story despite its flaws and find much to discuss in her situation. Copyright © 2011 The Board of Trustees of the University of Illinois

The Lessons of a Classic Revisited: Freud on Jensen'sGradiva

There is an affinity, romance, and rivalry between psychoanalysis and literature. Both deal with outer and inner lives of mankind, expressed in deeds and dialogues and experienced in dreams and desires, emotions and memories, perceptions and imaginings. Psychoanalysis and literature re-create lives in stories and dramas, in forms appropriate to storytelling (narratology), on the one hand, and dramaturgy and dramatology (Lothane, 2009), on the other. Both deal with interpersonal communication of meaning and purpose, in language spoken and written, with action and interaction. Both show and tell, both depict and interpret, that is, analyze. Both deal with conscious experiences and unconscious processes. But there is this difference: stories contain description and dialogue, drama is all diaologue. In everyday real life dramas there are interactions between persons with distinct physiognomies and characters, in scenes and situations of collaboration, conflict, or crisis. Fictional dramas represent life’s dramatic situations in actions on stage, in film, on television. In stories the narrator’s descriptions of dramatic scenes evoke those scenes in the

"The Sabbath of the Heart": Transgressive Love in Lady Morgan's India

The Missionary: An Indian Tale (1811) by Sidney Owenson (Lady Morgan after her marriage 1812), presents tragic love story between Western cleric and an Indian princess, fraught with all the tensions and pressures that contraries of culture bring to bear on forbidden love. The Missionary was Romeo and Juliet religious garb, crossing sacred boundaries climate hostile to both of them. Such transgressive love is powerful metaphor for cultural conflict, which Owenson uses to represent the crisis faced by non-European woman love with celibate Christian and Western missionary. Much of it is set the valley of Kashmir, India, during time of political conflict and religious tempest when idealism, nationalism, patriotism, and radicalism collided with an oppressive European hegemony over an ancient people from civilization alien to Western understanding. Percy Bysshe Shelley called The Missionary a beautiful thing (qtd. Wright 43), and the Indian setting and themes probably influenced Alastor. From the example of Shelley, one can see that India held powerful allure for British writers of this time as its exotic world clashed with the West. India, as Julia Wright observes, in The Missionary is contrivance for addressing colonialism and the attendant issue of religious intolerance while apparently dislocating them from Owenson's main sphere of influence, nineteenth-century Ireland ... (19). Joseph Lennon, however, sees Ireland and Indian culturally connected, identifies an Irish Orientalism and Celtic roots the East. By the time Owenson wrote The Missionary, India presented special problems for Westerners and epitomized similar problems closer to home. Lady Morgan uses the religiously inscribed transgressive love experience as the crucible to examine the effects of colonialism. The Missionary provides distorting mirror of conflicting religious practice and custom, those of the imperialists against native beliefs and patterns of behavior. Lady Morgan writes her Dramatic Scenes. ''Those who would live by the world, must live it, and with it: and adapt themselves to its form and pressure' (v) (qtd. Canuel 123), an appeal of religious tolerance by those who live secular world. Referring to Lady Morgan's The Wild Irish. Girl, Mark Canuel argues that religious intolerance this period served writers as way of exploring and understanding a feeling of separation with community--a separation from communal feeling that is itself communal ... (268). In The Missionary, community is vexed issue, and the religiously oriented characters of the novel, Princess Luxima and Hilarion the Missionary, seek to define themselves and their worlds and find their mediating communities and means to validate their relationship maelstrom of challenge and threat. Thus, Lady Morgan scrutinizes her novels topical, politically charged religion as means of creating fictions that resonated for her readers then and now when scholars and critics are challenged by the representation of non-European people, places, and cultures British Romantic literature. Transgression has special meaning novel published 1811, novel that deliberately poses several different worlds and circumscribed communities, which have unique and often conflicting patterns of mores and codes of behavior and sanction. Sydney Owenson had never been to India, though she was reputed to have been diligent the research to substantiate her novels, and the authorial foot-notes The Missionary exemplify her scholarship, particularly her sympathetic portrayal of Hinduism, as Michael J. Franklin has argued (General Introduction, 25). The Missionary opens Portugal, under the despotic rule of Spain, then relocates to India, the province now called Kashmir, as ideologically tense between Muslims and Hindus two hundred years ago as it is the modern world. …

The Complete Ice Age: how climate change shaped the world

In this book, four leading scientists present the most up-to-date discoveries in the different fields of Ice Research. They reveal how the epoch was discovered, the profound climatic fluctuations it generated as ice sheets waxed and waned, and the myriad ways in which humans and animals coped with the changing world they lived in. final chapter issues a stark warning about the future of our planet and the consequences of our profligate lifestyles. Magnificently illustrated with dramatic photography, explanatory diagrams and reconstruction scenes, The Complete Ice Age shows above all the fragility of our climate system and the power of humans to adapt to the most extreme environmental challenges.