Duke Vivian Gadsby Flint is a decorated war hero, a powerful leader, and a man of means, haunted by a beautiful apparition that saved his life on the battlefields of France. Though he is comfortable on his own, Vivian decides that it is time to fulfill his dead mother's wish that he should wed a woman from a family of superior reputation. An arrangement is set for Vivian to be wed to one of the most privileged young ladies in the country, but will a fateful encounter with a beautiful and impoverished governess change Vivian's destiny? Or is she, too, just another chimera that resides only in the realm of the imagination?
The cultural milieu in the 'Age of Goethe' of eighteenth-century Germany is given fresh context in this art historical study of the noted writer's patroness: Anna Amalia, Duchess of Weimar-Sachsen-Eisenach. An important noblewoman and patron of the arts, Anna Amalia transformed her court into one of the most intellectually and culturally brilliant in Europe; this book reveals the full scope of her impact on the history of art of this time and place. More than just biography or a patronage study, this book closely examines the art produced by German-speaking artists and the figure of Anna Amalia herself. Her portraits demonstrate the importance of social networks that enabled her to construct scholarly, intellectual identities not only for herself, but for the region she represented. By investigating ways in which the duchess navigated within male dominated institutions as a means of advancing her own self-cultivation - or Bildung - this book demonstrates the role accorded to women in the public sphere, cultural politics, and historical memory. Cumulatively, Christina Lindeman traces how Anna Amalia, a woman from a small German principality, was represented as an active participant in enlightened discourses. The author presents a novel and original argument concerned with how a powerful woman used art to shape her identity, how that identity changed over time, and how people around her shaped it - an approach that elucidates the power of portraiture in eighteenth- and nineteenth-century Europe.
The beautiful but haughty Duchess of Herridge is known to all the "ton" as the "Ice Queen." But to Ian McNair, the exquisite Emma is nothing like the rumors. Sensual and passionate, she moves him as no other woman has before. If only she were his wife and not his captive . . .
Little does Emma know that the dark and mysterious stranger who bursts into her bedroom to kidnap her is the powerful Earl of Buchane, and the only man who has been able to see past her proper faCade. As the Ice Queen's defenses melt under the powerful passion she finds with her handsome captor, she begins to believe that love may be possible. Yet fate has decreed that the dream can never be--for pursuing it means sacrificing everything they hold dear: their honor, their futures . . . and perhaps their lives.
A Trip to Niagara; or, Travellers in America, a three-act comedy, opened at New York's Bowery Theatre on November 28, 1828, for a long run. Scripted and later published by William Dunlap (1766-1839), the so-called "father of the American stage," this play offers a bounty to theater historians, dramatic critics, and all those interested in the American culture during Dunlap's lifetime. This study explores the Bowery, the play's moving diorama, the text, and the playwright, and emphasizes their interrelationships. This analysis of A Trip to Niagara as a theatrical event joins hands with dramatic criticism. An annotated transcript of the play is helpfully provided in the appendix of the book. This study contends that had there been no moving diorama, there would have been no play. Since William Dunlap called his text a "running accompaniment," it should be analyzed in terms of this function. The play's few critics have failed to do this. Hence, the interplay of the moving diorama (and conventional scenic backdrops) with the plot and characters comprises another significant segment of this study. This book makes significant contributions to studies of antebellum American theater, the Nationalist Period in American culture, and William Dunlap.
'They were no longer partners keen to test out their abilities in lighthearted play; they were enemies bent on each other's destruction.'
OZ Chess Articles
OZ Chess Books