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1000 tulosta hakusanalla Edith E Cuthell
One might not expect a woman of Edith Wharton's literary stature to be a believer of ghost stories, much less be frightened by them, but as she admits in her postscript to this spine-tingling collection, ...till I was twenty-seven or -eight, I could not sleep in the room with a book containing a ghost story. Once her fear was overcome, however, she took to writing tales of the supernatural for publication in the magazines of the day. These eleven finely wrought pieces showcase her mastery of the traditional New England ghost story and her fascination with spirits, hauntings, and other supernatural phenomena. Called flawlessly eerie by Ms. magazine, this collection includes Pomegranate Seed, The Eyes, All Souls', The Looking Glass, and The Triumph of Night.
Few first ladies have enjoyed a better reputation among historians than Edith Kermit Roosevelt. Aristocratic and sophisticated, tasteful and discreet, she managed the White House with a sure hand. Her admirers say that she never slipped in carrying out her duties as hostess, mother, and adviser to her husband. Lewis Gould's path-breaking study, however, presents a more complex and interesting figure than the somewhat secularized saint Edith Roosevelt has become in the literature on first ladies. While many who knew her found her inspiring and gracious, family members also recalled a more astringent and sometimes nasty personality. Gould looks beneath the surface of her life to examine the intricate legacy of her tenure from 1901 to 1909.The narrative in this book thus uncovers much new about Edith Roosevelt. Far from being averse to activism, Edith Roosevelt served as a celebrity sponsor at a New York musical benefit and also intervened in a high-profile custody dispute. Gould traces her role in the failed marriage of a United States senator, her efforts to secure the ambassador from Great Britain that she wanted, and the growing tension between her and Helen Taft in 1908-1909. Her commitment to bringing classical music artists to the White House, along with other popular performers, receives the fullest attention to date.Gould also casts a skeptical eye over the area where Edith Roosevelt's standing has been strongest, her role as a mother. He looks at how she and her husband performed as parents and dissents from the accustomed judgment that all was well with the way the Roosevelt offspring developed. Most important of all, Gould reveals the first lady's deep animus toward African Americans and their place in American society. She believed ""that any mixture of races is an unmitigated evil."" The impact of her bigotry on Theodore Roosevelt's racial policies must now be an element in any future discussion of that sensitive subject.On balance, Gould finds that Edith Roosevelt played an important and creative part in how the institution of the first lady developed during the twentieth century. His sprightly retelling of her White House years will likely provoke controversy and debate. All those interested in how the role of the presidential wife has evolved will find in this stimulating book a major contribution to the literature on a fascinating president. It also brings to life a first lady whose legacy must now be seen in a more nuanced and challenging light.
Piaf's life is almost as famous as her work: from her birth (in the Parisian streets, her mother shielded by two gendarmes) to her death (when her husband allegedly drove her corpse from the hospital where she died to her flat, lest her fans think that she had abandoned Paris) it was a rags-to-riches tale like no other. Discovered singing in the street by the nightclub owner who gave her the stage name Piaf ('sparrow') she rose to become a national heroine. Friends with Charlie Chaplin, Eisenhower, Cocteau, Maurice Chevalier and Marlene Dietrich, she was also at various times chief suspect for the murder of her mentor, an alcoholic and a drug addict. But she always seemed to embody - and still does - something of the spirit of Paris. When she died in 1963, 40,000 people descended on Pere Lachaise cemetary for her funeral and many more around the world remain devotees of her music.
Professor Beer’s study provides an introduction to the whole range of Edith Wharton’s work in the novel, short story, novella, travel writing, criticism and autobiography. The opening chapter provides an overview of recent scholarship in Wharton studies including an appraisal of biographical texts, and subsequent chapters treat recurrent themes and ideas in her fiction and non-fiction, and the American and European context of her work. The major novels, as well as those less well-known, are discussed as are: contemporary reception of her work, American responses to her expatriation, her friendships with the leading artists of her day, and the influence of the First World War on her work.
Edith Nesbit is one of the greatest children's writers of the century. Her readers loved to think of her as a reassuringly aunt-like figure. This biography reveals her as a demanding and adventurous woman who broke all society's rules in her search for love. It also explores the relationship between her life and her fiction.
Edith Wharton lived and wrote during a time of change and turmoil in America. She was among the group of American intellectual ex-patriots who fled to Paris in the early 1900s. Throughout her fiction, most of which is set in New York City in the early 1900s, her characters deal with many of the issues of the day including social classes and status, wealth and power, women's rights, progressivism, contraception and abortion, child labor, and education, worker's rights, and many others. Edith Wharton's Old New York Society is a comparative analysis of Wharton's Progressive era fiction.
All About Eve. Funny Face. Sunset Blvd. Rear Window. Sabrina. A Place in the Sun. The Ten Commandments. Scores of iconic films of the last century had one thing in common: costume designer Edith Head (1897-1981). She racked up an unprecedented 35 Oscar nods and 400 film credits over the course of a fifty-year career. Never before has the account of Hollywood's most influential designer been so thoroughly revealed,because never before have the Edith Head Archives of the Academy of Motion Picture Arts and Sciences been tapped. This unprecedented access allows this book to be a one-of-a-kind survey, bringing together a spectacular collection of rare and never-before-seen sketches, costume test shots, behind-the- scenes photos, and ephemera.
The definitive history of Hollywood's most legendary costume designer, featuring an insightful biography and previously unseen sketches, ephemera, and photos behind the scenes of hundreds of iconic films.All About Eve. Funny Face. Sunset Blvd. Rear Window. Sabrina. A Place in the Sun. The Ten Commandments. Scores of cinema classics of the last century had one thing in common: Edith Head (1897-1981). She racked up an unprecedented 35 Oscar nods and 400 film credits over the course of a fifty-year career, and changed the fashion world forever with her timeless creations that continue to resonate and inspire present-day designers, fashion followers, and film-lovers.This one-of-a-kind survey of her life and work reveals the woman behind the famous dark glasses and brings together a spectacular collection of rare and never-before-seen sketches, costume test shots, behind-the-scenes photos, and ephemera. Stunningly illustrated with more than 350 images and packed with information, this is both the most comprehensive work on Edith Head ever published and a lavish history of Hollywood in the twentieth century.
Édith Thomas (1909–1970), a remarkable French woman of letters, was deeply involved in the traumatic upheavals of her time: most crucially the resistance to Nazi occupation and the collaborationist Vichy regime, but also the Spanish Civil War and the Algerian War. During the occupation, she played an essential role in the struggle to counteract Nazi and Pétainist propaganda. She was the only woman in the Paris network of Resistance writers; they held their clandestine meetings in her left-bank apartment.Dorothy Kaufmann's powerful and moving book is based in large part on previously unavailable material that Édith Thomas, a historian, novelist, and journalist, chose not to publish during her lifetime. A particularly fascinating chapter in Thomas's life was her intimate relationship with Dominique Aury, who wrote Story of O as "Pauline Réage." The astonishing documents made available to Kaufmann by Aury include Thomas's eight notebooks of diaries, which she kept from 1931 to 1963; her fictional diary of a collaborator, written during the first year of the occupation; and her political memoir, to which she gave the disturbing title Le Témoin compromis (The Compromised Witness).Édith Thomas: A Passion for Resistance sheds light on the historical dimensions of Thomas's life and work and on the autobiographical complexity of her writing, which everywhere illustrates her personal courage. Kaufmann follows Édith Thomas's itinerary as it intersects with that of well-known contemporaries—in particular Simone de Beauvoir, Jean-Paul Sartre, Albert Camus, Louis Aragon, Jean Paulhan, and, of course, Dominique Aury.
Edith Howland's diary is her most precious possession. After moving with her family from New York City to suburban Pennsylvania, Edith's husband abandons her for a younger woman, leaving her trapped in a bleak existence with her degenerate son and his senile uncle. As Edith's life turns sour, she retreats into her writing; and while her life plunges into chaos, a disturbing tale of success and happiness blooms in her diary. She invents a happy life, and as she knits for imaginary grandchildren, the real world recedes further still, marking a descent into madness that may well be unstoppable. Originally published in 1977, Edith's Diary is a masterpiece of psychological suspense, a harrowing and tautly written tale of an ordinary woman whose life is slipping out of control. The author of Strangers on a Train and The Talented Mr. Ripley, Patricia Highsmith is one of the most original voices in twentieth-century American fiction.
EDITH WHARTON'S LETTERS FROM THE UNDERWORLD-FICTIONS OF WOMEN AND WRITING
The University of North Carolina Press
1991
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In this book, Candace Waid presents an innovative reading of the work of Edith Wharton. Waid examines Wharton's lifelong preoccupation with the place of the American woman writer, which she locates in the context of Wharton's ambivalent reaction to America and American literature. She argues that Wharton used the myth of Persephone to represent both the woman artist and her identification with the daughter who leaves the world of mother to dwell in the underworld of experience.Waid offers detailed interpretations of such works such as The House of Mirth, Ethan Frome, Artemis to Actaeon, Summer, The Custom of the Country, and Ghosts -- all of which are read as complex meditations about women and writing. According to Waid, Wharton is obsessed by the potential failure of the American woman artist who risks succumbing to to the false muse of a feminine aesthetic. Tracing Wharton's literary dialogues with sources ranging from Mary Wilkins to Goethe, from Andrew Marvel to Sir Joshua Reynolds, Waid reveals Wharton's haunting allegories about women, art, and letters.Originally published in 1991.A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.
The first book to present Edith Stein specifically as a spiritual author, this volume contains selections of her works in a wide range of genres and reveals a wide range of spiritual concerns. †
Edith Wharton (1862-1937), who lived nearly half of her life during the cinema age when she published many of her well-known works, acknowledged that she disliked the movies, characterizing them as an enemy of the imagination. Yet her fiction often referenced film and popular Hollywood culture, and she even sold the rights to several of her novels to Hollywood studios. ""Edith Wharton on Film"" explores these seeming contradictions and examines the relationships among Wharton's writings, the popular culture in which she published them, and the subsequent film adaptations of her work (three from the 1930s and four from the 1990s). Author Parley Ann Boswell examines the texts in which Wharton referenced film and Hollywood culture and evaluates the extant films adapted from Wharton's fiction. The volume introduces Wharton's use of cinema culture in her fiction through the 1917 novella ""Summer"", written during the nation's first wave of feminism, in which the heroine Charity Royall is moviegoer and new American woman, consumer and consumable. Boswell considers the source of this conformity and entrapment, especially for women. She discloses how Wharton struggled to write popular stories and then how she revealed her antipathy toward popular movie culture in two late novels. Boswell describes Wharton's financial dependence on the American movie industry, which fueled her antagonism toward Hollywood culture, her well-documented disdain for popular culture, and her struggles to publish in women's magazines. This first full-length study that examines the film adaptations of Wharton's fiction covers seven films adapted from Wharton's works between 1930 and 2000 and the fifty-year gap in Wharton film adaptations. The study also analyzes Sophy Viner in ""The Reef"" as pre-Hollywood ingenue, in ""Twilight Sleep"" and ""The Children"" and the real Hollywood figures who might have inspired them, and The Sheik and racial stereotypes. Boswell traces the complicated relationship of fiction and narrative film, the adaptations and cinematic metaphors of Wharton's work in the 1990s, and Wharton's persona as an outsider. Wharton's fiction on film corresponds in striking ways to American noir cinema, says Boswell, because contemporary filmmakers recognize and celebrate the subversive qualities of Wharton's work. ""Edith Wharton on Film"", which includes eleven illustrations, enhances Wharton's stature as a major American author and provides persuasive evidence that her fiction should be read as American noir literature.
Edith Wharton's Dialogue with Realism and Sentimental Fiction
University Press of Florida
2000
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Arguing against the prevailing view of Edith Wharton as a realist writer, Hildegard Hoeller finds the ""real"" Wharton in the writer's sentimental voice and in her critique of realism. She demonstrates that the American writer created a dialogue between the two literary traditions.