Anna Green

En sen kväll råkar Miss Butterworth se något mystiskt: ett ungt par som går in i det obebodda, förfallna huset mittemot hennes. En stund senare försvinner mannen ut. Dagen därpå visar sig ett hemskt mord ha skett, och Miss Butterworth är övertygad om att den anklagade inte är skyldig. Ska hon lyckas övertyga den erfarna, sobra Mr. Bryce att hennes magkänsla talar sanning? Eller kommer hon bli tagen för en nyckfull kvinna vars amatörkunskap inom detektivbranschen inte har något värde? En spännande vintage crime om Miss Butterworth och Mr. Bryce. -

"First published in 1878, nine years before the debut of Sherlock Holmes in A Study in Scarlet, this atmospheric and suspenseful mystery well deserves a modern audience." -- Publishers WeeklyHoratio Leavenworth, a wealthy merchant and pillar of nineteenth-century New York society, has been found shot to death in his Fifth Avenue mansion. Circumstances point to a member of his household as the killer and particularly to his lovely nieces, one of whom will inherit his fortune. The idea of a lady murderer, especially one of the Leavenworths' social stature, is almost too shocking to entertain, although the evidence -- a broken key, an incriminating letter, and an overheard snatch of conversation -- points toward the young nieces. But which one?This brilliantly plotted tale of love, greed, sacrifice, and betrayal introduced the first American series detective, Ebenezer Gryce, and is widely considered the first full-length detective story written by a woman. The suspenseful bestseller is credited with attracting writers to a genre previously considered unworthy of serious literary attention. It remains not only a fascinating whodunit but also an absorbing look at nineteenth-century mores and manners.

The premise of Anna Green's timely and original book, is that nineteenth-century representations of childhood and adolescence-in paintings, but also in other forms of visual culture and in diverse written discourses of the period-are critical for understanding modernity. Whilst such well-worn signifiers for modernity as the city, the dandy and the prostitute have been well mined, childhood and adolescence have not. Paintings of the young produced in France from 1848 to 1886, Green contends, inform not only our understanding of modern life but also our perception of modernist or avant-garde painting. Figuring largely are Manet and the Impressionists, as well as a gamut of more traditional painters of children who are crucial in providing context for the avant garde. Because modernity is an essentially urban phenomenon, Green's focus is primarily on the city, usually Parisian, child. The painted youth of her study are organized initially by class and gender. Then the chapters are structured according to themes (parent-child relations, modes of discipline, work, education, and play, the spectacle, sexuality) that straddle the congruences among the book's triple trajectory: the young, their modernist representations, and the experience of modernity. Green's interdisciplinary approach ensures that this book will be of interest not only to art historians but to all those concerned with the cultural and social history of childhood.

The houses of history is a clear, jargon-free introduction to the major theoretical approaches employed by historians. This innovative critical reader provides accessible introductions to fourteen schools of thought, from the empiricist to the postcolonial, including chapters on Marxist history, Freud and psychohistory, the Annales, historical sociology, narrative, gender, public history and the history of the emotions.Each chapter begins with a succinct description of the ideas integral to a particular theory. The authors then explore the insights and controversies arising from the application of this model, drawing upon debates and examples from around the world. Each chapter concludes with a representative example from a historian writing within this conceptual framework.This newly revised edition of the highly successful textbook is the ideal basis for an introductory course in history and theory for students of history at all levels.

The houses of history is a clear, jargon-free introduction to the major theoretical approaches employed by historians. This innovative critical reader provides accessible introductions to fourteen schools of thought, from the empiricist to the postcolonial, including chapters on Marxist history, Freud and psychohistory, the Annales, historical sociology, narrative, gender, public history and the history of the emotions.Each chapter begins with a succinct description of the ideas integral to a particular theory. The authors then explore the insights and controversies arising from the application of this model, drawing upon debates and examples from around the world. Each chapter concludes with a representative example from a historian writing within this conceptual framework.This newly revised edition of the highly successful textbook is the ideal basis for an introductory course in history and theory for students of history at all levels.

Anna Green provides a coherent and accessible introduction to the major theoretical approaches and key concepts within this most diverse of historical fields. 'Cultural History' explores the conceptual, affective and imaginative worlds of human consciousness, as reflected in elite intellectual works as well as everyday social beliefs and practices.

Anna Green provides a coherent and accessible introduction to the major theoretical approaches and key concepts within this most diverse of historical fields. 'Cultural History' explores the conceptual, affective and imaginative worlds of human consciousness, as reflected in elite intellectual works as well as everyday social beliefs and practices.

The premise of Anna Green's timely and original book, is that nineteenth-century representations of childhood and adolescence-in paintings, but also in other forms of visual culture and in diverse written discourses of the period-are critical for understanding modernity. Whilst such well-worn signifiers for modernity as the city, the dandy and the prostitute have been well mined, childhood and adolescence have not. Paintings of the young produced in France from 1848 to 1886, Green contends, inform not only our understanding of modern life but also our perception of modernist or avant-garde painting. Figuring largely are Manet and the Impressionists, as well as a gamut of more traditional painters of children who are crucial in providing context for the avant garde. Because modernity is an essentially urban phenomenon, Green's focus is primarily on the city, usually Parisian, child. The painted youth of her study are organized initially by class and gender. Then the chapters are structured according to themes (parent-child relations, modes of discipline, work, education, and play, the spectacle, sexuality) that straddle the congruences among the book's triple trajectory: the young, their modernist representations, and the experience of modernity. Green's interdisciplinary approach ensures that this book will be of interest not only to art historians but to all those concerned with the cultural and social history of childhood.