Seminar paper from the year 2004 in the subject American Studies - Literature, grade: 2, University of Kassel, language: English, abstract: Introduction The Drunkard by William Henry Smith was first staged at the Boston Museum in 1844 and shown 144 times within one year. Being a mass media, the theater reached a large audience and the drama was a great success. At the time the drama was staged, the temperance movement was at the peak of its popularity and success. Today the Boston Museum is regarded as the birthplace of American temperance drama. In 1850, when the play had already achieved national recognition, B. T. Barnum staged The Drunkard at the famous American Museum on lower Broadway. On October 7th 1850 the audience was able to watch the 100th consecutive performance of the play. “Barnum’s production of The Drunkard heralded the entry of temperance narratives into mainstream theatre and immediately became the standard against which all other temperance dramas were measured” (Frick 113). In this paper I will first present a short historical survey of the temperance movement. At a time when drinking alcohol was part of every day life and the negative consequences that resulted from alcohol abuse were severe and obvious, the goal of the temperance movement was to achieve a social reform in the long term. The aim was to put an end to moral decline, crime, poverty and diseases. Alcohol addicts should be persuaded to stop drinking and supported in their effort. They should sign the pledge and abstain from alcohol. The melodrama The Drunkard or The Fallen Saved is an excellent example of the way the theater was used as a means to present the social, moral and personal consequences of intemperance to the audience. The main focus of this paper will be on the criticism of alcohol abuse in The Drunkard. By close reading I will analyze how Edward Middleton’s and his family’s life changes due to the fact that Edward starts drinking too much alcohol and becomes an addict. But, as the title suggests, the drama also shows that alcohol addicts can be saved and rebuild their lives if they are strong enough and stop drinking. Thus, The Drunkard is a perfect example of the theatricalization of temperance propaganda. The theater was the ideal means to communicate the temperance message of abstinence, and the audience was entertained and received a moral lesson at the same time. The Drunkard was “by far the most prominent and influential [...], a play destined to become one of the most popular and best-known temperance dramas of all time” (Frick 113).
"When former marshal Oscar Schiller investigates the violent slaying of Temperance Moon, the legendary female outlaw, he rides straight into a web of jealousy, blackmail, and deceit." --Amazon.com.
The first Temperance Brennan novel in the “cleverly plotted and expertly maintained series” (The New York Times Book Review) from the #1 internationally bestselling thriller writer Kathy Reichs. Her life is devoted to justice—even for those she never knew. In the year since Temperance Brennan left behind a shaky marriage in North Carolina, work has often preempted her weekend plans to explore Québec. When a female corpse is discovered meticulously dismembered and stashed in trash bags, Temperance detects an alarming pattern—and she plunges into a harrowing search for a killer. But her investigation is about to place those closest to her—her best friend and her own daughter—in mortal danger… “A genius at building suspense” (Daily News, New York), Kathy Reichs’s Temperance Brennan books are both “accomplished and chilling” (People) and “ripe with intricate settings and memorable characters” (Milwaukee Journal Sentinel).
From bestselling author Kathy Reichs comes a book set in Charleston, South Carolina, the center of a lucrative, clandestine, sophisticated trade in body parts—the kind that leaves the donor dead. Summoned to South Carolina to fill in for a negligent colleague, Tempe is stuck teaching a lackluster archaeology field school in the ruins of a Native American burial ground on the Charleston shore. But when Tempe stumbles upon a fresh skeleton among the ancient bones, her old friend Emma Rousseau, the local coroner, persuades her to stay on and help with the investigation. When Emma reveals a disturbing secret, it becomes more important than ever for Tempe to help her friend close the case. The body count begins to climb. An unidentified man is found hanging from a tree deep in the woods. Another corpse shows up in a barrel. There are mysterious nicks on bones in several bodies, and signs of strangulation. Tempe follows the trail to a free street clinic with a belligerent staff, a suspicious doctor, and a donor who is a charismatic televangelist. Clues abound in the most unlikely places as Tempe uses her unique knowledge and skills to build her case, even as the local sheriff remains dubious and her own life is threatened. Tempe’s love life is also complicated. Ryan, her current flame, has come down to visit her from Montreal, and Pete, her former husband, is investigating the disappearance of a local woman—and he and Tempe are staying in the same borrowed beach house. Ryan and Pete compete for her attentions, and Tempe finds herself more distracted by her feelings for both men than she expected. Break No Bones is a smart, taut thriller featuring the kind of high-stakes crime that makes the headlines every week. Reichs, the inspiration for the hit Fox TV show Bones, is writing at the top of her form, and Tempe has never been more compelling.
In this funny romantic series, the Shackleford sisters descend on a Regency society that don't know what's hit them.......Reverend Augustus Shackleford's mission in life (aside from ensuring the collection box was suitably full every Sunday) was to secure advantageous marriages for each of his eight daughters. A tall order, given the fact that in the Reverend's opinion they didn't possess a single ladylike bone in the eight bodies they had between them. Quite where he would find a wealthy titled gentleman bottle headed enough to take any of them on remained a mystery and indeed was likely to test even his legendary resourcefulness. ....Grievously wounded at the Battle of Trafalgar, Nicholas Sinclair was only recently returned to Blackmore after receiving news of his estranged father's unexpected death. After an absence of twenty years, the new Duke was well aware it was his duty to marry and produce an heir as quickly as possible. However, tormented by recurring nightmares after his horrific experiences during the battle, Nicholas had no taste to brave the ton's marriage mart in search of a docile obedient wife. ....Never in his wildest dreams did Reverend Shackleford envisage receiving an offer for his eldest daughter from the newly appointed Duke of Blackmore. Of course, the Reverend was well aware he was fudging it a bit in describing Grace as respectful, meek or dutiful, nevertheless, he could never have imagined that his eldest daughter's unruliness might end up ruining them all....
When innocent blood is spilled, forensic anthropologist Temperance Brennan deciphers the shattering truth it holds in this exciting thriller from New York Times bestselling author Kathy Reichs. Nine-year-old Emily Anne Toussaint is fatally shot on a Montreal street. A North Carolina teenager disappears from her home, and parts of her skeleton are found hundreds of miles away. These shocking deaths propel Tempe Brennan from north to south, and deep into a shattering investigation inside the bizarre culture of outlaw motorcycle gangs—where one misstep could bring disaster for herself or someone she loves. From blood-splatter patterns and ground-penetrating radar to bone-sample analysis, Deadly Decisions triumphantly combines the authenticity of a world-class forensic professional with the narrative power of a brilliant crime-writing star.
Don’t miss this “whopper” (Publishers Weekly) of a thriller from #1 New York Times bestselling author Kathy Reichs in her “cleverly plotted” (The New York Times) Temperance Brennan series, the inspiration for the hit FOX television series Bones. John Lowery was declared dead in 1968—the victim of a Huey crash in Vietnam, his body buried long ago in North Carolina. Four decades later, Temperance Brennan is called to the scene of a drowning in Hemmingford, Quebec. The victim appears to have died while in the midst of a bizarre sexual practice. The corpse is later identified as John Lowery. But how could Lowery have died twice, and how did an American soldier end up in Canada? Tempe sets off for the answer, exhuming Lowery’s grave in North Carolina and taking the remains to Hawaii for reanalysis—to the headquarters of JPAC, the US military’s Joint POW/ MIA Accounting Command, which strives to recover Americans who have died in past conflicts. In Hawaii, Tempe is joined by her colleague and ex-lover Detective Andrew Ryan (how “ex” is he?) and by her daughter, who is recovering from her own tragic loss. Soon another set of remains is located, with Lowery’s dog tags tangled among them. Three bodies—all identified as Lowery. And then Tempe is contacted by Hadley Perry, Honolulu’s flamboyant medical examiner, who needs help identifying the remains of an adolescent boy found offshore. Was he the victim of a shark attack? Or something much more sinister?
In the nineteenth century, long before film and television brought us explosions, car chases, and narrow escapes, it was America's theaters that thrilled audiences, with “sensation scenes” of speeding trains, burning buildings, and endangered bodies, often in melodramas extolling the virtues of temperance, abolition, and women's suffrage. Amy E. Hughes scrutinizes these peculiar intersections of spectacle and reform, revealing the crucial role that spectacle has played in American activism and how it has remained central to the dramaturgy of reform. Hughes traces the cultural history of three famous sensation scenes—the drunkard with the delirium tremens, the fugitive slave escaping over a river, and the victim tied to the railroad tracks—assessing how these scenes conveyed, allayed, and denied concerns about the rights and responsibilities of citizenship. These images also appeared in printed propaganda, suggesting that the coup de théâtre was an essential part of American reform culture. Additionally, Hughes argues that today’s producers and advertisers continue to exploit the affective dynamism of spectacle, reaching an even broader audience through film, television, and the Internet. To be attuned to the dynamics of spectacle, Hughes argues, is to understand how we see. Her book will interest not only theater historians, but also scholars and students of political, literary, and visual culture who are curious about how U.S. citizens saw themselves and their world during a pivotal period in American history.