The prestigious Maison Laduree, adored by lovers of French delicacies the world over, shares its sophisticated teatime recipes and menus, as well as tips on the art of taking tea the Laduree way. With mouthwatering photography and beautiful illustrations, the leaves of this chic gift book are steeped with teatime menus and over 100 recipes for savory treats and sweet delicacies fit for Marie Antoinette -- topped up with a potted history of tea, a guide to the finest tea varieties, and instructions on how to infuse your tea the Parisian way.
Introduction: A soldiers' tea party in Surrey -- Part I. Anxious relations -- "A China drink approved by all physicians" : setting the early modern tea table -- The temperance tea table : making a sober consumer culture in the nineteenth century -- "A little opium, sweet words, and cheap guns" : planting a global industry in Assam -- Packaging China : advertising food safety in a global marketplace -- Part II. Imperial tastes -- Industry and empire : manufacturing imperial tastes in Victorian Britain -- The planter abroad : building foreign markets in the fin-de-siecle -- "Every kitchen an empire kitchen": the politics of imperial consumerism -- "Tea revives the world" : selling vitality during the Depression -- "Hot drinks means much in the jungle" : tea in the service of war -- Part III. Aftertastes -- Leftovers? : an imperial industry at the end of empire -- "Join the tea set" : youth, modernity, and the legacies of empire during the swinging sixties
This reference organizes and describes the primary and secondary literature surrounding Mary Stevenson Cassatt, Berthe Morisot, Eva Gonzalès, and Marie Bracquemond, four major women Impressionist artists. The Impressionist group included several women artists of considerable ability whose works and lives were largely ignored until the advent of feminist art criticism in the early 1970s. They studied, worked, and exhibited with their male counterparts including Degas, Manet, Monet, and Pissarro. The entries provide extensive coverage of the careers, critical reception, exhibition history, and growing reputations of these four female artists and discuss women Impressionists in general as they shared the challenges of becoming accepted as professional artists in late 19th-century society. Containing nearly 900 citations of manuscripts, books, articles, reproductions, films, exhibitions, and reviews, this unique sourcebook will appeal to both art and women's studies scholars. Each artist receives a biographical sketch, chronology, information about individual and group exhibitions and reviews, and a primary and secondary bibliography, which captures details about the artist's life, career, and relationship with other artists. An art works index and names index complete the volume.
During the 1976 Bicentennial celebration, millions of Americans engaged with the past in brand-new ways. They became absorbed by historical miniseries like Roots, visited museums with new exhibits that immersed them in the past, propelled works of historical fiction onto the bestseller list, and participated in living history events across the nation. While many of these activities were sparked by the Bicentennial, M. J. Rymsza-Pawlowska shows that, in fact, they were symptomatic of a fundamental shift in Americans' relationship to history during the 1960s and 1970s. For the majority of the twentieth century, Americans thought of the past as foundational to, but separate from, the present, and they learned and thought about history in informational terms. But Rymsza-Pawlowska argues that the popular culture of the 1970s reflected an emerging desire to engage and enact the past on a more emotional level: to consider the feelings and motivations of historic individuals and, most importantly, to use this in reevaluating both the past and the present. This thought-provoking book charts the era's shifting feeling for history, and explores how it serves as a foundation for the experience and practice of history making today.
This book focuses on creative writing both as a subject in universities and beyond academia, with chapters arranged around three organising sub-themes of practice, research and pedagogy. It explores the ‘creative’ component of creative writing in the globalised marketplace, making the point that creative writing occurs in and around universities throughout the world. It examines the convergence of education, globalisation and economic discourses at the intersection of the university sector and creative industries, and foregrounds the competing interests at the core of creativity as it appears in the neo-liberal global discourse in which writers are enmeshed. The book offers case studies from the UK, the USA, Canada, Australia and Singapore that are indicative of the challenges faced by academics, postgraduate students and creative industry professionals around the world.
In 2016, Americans fed up with the political process vented that frustration with their votes. Republicans nominated for president a wealthy businessman and former reality show host best known on the campaign trail for his sharp rhetoric against immigration and foreign trade. Democrats nearly selected a self-described socialist who ran on a populist platform against the influence of big money in politics. While it is not surprising that Americans would channel their frustrations into votes for contenders who pledge to end business as usual, the truth is that we don’t have to pin our hopes for greater participation on any one candidate. All of us have a say—if we learn, master and practice the skills of effective citizenship. One of the biggest roadblocks to participation in democracy is the perception that privileged citizens and special interests command the levers of power and that everyday Americans can’t fight City Hall. That perception is undoubtedly why a 2015 Pew Charitable Trusts survey found that 74 percent of those Americans surveyed believed that most elected officials didn't care what people like them thought. Graham and Hand intend to change that conventional wisdom by showing citizens how to flex their citizenship muscles. They describe effective citizenship skills and provide tips from civic experts. Even more importantly, they offer numerous examples of everyday Americans who have used their skills to make democracy respond. The reader will see themselves in these examples of citizens who chose to be victorious participants rather than tranquil spectators in the arena of democracy. By the end of the book, you will have new confidence that citizen participation is the lifeblood of America -- and will be ready to make governments work for you, not the other way around.
Honorable Mention, Latin American Studies Association Mexico Section Best Book in the Humanities A Revolution in Movement is the first book to illuminate how collaborations between dancers and painters shaped Mexico’s postrevolutionary cultural identity. K. Mitchell Snow traces this relationship throughout nearly half a century of developments in Mexican dance—the emulation of Diaghilev’s Ballets Russes in the 1920s, the adoption of U.S.-style modern dance in the 1940s, and the creation of ballet-inspired folk dance in the 1960s. Snow describes the appearances in Mexico by Russian ballerina Anna Pavlova and Spanish concert dancer Tortóla Valencia, who helped motivate Mexico to express its own national identity through dance. He discusses the work of muralists and other visual artists in tandem with Mexico’s theatrical dance world, including Diego Rivera’s collaborations with ballet composer Carlos Chávez; Carlos Mérida’s leadership of the National School of Dance; José Clemente Orozco’s involvement in the creation of the Ballet de la Ciudad de México; and Miguel Covarrubias, who led the “golden age” of Mexican modern dance. Snow draws from a rich trove of historical newspaper accounts and other contemporary documents to show how these collaborations produced an image of modern Mexico that would prove popular both locally and internationally and continues to endure today.
A stimulating expose on how the roots of today's partisan rage lie in the "outrage industry" - deregulated, commodified media markets that will do anything for money and attention.
