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Excerpt from Evelina's Garden On the south a high arbor-vitae hedge separated Evelina's garden from the road. The hedge was so high that when the school-children lagged by, and the secrets behind it fired them with more curiosity than those between their battered book covers, the tallest of them by stretching up on tiptoe could not peer over. And so they were driven to childish engineering feats, and would set to work and pick away sprigs of the arbor-vitae with their little fingers, and make peep-holes - but small ones, that Evelina might not discern them. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works."
Each summer, a 'perpetual fair' plagued eighteenth-century London, a city in transition overrun by a burgeoning population. City officials attempted to control disorderly urban amusement according to their own gendered understandings of order and morality. Frequently derided as locations of dangerous femininity disrupting masculine commerce, fairs withstood regulation attempts. Fairs were important in the lives of ordinary Londoners as sites of women’s work, sociability, and local and national identity formation. Rarely studied as vital to London’s modernisation, urban fairs are a microcosm of London’s transforming society, demonstrating how metropolitan changes were popularly contested. This study contributes to our understanding of popular culture and modernisation in Britain during the formative years of its global empire. Fascinating examples drawn from literary and visual culture make this an engaging study for scholars and students of late Stuart and early Georgian Britain, urban and gender history, World’s Fairs and cultural studies.
The Magic Skin (La Peau de chagrin) is set in early 19th-century Paris and tells the story of a young man who finds a magic piece of shagreen that fulfills his every desire. For each wish granted, however, the skin shrinks and consumes a portion of his physical energy. Although the novel uses fantastic elements, its main focus is a realistic portrayal of the excesses of bourgeois materialism. Balzac's renowned attention to detail is used to describe a gambling house, an antique shop, a royal banquet, and other locales. He also includes details from his own life as a struggling writer, placing the main character in a home similar to the one he occupied at the start of his literary career. The central theme of La Peau de chagrin is the conflict between desire and longevity. The magic skin represents the owner's life-force, which is depleted through every expression of will, especially when it is employed for the acquisition of power. Ignoring a caution from the shopkeeper who offers him the skin, the protagonist greedily surrounds himself with wealth, only to find himself miserable and decrepit at the story's end. (source: Wikipedia)
A continuation of Josephine Donovan's exploration of American women's literary traditions, begun with New England Local Color Literature: A Women's Tradition, which treats the nineteenth-century realists, this work analyzes the writing of major women writers of the early twentieth century--- Edith Wharton, Willa Cather, and Ellen Glasgow. The author sees the Demeter-Persephone myth as central to these writers' thematics, but interprets the myth in terms of the historical transitions taking place in turn-of-the-century America. Donovan focuses on the changing relationship between mothers and daughters--- in particular upon the "new women's" rebellion against the traditional women's culture of their nineteenth-century mothers (both literary and literal). An introductory chapter traces the male-supremacist ideologies that formed the intellectual climate in which these women wrote. Reorienting Wharton, Cather, and Glasgow within women's literary traditions produces major reinterpretations of their works, including such masterpieces as Ethan Frome, Summer, My Antonia, Barren Ground, and others. Josephine Donovan's books include Feminist Theory: The Intellectual Traditions of American Feminism; New England Local Color Literature: A Women's Tradition; and Sarah Orne Jewett. She is on the faculty of the University of Maine.