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Players and Plays - Of the last quarter century. Vol. 2 (The Theatre of To-Day) is an unchanged, high-quality reprint of the original edition of 1883. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres. As a publisher we focus on the preservation of historical literature. Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to the preservation of literature which has become rare and historical knowledge for the future.
Excerpt from Players and Plays of the Last Quarter Century, Vol. 2: An Historical Summary of Causes and a Critical Review of Conditions as Existing in the American Theatre at the Close of the Nineteenth Century; The Theatre of to-Day N a little book called The Dramatic Swag; Unities, which was published in w 1874, Edwin Simpson wrote: On reading over these Old plays (the dramas of the Restoration), it is melancholy to see what a noble heritage has been bequeathed to us, and how sadly we have disgraced it. For two hun dred years the English stage was as much above the French as the French, in the present day, is above our own. But, it is said, the. 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.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Most cultural critics theorize modernity as a state of disenchanted distraction, one linked to both the rationalizing impulses of scientific and technological innovation and the kind of dispersed, fragmented attention that characterizes the experience of mass culture. Patrick Kindig’s Fascination, however, tells a different story, showing that many fin-de-siècle Americans were in fact concerned about (and intrigued by) the modern world’s ability to attract and fix attention in quasi-supernatural ways. Rather than being distracting, modern life in their view had an almost magical capacity to capture attention and overwhelm rational thought. Fascination argues that, in response to the dramatic scientific and cultural changes of the late nineteenth and early twentieth centuries, many American thinkers and writers came to conceive of the modern world as fundamentally fascinating. Describing such diverse phenomena as the electric generator, the movements of actresses, and ethnographic cinema as supernaturally alluring, they used the language of fascination to process and critique both popular ideologies of historical progress and the racializing logic upon which these ideologies were built. Drawing on an archive of primary texts from the fields of medicine, (para)psychology, philosophy, cultural criticism, and anthropology—as well as creative texts by Harriet Prescott Spofford, Charles Chesnutt, Theodore Dreiser, Paul Laurence Dunbar, Edward S. Curtis, Robert J. Flaherty, and Djuna Barnes—Kindig reconsiders what it meant for Americans to be (and to be called) modern at the turn of the twentieth century.
"Drawing on the recollections of renowned theater critic David Austin Latchaw and on newspaper archives of the era, Londre chronicles the "first golden age" of Kansas City theater, from the opening of the Coates Opera House in 1870 through the gradual decline of touring productions after World War I"--Provided by publisher.