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This intellectual biography of Johan David Åkerblad (1763–1819) presents a new account of the decipherment of ancient Egyptian. Oriental and classical studies and their entwinement in the turbulent politics of this age of Revolutions are presented from a novel perspective.
“One of the most satisfying biographies of an English king: it is ample, convincing and well written”—from the acclaimed author of The House of Medici (The Times Literary Supplement). Christopher Hibbert delivers a superbly detailed picture of the life and times of George IV including his exorbitant spending on his homes, his clothes, and his women; his patronage of the arts; his “illegal” marriage to Catholic Mrs. Fitzherbert, and lesser known facts such as his generous charity donations and his witty one-liners, including one he uttered when he met his bride-to-be (Caroline of Brunswick) for the first time: “Harris, I am not well, fetch me a brandy.” George IV was the son of George III (who went insane and inspired The Madness of King George) and was the founder of the prestigious King’s College in London. “A delight to read . . . an enormously enjoyable and skillful portrait.” —Philip Ziegler, The Spectator “Christopher Hibbert’s George IV is at once soundly based on research in the Royal Archives at Windsor and a rollicking good read. I found it invaluable when I was researching The Unruly Queen, my life of George IV’s wife, Queen Caroline, and I recommend it to anyone interested by George IV’s flamboyant and outrageous personality.” —Flora Fraser, author of Flora Macdonald: “Pretty Young Rebel”
Leader of society, lover of the Prince Regent and contemporary of Georgiana, Duchess of Devonshire, Frances Villiers had a reputation as a scandalous woman.
How social upheavals after the collapse of the French Empire shaped the lives and work of artists in early nineteenth-century Europe As the French Empire collapsed between 1812 and 1815, artists throughout Europe were left uncertain and adrift. The final abdication of Emperor Napoleon, clearing the way for a restored monarchy, profoundly unsettled prevailing national, religious, and social boundaries. In Restoration, Thomas Crow combines a sweeping view of European art centers—Rome, Paris, London, Madrid, Brussels, and Vienna—with a close-up look at pivotal artists, including Antonio Canova, Jacques-Louis David, Théodore Géricault, Francisco Goya, Jean-Auguste-Dominique Ingres, Thomas Lawrence, and forgotten but meteoric painters François-Joseph Navez and Antoine Jean-Baptiste Thomas. Whether directly or indirectly, all were joined in a newly international network, from which changing artistic priorities and possibilities emerged out of the ruins of the old. Crow examines how artists of this period faced dramatic circumstances, from political condemnation and difficult diplomatic missions to a catastrophic episode of climate change. Navigating ever-changing pressures, they invented creative ways of incorporating critical events and significant historical actors into fresh artistic works. Crow discusses, among many topics, David’s art and influence during exile, Géricault’s odyssey through outcast Rome, Ingres’s drive to reconcile religious art with contemporary mentalities, the titled victors over Napoleon all sitting for portraits by Lawrence, and the campaign to restore art objects expropriated by the French from Italy, prefiguring the restitution controversies of our own time. Restoration explores how cataclysmic social and political transformations in nineteenth-century Europe reshaped artists’ lives and careers with far-reaching consequences. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC Please note: All images in this ebook are presented in black and white and have been reduced in size.
Female characters assumed increasing prominence in the narratives of nineteenth- and early twentieth-century opera. And for contemporary audiences, many of these characters--and the celebrated women who played them--still define opera at its finest and most searingly affective, even if storylines leave them swooning and faded by the end of the drama. The presence and representation of women in opera has been addressed in a range of recent studies that offer valuable insights into the operatic stage as cultural space, focusing a critical lens at the text and the position and signification of female characters. Moving that lens onto the historical, The Arts of the Prima Donna in the Long Nineteenth Century sheds light on the singers who created and inhabited these roles, the flesh-and-blood women who embodied these fabled "doomed women" onstage before an audience. Editors Rachel Cowgill and Hilary Poriss lead a cast of renowned contributors in an impressive display of current approaches to the lives, careers, and performances of female opera singers. Essential theoretical perspectives reflect several broad themes woven through the volume-cultures of celebrity surrounding the female singer; the emergence of the quasi-mythical figure of the diva; explorations of the intricate and sundry arts associated with the prima donna, and with her representation in other media; and the diversity and complexity of contemporary responses to her. The prima donna influenced compositional practices, determined musical and dramatic interpretation, and affected management decisions about the running of the opera house, content of the season, and employment of other artists--a clear demonstration that her position as "first woman" extended well beyond the boards of the operatic stage itself. The Arts of the Prima Donna in the Long Nineteenth Century is an important addition to the collections of students and researchers in opera studies, nineteenth-century music, performance and gender/sexuality studies, and cultural studies, as well as to the shelves of opera singers and enthusiasts.
ARTHUR O'CONNOR was an Irish revolutionary whose historical importance has been vastly underappreciated. He was the most important leader of the United Irishmen, the powerful conspiracy that culminated in the Rebellion of 1798. Although that uprising ended in failure, it was a watershed event in Irish history that left an important legacy of revolutionary precedent for later generations of Irish republicans and nationalists. The conflict in Ireland that persists to the present can be traced in an unbroken line to the war between the British government and the United Irish army in 1798. Although Arthur O'Connor has not become an icon of romantic legend in Ireland, his revolutionary career was full of color, drama, and controversy. He was a skilled conspirator and a charismatic orator who was capable of charming the likes of Charles James Fox, Richard Brinsley Sheridan, and Napoleon Bonaparte. Many of his allies expected and his rivals feared that O'Connor would have become Bonaparte's anointed king of Ireland if the French had succeeded in driving the British out.
First published in 1992, Subject to Others considers the intersection between late seventeenth- to early nineteenth-century British female writers and the colonial debate surrounding slavery and abolition. Beginning with an overview that sets the discussion in context, Moira Ferguson then chronicles writings by Anglo-Saxon women and one African-Caribbean ex-slave woman, from between 1670 and 1834, on the abolition of the slave trade and the emancipation of slaves. Through studying the writings of around thirty women in total, Ferguson concludes that white British women, as a result of their class position, religious affiliation and evolving conceptions of sexual difference, constructed a colonial discourse about Africans in general and slaves in particular. Crucially, the feminist propensity to align with anti-slavery activism helped to secure the political self-liberation of white British women. A fascinating and detailed text, this volume will be of particular interest to undergraduate students researching colonial British female writers, early feminist discourse, and the anti-slavery debate.