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The French Quarter has placed countless tourists and locals under its spell for centuries. From iconic sites like the St. Louis Cathedral to elegant, early nineteenth-century private residences, this striking collection of photographs reveals the vibrant and majestic world of the Vieux Carr‚. With 30 color photographs and full captions, this work transports you through the Quarter's most classic sites and hidden courtyards to uncover the true, enchanting spirit of the city.
Jack Duluoz and Cody Pomeroy travel around the country.
Former go-go boy turned detective Scotty Bradley is back! When an old family friend apparently commits suicide from his French Quarter balcony, Scotty’s life accelerates from boring to exciting again in a nanosecond. Why would anyone want the old man dead, and what were they looking for in his ransacked apartment? It’s up to Scotty, Frank, his crazy family, and friends to get to the bottom of this bizarre mystery—and when an old, all-too-familiar face turns up, it’s not just Scotty’s life that’s in danger, but his heart.
Celebrated in media and myth, New Orleans's French Quarter (Vieux Carr(r)) was the original settlement of what became the city of New Orleans. In Madame Vieux Carr(r), Scott S. Ellis presents the social and political history of this famous district as it evolved from 1900 through the beginning of the twenty-first century. From the immigrants of the 1910s, to the preservationists of the 1930s, to the nightclub workers and owners of the 1950s and the urban revivalists of the 1990s, Madame Vieux Carr(r) examines the many different people who have called the Quarter home, who have defined its character, and who have fought to keep it from being overwhelmed by tourism's neon and kitsch. The old French village took on different roles--bastion of the French Creoles, Italian immigrant slum, honky-tonk enclave, literary incubator, working-class community, and tourist playground. The Quarter has been a place of refuge for various groups before they became mainstream Americans. Although the Vieux Carr(r) has been marketed as a free-wheeling, boozy tourist concept, it exists on many levels for many groups, some with competing agendas. Madame Vieux Carr(r) looks, with unromanticized frankness, at these groups, their intentions, and the future of the South's most historic and famous neighborhood. The author, a former Quarter resident, combines five years of research, personal experience, and unique interviews to weave an eminently readable history of one of America's favorite neig
Beginning in the 1920s, New Orleans was one of the first U.S. cities to deliberately attempt to preserve its architectural heritage. In this influential and prophetic essay, Tulane professor of architecture Bernard Lemann argues for a rational balance between commercial growth and historic preservation in the French Quarter, offering a philosophical blueprint for keeping the Vieux Carr‚ a living, vibrant neighborhood.
This volume responds to a renewed focus on tragedy in theatre and literary studies to explore conceptions of tragedy in the dramatic work of seventeen canonical American playwrights. For students of American literature and theatre studies, the assembled essays offer a clear framework for exploring the work of many of the most studied and performed playwrights of the modern era. Following a contextual introduction that offers a survey of conceptions of tragedy, scholars examine the dramatic work of major playwrights in chronological succession, beginning with Eugene O'Neill and ending with Suzan-Lori Parks. A final chapter provides a study of American drama since 1990 and its ongoing engagement with concepts of tragedy. The chapters explore whether there is a distinctively American vision of tragedy developed in the major works of canonical American dramatists and how this may be seen to evolve over the course of the twentieth century through to the present day. Among the playwrights whose work is examined are: Susan Glaspell, Langston Hughes, Tennessee Williams, Arthur Miller, Edward Albee, Lorraine Hansberry, Amiri Baraka, August Wilson, Marsha Norman and Tony Kushner. With each chapter being short enough to be assigned for weekly classes in survey courses, the volume will help to facilitate critical engagement with the dramatic work and offer readers the tools to further their independent study of this enduring theme of dramatic literature.
In your dreams you see things that seem real, but do not make sense. I saw him, and then I did not see him. I do not know what I thought or understood. I do not think that in my whole life I ever really thought that there was such a place. Then I looked, and I saw the splendor stretched as far as I could see.
"Praised as one of the finest American playwrights of the 20th century, Tennessee Williams (1911-1983) left a legacy of theater classics, including The Glass Menagerie, Sweet Bird of Youth. Cat on a Hot Tin Roof, and A Streetcar Named Desire. Although he won two Pulitzer prizes for drama, Williams fell out of favor in the early 1960s, and after The Night of the Iguana his subsequent works suffered both critical and commercial failure. Even worse, several of his plays failed to get produced in his lifetime." "William Prosser directed six productions of Williams' plays, five of which the playwright saw, criticized, and often praised. Determined to liberate the playwright's later works from the literary purgatory to which they had been condemned by critics, Prosser examines the plays Williams produced from the early 1960s until his death. In several thoughtful essays. Prosser discusses such works as The Milk Train Doesn't Stop Here Anymore, Slapstick Tragedy, Kingdom of Earth, The Red Devil Battery Sign, and Clothes for a Summer Hotel a portrait of F. Scott and Zelda Fitzgerald. Besides offering reevaluations of these plays, each chapter may be seen as research and analysis for potential productions, Throughout the book, Prosser contends that Williams' talent was not destroyed but rather went on in different directions to create extraordinary, if misunderstood, works."--BOOK JACKET.
All over the world, in the most varied contexts, contemporary theatre is a rich source for increasing the visibility of communities generally perceived by others as minorities, or those who see themselves as such. Whether of a linguistic, ethnic, political, social, cultural or sexual nature, the claims of minorities enjoy a privileged medium in theatre. Perhaps it is because theatre itself is linked to the notions of centre and periphery, conformism and marginality, domination and subjugation – notions that minority theatre constantly examines by staging them – that it is so sensitive to the issues of troubled and conflicted identity and able to give them a universal resonance. Among the questions raised by this volume, is that of the relationship between the particular and the more general aims of this type of theatre. How is it possible to speak to everyone, or at least to the majority, when one is representing the voice of the few? Beyond such considerations, urgent critical examination of the function and aims of minority theatre is needed. To what kind of public is such drama addressed? Does it have an exemplary nature? How is it possible to avoid the pitfalls and the dead end of ghettoization? Certain types of audience-specific theatre are examined in this context, as, for example, theatre as therapy, theatre as an educational tool, and gay theatre. Particular attention is paid to the claims of minorities within culturally and economically dominant western countries. These are some of the avenues explored by this volume which aims to answer fundamental questions such as: What is minority theatre and why does theatre, a supposedly bourgeois, if not to say elitist, art form, have such affinity with the margins? What if, particularly in contemporary society, the theatre as a form, were merely playing out its fundamentally marginal status? The authors of these essays show how different forms of minority theatre can challenge cultural consensus and homogenization, while also aspiring to universality. They also address the central question of the place and status of apparently marginal forms of theatre in the context of globalization and in doing so re-examine theatre itself as a genre. Not only do they illustrate how minority theatre can challenge the dominant paradigms that govern society, but they also suggest their own more flexible and challenging frameworks for theatrical activity.