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An unusually useful survey of the development of French poetry, this book anthologizes works by France's finest and most influential poets — 30 in all — from the mid-fifteenth century to our own time. Included are such luminaries as Charles d'Orléans, François Villon, Joachim du Bellay, Ronsard, La Fontaine, Voltaire, Chénier, Hugo, Musset, Gautier, Vigny, Baudelaire, Mallarmé, Verlaine, Rimbaud, Claudel, Valéry, Apollinaire, Perse, and Bonnefoy. In addition the work of poets less familiar to the English-speaking world, yet instrumental in the formulation of the French tradition — Scéve, Saint Armant, Malherbe — is here as well.
The French texts come from the best critical editions, or in the case of the moderns, those authorized by the poets themselves. Teachers of French will appreciate the clear prose translations on facing pages; the translator does not attempt to be a poet himself, rather to lead the reader to a full appreciation of the poem as it was written. An introductory essay gives as understandable a short summary of the formal aspects of versification as can be found anywhere — the early orthodoxy of rhyme and meter, the gradual introduction of enjambment and metrical variation, through the word games and innovations of Apollinaire and his circle. A biographical and critical essay on each poet and his work not only depicts the poet as an individual but also gives a fine sense of the progressing and changing tradition of French poetry itself. An illustration, usually a portrait of the poet, accompanies each selection.
The clarity and comprehensiveness of this attractive anthology (as well as its low cost) make it an ideal volume for an introductory survey of French poetry. For the student just beginning the study of French, this book is good supplementary material; the format of this book makes it easy to experience French poetry and learn vocabulary and grammar at the same time.
Irving Berlin, George Gershwin, Richard Rodgers — the names of composers of great American musicals are household words. But many of the stars who introduced these songwriters' classic triumphs and whose names were on everybody's lips a few decades ago have been all but forgotten. Now, with this book, you can take a fascinating journey into the days when Lillian Russell and Frank Daniels, or Marilyn Miller and William Gaxton, were as celebrated as the superstars of television and film are today.
This volume is the most complete collection of its kind. Its 361 vivid portraits of over 400 star entertainers of the past cover the whole spectrum of nearly a century of American musical theater. The portraits, many by the finest celebrity photographers of their day, and many of which are autographed presentation copies, are complemented by full captions exceptionally rich with information; together, they constitute a history of the American musical, its stars and supporting casts, its remembered and forgotten successes.
Brimming with life and personality, these portraits capture yesterday's stars in their most characteristic moods and postures. Along with scores of charming views of personalities as well-known on the screen as on the stage — Bob Hope, W. C. Fields, Ann Sothern, Fred Astaire, to name but a few — are shots of hundreds of performers who have been virtually or entirely forgotten because they were stars only — or at least primarily —"of the stage" Emma Trentini, Donald Brian, Nora Bayes, Fritzi Scheff, Lew Fields, Vernon and Irene Castle, Edith Day, Eugene and Willie Howard, Mary Ellis, Dennis King, Elsie Janis, Ray Middleton, Jack Whiting, Todd Duncan, and many, many more.
More than just a stunning portrait gallery, this book will challenge the imaginations and knowledge of musical-theater and nostalgia buffs. Among its hundreds of facts and photos are such special treats as shots — grouped together — of the original stars of Show Boat, Oklahoma! and South Pacific; portraits of composers who also performed in their own shows, like George M. Cohan, Eubie Blake, and Irving Berlin; fascinating views of today's television and film stars in their youth, along with information on their early, often little-known stage appearances; and notes on the first performances of song classics like "I Wonder Who's Kissing Her Now," "Night and Day," and "Bewitched, Bothered and Bewildered."
Unfortunately, in this age of electronics and breathless change, the days of vaudeville, operetta, revue, and early musical comedy have been too quickly forgotten. This book makes them a joy to remember. Besides being an invaluable aid to theatrical scholars, it will delight musical-theater enthusiasts and anyone wishing to revive the excitement of a fascinating segment of American entertainment history.
Originally conceived to commemorate the 400th anniversary of Columbus's discovery of America, the World's Columbian Exposition of 1893 was one of the largest (633 acres) and most influential aggregations of human talent, energy, and industry ever assembled. More than 27 million visitors entered the grounds (now Jackson Park) to marvel at the exhibits and displays housed in some 200 buildings, including those of 79 foreign governments and 38 states. Although the Fair had its share of "firsts" (original Ferris wheel, first midway, Edison's kinetoscope, etc.), its chief marvel was its architecture. It is that aspect which is emphasized in this striking photographic record.
Beginning with an overview of the fair's planning and conceptual stages, Stanley Appelbaum's well-researched text then proceeds to a fascinating discussion of the personalities, regional rivalries, and intense controversy surrounding the Beaux-Arts architecture (the "White City" style) of the fair, including its enormous impact on subsequent American architecture. The contributions of such outstanding architects and firms as R. M. Hunt; McKim, Mead and White; Frederick Law Olmsted; and Peabody and Stearns are described.
The book then becomes a building-by-building walking tour of the fair — imaginatively reconstructed with the help of 128 sharply reproduced rare contemporary photographs, printed on fine coated stock, and a concise, fact-filled text. The placid basins, ponds, and Lagoon that graced the fairgrounds lend a serene aura to these priceless views of the great buildings and sights of the fair: the Beaux-Arts glories of the Administration and Agriculture Buildings; Daniel Chester French's statue of the Republic; the Columbian Fountain by Frederick MacMonnies; the Golden Door of Louis Sullivan's Transportation Building; the Peristyle; Mary Cassatt's mural in the Woman's Building; the pure classicism of the Palace of Fine Arts (now the Museum of Science and Industry); numerous state and foreign pavilions, and of course, the Midway — the first separate amusement area at a World's Fair, and the reputed location of Little Egypt's celebrated danse du ventre.
In the concluding section, the author touches on other memorable aspects of the fair and its times: the Panic of 1893; the Pullman Strike; famous visitors (Archduke Ferdinand, the Spanish Infanta, etc.); cultural and social congresses, and finally, the disastrous fires that ultimately destroyed many of the buildings. For social and cultural historians, Chicagoans, and anyone interested in the special magic of a world's fair, this book is a loving and nostalgic look back — to a time bathed in the golden light of the fin-de-siècle years, when a colossal spectacle of human achievement in art, science, and industry captured the world's attention for one magic and unforgettable moment.

Les Maîtres de l'Affiche

(The Masters of the Poster) is one of the most prestigious and influential art publications in history. Its 256 color plates have preserved for each succeeding generation a wide- ranging selection of outstanding posters from the turn of the century, when the popular art form had reached its first peak. This Dover edition is the first complete republication of the legendary Maîtres set to devote a full large page to each plate.
Les Maîtres de l'Affiche was issued as separate numbered sheets measuring 11 1/4 x 15 1/2 inches. Every month for 60 months, from December 1895 through November 1900, subscribers received a wrapper containing four consecutively numbered poster reproductions. On 16 occasions, the monthly wrapper also contained a bonus plate, not a poster reproduction but a specially created art lithograph. Jules Chéret, father of the modern poster, emerged with the lion's share of the plates, 60 of the 240 numbered poster reproductions and 7 of the 16 unnumbered bonus plates. Of the 97 artists represented in Les Maîtres de l'Affiche, some were preeminent painters and printmakers at various stages of their careers: Toulouse-Lautrec, Denis, Bonnard, Vallotton, Puvis de Chavannes. Others were famous illustrators and cartoonists of the period, still well known to art collectors and bibliophiles: Forain, Caran d'Ache, Ibels, Willete, Boutet de Monvel, Léandre. But there were also all those whose names say "poster," the conquering pioneers of the new medium: Chéret himself, Mucha, Steinlen, the Beggarstaffs, Grasset, Penfield, Parrish, Bradley, and Hardy.
This edition reproduces the plates in their original numerical sequence, one to a page, retaining the standardized tan border introduced by the editors of Les Maîtres. The bonus plates, originally unnumbered and issued at various times, have been given the letters A through P and have been placed at the end of the volume. The List of Plates indicates the exact months in which Maîtres subscribersreceived these bonus plates. In order to keep the plate pages uncluttered, the captions on those pages have been limited to plate number (or letter) and the artist's name. The List of Plates also furnishes essential data on the original full-sized posters: their dimensions, the year in which they were first published, city of publication, and specific print shop responsible. A special Dover feature, which is almost certainly a first ever, is a full literal translation of the text of all posters printed in a language other than English. These are all new direct translations from French, German, Italian, Spanish, Dutch, Danish, Czech, and Hungarian.

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