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This book explores the changing boundaries and relationships
between market and state from the seventeenth to the twentieth
century. Money and Markets celebrates Martin Daunton's
distinguished career by bringing together essays from leading
economic, social and cultural historians, many being colleagues and
former students. Throughout his career, Dauntonhas focused on the
relationship between structure and agency, how institutional
structures create capacities and path dependencies, and how
institutions are themselves shaped by agency and contingency - what
Braudel referred to as 'turning the hour glass twice'. This volume
reflects that focus, combining new research on the financing of the
British fiscal-military state before and during the Napoleonic
wars, its property institutions, and thelonger-term economic
consequences of Sir Robert Peel. There are also chapters on the
birth of the Eurodollar market, Conservative fiscal policy from the
1960s to the 1980s, the impact of neoliberalism on welfare policy
and more broadly, the failed attempt to build an airport in the
Thames Estuary in the 1970s, and the political economy of time in
Britain since 1945. While much of the focus is on Britain, and
British finance in a global economy, the volumealso reflects
Daunton's more recent study of international political economy with
essays on the French contribution to nineteenth-century
globalization, Prussian state finances at the time of the 1848
revolution, Imperial German monetary policy, the role of
international charity in the mixed economy of welfare and
neoliberal governance, and the material politics of energy
consumption from the 1930s to the 1960s. JULIAN HOPPIT is Astor
Professor of British History at University College London. ADRIAN
LEONARD is Associate Director of the Centre for Financial History
at the University of Cambridge. DUNCAN NEEDHAM is Dean and Senior
Tutor at Darwin College, University of Cambridge. CONTRIBUTORS:
Martin Chick, Sean Eddie, Matthew Hilton, Julian Hoppit, Seung-Woo
Kim, Adrian Leonard, Duncan Needham, Charles Read, Bernhard Rieger,
Richard Rodger, Sabine Schneider, HirokiShin, David Todd, James
Tomlinson, Frank Trentmann, Adrian Williamson
(Applause Libretto Library). Music by Richard Rodgers Lyrics by
Oscar Hammerstein II Book by Oscar Hammerstein II and Joshua Logan
Adapted from the Pulitzer Prize-winning novel Tales of the South
Pacific by James A. Michener Winner of the Pulitzer Prize for Drama
and the Tony for Best Musical, South Pacific flourished as the
golden musical of Broadway's post-WWII golden era. Nearly 60 years
after its 1949 premiere, South Pacific returned to Broadway in
Lincoln Center Theater's glorious Tony-winning production, setting
box-office records and bringing this timely and timeless musical to
new generations. With a score by Rodgers & Hammerstein and a
libretto by Hammerstein and Joshua Logan, based on James A.
Michener's Pulitzer Prize-winning novel, Tales of the South
Pacific, this landmark musical combines compassionate love stories
with the saga of a world at war. Richly developed characters are
faced with life-changing moments in a complex world, their thoughts
and yearnings powerfully expressed in the lyrics to such songs as
"This Nearly Was Mine," "Younger Than Springtime," and "Some
Enchanted Evening."
Oral testimony is one of the most valuable but challenging sources
for the study of modern history, providing access to knowledge and
experience unavailable to historians of earlier periods. In this
groundbreaking collection, oral testimonies are used to explore
themes relating to the construction of urban memories in European
cities during the twentieth century. From the daily experiences of
city life, to personal and communal responses to urban change and
regeneration, to migration and the construction of ethnic
identities, oral history is employed to enrich our understanding of
urban history. It offers insights and perspectives that both
enhance existing approaches and forces us to re-examine official
histories based on more traditional sources of documentation.
Moreover, it enables the historian to understand something of the
nature of memory itself, and how people construct their own
versions of the urban experience to try to make sense of the past.
By using the full range of opportunities offered by oral history,
as well as fully considering the related methodological issues of
interpretation, this volume provides a fascinating insight into one
of the least explored areas of urban history. As well as adding to
our understanding of the European urban experience, it highlights
the potential of this intersection of oral and urban history.
Oral testimony is one of the most valuable but challenging sources
for the study of modern history, providing access to knowledge and
experience unavailable to historians of earlier periods. In this
groundbreaking collection, oral testimonies are used to explore
themes relating to the construction of urban memories in European
cities during the twentieth century. From the daily experiences of
city life, to personal and communal responses to urban change and
regeneration, to migration and the construction of ethnic
identities, oral history is employed to enrich our understanding of
urban history. It offers insights and perspectives that both
enhance existing approaches and forces us to re-examine official
histories based on more traditional sources of documentation.
Moreover, it enables the historian to understand something of the
nature of memory itself, and how people construct their own
versions of the urban experience to try to make sense of the past.
By using the full range of opportunities offered by oral history,
as well as fully considering the related methodological issues of
interpretation, this volume provides a fascinating insight into one
of the least explored areas of urban history. As well as adding to
our understanding of the European urban experience, it highlights
the potential of this intersection of oral and urban history.
Dr Henry Littlejohn's Report on the Sanitary Condition of Edinburgh
(1865) was a landmark in urban management and public health
administration. The Lancet described it as 'monumental'. The Report
had a significance far beyond the boundaries of Edinburgh and his
meticulous research produced penetrating insights into the links
between poverty, employment and public health in Victorian cities.
Insanitary City reproduces the full Report and sets it in this
wider context. For over half a century, Littlejohn's career as
Police Surgeon, Crown witness in murder cases and medical advisor
to the Scottish Poor Law authorities, gave him an unrivalled
overview of the problems confronting Victorian society. In 1895 he
was knighted 'for services to sanitary science'.
This lavishly produced book brings together an impressive amount of
new historical research which seeks to answer this question,
providing fresh interpretations of Leicester's history since 1800.
The chapters analyse the events, changes and characteristics that
have shaped the city and given it its distinctive identity. The
sights, sounds and smells of the city in the twenty-first century
are products of cumulative layers of history, layers which are
peeled back by a specially assembled team of historians, all of
whom have lived and worked in Leicester for many years. The result
is an important book which helps us to understand the city's past,
so that we may better understand the present and know how to
approach the future. Above all, this fascinating volume
demonstrates that Leicester is a quietly confident city built on
firm historical foundations of which Leicester citizens of today
can feel very proud.
This clear and lucid study explores the physical transformation of
Edinburgh in the nineteenth century. It is based on a formidable
amount of new archival research and enriched with fascinating
illustrative material. In a powerful analysis of how the law
adapted under intense pressure from institutions and individuals to
new possibilities for profit, Richard Rodger shows how urban
expansion was financed. Victorian 'feudalism', he argues, was
reasserted. As a consequence, durable housing was created, though
at densities and at costs which had adverse consequences for the
tenement dwellers within. Trusts, educational endowments and the
Church were each instrumental in this process. The urban
environmental damage associated with intensive building and
overcrowding is also explored, as are the public health and
co-operative responses which they prompted. Historians - whether
political, urban, economic, social or legal - will find challenging
new insights here, which have a resonance far beyond the confines
of one city. Winner of the 2003 Frank Watson Prize.
This clear, lucid and richly illustrated study, based on a formidable amount of new archival research, explores the physical transformation of Edinburgh in the nineteenth century. Richard Rodger's powerful book shows how landowners, builders and investors pursued their own agendas and in doing so reshaped the Victorian towns and cities that the twentieth century inherited. Historians--whether political, urban, economic, social or legal--will find challenging new insights here, which have a resonance far beyond the confines of one city.
Why did slums and suburbs develop simultaneously? Did the
capitalist system produce these, and were class antagonisms to
blame? Why did the Victorians believe there was a housing problem,
and who or what created it? What housing solutions were attempted,
and how successfully? These are amongst the central questions
addressed by social and urban historians in recent years, and their
arguments and analyses are reviewed here. The history of housing
between 1780 and 1914 encapsulates many problems associated with
the transition from a largely rural to an overwhelmingly urban
nation. The unprecedented pace of this transition imposed immense
tensions within society, with implications for the urban
environment and for local and national government. Housing is
central to an understanding of the social, economic, political and
cultural forces in nineteenth-century history; this book is an
ideal introduction to the topic.
Why did slums and suburbs develop simultaneously? Did the
capitalist system produce these, and were class antagonisms to
blame? Why did the Victorians believe there was a housing problem,
and who or what created it? What housing solutions were attempted,
and how successfully? These are amongst the central questions
addressed by social and urban historians in recent years, and their
arguments and analyses are reviewed here. The history of housing
between 1780 and 1914 encapsulates many problems associated with
the transition from a largely rural to an overwhelmingly urban
nation. The unprecedented pace of this transition imposed immense
tensions within society, with implications for the urban
environment and for local and national government. Housing is
central to an understanding of the social, economic, political and
cultural forces in nineteenth-century history; this book is an
ideal introduction to the topic.
In a Maine coastal village toward the end of the 19th century
swaggering carefree carnival barker Billy Bigelow captivates and
marries naive millworker Julie Jordan. Billy loses his job just as
he learns that Julie is pregnant and a desperately intent upon
providing a decent life for his family a he is coerced into being
an accomplice to a robbery. Caught in the act and facing the
certainty of prison he takes his own life and is sent up there.
Billy is allowed to return to earth for one day 15 years later and
he encounters the daughter he never knew. She is a lonely
friendless teenager her father's reputation as a thief and bully
having haunted her throughout her young life. How Billy instills a
sense of hope and dignity in both the child and her mother is a
dramatic testimony to the power of love. It's easy to understand
why of all the shows they created ECarouselE was Rodgers and
Hammerstein's personal favorite.
(Applause Libretto Library). Music by Richard Rodgers Lyrics by
Oscar Hammerstein II New book by Douglas Carter Beane Original book
by Oscar Hammerstein II In March 2013, a new Rodgers and
Hammerstein musical opened on Broadway new to Broadway, but based
on a TV musical first written nearly 60 years before, and beloved
by audiences all over the world. It was Rodgers + Hammerstein's
Cinderella, which very quickly became the belle of the ball of the
Broadway season, winning cheers for its fresh take on a timeless
classic. Douglas Carter Beane created a new, Tony-nominated book
that was hailed for complementing the inspirational themes of
Rodgers and Hammerstein with a 21st-century sensibility, giving the
musical new characters, surprising plot twists, and revelatory
moments that harkened back to the Charles Perrault version of the
fairy tale. The score was cheered as well: the familiar songs from
the television versions "In My Own Little Corner," "Impossible," "A
Lovely Night," "Do I Love You Because You're Beautiful," and so on
along with undiscovered gems from the "trunk." Rodgers +
Hammerstein's Cinderella was hailed by the Associated Press as a
"charming, witty and relevant take on the classic story" and
cheered by New York magazine as a "wised-up, wit-spackled
CINDERELLA... As solidly entertaining as they come "
This lavishly produced book brings together an impressive amount of
new historical research which seeks to answer this question,
providing fresh interpretations of Leicester's history since 1800.
The chapters analyse the events, changes and characteristics that
have shaped the city and given it its distinctive identity. The
sights, sounds and smells of the city in the twenty-first century
are products of cumulative layers of history, layers which are
peeled back by a specially assembled team of historians, all of
whom have lived and worked in Leicester for many years. The result
is an important book which helps us to understand the city's past,
so that we may better understand the present and know how to
approach the future. Above all, this fascinating volume
demonstrates that Leicester is a quietly confident city built on
firm historical foundations of which Leicester citizens of today
can feel very proud.
Easy piano arrangements of 8 popular songs from the musical
masterpiece, including: Climb Ev'ry Mountain * Do-Re-Mi * Edelweiss
* Maria * My Favorite Things * Sixteen Going on Seventeen * So
Long, Farewell * The Sound of Music.
(Vocal Collection). Great classic songs selected for children
singers. CD features performances by professional Broadway kids and
piano accompaniments. Includes: Do-Re-Mi * Getting to Know You * I
Enjoy Being a Girl * I Whistle a Happy Tune * In My Own Little
Corner * My Favorite Things * Oh' What a Beautiful Mornin' * and
more.
(Easy Piano Play-Along). Each book in this series comes with a CD
of complete professional performances, and includes matching custom
arrangements in Easy Piano format. With these books you can: Listen
to complete professional performances of each of the songs; Play
the Easy Piano arrangements along with the performances; Sing along
with the full performances; Play the Easy Piano arrangements as
solos, without the disk. This pack features 10 songs: Climb Ev'ry
Mountain * Do-Re-Mi * Edelweiss * The Lonely Goatherd * Maria * My
Favorite Things * Sixteen Going on Seventeen * So Long, Farewell *
Something Good * The Sound of Music.
Winner! 1993 Olivier Award, Best Musical Revival Winner! Five 1994
Tony Awards, including Best Revival of a Musical Winner! Three 1994
Drama Desk Awards Nominee: Seven 1994 Drama Desk Awards, including
Outstanding Musical Revival Winner! Two 2018 Tony Awards Nominee:
Eleven 2018 Tony Awards, including Best Revival of a Musical
Winner! Five 2018 Drama Desk Awards, including Outstanding
Orchestrations Nominee: Twelve 2018 Drama Desk Awards, including
Outstanding Musical Revival In a Maine coastal village toward the
end of the 19th century, the swaggering, carefree carnival barker,
Billy Bigelow, captivates and marries the gentle millworker, Julie
Jordan. Billy loses his job just as he learns that Julie is
pregnant and, desperately intent upon providing a decent life for
his family, he is coerced into being an accomplice to a robbery.
Caught in the act and facing the certainty of prison, he takes his
own life and is sent 'up there.' Billy is allowed to return to
earth for one day fifteen years later, and he encounters the
daughter he never knew. She is a lonely, friendless teenager, her
father's reputation as a thief and bully having haunted her
throughout her young life. How Billy instills in both the child and
her mother a sense of hope and dignity is a dramatic testimony to
the power of love.
The timeless enchantment of a magical fairy tale is reborn with the
Rodgers & Hammerstein hallmarks of originality, charm, and
elegance. Originally presented on television in 1957 starring Julie
Andrews, Rodgers & Hammerstein's Cinderella was the most widely
viewed program in the history of the medium. Its re-creation in
1965 starring Lesley Ann Warren was no less successful in
transporting a new generation to the miraculous kingdom of
dreams-come-true, and so was a second remake in 1997, which starred
Brandy as Cinderella and Whitney Houston as her Fairy Godmother. In
1956 Richard Rodgers and Oscar Hammerstein II were indisputably the
world's most successful writers of musicals. Julie Andrews was a
sparkling new star, having just triumphed in My Fair Lady. When her
agent approached Rodgers and Hammerstein and suggested that the
television audience would welcome a musical version of
"Cinderella," it was an irresistible temptation for all. Everything
about the project was right from the start. The CBS production team
was quickly assembled. Richard Lewine, a distant cousin of Rodgers
and a close friend, was the producer, Ralph Nelson the director.
Howard Lindsay and his wife, Dorothy Stickney, were signed for the
King and Queen; Jon Cypher played the Prince; the Stepmother and
Stepsisters were made less frightening and more comic by Ilka
Chase, Kaye Ballard and Alice Ghostley; rather than the standard
old crone, the beautiful Edie Adams played the Godmother. Rodgers
and Hammerstein approached the story with the honesty and
simplicity that characterized all their work. They purposely did
not seek to improve a story they felt was dramatically sound, as
many writers are prone to do, instead concentrating on bringing the
characters to life. Rodgers wrote in his autobiography Musical
Stages, "In writing the story and the songs, Oscar and I felt that
it was important to keep everything as traditional as possible,
without any 'modernizing' or reaching for psychological
significance." When Hammerstein was asked where he found the
version of Cinderella story he based his adaptation upon, he
answered, "I looked it up in the encyclopedia." The marriage of
music, lyrics and story in Cinderella exemplified their artistic
philosophy; all elements held together integrally to illuminate the
characters. As Rodgers explained, "Although a few of its songs have
become popular, our score for Cinderella is another example of what
theatre music is really about. No matter what the medium, a score
is more than a collection of individual songs. It is, or should be,
a cohesive entity whose word and music are believable expressions
of the characters singing them...Like a symphony, concerto or
opera, some portions have greater appeal than others, but it is the
work as a whole that makes the overall impression." Cinderella
succeeded. When it was broadcast on March 31, 1957, it was viewed
by more people than any other program in the history of television.
Rodgers + Hammerstein's Cinderella is the new Broadway adaptation
of the classic musical. This contemporary take on the classic tale
features Rodgers & Hammerstein's most beloved songs, including
"In My Own Little Corner," "Impossible/It's Possible" and "Ten
Minutes Ago," alongside an up-to-date, hilarious and romantic
libretto by Tony Award-nominee Douglas Carter Beane. Originally
presented on television in 1957 starring Julie Andrews, Rodgers
& Hammerstein's Cinderella was twice remade for television,
first in 1965 for Lesley Ann Warren and again in 1997, featuring
Brandy and Whitney Houston. The original Broadway production of
Rodgers + Hammerstein's Cinderella opened in 2013 and starred Laura
Osnes, Santino Fontana, Victoria Clark and Harriet Harris. Nominee:
Nine 2013 Tony Awards, including Best Book of a Musical and Best
Revival of a Musical Winner! 2014 Tony Award for Best Costume
Design for a Musical Winner! Three 2013 Drama Desk Awards,
including Outstanding Orchestrations
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