At seventeen, Zoe Loversall was the toast of the ton, with so many admirers that they were known as ‘Zoe’s Zoo’. At seven-and-twenty, she is a runaway Contessa, determined to experience everything life has thus far withheld. Zoe returns to London, to seek her ruin and her revenge. There she sets her sights on Lord Quinton, that most notorious — and most uncooperative — profligate of all. Regency Romance novella by Maggie MacKeever; originally published by Vintage Ink Press

Includes a later edition of the Proceedings of the 1st congress: Comprenant le sommaire des travaux de la première peŕiode et les mémoires in extenso de la seconde période.

Reprint of the original, first published in 1869.

Since its origin, opera has been identified with the performance and negotiation of power. Once theaters specifically for opera were established, that connection was expressed in the design and situation of the buildings themselves, as much as through the content of operatic works. Yet the importance of the opera house’s physical situation, and the ways in which opera and the opera house have shaped each other, have seldom been treated as topics worthy of examination. Operatic Geographies invites us to reconsider the opera house’s spatial production. Looking at opera through the lens of cultural geography, this anthology rethinks the opera house’s landscape, not as a static backdrop, but as an expression of territoriality. The essays in this anthology consider moments across the history of the genre, and across a range of geographical contexts—from the urban to the suburban to the rural, and from the “Old” world to the “New.” One of the book’s most novel approaches is to consider interactions between opera and its environments—that is, both in the domain of the traditional opera house and in less visible, more peripheral spaces, from girls’ schools in late seventeenth-century England, to the temporary arrangements of touring operatic troupes in nineteenth-century Calcutta, to rural, open-air theaters in early twentieth-century France. The essays throughout Operatic Geographies powerfully illustrate how opera’s spatial production informs the historical development of its social, cultural, and political functions.