Passing Performances gathers a range of critical and biographical essays on notable personalities whose major contributions to the stage occurred before 1969, the year of the Stonewall riots that kicked off the gay rights movement in the United States. How these theater practitioners variously "passed"-- i.e., managed unconventional sexual inclinations both on- and offstage--significantly determined the course of their personal and professional lives and thus the course of U.S. theater history. The actors, directors, producers, and agents examined here include Edwin Forrest, Charlotte Cushman, and Adah Isaacs Menken, whose personal lives and careers traded on the same-sex erotics of "true love" in the antebellum period; Elisabeth Marbury, Elsie de Wolfe, Elsie Janis, Nance O'Neil, and Alla Nazimova, whose intimate female liaisons were variously interpreted around the turn of the century; the "lavender marriages" of Alfred Lunt to Lynne Fontanne and Guthrie McClintic to Katharine Cornell; the lesbian collaborations of Margaret Webster and Cheryl Crawford; the comic antics of Monty Woolley, which negotiated codified constructions of homosexual perversion in the post-Freudian interwar years; and the on- and offstage performances of Mary Martin and Joe Cino, which resisted the paranoid enforcements of heterosexual normality in the McCarthy era. Central to these investigations are the complex connections of performances of sexuality and gender and their different implications for men and women practitioners working under pervasive sexism and homophobia. The volume also includes striking archival photographs of the performers and their performances, and an index to facilitate the cross-referencing of subjects' intersecting careers. Passing Performances will engage both general and academic readers interested in theater, gay and lesbian history, American studies, and biography. Robert A. Schanke is Professor of Theatre and Chair of the Division of Fine Arts, Central College, Iowa. Kim Marra is Associate Professor of Theatre Arts, University of Iowa.

Not only does almost everyone in the civilized world use a personal computer, smartphone, and/or tablet on a daily basis to communicate with others and access information, but virtually every other modern appliance, vehicle, or other device has one or more computers embedded inside it. One cannot purchase a current-model automobile, for example, without several computers on board to do everything from monitoring exhaust emissions, to operating the anti-lock brakes, to telling the transmission when to shift, and so on. Appliances such as clothes washers and dryers, microwave ovens, refrigerators, etc. are almost all digitally controlled. Gaming consoles like Xbox, PlayStation, and Wii are powerful computer systems with enhanced capabilities for user interaction. Computers are everywhere, even when we don’t see them as such, and it is more important than ever for students who will soon enter the workforce to understand how they work. This book is completely updated and revised for a one-semester upper level undergraduate course in Computer Architecture, and suitable for use in an undergraduate CS, EE, or CE curriculum at the junior or senior level. Students should have had a course(s) covering introductory topics in digital logic and computer organization. While this is not a text for a programming course, the reader should be familiar with computer programming concepts in at least one language such as C, C++, or Java. Previous courses in operating systems, assembly language, and/or systems programming would be helpful, but are not essential.

In Leading at a Higher Level , Updated Edition, Blanchard and his colleagues bring together everything they've learned about world-class leadership. You'll discover how to create targets and visions based on the "triple bottom line"...and make sure people know who you are, where you're going, and the values that will guide your journey. From start to finish, this book extends Blanchard's breakthrough work on delivering legendary customer service, creating "raving fans," and building "Partnerships for Performance" that empower everyone who works for and with you. Updated throughout, this new edition contains two powerful, important new chapters: one on coaching to create higher-level leaders, and another on creating a higher-level culture throughout your organization. It also offers the definitive, most up-to-date techniques for leading yourself, individuals, teams, and entire organizations. Most importantly, it will help you dig deep within, discover the personal "leadership point of view" all great leaders possess-and apply it throughout your entire life. In Helping People Win at Work , WD-40 Company President/CEO Garry Ridge reveals how his company has used Blanchard's techniques to "Partner for Performance" with every employee, and achieve unprecedented levels of employee engagement and commitment. Ridge introduces WD-40's performance review system, explaining its goals, its features, and the cultural changes it required. Next, Ridge shares his "leadership point of view": what he expects of people, what they can expect of him, and where his beliefs about leadership and motivation came from. Finally, in Part IV, Ken Blanchard explains why WD-40's Partnering for Performance program works so well and how it can work for you, too. This book isn't about cheerleading: it's about transforming performance review one step at a time and reaping record-breaking results!

Part of the American Literatures Initiative Series American Arabesque examines representations of Arabs, Islam and the Near East in nineteenth-century American culture, arguing that these representations play a significant role in the development of American national identity over the century, revealing largely unexplored exchanges between these two cultural traditions that will alter how we understand them today. Moving from the period of America's engagement in the Barbary Wars through the Holy Land travel mania in the years of Jacksonian expansion and into the writings of romantics such as Edgar Allen Poe, the book argues that not only were Arabs and Muslims prominently featured in nineteenth-century literature, but that the differences writers established between figures such as Moors, Bedouins, Turks and Orientals provide proof of the transnational scope of domestic racial politics. Drawing on both English and Arabic language sources, Berman contends that the fluidity and instability of the term Arab as it appears in captivity narratives, travel narratives, imaginative literature, and ethnic literature simultaneously instantiate and undermine definitions of the American nation and American citizenship.

“A rich and welcome addition to the surge of scholarly interest in the Berlin School.” —Studies in European Cinema Through a study of the contemporary German film movement the Berlin School, Olivia Landry examines how narrative film has responded to our highly digitalized and mediatized age, not with a focus on stasis and realism, but by turning back to movement, spectacle, and performance. She argues that a preoccupation with presence, liveness, and affect—all of which are viewed as critical components of live performance—can be found in many of the films of the Berlin School. Challenging the perception that the Berlin School is a sheer adherent of “slow cinema,” Landry closely analyzes the use of movement, dynamism, presence, and speed in a broad selection of films to show how filmmakers such as Christian Petzold, Angela Schanelec, Thomas Arslan, and Christoph Hochhäusler invoke the pulse of the kinesthetic and the tangibly affective. Her analysis draws on an array of film theories from early materialism to body theories, phenomenology, and contemporary affect theories. Arguing that these theories readily and energetically forge a path from film to performance, Landry traces a trajectory between the two through which live experience, presence, spectacle, intersubjectivity, and the body in motion emerge and powerfully intersect. Ultimately, Movement and Performance in Berlin School Cinema expands the methodological and disciplinary boundaries of film studies by offering new ways of articulating and understanding movement in cinema.

Appropriation acts before 1911 published in the Laws of the General Assembly; 1911- in a separate volume.