A fascinating look—first published in 1894—at two philanthropists known as the “Prisoner’s Friends” and the early history of prison reform. Prisons in England were once dark, inhumane places lacking any regulations. The facilities were poorly managed and unsanitary, and prisoners were treated like animals. One man and one woman, the “Prisoner’s Friends,” sought to change that. Through Prison Bars is an in-depth account of John Howard and Elizabeth Fry and their work in the prison reform movement in Great Britain and Europe that began in the eighteenth century and continued into the nineteenth. Author William H. Render explores their childhoods and family lives, deeply spiritual backgrounds—Howard was a Calvinist while Fry was a dedicated Quaker—and early days in prison philanthropy, as well as what motivated them to get involved in the first place: Howard’s early days as the high sheriff of Bedfordshire and Fry’s visit to the women’s prison at Newgate in London. Neither Howard nor Fry stopped their work with just one jail. They dedicated their lives to serving God and man, and their stories have the power to inspire similar dedication in generations to come.

Italian film star Bartolomeo Pagano's "Maciste" played a key role in his nation's narratives of identity during World War I and after. Jacqueline Reich traces the racial, class, and national transformations undergone by this Italian strongman from African slave in Cabiria (1914), his first film, to bourgeois gentleman, to Alpine soldier of the Great War, to colonial officer in Italy's African adventures. Reich reveals Maciste as a figure who both reflected classical ideals of masculine beauty and virility (later taken up by Mussolini and used for political purposes) and embodied the model Italian citizen. The 12 films at the center of the book, recently restored and newly accessible to a wider public, together with relevant extra-cinematic materials, provide a rich resource for understanding the spread of discourses on masculinity, and national and racial identities during a turbulent period in Italian history. The volume includes an illustrated appendix documenting the restoration and preservation of these cinematic treasures.

Although Victorian novels often feature lengthy descriptions of the buildings where characters live, work, and pray, we may not always notice the stories these buildings tell. But when we do pay attention, we find these buildings offer more than evocative background settings. Victorian Structures uses the architectural writings of Victorian critic John Ruskin as a framework for examining the interaction of physical, social, and narrative structures in Little Dorrit by Charles Dickens, Adam Bede by George Eliot, and The Mayor of Casterbridge and Jude the Obscure by Thomas Hardy. By closely reading their descriptions of architectural structure, this book reconsiders structure itself—both the social structures the novels reflect, and the narrative structures they employ. Weaving together analysis of these three kinds of structure offers an interpretation of Victorian realism that is far more socially and formally unstable than critics have tended to assume. It illustrates how these novels radically critique the limitations, dysfunctions, and deceptions of structure, while also imagining alternative possibilities. This unique interdisciplinary approach emphasizes structure-in-time: while current conversations about structure focus on its static and fixed properties, this book understands it as various forces in tension, producing meanings that are always in flux. Victorian Structures focuses not only on the way structures shape our perceptions and experiences, but also, more importantly, on the processes through which those structures come to be constructed in the first place, and how they change over time.

The timely, true story of Thomas Nast, the granddaddy of political satire who destroyed a corrupt regime in 19th century New York City—with cartoons. He was an unethical, bullying, and narcissistic politician; a blow-hard real estate magnate and notorious swindler; a master manipulator who thrived off voter fraud, graft, and the collusion of his right-hand sycophants. This is the 1870s. The legendary William “Boss” Tweed, senator and third-largest landowner in New York City, is on a roll. He and his thieving minions have already duped the city out of an estimated two-billion dollars. It wasn’t going to be easy exposing him. He controlled the press—except for the magazine, Harper’s Weekly. And Harper’s had an invaluable weapon against the humorless and seemingly invincible Tweed: Thomas Nast, an influential political cartoonist who, day by day, brought Tweed’s corruption to light. With pen and ink, and a savage and righteous wink, Thomas Nast was determined to topple an empire. Told through Nast’s scathing 160-plus serialized cartoons, the remarkable and unbelievable true story of Nast vs. Tweed was not only unprecedented for its day, but it set the tone for the battle between the freedom of the press and political malfeasance that resonates well into the twenty-first century.

500 entries from more than 100 contributors, profiling gay and lesbians throughout history, ranging from Sappho to Andre Gide; most entries are accompanied by a bibliography.

Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.