1.

Record Nr.

UNINA9910716362603321

Titolo

Niagara Machine & Tool Works. May 7, 1926. -- Committed to the Committee of the Whole House and ordered to be printed

Pubbl/distr/stampa

[Washington, D.C.] : , : [U.S. Government Printing Office], , 1926

Descrizione fisica

1 online resource (3 pages)

Collana

House report / 69th Congress, 1st session. House ; ; no. 1126

[United States congressional serial set ] ; ; [serial no. 8537]

Altri autori (Persone)

UnderhillCharles Lee <1867-1946> (Republican (MA))

Soggetti

Claims

Government contractors

Machinery

Public contracts

Legislative materials.

Lingua di pubblicazione

Inglese

Formato

Materiale a stampa

Livello bibliografico

Monografia

Note generali

Batch processed record: Metadata reviewed, not verified. Some fields updated by batch processes.

FDLP item number not assigned.



2.

Record Nr.

UNINA9910962627903321

Autore

McEvoy Sean <1959->

Titolo

Ben Jonson, Renaissance dramatist / / Sean McEvoy

Pubbl/distr/stampa

Edinburgh, : Edinburgh University Press, c2008

ISBN

9786611357559

9781281357557

1281357553

9780748629916

0748629912

Edizione

[1st ed.]

Descrizione fisica

1 online resource (193 p.)

Collana

Renaissance Dramatists

Disciplina

822.3

Soggetti

English drama

Lingua di pubblicazione

Inglese

Formato

Materiale a stampa

Livello bibliografico

Monografia

Note generali

Description based upon print version of record.

Nota di bibliografia

Includes bibliographical references and index.

Nota di contenuto

Copyright; Contents; Acknowledgements; List of abbreviations used; Illustrations; Chronology; Introduction; 1. Life and Culture; 2. The Early Comedies (1597-1601); 3. The Roman Tragedies - Sejanus (1603) and Catiline (1611); 4. Volpone, or The Fox (1605-6); 5. Epicoene, or The Silent Woman (1609); 6. The Alchemist (1610); 7. Bartholomew Fair (1614); 8. The Devil is an Ass (1616); 9. The Late Plays (1626-34); Further Reading; Bibliography; Index

Sommario/riassunto

This new guide to the English renaissance's most erudite and yet most street-wise dramatist strongly asserts the theatrical brilliance of his greatest plays in performance, then and now. It traces the sources of that phenomenon to Jonson's vision of himself as a poet in the Roman tradition, and to his commitment to the sane and progressive ideals of humanism in a city where a rampant free-market and political authoritarianism made life conflicted, dangerous, and yet darkly, hilariously absurd. In his best plays, all of these forces are crafted into formal structures glittering with wit and pro