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The point of departure for this dissertation is an intriguing and unexploited body of sources: the British and French consular court records of late nineteenth and early twentieth century Alexandria. Consular courts held jurisdiction in all criminal (and some civil and commercial) proceedings against subjects and proteges of Western states. In the decades following the 1882 British occupation of Egypt, consular justice operated in concert with local police, the Native Courts, religious courts, the consular courts of other foreign powers, and the international Mixed Courts in a complex web of overlapping jurisdictions. The preliminary objective of the dissertation is to reconstruct the practice of three institutions whose history has not yet been written: the local (Egyptian) police, the consulates, and their extraterritorial courts. Its broader aim is to use documents produced by these courts to describe a social world whose character has often been surmised but rarely defined. The conventional image of cosmopolitan Alexandria privileges the experience of a small, wealthy elite, but neglects the majority of the city's population: locals, subjects of European empires (notably Maltese, Algerians, and Tunisians), and poor Europeans, for whom language, literacy, residence, and other boundaries of social practice were more important than nationality. In the years before World War One, however, administrators invoked nationality with ever-increasing frequency to identify Alexandrians and measure their status. Meanwhile, foreign and local supplicants before the consular courts learned to deploy the ironies and inconsistencies of foreign protection. This project is not a legal study or a local history of Alexandria. Instead, it aims to demythologize turn-of-the-century social structures on three levels: the urban society of Alexandria, the putative proto-national community of Egypt, and the imperial contest of West and Orient.

Bu kitap Times tarafından ‘modern zamanların en büyük ve sansasyonel siyasi komplolarından biri' olarak tarif edilen olayı ele alıyor. 21 Temmuz 1905 tarihinde, İstanbul'da bulunan Yıldız Hamidiye Camisi'ndeki Cuma duasından sonra patlayan bombalı bir araç 26 kişinin ölümüne ve 58 kişinin de yaralanmasına yol açtı. Saldırının hedefi olan Sultan II. Abdülhamid olayı yara almadan atlattı. Osmanlı polisi kısa sürede olaydan Ermeni devrimcilerin sorumlu olduğunu buldular, pek çok insan tutuklandı ve yargılandı ve bunların arasında Belçikalı anarşist Edward Joris de vardı. Onun hapse atılması uluslararası bir tepkiye yol açtı ve sonuç olarak diplomatik bir karışıklık yarattı. Suikast girişimi başarısız oldu, olaylar hafızalardan silindi ve bu olay yirminci yüzyıl tarihinin başlarına dair bir dipnot olarak kaldı. Bu kitap komployu Osmanlı'nın son döneminin tarihine dair ulusal sınırları aşan bir an olarak ele alıyor ve uluslararası hukuk, terörizm, Oryantalizm, diplomasi, anarşizm, emperyalizm, milliyetçilik, kitle iletişim araçları ve hayırseverlik gibi modern tarihe dair konulara bir pencere açıyor. Yirminci yüzyılın başlarındaki Osmanlı İmparatorluğu ile Avrupa ve dünyanın geri kalanı arasındaki uluslararası bağlara dair orijinal bir bakış sunuyor.

In "Will Bradley, His Chap Book," the author presents a remarkable blend of visual artistry and poetic narrative, embodying the uniquely American spirit of the early 20th century. Through a series of printed contributions that celebrate the intricacies of everyday life, Bradley's work navigates the intersections of literature and design, encapsulated within the charming framework of a chapbook. The text employs a rich, decorative style, reflecting the aesthetics of the Arts and Crafts movement, while also providing a reflective commentary on the cultural milieu of his time, marked by innovation and a growing appreciation for the local and the handcrafted. Will Bradley, an eminent illustrator and printer, emerged from the late 19th-century art scene, where he became a prominent figure in the development of American graphic arts. His passion for printmaking and an unwavering commitment to craftsmanship are evident throughout the chapbook, as he draws upon personal experiences and the collective cultural consciousness of his contemporaries. This background not only shapes the themes presented in the book but also illustrates Bradley'Äôs desire to fuse visual and literary expression in meaningful ways. "Will Bradley, His Chap Book" is an essential read for anyone interested in the evolution of American literature and visual art, as it encapsulates the spirit of a transformative era. Readers will find themselves immersed in Bradley'Äôs charming prose and elegant illustrations, making this an invaluable addition to both academia and personal collections alike.

0Will's mother's hokey homily, Waste not, want not ... hisses in his ears as he oscillates furiously on the spot, havering on the threshold between the bedroom and the dying one ... all the while cradling the plastic leech of the syringe in the crook of his arm. Oscillating furiously, and, as he'd presses the plunger home a touch more ... and more, he hears it again and again: Waaaste nooot, waaant nooot..! whooshing into and out of him, while the blackness wells up at the periphery of his vision, and his hackneyed heart begins to beat out weirdly arrhythmic drum fills - even hitting the occasional rim-shot on his resonating rib cage. He waits, paralysed, acutely conscious, that were he simply to press his thumb right home, it'll be a cartoonish death: That's all folks! as the aperture screws shut forever.

Una dintre forțele cele mai dinamice din divertismentul contemporan, recunoscută la nivel global, își povestește viața într-o carte deopotrivă curajoasă și motivantă, care îi urmărește parcursul de învățare până în punctul alinierii perfecte a succesului exterior, fericirii interioare și conexiunii umane. Will spune povestea necenzurată a uneia dintre cele mai uimitoare evoluții în lumea muzicii și filmului.

This third volume of The Papers of Will Rogers documents the evolution of Rogers's vaudeville career as well as the newlywed life of Will and Betty Blake Rogers and the birth of their children. During these years, the Rogerses moved to New York City, and after many years of performing with Buck McKee and horse Teddy, Rogers began a solo act in vaudeville as a talking, roping cowboy. He appeared on the same playbill with such performers as Fred Stone, Eddie Cantor, and Houdini, and his stage career expanded to include an appearance in the Broadway musical comedy "The Wall Street Girl." Volume Three ends with Rogers's successful transition from vaudeville to Broadway, on the brink of his breakthrough as a star of the Ziegfeld Follies.

Horses, friends, ragtime music, and steer roping-those were the interests of the youthful Will Rogers as he came of age in the Indian Territory and traveled to the Southern Hemisphere in this first of six definitive volumes of The Papers of Will Rogers. By separating fact from legend and unveiling new knowledge via extensive archival research, this documentary history represents a unique contribution to Rogers scholarship and to studies of the Cherokee Nation West. Using many previously unpublished letters and photographs-together with introductions, notes, and biographies of his friends and relatives-volume one illuminates Rogers’s complex relationship with his father, his Cherokee heritage, his early education, first encounters with his future wife, Betty Blake, his voyage to Argentina, and his fledging years in Wild West shows and circuses in South Africa, New Zealand, and Australia. Coorespondence, performance reviews, and rare newspaper documents spotlight the singular experiences that shaped the young Rogers within the context of his family, his ethnic background, and historical events. No other book describes so provocatively and authentically the genesis of America’s most beloved and influential humorist.