Podcast appearances and mentions of Fanny Kemble

In today's episode, we are joined by friend-of-the-pod, Dr. Danielle Rosvally to discuss her new book, Theatres of Value: Buying and Selling Shakespeare in Nineteenth-Century New York City, and how Shakespeare had value for New Yorkers in the 1800s, and how Shakespeare came to be so prominent in American culture. About Danielle Rosvally: Danielle Rosvally is an assistant professor of theatre at the University at Buffalo. Her work examines Shakespeare as cultural capital, particularly iterations that intersect with performance and theatrical labor. Her book Theatres of Value: Buying and Selling Shakespeare in Nineteenth-Century New York City explores how nineteenth-century New York theatre makers bought and sold the commodity of Shakespeare, and how these performances of value intersect with American nation building and national identity. Her next project, Yassified Shakespeare, is a multimedia exploration of how iterations of Shakespearean performance and Shakespeare's cultural capital critically intersect with drag and drag aesthetics. Danielle is a fight director, director, actor, and dramaturge. Her work has been published in Theatre Topics, Studies in Musical Theatre, Borrowers and Lenders, Early Modern Studies Journal, several edited collections, and Shakespeare Bulletin, as well as on TikTok: @YassifiedShax About Theatres of Value: Theatres of Value explores the idea that buying and selling are performative acts and offers a paradigm for deeper study of these acts—"the dramaturgy of value." Modeling this multifaceted approach, the book explores six case studies to show how and why Shakespeare had value for nineteenth-century New Yorkers. In considering William Brown's African Theater, P. T. Barnum's American Museum and Lecture Hall, Fanny Kemble's American reading career, the Booth family brand, the memorial statue of Shakespeare in Central Park, and an 1888 benefit performance of Hamlet to theatrical impresario Lester Wallack, Theatres of Value traces a history of audience engagement with Shakespearean cultural capital and the myriad ways this engagement was leveraged by theatrical businesspeople. Want to read Theatres of Value? Request a copy at your library and DM Danielle a screenshot at @DRosvally on X (Twitter), and Danielle will send you some cool stickers For the month of July 2024, post a picture of you and a slice a pizza with hashtag #theatresofvalue and tag @DRosvally and @SUNY on X (Twitter), and Danielle will DM you a code for 30% off through SUNY Press.  Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. Follow us on Instagram at @shakespeareanyonepod for updates or visit our website at shakespeareanyone.com You can support the podcast by becoming a patron at patreon.com/shakespeareanyone, sending us a virtual tip via our tipjar, or by shopping our bookshelves at bookshop.org/shop/shakespeareanyonepod.

Carl is joined by Cornelia Brooke Gilder, noted Berkshire historian, author and Lenox native, for this special show which delves into the artistic and literary life of the Berkshires of Western Massachusetts as well as its role as a Gilded Age summer enclave. From the early 19th century the lush, green landscape of the Berkshire mountain inspired writers such as Nathaniel Hawthorne and artists such as Daniel Chester French. By the Gilded Age, the vast expanse of land was dotted with the sprawling estates of Vanderbilts, Morgans and Sloans, built by architects well known in Newport circles such as Richard Morris Hunt and Charles McKim. Throughout the 19th century, the Berkshires attracted a British artistic elite as well, from acclaimed actress Fanny Kemble to Henry James. In this episode, Carl and "Nini" (as she is known to all) discuss Berkshire history as well as three particular estates one can still see today - Ventfort Hall, the great Jacobean inspired manor owned by JP Morgan's sister, Edith Wharton's grand estate The Mount and the "cottage" Pine Acre, once owned by the family of Wharton's husband Teddy's. Visit the Gilded Gentleman website for more information and images

In this final episode of Stageworthy, host Phil Rickaby talks with theatre and opera director, playwright and educator, Peter Hinton-Davis. In addition to his work work as a director, playwright, and educator, from 2005-2012, he took over as the artistic director of English theatre at Ottawa's National Arts Centre, shaping how Canada conceptualizes its national theatre. He is currently directing Coal Mine Theatre's Dion, running until March 3 at Toronto's Coal Mine Theatre. Stay tuned to the end of the episode for some thoughts from Phil Rickaby on the ending of Stageworthy. Bio Director, dramaturg and playwright Peter Hinton-Davis has worked across Canada with many theatre companies. He has been the Associate Artistic Director at Theatre Passe Muraille and the Canadian Stage Company in Toronto, Artistic Director of the Playwrights Theatre Centre in Vancouver, the Dramaturg in Residence at Playwrights' Workshop Montréal, and Artistic Associate of the Stratford Festival. From 2005 to 2012 he was Artistic Director of the National Arts Centre English theatre, where he created a resident English theatre company, with actors from across the country, and programmed the NAC's first season of Canadian plays. His own plays for the stage include Façade, Urban Voodoo (written with Jim Millan) and a trilogy of three full length plays entitled The Swanne -- George III: The Death of Cupid (2002), Princess Charlotte: The Acts of Venus (2003), and Queen Victoria: The Seduction of Nemesis (2004). Eleven years in the making, all three plays premiered under his direction at the Stratford Festival. In 2006, he co-created with Domini Blythe, and directed the solo work, Fanny Kemble, about the life of the famous British actress and abolitionist. www.peterhinton.ca Instagram: @peterhintondavis

Episode: 2532 Fanny Kemble, technology, and London's circle of radical intellectual women.  Today, another kind of radical.

Frances Anne "Fanny" Kemble (1809 - 1893) These are 28 recordings of Faith by Fanny Kemble. ----- Fanny Kemble was a British actress who also found time to be a popular author of poetry, plays, travelogues, eleven volumes of memoirs, and more. She was an abolitionist after having been married for 14 years to a wealthy American plantation owner. This poem expresses the desire for trust over cynicism. Genre(s): Multi-version (Weekly and Fortnightly poetry) --- Support this podcast: https://anchor.fm/3daudiobooks0/support

Fanny Kemble feels trapped in her new marriage, and learns the stark truth about American slavery and how she herself has become implicated in its horrors. We detail in this episode how, after a long struggle, she finally works her way back to moral clarity and and financial independence.  It has a lot to do with the power of Shakespeare, it turns out.For images and additional commentary about this topic, as well as a bibliography of our sources, see our website's blog post:https://www.aithpodcast.com/blog/the-rhapsodist-blog-post-and-bibliography/We post daily stories from all periods of Philadelphia Theater History on our Facebook page and our Twitter feed. Facebook: https://www.facebook.com/AITHpodcastTwitter: https://twitter.com/schmeterpitzTo email us: AITHpodcast@gmail.comWant to become a patron of the podcast, and to get Bonus Episodes and Blog Posts? https://www.patreon.com/AITHpodcastWant to buy me a coffee? Why thank you! https://www.buymeacoffee.com/AITHpodcastSupport the show (https://www.patreon.com/AITHpodcast)

Fanny Kemble and her father Charles Kemble, representatives of the most famous English theatrical family of their day, appeared at both the Chestnut Street Theatre and Walnut Street Theatre in Philadelphia in the early 1830s, during their tour of America. Though Charles was a star himself, it was the beautiful and vivacious Fanny that audiences really came to see. Her performances would help to change the role of women on the American stage, and her stay in Philadelphia would have a transformative effect on her own life story, as well.For images and additional commentary about this topic,(and a bibliography) see our website's blog post! www.https://www.aithpodcast.com/blog/episode-16-Fanny-Kemble-Part-One-blog-post/We post daily stories from all periods of Philadelphia Theater History on our Facebook page and our Twitter feed. Facebook: https://www.facebook.com/AITHpodcastTwitter: https://twitter.com/schmeterpitzTo email us: AITHpodcast@gmail.comWant to become a patron of the podcast, and to get Bonus Episodes and Blog Posts? https://www.patreon.com/AITHpodcastWant to buy me a coffee? Why thank you! https://www.buymeacoffee.com/AITHpodcastSupport the show (https://www.patreon.com/AITHpodcast)

In this episode, we talk about Fanny Kemble's book "Journal of a Residence on a Georgian plantation in 1838-1839" which was published after her death in 1863.Brian opened the show with some new research resources discoveries he's made for Alabama and Mississippi records on FamilySearch. And he also shared a tip for identifying enslavers in communities where slaveholders were largely absent (as in absentee enslavers) such as the Gullah corridor from South Carolina to Florida. You won't want to miss these tips!Originally published in 1863 – and out-of-print and unavailable for almost a century- Frances Anne Kemble's Journal has long been recognized by historians as unique in the literature of American slavery and invaluable for obtaining a clear view of the “peculiar institution” and of life in the antebellum South.Brian spoke about how this book was - and is - invaluable to his Weeping Time slave sale research (1859). And it is important for the work he and others are doing researching the enslaved people held by Capt. John Bull, Col. Thomas Middleton, and Maj. Pierce Butler in SC.Donya and Brian read from examples of the book that illustrate how social issues for Black Americans remain largely unchanged since Fanny Kemble's accounts were written in 1838-9.And they talk about the dangers of those who would like to see books like this in the U.S. removed from public access, or destroyed, to better enable a white-washing of the lived Black experience throughout American history.Fanny Kemble was one of the leading lights of the English stage in the nineteenth century. During a tour of America in the 1830s, she met and married a wealthy Philadelphian, Pierce Butler, part of whose fortune derived from his family's vast cotton and rice plantation on the Sea Islands of Georgia and formerly, South Carolina. After their marriage, she spent several months living on the plantation. Profoundly shocked by what she saw, she recorded her observations of plantation life in a series of journal entries written as letters to a friend. She never sent the letters. It wasn't until the Civil War began and Fanny, divorced from Pierce Butler, was living in England where her letters were published in book format.This is a no-holes-barred kind of book. Fanny did not mince her words or sugar-coat the world she witnessed first-hand.This book provides the modern reader with the historical and biographical background to move freely and with ease in Fanny Kemble's world.Free download url: https://archive.org/details/journalofresiden00kembuoft? Become a member at https://plus.acast.com/s/genealogy-adventures. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

This is part two of the episode about Stone Mountain Park. The episode focuses on the laser show, repurposing the park, the impact on the south and the nation if the park changes and the recent loss in revenue. We also talk about the potential impact of Reverend Abraham Mosely will have as Chair of Stone Mountain Memorial Association. The Things that Pissed Us Off focuses on those who romanticize the Lost Cause, being barred from entering a Stone Mountain Memorial Association Meeting, people not being respectful of time and dentist bills.  The Who's that Lady (from History)? is Fanny Kemble.  Resources: Fanny Kemble Stone Mountain Action Coalition Reverend Mosely Politico Article

A tribute by Longfellow to the English actress Fanny Kemble praising her performances of Shakespeare's plays, together with observations on Fanny Kemble's feminist and abolitionist activities and thus her importance not just in studies of literature and theater, but in race and gender studies as well.

Episode: 1965 In which Robert and George Stephenson bring rail to its maturity.  Today, the coming of rail.

Fanny Kemble stirs up trouble in her marriage...but over what? The first big-time Asian American actor makes waves in Hollywood, finding his place after a fight-happy youth.

This week at In The Past Lane, the history podcast, we explore the story of the largest slave auction in American history when some 436 enslaved people were sold in a two-day auction in 1859. To the people sold and the people they left behind, it would forever be known as “the weeping time.” This wrenching event involved the Butler family, a prominent southern family with ties to the Founding, as well as a famous British actress and abolitionist, Fanny Kemble. And of course, it involved hundreds of enslaved people who were sold to pay the debts of Pierce Butler. To help us make sense of this event and the subsequent memory of it, I speak with historian Anne C. Bailey, author of The Weeping Time: Memory and the Largest Slave Auction in American History published by Cambridge University Press. She draws upon a rich set of primary source materials, including a detailed firsthand account written by a New York Tribune reporter posing as a buyer. Bailey also tracks the story of the people sold after the Civil War as they tried to reconstruct their families. She also interviews a number of the descendants of the people sold. The result is a remarkable examination of this extraordinary event and the wider story of slavery, slave auctions, and historical memory.   More about:  Anne C. Bailey - website  Among the many things discussed in this episode:  What was “the weeping time,” the largest slave auction in US history? How did auctions shape the lives of enslaved people? What strategies did enslaved people deploy when faced with the auction block? How the auction block loomed over the enslaved as an ever-present threat. When the famed British actress and abolitionist Fanny Kemble married Pierce Butler, one of the nation’s largest slaveholders. How freed people who were split up during slavery tried to reconstitute their families during Reconstruction. Recommended reading:  Anne C. Bailey, The Weeping Time: Memory and the Largest Slave Auction in American History (Cambridge University Press, 2018). Edward E. Baptist, The Half Has Never Been Told: Slavery and the Making of American Capitalism (2015) Catherine Clinton, Fanny Kemble's Civil Wars (2000) Fanny Kemble, Journal of a Residence on a Georgian Plantation - 1838-1839. Peter Kolchin, American Slavery: 1619-1877 (2003)   Music for This Episode Jay Graham, ITPL Intro (JayGMusic.com) Kevin McCleod, “Impact Moderato” (Free Music Archive) Lee Rosevere, “Going Home” (Free Music Archive) Andy Cohen, “Bathed in Finest Dust” (Free Music Archive) Jon Luc Hefferman, “Winter Trek” (Free Music Archive) The Bell, “I Am History” (Free Music Archive) Production Credits Executive Producer: Lulu Spencer Associate Producer: Tyler Ferolito Technical Advisors: Holly Hunt and Jesse Anderson Podcasting Consultant: Darrell Darnell of Pro Podcast Solutions Photographer: John Buckingham Graphic Designer: Maggie Cellucci Website by: ERI Design Legal services: Tippecanoe and Tyler Too Social Media management: The Pony Express Risk Assessment: Little Big Horn Associates Growth strategies: 54 40 or Fight © In The Past Lane, 2018

Although largely forgotten today, elocution was a popular form of domestic and professional entertainment from the late nineteenth century until around World War II. Elocution is the dramatic reading of poetry, adapted plays, and other types of monologues by a solo performer. Dr. Marian Wilson Kimber's new book, The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017) is the first study to examine elocutionists who recited spoken word accompanied by music and proscribed movements that reflected the emotional meaning of the piece. Informed by archival sources gathered all over the country, Wilson Kimber engages with this practice through multiple lenses, including gender, race, and class as she untangles not only how elocution was performed, but also what it meant to its practitioners and audiences. She highlights important figures that some may know from other areas such as Kitty Cheatham, an advocate for and performer of African American spirituals, and the actress Fanny Kemble. However, most of the women she profiles were performers, entrepreneurs, and composers whose work has disappeared from public view as their artform fell out of favor. In addition to reciting in concert halls and for women's clubs, professional elocutionists usually taught others and many founded their own schools in towns and cities throughout the United States. Their work helped create opportunities for women to move into professional occupations and contributed to twentieth-century conceptions of middle-class respectability. Dr. Wilson Kimber has videotaped several reconstructions of elocution performances which can be seen on her YouTube channel here. They are surprisingly humorous and address topics that people will recognize today including the pressure on women to dress fashionably, the excitement of a summer romance, and the aches and pains of aging. Learn more about The Elocutionists here. Marian Wilson Kimber is a professor in the School of Music at the University of Iowa. Her work centers on gender and music of the long nineteenth century in Germany and the United States. She has published articles on anti-Semitism in the reception of music by Felix Mendelssohn in The Mendelssohns: Their Music in History, the piano work of Fanny Mendelssohn Hensel in The Journal of Musicological Research, and issues of feminist biography in the life of Fanny Hensel in Nineteenth–Century Music. The Elocutionists has been supported by subventions from the Society for American Music and the American Musicological Society, as well as research funding from the National Endowment for the Humanities and the Mellon Foundation. She is also an active member of the American Musicological Society and the University Iowa Chapter of the American Association of University Professors. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Although largely forgotten today, elocution was a popular form of domestic and professional entertainment from the late nineteenth century until around World War II. Elocution is the dramatic reading of poetry, adapted plays, and other types of monologues by a solo performer. Dr. Marian Wilson Kimber’s new book, The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017) is the first study to examine elocutionists who recited spoken word accompanied by music and proscribed movements that reflected the emotional meaning of the piece. Informed by archival sources gathered all over the country, Wilson Kimber engages with this practice through multiple lenses, including gender, race, and class as she untangles not only how elocution was performed, but also what it meant to its practitioners and audiences. She highlights important figures that some may know from other areas such as Kitty Cheatham, an advocate for and performer of African American spirituals, and the actress Fanny Kemble. However, most of the women she profiles were performers, entrepreneurs, and composers whose work has disappeared from public view as their artform fell out of favor. In addition to reciting in concert halls and for women’s clubs, professional elocutionists usually taught others and many founded their own schools in towns and cities throughout the United States. Their work helped create opportunities for women to move into professional occupations and contributed to twentieth-century conceptions of middle-class respectability. Dr. Wilson Kimber has videotaped several reconstructions of elocution performances which can be seen on her YouTube channel here. They are surprisingly humorous and address topics that people will recognize today including the pressure on women to dress fashionably, the excitement of a summer romance, and the aches and pains of aging. Learn more about The Elocutionists here. Marian Wilson Kimber is a professor in the School of Music at the University of Iowa. Her work centers on gender and music of the long nineteenth century in Germany and the United States. She has published articles on anti-Semitism in the reception of music by Felix Mendelssohn in The Mendelssohns: Their Music in History, the piano work of Fanny Mendelssohn Hensel in The Journal of Musicological Research, and issues of feminist biography in the life of Fanny Hensel in Nineteenth–Century Music. The Elocutionists has been supported by subventions from the Society for American Music and the American Musicological Society, as well as research funding from the National Endowment for the Humanities and the Mellon Foundation. She is also an active member of the American Musicological Society and the University Iowa Chapter of the American Association of University Professors. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Although largely forgotten today, elocution was a popular form of domestic and professional entertainment from the late nineteenth century until around World War II. Elocution is the dramatic reading of poetry, adapted plays, and other types of monologues by a solo performer. Dr. Marian Wilson Kimber’s new book, The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017) is the first study to examine elocutionists who recited spoken word accompanied by music and proscribed movements that reflected the emotional meaning of the piece. Informed by archival sources gathered all over the country, Wilson Kimber engages with this practice through multiple lenses, including gender, race, and class as she untangles not only how elocution was performed, but also what it meant to its practitioners and audiences. She highlights important figures that some may know from other areas such as Kitty Cheatham, an advocate for and performer of African American spirituals, and the actress Fanny Kemble. However, most of the women she profiles were performers, entrepreneurs, and composers whose work has disappeared from public view as their artform fell out of favor. In addition to reciting in concert halls and for women’s clubs, professional elocutionists usually taught others and many founded their own schools in towns and cities throughout the United States. Their work helped create opportunities for women to move into professional occupations and contributed to twentieth-century conceptions of middle-class respectability. Dr. Wilson Kimber has videotaped several reconstructions of elocution performances which can be seen on her YouTube channel here. They are surprisingly humorous and address topics that people will recognize today including the pressure on women to dress fashionably, the excitement of a summer romance, and the aches and pains of aging. Learn more about The Elocutionists here. Marian Wilson Kimber is a professor in the School of Music at the University of Iowa. Her work centers on gender and music of the long nineteenth century in Germany and the United States. She has published articles on anti-Semitism in the reception of music by Felix Mendelssohn in The Mendelssohns: Their Music in History, the piano work of Fanny Mendelssohn Hensel in The Journal of Musicological Research, and issues of feminist biography in the life of Fanny Hensel in Nineteenth–Century Music. The Elocutionists has been supported by subventions from the Society for American Music and the American Musicological Society, as well as research funding from the National Endowment for the Humanities and the Mellon Foundation. She is also an active member of the American Musicological Society and the University Iowa Chapter of the American Association of University Professors. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Although largely forgotten today, elocution was a popular form of domestic and professional entertainment from the late nineteenth century until around World War II. Elocution is the dramatic reading of poetry, adapted plays, and other types of monologues by a solo performer. Dr. Marian Wilson Kimber’s new book, The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017) is the first study to examine elocutionists who recited spoken word accompanied by music and proscribed movements that reflected the emotional meaning of the piece. Informed by archival sources gathered all over the country, Wilson Kimber engages with this practice through multiple lenses, including gender, race, and class as she untangles not only how elocution was performed, but also what it meant to its practitioners and audiences. She highlights important figures that some may know from other areas such as Kitty Cheatham, an advocate for and performer of African American spirituals, and the actress Fanny Kemble. However, most of the women she profiles were performers, entrepreneurs, and composers whose work has disappeared from public view as their artform fell out of favor. In addition to reciting in concert halls and for women’s clubs, professional elocutionists usually taught others and many founded their own schools in towns and cities throughout the United States. Their work helped create opportunities for women to move into professional occupations and contributed to twentieth-century conceptions of middle-class respectability. Dr. Wilson Kimber has videotaped several reconstructions of elocution performances which can be seen on her YouTube channel here. They are surprisingly humorous and address topics that people will recognize today including the pressure on women to dress fashionably, the excitement of a summer romance, and the aches and pains of aging. Learn more about The Elocutionists here. Marian Wilson Kimber is a professor in the School of Music at the University of Iowa. Her work centers on gender and music of the long nineteenth century in Germany and the United States. She has published articles on anti-Semitism in the reception of music by Felix Mendelssohn in The Mendelssohns: Their Music in History, the piano work of Fanny Mendelssohn Hensel in The Journal of Musicological Research, and issues of feminist biography in the life of Fanny Hensel in Nineteenth–Century Music. The Elocutionists has been supported by subventions from the Society for American Music and the American Musicological Society, as well as research funding from the National Endowment for the Humanities and the Mellon Foundation. She is also an active member of the American Musicological Society and the University Iowa Chapter of the American Association of University Professors. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Although largely forgotten today, elocution was a popular form of domestic and professional entertainment from the late nineteenth century until around World War II. Elocution is the dramatic reading of poetry, adapted plays, and other types of monologues by a solo performer. Dr. Marian Wilson Kimber’s new book, The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017) is the first study to examine elocutionists who recited spoken word accompanied by music and proscribed movements that reflected the emotional meaning of the piece. Informed by archival sources gathered all over the country, Wilson Kimber engages with this practice through multiple lenses, including gender, race, and class as she untangles not only how elocution was performed, but also what it meant to its practitioners and audiences. She highlights important figures that some may know from other areas such as Kitty Cheatham, an advocate for and performer of African American spirituals, and the actress Fanny Kemble. However, most of the women she profiles were performers, entrepreneurs, and composers whose work has disappeared from public view as their artform fell out of favor. In addition to reciting in concert halls and for women’s clubs, professional elocutionists usually taught others and many founded their own schools in towns and cities throughout the United States. Their work helped create opportunities for women to move into professional occupations and contributed to twentieth-century conceptions of middle-class respectability. Dr. Wilson Kimber has videotaped several reconstructions of elocution performances which can be seen on her YouTube channel here. They are surprisingly humorous and address topics that people will recognize today including the pressure on women to dress fashionably, the excitement of a summer romance, and the aches and pains of aging. Learn more about The Elocutionists here. Marian Wilson Kimber is a professor in the School of Music at the University of Iowa. Her work centers on gender and music of the long nineteenth century in Germany and the United States. She has published articles on anti-Semitism in the reception of music by Felix Mendelssohn in The Mendelssohns: Their Music in History, the piano work of Fanny Mendelssohn Hensel in The Journal of Musicological Research, and issues of feminist biography in the life of Fanny Hensel in Nineteenth–Century Music. The Elocutionists has been supported by subventions from the Society for American Music and the American Musicological Society, as well as research funding from the National Endowment for the Humanities and the Mellon Foundation. She is also an active member of the American Musicological Society and the University Iowa Chapter of the American Association of University Professors. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Although largely forgotten today, elocution was a popular form of domestic and professional entertainment from the late nineteenth century until around World War II. Elocution is the dramatic reading of poetry, adapted plays, and other types of monologues by a solo performer. Dr. Marian Wilson Kimber’s new book, The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017) is the first study to examine elocutionists who recited spoken word accompanied by music and proscribed movements that reflected the emotional meaning of the piece. Informed by archival sources gathered all over the country, Wilson Kimber engages with this practice through multiple lenses, including gender, race, and class as she untangles not only how elocution was performed, but also what it meant to its practitioners and audiences. She highlights important figures that some may know from other areas such as Kitty Cheatham, an advocate for and performer of African American spirituals, and the actress Fanny Kemble. However, most of the women she profiles were performers, entrepreneurs, and composers whose work has disappeared from public view as their artform fell out of favor. In addition to reciting in concert halls and for women’s clubs, professional elocutionists usually taught others and many founded their own schools in towns and cities throughout the United States. Their work helped create opportunities for women to move into professional occupations and contributed to twentieth-century conceptions of middle-class respectability. Dr. Wilson Kimber has videotaped several reconstructions of elocution performances which can be seen on her YouTube channel here. They are surprisingly humorous and address topics that people will recognize today including the pressure on women to dress fashionably, the excitement of a summer romance, and the aches and pains of aging. Learn more about The Elocutionists here. Marian Wilson Kimber is a professor in the School of Music at the University of Iowa. Her work centers on gender and music of the long nineteenth century in Germany and the United States. She has published articles on anti-Semitism in the reception of music by Felix Mendelssohn in The Mendelssohns: Their Music in History, the piano work of Fanny Mendelssohn Hensel in The Journal of Musicological Research, and issues of feminist biography in the life of Fanny Hensel in Nineteenth–Century Music. The Elocutionists has been supported by subventions from the Society for American Music and the American Musicological Society, as well as research funding from the National Endowment for the Humanities and the Mellon Foundation. She is also an active member of the American Musicological Society and the University Iowa Chapter of the American Association of University Professors. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Although largely forgotten today, elocution was a popular form of domestic and professional entertainment from the late nineteenth century until around World War II. Elocution is the dramatic reading of poetry, adapted plays, and other types of monologues by a solo performer. Dr. Marian Wilson Kimber’s new book, The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017) is the first study to examine elocutionists who recited spoken word accompanied by music and proscribed movements that reflected the emotional meaning of the piece. Informed by archival sources gathered all over the country, Wilson Kimber engages with this practice through multiple lenses, including gender, race, and class as she untangles not only how elocution was performed, but also what it meant to its practitioners and audiences. She highlights important figures that some may know from other areas such as Kitty Cheatham, an advocate for and performer of African American spirituals, and the actress Fanny Kemble. However, most of the women she profiles were performers, entrepreneurs, and composers whose work has disappeared from public view as their artform fell out of favor. In addition to reciting in concert halls and for women’s clubs, professional elocutionists usually taught others and many founded their own schools in towns and cities throughout the United States. Their work helped create opportunities for women to move into professional occupations and contributed to twentieth-century conceptions of middle-class respectability. Dr. Wilson Kimber has videotaped several reconstructions of elocution performances which can be seen on her YouTube channel here. They are surprisingly humorous and address topics that people will recognize today including the pressure on women to dress fashionably, the excitement of a summer romance, and the aches and pains of aging. Learn more about The Elocutionists here. Marian Wilson Kimber is a professor in the School of Music at the University of Iowa. Her work centers on gender and music of the long nineteenth century in Germany and the United States. She has published articles on anti-Semitism in the reception of music by Felix Mendelssohn in The Mendelssohns: Their Music in History, the piano work of Fanny Mendelssohn Hensel in The Journal of Musicological Research, and issues of feminist biography in the life of Fanny Hensel in Nineteenth–Century Music. The Elocutionists has been supported by subventions from the Society for American Music and the American Musicological Society, as well as research funding from the National Endowment for the Humanities and the Mellon Foundation. She is also an active member of the American Musicological Society and the University Iowa Chapter of the American Association of University Professors. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

When actress Fanny Kemble took the stage in 1831 as Bianca, the pure and mistreated wife in Henry Milman's play Fazio, she astounded audiences with her true-to-life portrayal of jealousy and grief. Julia Walker, associate professor of drama and English at Washington University in St. Louis, brings the performance to life and explains why it was so extraordinary. Walker connects Kemble's acting style to historical events and anxieties, especially changing ideas about money and banking.

It's been called America's oldest mystery: A group of 100 English colonists vanished from North Carolina's Roanoke Island shortly after settling there in 1587. But was their disappearance really so mysterious? In this episode of the Futility Closet podcast we'll trace the history of the "lost colony" and consider what might have happened to the settlers. We'll also visit an early steam locomotive in 1830 and puzzle over why writing a letter might prove to be fatal. Sources for our feature on the lost colony at Roanoke: James Horn, A Kingdom Strange: The Brief and Tragic History of the Lost Colony of Roanoke, 2011. Karen Ordahl Kupperman, Roanoke: The Abandoned Colony, 2007. Giles Milton, Big Chief Elizabeth: The Adventures and Fate of the First English Colonists in America, 2011.  Lee Miller, Roanoke: Solving the Mystery of the Lost Colony, 2013. Fanny Kemble wrote of her encounter with an early locomotive in a letter dated Aug. 26, 1830 ("A common sheet of paper is enough for love, but a foolscap extra can alone contain a railroad and my ecstasies"). It appears in her 1878 memoir Records of a Girlhood. She sat alongside engineer George Stephenson, who explained his great project and with whom she fell "horribly in love." At one point on their 15-mile journey they passed through a rocky defile: You can't imagine how strange it seemed to be journeying on thus, without any visible cause of progress other than the magical machine, with its flying white breath and rhythmical, unvarying pace, between these rocky walls, which are already clothed with moss and ferns and grasses; and when I reflected that these great masses of stone had been cut asunder to allow our passage thus far below the surface of the earth, I felt as if no fairy tale was ever half so wonderful as what I saw. This week's lateral thinking puzzle was contributed by listener Blaine, who sent this corroborating link (warning -- this spoils the puzzle). This episode is sponsored by our patrons and by The Great Courses -- go to http://www.thegreatcourses.com/closet to order from eight of their best-selling courses at up to 80 percent off the original price. You can listen using the player above, download this episode directly, or subscribe on iTunes or via the RSS feed at http://feedpress.me/futilitycloset. Please consider becoming a patron of Futility Closet -- on our Patreon page you can pledge any amount per episode, and all contributions are greatly appreciated. You can change or cancel your pledge at any time, and we've set up some rewards to help thank you for your support. You can also make a one-time donation via the Donate button in the sidebar of the Futility Closet website. Many thanks to Doug Ross for the music in this episode. If you have any questions or comments you can reach us at podcast@futilitycloset.com. And you can finally follow us on Facebook and Twitter. Thanks for listening!

Nicole remembers some of Michele Bachmann's craziest moments as the news breaks that she will not seek a 5th term. Sue Wilson of the Media Action Center spoke about her attempts to get the FCC to acknowlege that talk radio is not bonafide news, Amy Simon told us about Fanny Kemble, and C&L's John Amato helped me wrap things up for the day