Bram Stoker

The affable and popular theater manager Bram Stoker was born in Clontarf, Ireland, to Abraham and Charlotte Stoker in 1847, into an Irish Protestant (although not Anglo-Irish) family. After a sickly childhood he grew into a robust sportsman, and attended Trinity College Dublin from 1864 to 1866, finally graduating with a BA in 1870. Following in his father’s footsteps, he joined the Irish Civil Service in 1866, where he had the opportunity to travel around Ireland as a clerk of Petty Sessions, while also becoming an unpaid theater reviewer for the Dublin Evening Mail from 1871 to 1878, and publishing his first short story, “The Crystal Cup,” in London Society 1872. This he followed with a short novel, The Primrose Path, and two short stories, “The Chain of Destiny” and “Buried Treasures,” all in the periodical The Shamrock in 1875. In 1878 he left Dublin with his wife Florence to take up the position of acting manager of Henry Irving’s Lyceum Theatre in London, and fulfilled this role until Irving’s death in 1905, also managing several American tours. In the earlier part of this period, Stoker managed to publish more fiction, including a first collection of short stories, Under the Sunset (1881), and then his first truly accomplished novel, The Snake’s Pass, set in rural Ireland, in 1890. Short but memorable pieces, “The Squaw” and “The Man from Shorrox,” appeared in periodicals in 1893 and 1894, and then two novels, The Watter’s Mou’, based on his knowledge of Cruden Bay near Aberdeen, and The Shoulder of Shasta, both 1895. Dracula, his most famous work, the product of seven years of research and rewriting, appeared in 1897, followed by a Restoration-era romance of much less merit, Miss Betty, in 1898. The Edwardian era saw his rate of productivity increase with The Mystery of the Sea (1902), another romance set in Cruden Bay, The Jewel of Seven Stars (1903), a Gothic “mummy” story, The Man (1905), Personal Reminiscences of Henry Irving in 1906 (his most successful work in sales terms), and Lady Athlyne and Snowbound (a collection of theatrical short stories), both in 1908. His final, post-theater years were beset with ill health and monetary problems, as he resorted to journalism to supplement his income. However, he also produced the topical Balkan romance The Lady of the Shroud in 1909, and the chaotic The Lair of the White Worm in 1911, before dying the next year, his vibrant personality quietly mourned by London society.

The establishment of bessarabian scenographic art in the modern period

From time immemorial by practicing customs and rites in their collective forms of manifestation, the inhabitants of the Mioritic space felt the need for theatrical representations, where rudimentary elements with a spectacular character can be discerned. This cultural spirituality background, emanating across centuries, favored the establishment of a dramatic art much cherished by the natives. Thereby, the distant origins of theatrical art are to be found in the depths of the mythological and folkloric substratum of our nation, the materialization of myths and magical rituals fueling its subsequent evolution. Namely, the popular theater has inscribed in the traditional Romanian culture an original species of folklore that leads to the discovery and knowledge of the evolution of the theatrical image, to the reconstruction of archaic theatrical visions and the valorization of this cultural heritage. All the performances could not but be dressed in the guise of a scenography, supported by the ensemble of stage costume. Although the performances were often played on improvised stages, they were not without scenery and stage arrangement. Gradually, these enactments evolve and acquire full-fledged forms and features of a professional scenography.

First Generation Students Navigating Educational Aspirations in Zanzibar and Ghana

In Ghana and Zanzibar, Tanzania, first-generation students navigate uncertain and precarious conditions in the pursuit of becoming graduates and achieving their educational aspirations. This essay argues that youth in the Global South perform two entwined navigational capacities in this pursuit. First, the capacity for action, or collective agency, harnessed through relations with people in youths’ families, schools, and communities. Second, the capacity to hustle, which is a strategy of mobilizing social connections, life experiences, and tenacity to persevere through struggles and uncertainties. Narratives from fifty-eight first-generation secondary school and university students in Ghana and Zanzibar inductively reveal hustling as a strategy for engaging collective agency in the process of navigating structural barriers. The authors draw on youth-centered methodologies—popular theater and life history approaches—to show the complexity of youths’ experiences in negotiating the challenges and uncertainties in their lives while pursuing an education.