A Chambermaid's Diary
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Quo Vadis La Prima Opera Transmediale
CONFERENZE 137 QUO VADIS LA PRIMA OPERA TRANSMEDIALE INDICE ACCADEMIA POLACCA DELLE SCIENZE BIBLIOTECA E CENTRO DI STUDI A ROMA CONFERENZE 137 QUO VADIS LA PRIMA OPERA TRANSMEDIALE Atti del convegno Roma 14-15 novembre 2016 a cura di ELISABETTA GAGETTI E MONIKA Woźniak ROMA 2017 Pubblicato da AccAdemiA PolAccA delle Scienze BiBliotecA e centro di Studi A romA vicolo Doria, 2 (Palazzo Doria) 00187 Roma tel. +39 066792170 e-mail: [email protected] www.rzym.pan.pl Pubblicazione finanziata dall’Accademia Polacca delle Scienze con il supporto dell’Università di Wrocław nell’ambito del programma del Ministero della Scienza e dell’Istruzione Superiore della Repubblica di Polonia “Narodowy Program Rozwoju Humanistyki” Nr 0136/NPRH4/H2b/83/2016 Recensione: ANDREA CECCHERELLI Traduzioni: ALESSANDRA PINI (DALL’INGLESE) – TESTI DI M.WYKE, J. STUBBS, A. DYKMAN ELISABETTA GAGETTI (DALL’INGLESE) – TESTO DI M. M. WINKLER SALVATORE GRECO (DAL POLaccO) – TESTI DI E. SKwaRA, B. Szleszyński, R. SUCHOWIEJKO, M. BOKSZCZANIN, D. ŚWIERCzyńskA Progetto grafico: ANNA WawRZYNIAK MAOLONI Redazione tecnica: ELISABETTA GAGETTI Impaginazione e stampa: EDO – JAKUB ŁOŚ ISSN 0239-8605 ISBN 978-83-63305-41-3 © Accademia Polacca delle Scienze Biblioteca e Centro di Studi a Roma INDICE PIOTR SALWA PREMESSA 9 QUO VADIS E L'ANTICA ROMA ADAM ZIÓŁKOWSKI SIENKIEWICZ E LA TOPOGRAFIA DI ROMA ANTICA. IL MISTERO DELL’OSTRIANUM IN QUO VADIS 13 EWA SKWARA AMARE AL MODO DEI CLASSICI. ISPIRAZIONI ANTICHE PER LA RAPPRESENTAZIONE DELL’AMORE NEL QUO VADIS DI HENRYK SIENKIEWICZ 29 BARTŁOMIEJ SZLESZYŃSKI QUO VADIS: LE FOLLE E I DIVERTIMENTI. IL ROMANZO DI HENRYK SIENKIEWICZ COME TESTIMONIANZA SULLE MASSE E SUGLI SPETTACOLI PER LE MASSE 41 QUO VADIS IN ALTRI MEDIA RENATA SUCHOWIEJKO QUO VADIS DI JEAN NOUGUÈS E FELIKS NOWOWIEJSKI. -
Victoria Woodhull: a Radical for Free Love Bernice Redfern
San Jose State University SJSU ScholarWorks San José Studies, 1980s San José Studies Fall 10-1-1984 San José Studies, Fall 1984 San José State University Foundation Follow this and additional works at: https://scholarworks.sjsu.edu/sanjosestudies_80s Recommended Citation San José State University Foundation, "San José Studies, Fall 1984" (1984). San José Studies, 1980s. 15. https://scholarworks.sjsu.edu/sanjosestudies_80s/15 This Journal is brought to you for free and open access by the San José Studies at SJSU ScholarWorks. It has been accepted for inclusion in San José Studies, 1980s by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. sa1an~s asof Nvs SAN JOSE Volume X, Number 3 ARTICLES The Declaration and the Constitution Harry V. Jaffa . 6 A Moral and a Religious People Robert N. Bellah .............................................. 12 The Constitution and Civic Education William J. Bennett ............................................ 18 Conversation: The Higher Law Edward J. Erler and T. M. Norton .............................. 22 Everyone Loves Money in The Merchant of Venice Norman Nathan .............................................. 31 Victoria Woodhull: A Radical for Free Love Bernice Redfern .............................................. 40 Goneril and Regan: 11So Horrid as in Woman" Claudette Hoover ............................................ 49 STUDIES Fall1984 FICTION The Homed Beast Robert Burdette Sweet ........................................ 66 Wars Dim and -
The Puppet Show of Memory
CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE Cornell University Library DA 574.B25A3 1922 Puppet show of memor 3 1924 028 027 245 The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924028027245 THE PUPPET SHOW OF MEMORY By the same Author THE BLACK PRINCE GASTON DE FOIX MAHASENA COLLECTED POEMS DESIDERIO POEMS—1914-1919 TRANSLATIONS ANCIENT AND MODERN WITH THE RUSSIANS IN MANCHURIA A YEAR IN RUSSIA THE RUSSIAN PEOPLE LANDMARKS IN RUSSIAN LITERATURE AN OUTLINE OF RUSSIAN LITERATURE RUSSIAN ESSAYS AND STUDIES THE GLASS MENDER FORGET-ME-NOT AND LILY OF THE VALLEY ORPHEUS IN MAYFAIR DEAD LETTERS DIMINUTIVE DRAMAS LOST DIARIES THE GREY STOCKING PASSING BY R.F.C. H.Q. OVERLOOKED THE PUPPET SHOW OF MEMORY BY MAURICE BARING LONDON: WILLIAM HEINEMANN NOTE MY thanks are due to Messrs. Methuen for allowing me to use in Chapters XVI.-XIX. some matter which has already appeared in A Year in Russia and Russian Essays, two books published by them; to Mr. Leo Maxe for allowing me to use an article on Sarah Bernhardt which appeared in the National Review, and has been re-written for this book; to Father C. C. Martindale and Mr. Desmond McCarthy for kindly cor- recting the proofs. M. B. CONTENTS PAGE I. The Nursery .... I II. The Nursery and the Schoolroom . M III. Membland ... 31 IV. Membland ... -
Archives Des Musées Nationaux, Département Des Peintures Du Musée Du Louvre (Série P). Volume 10 (Sous-Série P11X)
archives des musées nationaux, Département des peintures du musée du Louvre (série P). volume 10 (sous-Série P11X) Répertoire numérique détaillé n°20144790, articles 98 à 106 Isabelle Autin-Donsez, Vincent Bouat, Hélène Brossier, Franck Cormerais, Audrey Clergeau, Camille Fimbel, Anne Gilon, Jean Hennet, Guillaume Monnot, Benjamin Paradis, Roger Randriamamonjy, Julie Wannecque, archivistes. Mission des archives du ministère de la Culture et de la communication à partir des inventaires rédigés par les agents des Archives des musées nationaux Première édition électronique Archives nationales (France) Pierrefitte-sur-Seine 2015 1 https://www.siv.archives-nationales.culture.gouv.fr/siv/IR/FRAN_IR_054430 Cet instrument de recherche a été rédigé avec un logiciel de traitement de texte. Ce document est écrit en français. Conforme à la norme ISAD(G) et aux règles d'application de la DTD EAD (version 2002) aux Archives nationales, il a reçu le visa du Service interministériel des Archives de France le ..... 2 Mentions de révision : • 04/12/2018: modifié par Marine Narcisse sous la direction de Pascal Riviale 3 Archives nationales (France) Sommaire Archives des musées nationaux - Département des Peintures du musée du Louvre 5 (séries P, PC peinture cadres et bordures, PD documentation des ... Dossiers de prêts aux expositions traités par le département des peintures 9 4 Archives nationales (France) INTRODUCTION Référence 20144790/98/1-20144790/106 Niveau de description série organique Intitulé Archives des musées nationaux - Département des Peintures -
The Right of Way
The Right of Way Gilbert Parker The Right of Way Table of Contents The Right of Way......................................................................................................................................................1 Gilbert Parker.................................................................................................................................................1 INTRODUCTION.........................................................................................................................................2 NOTE.............................................................................................................................................................5 CHAPTER I. THE WAY TO THE VERDICT.............................................................................................5 CHAPTER II. WHAT CAME OF THE TRIAL............................................................................................9 CHAPTER III. AFTER FIVE YEARS........................................................................................................15 CHAPTER IV. CHARLEY MAKES A DISCOVERY...............................................................................17 CHAPTER V. THE WOMAN IN HELIOTROPE......................................................................................18 CHAPTER VI. THE WIND AND THE SHORN LAMB...........................................................................21 CHAPTER VII. PEACE, PEACE, AND THERE IS NO PEACE"'.........................................................25 -
日仏会館 研究センター Delacroix, Entre Classicisme Et Romantisme
INSTITUT DE RECHERCHE DE LA MAISON FRANCO -JAPONAISE THE RESEARCH INSTITUTE AT THE FRENCH JAPANESE HOUSE 日仏会館 研究センター Delacroix, entre classicisme et romantisme Par Barthélemy JOBERT (Professeur à l’université Paris Sorbonne, Paris IV) Conférence à la Maison Franco Japonaise, le 9mars 2009. Working Paper n° 06 – Série Conférences フランス外務省・国立科学研究センター 在外共同研究所 UMIFRE 19 / Unité Mixte Institut Français de Recherche à l’Étranger, CNRS-MAEE, n° 19 〒150-0013 東京都渋谷区恵比寿 3-9-25 日仏会館フランス事務所 / Maison Franco-Japonaise, 3-9-25, Ebisu, Shibuya-ku, Tokyo, 150-0013 Japon TEL +81 (0) 3 5421 7641 / FAX +81 (0) 3 5421 7651 / http://www.mfj.gr.jp/ Delacroix entre classicisme et romantisme Barthélemy JOBERT (Professeur université Paris Sorbonne, Paris IV) Delacroix, considéré par ses contemporains comme le chef de file du romantisme français, se voulait avant tout un peintre « classique ». Cette contradiction est au cœur de la réception de l’artiste, de son temps comme aujourd’hui. Ainsi, lorsqu’en 1855 il fut offert à Delacroix de rassembler l’essentiel de ses peintures dans une présentation rétrospective de son œuvre, au sein de l’Exposition universelle, parallèlement à Ingres, Decamps et Horace Vernet [Le Salon Delacroix à l’Exposition universelle de 1855], il en exclut La Mort de Sardanapale , son œuvre la plus romantique, que personne n’avait défendue au Salon de 1827-1828 [Delacroix, La Mort de Sardanapale , 1827-1828, Salon de 1827-1828, Paris, Louvre]. Il se rangeait ainsi, d’une certaine manière, à l’opinion de ses détracteurs, en ne présentant pas une de ses oeuvres majeures (et l’un de ses plus grands tableaux). -
Numbered Pages
UNIVERSITY OF CALIFORNIA Los Angeles Maddening Truths: Literary Authority and Fictive Authenticity in Francophone and Post-Soviet Women’s Writing A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Comparative Literature by Melanie Veronica Jones 2021 © Copyright by Melanie Veronica Jones 2021 ABSTRACT OF THE DISSERTATION Maddening Truths: Literary Authority and Fictive Authenticity in Francophone and Post-Soviet Women’s Writing by Melanie Veronica Jones Doctor of Philosophy in Comparative Literature University of California, Los Angeles, 2021 Professor David MacFadyen, Co-Chair Professor Laure Murat, Co-Chair At the start of the “post-truth” era, women writers in post-colonial France and post-Soviet Russia were searching for a strategy to respond to the crises of authority and authenticity unfolding around them. Linda Lê, Gisèle Pineau, Ludmilla Petrushevskaya, and Anna Starobinets exploit the ambiguity of literary madness to destabilize traditional sites of knowledge and work towards new conceptions of truth. All four women’s works have traditionally been approached as narratives of trauma, detailing the ravages of mental illness or cultural upheaval. This dissertation argues that they instead work to expose the irreconcilability of medical, sociological, and spiritual authorities, forcing readers to constantly question who (if anyone) can be considered trustworthy and which ii (if any) perspective can be declared reliable. The texts provide fictional reference points, like intertextual allusions and meta-literary framing, as the surest way for readers to anchor their assumptions. Linda Lê’s autofictional text Calomnies and Gisèle Pineau’s autobiographical novel Chair Piment depict a Francophone world wracked with social fractures in the wake of decolonization and economic crisis: amidst the splintering chaos, literature acts as a tenuous web holding contradictory discourses in suspension. -
Daxer & M Arschall 20 19 XXVI
XXVI Daxer & Marschall 2019 Recent Acquisitions, Catalogue XXVI, 2019 Barer Strasse 44 | 80799 Munich | Germany Tel. +49 89 28 06 40 | Fax +49 89 28 17 57 | Mob. +49 172 890 86 40 [email protected] | www.daxermarschall.com 2 Oil Sketches, Paintings, Drawings and Sculpture, 1668-1917 4 My special thanks go to Simone Brenner and Diek Groenewald for their research and their work on the texts. I am also grateful to them for so expertly supervising the production of the catalogue. We are much indebted to all those whose scholarship and expertise have helped in the preparation of this catalogue. In particular, our thanks go to: Peter Axer, Iris Berndt, Robert Bryce, Christine Buley-Uribe, Sue Cubitt, Kilian Heck, Wouter Kloek, Philipp Mansmann, Verena Marschall, Werner Murrer, Otto Naumann, Peter Prange, Dorothea Preys, Eddy Schavemaker, Annegret Schmidt- Philipps, Ines Schwarzer, Gerd Spitzer, Andreas Stolzenburg, Jörg Trempler, Jana Vedra, Vanessa Voigt, Wolf Zech. 6 Our latest catalogue Oil Sketches, Paintings, Drawings and Sculpture, 2019 Unser diesjähriger Katalog Paintings, Oil Sketches, comes to you in good time for this year’s TEFAF, The European Fine Art Fair in Paintings, Drawings and Sculpture, 2019 erreicht Sie Maastricht. TEFAF is the international art market high point of the year. It runs rechtzeitig vor dem wichtigsten Kunstmarktereignis from March 16-24, 2019. des Jahres, TEFAF, The European Fine Art Fair, Maastricht, 16. - 24. März 2019, auf der wir mit Stand The Golden Age of seventeenth-century Dutch painting is well represented in 332 vertreten sind. our 2019 catalogue, with particularly fine works by Jan van Mieris and Jan Steen. -
Romanticism and the Portrait
Diploma Lecture Series 2013 Revolution to Romanticism: European Art and Culture 1750-1850 Romanticism and the portrait Dr Christopher Allen 23/24 October 2013 Lecture summary: It would be tempting, but facile, to contrast the spontaneity, energy and individuality of the Romantic portrait with the artificiality and formality of earlier ones. In reality portraits have reflected or embodied complex and subtle ideas of what makes an individual from the time of the rediscovery of the art in the Renaissance. But how portraits are painted changes in step with evolving conceptions of what constitutes our character, of how character relates to social role, and how individuals interact with their fellows. In other words, an understanding of the history of portraiture really requires some appreciation of the physiological, psychological, epistemological and even political beliefs of the relevant periods. Thus Renaissance portraiture rests fundamentally on the humoral theory of physiology and psychology, eighteenth century portraits reflect the interest in empiricist psychology, and romantic portraits embody a new sense of the individual as a dynamic and often solitary agent in the worlds of nature and of human history. Slide list: Hyacinthe Rigaud, Portrait of Philippe de Courcillon, Marquis de Dangeau, 1702, oil on canvas, 162 x 150 cm, Versailles, Musée National du Chateau Eugène Delacroix, Frédéric Chopin, 1838; oil on canvas, 45.7 x 37.5 cm; Paris, Louvre Hyacinthe Rigaud, Portrait of Everhard Jabach, 1688, oil on canvas, 58.5 x 47 cm; Cologne, Wallraff-Richartz Museum Ingres, Portrait of Monsieur Bertin, 1832, oil on canvas, 116 x 95 cm; Paris, Louvre Leonardo da Vinci, Presumed self-portrait at about 29 from the unfinished Adoration of the Magi c. -
LA VIE PARISIENNE 8 Décembre 1866
8 décembre 1866. LA. VIE PARISIENNE 673 LES SAISONS, à la salle Bischoffsheim. Décembre 180G. chevaux de race, ni de femmes à la mode, ni de brillants cavaliers. Le bois s'est fait austère. Philippe de Champagne a pris la place C'est aux journées de brouillard que de grand matin le bois de Bou¬ d'EugèneLami. Le silence n'est troublé que par la chute des feuilles logne, devenu mystérieux, fait oublier tous les plaisirs mondains qui, ou le cri de poule d'un cygne noir à bec rouge. Mais cette austérité la veille, s'ébattaient sur te gravier. Plus de traces d'équipages, ni de a la poésie de toute brume. 674 LA VIE PARISIENNE 8 décembre 1866. Des vapeurs légères s'élèvent au-desssus du lac ; plus pâle que la Ceci est particulièrement réussi. Les chœurs font merveille. lune le soleil commence à percer les brouillards épais. En tête de l'été la partition porte : « L'introduction annonce l'aube matinale. » J'ai passé tout l'été à regarder les choristes. Elles sont cinq sur le premier banc ; quatre charmantes ; sur les quatre deux juives. La veille j'avais entendu, à. la salle Bischofï'sheim, la symphonie On recommande particulièrement aux connaisseurs la juive brune des Saisons et je ne pouvais détacher le souvenir de l'œuvre d'Haydn placée près du chef d'orchestre et sa compagne, une blonde rieuse, de cette promenade autour du lac. la boucha un peu grande, qui ne cessait d'accabler de tendres et capri¬ Une grande œuvre que ces Saisons, quoiqu'il semble difficile de les cieux regards un joli garçon aux fauteuils d'orchestre. -
Seeing Laure: Race and Modernity from Manet's Olympia to Matisse
Seeing Laure: Race and Modernity from Manet’s Olympia to Matisse, Bearden and Beyond Denise M. Murrell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2013 Denise M. Murrell All Rights Reserved ABSTRACT Seeing Laure: Race and Modernity from Manet’s Olympia to Matisse, Bearden and Beyond Denise M. Murrell During the 1860s in Paris, Edouard Manet and his circle transformed the style and content of art to reflect an emerging modernity in the social, political and economic life of the city. Manet’s Olympia (1863) was foundational to the new manner of painting that captured the changing realities of modern life in Paris. One readily observable development of the period was the emergence of a small but highly visible population of free blacks in the city, just fifteen years after the second and final French abolition of territorial slavery in 1848. The discourse around Olympia has centered almost exclusively on one of the two figures depicted: the eponymous prostitute whose portrayal constitutes a radical revision of conventional images of the courtesan. This dissertation will attempt to provide a sustained art-historical treatment of the second figure, the prostitute’s black maid, posed by a model whose name, as recorded by Manet, was Laure. It will first seek to establish that the maid figure of Olympia, in the context of precedent and Manet’s other images of Laure, can be seen as a focal point of interest, and as a representation of the complex racial dimension of modern life in post-abolition Paris. -
Oh, Gently Lead Us. for Soprano Solo and Quartette. Harmonized and Adapted from a German Melody
Box 181 Abbot, Jno. M. Gently, Lord! Oh, Gently Lead Us. For Soprano Solo and Quartette. Harmonized and adapted from a German melody. Troy, NY: C. W. Harris, 1867. Abbot, John M. God Is Love. Trio for Soprano, Tenor, and Basso. Adapted from Conradin Kreutzer. New York: Wm. A. Pond & Co., 1865. Abbot, John M. Hear Our Prayer. Trio for Soprano, Contralto, and Basso. Brooklyn: Alphonzo Smith, 1862. Abbot, John M. Hear Our Prayer. Trio for Soprano, Contralto, and Basso. Brooklyn: Charles C. Sawyer, 1862. 3 copies. Abbot, John M. Hear Our Prayer. Trio for Soprano, Contralto, and Basso. Brooklyn: J. W. Smith, Jr., 1862. 3 copies. Abbot, John M. Softly now the light of day. Hymn with solos for Soprano, Tenor, and Contralto or Baritone. New York: S. T. Gordon, 1866. Abbott, Jane Bingham. Just For To-Day. Sacred Song for Soprano. Words by Samuel Wilberforce. Chicago: Clayton F. Summy Co., 1894. Abraham’s Daughter; or, Raw Recruits. For voice and piano. New York: Firth, Pond & Co., 1862. Cover features lithograph printed by Sarony, Major & Knapp. Abt, Franz. Absence and Return. For voice and piano. Words by J. E. Carpenter, PhD. From “New Songs by Franz Abt.” Boston: Oliver Ditson & Co., [s.d.]. Abt, Franz. Autumnal Winds (Es Braust der Herbstwind). Song for Soprano or Tenor in D Minor. New York: G. Schirmer, 1872. Abt., Franz. Boatman’s Song, Op. 174, No. 6. For voice and piano. Words by J. Oxenford. From “Franz Abt.” [s.l.]: W. F. Shaw, 1881. Cover features lithograph print by Century Lith. Co. Abt., Franz.