Decomposing Figures Chase, Cynthia
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EM Forster's Howards End and Virginia Woolfs Mrs. Dalloway
The Metropolis and the Oceanic Metaphor: E.M. Forster's Howards End and Virginia Woolfs Mrs. Dalloway Melissa Baty UH 450 / Fall 2003 Advisor: Dr. Jon Hegglund Department of English Honors Thesis ************************* PASS WITH DISTINCTION Thesis Advisor Signature Page 1 of 1 TO THE UNIVERSITY HONORS COLLEGE: As thesis advisor for Me~~'Y3 ~3 I have read this paper and find it satisfactory. 1 1-Z2.-03 Date " http://www.wsu.edu/~honors/thesis/AdvisecSignature.htm 9/22/2003 Precis Statement ofResearch Problem: In the novels Howards End by E.M. Forster and Mrs. Dalloway by Virginia Woolf, the two authors illwninate their portrayal ofearly twentieth-century London and its rising modernity with oceanic metaphors. My research in history, cultural studies, literary criticism, and psychoanalytic theory aimed to discover why and to what end Forster and Woolf would choose this particular image for the metropolis itselfand for social interactions within it. Context of the Problem: My interpretation of the oceanic metaphor in the novels stems from the views of particular theorists and writers in urban psychology and sociology (Anthony Vidler, Georg Simmel, Jack London) and in psychoanalysis (Sigmund Freud, particularly in his correspondence with writer Romain Rolland). These scholars provide descriptions ofthe oceanic in varying manners, yet reflect the overall trend in the period to characterizing life experience, and particularly experiences in the city, through images and metaphors ofthe sea. Methods and Procedures: The research for this project entailed reading a wide range ofhistorically-specific background regatg ¥9fSter, W661f~ eity of I .Q~e various academic areas listed above in order to frame my conclusions about the novels appropriately. -
Works on Giambattista Vico in English from 1884 Through 2009
Works on Giambattista Vico in English from 1884 through 2009 COMPILED BY MOLLY BLA C K VERENE TABLE OF CON T EN T S PART I. Books A. Monographs . .84 B. Collected Volumes . 98 C. Dissertations and Theses . 111 D. Journals......................................116 PART II. Essays A. Articles, Chapters, et cetera . 120 B. Entries in Reference Works . 177 C. Reviews and Abstracts of Works in Other Languages ..180 PART III. Translations A. English Translations ............................186 B. Reviews of Translations in Other Languages.........192 PART IV. Citations...................................195 APPENDIX. Bibliographies . .302 83 84 NEW VICO STUDIE S 27 (2009) PART I. BOOKS A. Monographs Adams, Henry Packwood. The Life and Writings of Giambattista Vico. London: Allen and Unwin, 1935; reprinted New York: Russell and Russell, 1970. REV I EWS : Gianturco, Elio. Italica 13 (1936): 132. Jessop, T. E. Philosophy 11 (1936): 216–18. Albano, Maeve Edith. Vico and Providence. Emory Vico Studies no. 1. Series ed. D. P. Verene. New York: Peter Lang, 1986. REV I EWS : Daniel, Stephen H. The Eighteenth Century: A Current Bibliography, n.s. 12 (1986): 148–49. Munzel, G. F. New Vico Studies 5 (1987): 173–75. Simon, L. Canadian Philosophical Reviews 8 (1988): 335–37. Avis, Paul. The Foundations of Modern Historical Thought: From Machiavelli to Vico. Beckenham (London): Croom Helm, 1986. REV I EWS : Goldie, M. History 72 (1987): 84–85. Haddock, Bruce A. New Vico Studies 5 (1987): 185–86. Bedani, Gino L. C. Vico Revisited: Orthodoxy, Naturalism and Science in the ‘Scienza nuova.’ Oxford: Berg, 1989. REV I EWS : Costa, Gustavo. New Vico Studies 8 (1990): 90–92. -
Off the Pedestal, on the Stage: Animation and De-Animation in Art
Off the Pedestal; On the Stage Animation and De-animation in Art and Theatre Aura Satz Slade School of Fine Art, University College, London PhD in Fine Art 2002 Abstract Whereas most genealogies of the puppet invariably conclude with robots and androids, this dissertation explores an alternative narrative. Here the inanimate object, first perceived either miraculously or idolatrously to come to life, is then observed as something that the live actor can aspire to, not necessarily the end-result of an ever evolving technological accomplishment. This research project examines a fundamental oscillation between the perception of inanimate images as coming alive, and the converse experience of human actors becoming inanimate images, whilst interrogating how this might articulate, substantiate or defy belief. Chapters i and 2 consider the literary documentation of objects miraculously coming to life, informed by the theology of incarnation and resurrection in Early Christianity, Byzantium and the Middle Ages. This includes examinations of icons, relics, incorrupt cadavers, and articulated crucifixes. Their use in ritual gradually leads on to the birth of a Christian theatre, its use of inanimate figures intermingling with live actors, and the practice of tableaux vivants, live human figures emulating the stillness of a statue. The remaining chapters focus on cultural phenomena that internalise the inanimate object’s immobility or strange movement quality. Chapter 3 studies secular tableaux vivants from the late eighteenth century onwards. Chapter 4 explores puppets-automata, with particular emphasis on Kempelen's Chess-player and the physical relation between object-manipulator and manipulated-object. The main emphasis is a choreographic one, on the ways in which live movement can translate into inanimate hardness, and how this form of movement can then be appropriated. -
Anon Is Not Dead: Towards a History of Anonymous Authorship in Early-Twentieth-Century Britain Emily Kopley
Document generated on 09/30/2021 7:56 p.m. Mémoires du livre Studies in Book Culture Anon is Not Dead: Towards a History of Anonymous Authorship in Early-Twentieth-Century Britain Emily Kopley Générations et régénérations du livre Article abstract The Generation and Regeneration of Books In 1940, Virginia Woolf blamed the printing press for killing the oral tradition Volume 7, Number 2, Spring 2016 that had promoted authorial anonymity: “Anon is dead,” she pronounced. Scholarship on the printed word has abundantly recognized that, far from URI: https://id.erudit.org/iderudit/1036861ar being dead, Anon remained very much alive in Britain through the end of the DOI: https://doi.org/10.7202/1036861ar nineteenth century. Even in the twentieth century, Anon lived on, among particular groups and particular genres, yet little scholarship has addressed this endurance. Here, after defining anonymity and sketching its history in the See table of contents late nineteenth and early twentieth century, I offer three findings. First, women had less need for anonymity as they gained civil protections elsewhere, but anonymity still appealed to writers made vulnerable by their marginalized Publisher(s) identities or risky views. Second, in the early twentieth century the genre most likely to go unsigned was autobiography, in all its forms. Third, on rare Groupe de recherches et d’études sur le livre au Québec occasions, which I enumerate, strict anonymity achieves what pseudonymity cannot. I conclude by suggesting that among British modernist authors, the ISSN decline of practiced anonymity stimulated desired anonymity and the prizing 1920-602X (digital) of anonymity as an aesthetic ideal. -
Guide to the Papers of the Summer Seminar of the Arts
Summer Seminar of the Arts Papers Guide to the Papers of The Summer Seminar of the Arts Auburn University at Montgomery Library Archives and Special Collections © AUM Library TABLE OF CONTENTS Content Page # Collection Summary 2 Administrative Information 2 Restrictions 2 Biographical Information 3-4 Scope and Content Note 5 Arrangement 5-6 Inventory 6-24 1 Summer Seminar of the Arts Papers Collection Summary Creator: Jack Mooney Title: Summer Seminar of the Arts Papers Dates: ca. 1969-1983 Quantity: 9 boxes; 6.0 cu. ft. Identification: 2005/02 Contact Information: AUM Library Archives & Special Collections P.O. Box 244023 Montgomery, AL 36124-4023 Ph: (334) 244-3213 Email: [email protected] Administrative Information Preferred Citation: Summer Seminar of the Arts Papers, Auburn University Montgomery Library, Archives & Special Collections. Acquisition Information: Jack Mooney donated the collection to the AUM Library in May 2005. Processing By: Samantha McNeilly, Archives/Special Collections Assistant (2005). Copyright Information: Copyright not assigned to the AUM Library. Restrictions Restrictions on access: There are no restrictions on access to these papers. Restrictions on usage: Researchers are responsible for addressing copyright issues on materials not in the public domain. 2 Summer Seminar of the Arts Papers Biographical/Historical Information The Summer Seminar of the Arts was an annual arts and literary festival held in Montgomery from 1969 until 1983. The Seminar was part of the Montgomery Arts Guild, an organization which was active in promoting and sponsoring cultural events. Held during July, the Seminar hosted readings by notable poets, offered creative writing workshops, held creative writing contests, and featured musical performances. -
Spring 2009 Number 1 Special Issue a Publication of the Wallace Stevens Society, Inc
The Wallace Stevens Journal “The Less Legible Meanings of Sounds” The Wallace The Wallace Stevens Journal Vol. 33 No. 1 Spring 2009 Vol. Special Issue Wallace Stevens and “The Less Legible Meanings of Sounds” A Publication of The Wallace Stevens Society, Inc. Volume 33 Number 1 Spring 2009 The Wallace Stevens Journal Volume 33 Number 1 Spring 2009 Special Issue Wallace Stevens and “The Less Legible Meanings of Sounds” Edited by Natalie Gerber Contents Introduction —Natalie Gerber 3 Sound at an Impasse —Alan Filreis 15 Sound and Sensuous Awakening in Harmonium —Beverly Maeder 24 The Sound of the Queen’s Seemings in “Description Without Place” —Alison Rieke 44 The “Final Finding of the Ear”: Wallace Stevens’ Modernist Soundscapes —Peter Middleton 61 Weather, Sound Technology, and Space in Wallace Stevens —Sam Halliday 83 Wallace Stevens and the Spoken Word —Tyler Hoffman 97 Musical Transformations: Wallace Stevens and Paul Valéry —Lisa Goldfarb 111 Poems 129 Reviews 133 Current Bibliography 139 Cover Karhryn Jacobi The Tink-tonk of the Rain from “An Ordinary Evening in New Haven,” XIV The Wallace Stevens Journal EDITOR John N. Serio POETRY EDITOR ART EDITOR BOOK REVIEW EDITOR Joseph Duemer Kathryn Jacobi George S. Lensing EDITORI A L ASSIST A NTS EDITORI A L BO A RD William H. Duryea Milton J. Bates George S. Lensing Maureen Kravec Jacqueline V. Brogan James Longenbach Hope Steele Robert Buttel Glen MacLeod Eleanor Cook Marjorie Perloff TECHNIC A L ASSIST A NT Bart Eeckhout Joan Richardson Jeff Rhoades Alan Filreis Melita Schaum B. J. Leggett Lisa M. Steinman The Wallace Stevens Society, Inc. -
Freecell and Other Stories
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Summer 8-4-2011 FreeCell and Other Stories Susan Louvier University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Part of the Other Arts and Humanities Commons Recommended Citation Louvier, Susan, "FreeCell and Other Stories" (2011). University of New Orleans Theses and Dissertations. 452. https://scholarworks.uno.edu/td/452 This Thesis-Restricted is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis-Restricted in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis-Restricted has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. FreeCell and Other Stories A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Fine Arts in Film, Theatre and Communication Arts Creative Writing by Susan J. Louvier B.G.S. University of New Orleans 1992 August 2011 Table of Contents FreeCell .......................................................................................................................... 1 All of the Trimmings ..................................................................................................... 11 Me and Baby Sister ....................................................................................................... 29 Ivory Jupiter ................................................................................................................. -
Idioms-And-Expressions.Pdf
Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context. -
Sharpe, Tony, 1952– Editor of Compilation
more information - www.cambridge.org/9780521196574 W. H. AUDen IN COnteXT W. H. Auden is a giant of twentieth-century English poetry whose writings demonstrate a sustained engagement with the times in which he lived. But how did the century’s shifting cultural terrain affect him and his work? Written by distinguished poets and schol- ars, these brief but authoritative essays offer a varied set of coor- dinates by which to chart Auden’s continuously evolving career, examining key aspects of his environmental, cultural, political, and creative contexts. Reaching beyond mere biography, these essays present Auden as the product of ongoing negotiations between him- self, his time, and posterity, exploring the enduring power of his poetry to unsettle and provoke. The collection will prove valuable for scholars, researchers, and students of English literature, cultural studies, and creative writing. Tony Sharpe is Senior Lecturer in English and Creative Writing at Lancaster University. He is the author of critically acclaimed books on W. H. Auden, T. S. Eliot, Vladimir Nabokov, and Wallace Stevens. His essays on modernist writing and poetry have appeared in journals such as Critical Survey and Literature and Theology, as well as in various edited collections. W. H. AUDen IN COnteXT edited by TONY SharPE Lancaster University cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi, Mexico City Cambridge University Press 32 Avenue of the Americas, New York, NY 10013-2473, USA www.cambridge.org Information on this title: www.cambridge.org/9780521196574 © Cambridge University Press 2013 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. -
University of California Santa Cruz
UNIVERSITY OF CALIFORNIA SANTA CRUZ EXTENDED FROM WHAT?: TRACING THE CONSTRUCTION, FLEXIBLE MEANING, AND CULTURAL DISCOURSES OF “EXTENDED VOCAL TECHNIQUES” A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by Charissa Noble March 2019 The Dissertation of Charissa Noble is approved: Professor Leta Miller, chair Professor Amy C. Beal Professor Larry Polansky Lori Kletzer Vice Provost and Dean of Graduate Studies Copyright © by Charissa Noble 2019 TABLE OF CONTENTS List of Figures v Abstract vi Acknowledgements and Dedications viii Introduction to Extended Vocal Techniques: Concepts and Practices 1 Chapter One: Reading the Trace-History of “Extended Vocal Techniques” Introduction 13 The State of EVT 16 Before EVT: A Brief Note 18 History of a Construct: In Search of EVT 20 Ted Szántó (1977): EVT in the Experimental Tradition 21 István Anhalt’s Alternative Voices (1984): Collecting and Codifying EVT 28evt in Vocal Taxonomies: EVT Diversification 32 EVT in Journalism: From the Musical Fringe to the Mainstream 42 EVT and the Classical Music Framework 51 Chapter Two: Vocal Virtuosity and Score-Based EVT Composition: Cathy Berberian, Bethany Beardslee, and EVT in the Conservatory-Oriented Prestige Economy Introduction: EVT and the “Voice-as-Instrument” Concept 53 Formalism, Voice-as-Instrument, and Prestige: Understanding EVT in Avant- Garde Music 58 Cathy Berberian and Luciano Berio 62 Bethany Beardslee and Milton Babbitt 81 Conclusion: The Plight of EVT Singers in the Avant-Garde -
Temperance Flat Reservoir
Upper San Joaquin River Basin Storage Investigation Temperance Flat Reservoir Surface Storage Option Technical Appendix to the Phase 1 Investigation Report A Joint Study by: Bureau of Reclamation California Department Mid-Pacific Region of Water Resources In Coordination with: The California Bay-Delta Authority October 2003 Upper San Joaquin River Basin Storage Investigation San Joaquin River looking downstream towards Millerton Lake Temperance Flat Reservoir Surface Storage Option Technical Appendix to the Phase 1 Investigation Report A Joint Study by: Bureau of Reclamation California Department Mid-Pacific Region of Water Resources In Coordination with: Prepared by: The California Bay-Delta Authority October 2003 Surface Water Storage Option Technical Memorandum TEMPERANCE FLAT RESERVOIR UPPER SAN JOAQUIN RIVER BASIN STORAGE INVESTIGATION TABLE OF CONTENTS Chapter Page ACRONYMS AND ABBREVIATIONS..................................................................... viii EXECUTIVE SUMMARY ...................................................................................... ES-1 CHAPTER 1. INTRODUCTION ............................................................................... 1-1 STORAGE OPTIONS SUMMARY.....................................................................................1-1 SUMMARY OF PREVIOUS INVESTIGATIONS................................................................1-4 POTENTIAL IMPROVEMENTS.........................................................................................1-4 RM 274 Options..............................................................................................................1-4 -
Rulebook-Bios-Genesis-170515.Pdf
BY A. WHAT’S THIS GAME ABOUT? One to four players start as organic compounds shortly after Earth’s formation, represented by up to three Biont tokens. The Amino Acids (Player Red) command Metabolism, the lipids (Player Yellow) create cells, the pigments (Player Green) control energy absorption and storage, and the nucleic acids (Player Blue) control templated replication.1 Their goal is a double origin of life: first asAutocatalytic Life (a metabolic cycle reproducing its own constituents yet not replicating),2 and the second as Darwinian Life (an Organism using a template to replicate in an RNA world). Warning, this is a brutal game of survival. The players may decide to cooperate rather than compete, see C3. A less brutal variant is found in C4. The Event Phase starts the turn. Each event card encapsulates 200 million years, and the game may last 21 events (about 18 turns, the first 4 billion years of Earth’s 4.6 billion year history). Each event depicts which Landforms (cosmic, ocean, coastal shelf, or continent) are active for the turn. In the Assignment Phase, players attempt to create autocatalytic life by assigning one starting Biont to one of the Refugia, placards representing suitable hatcheries for life either on Earth or in space. These sites contain “building block” cubes called Manna, which reside in either disorganized (dead) or organized (metabolically-alive) populations. You may also assign a Biont to become a Parasite, if there are any Hosts available. To be suitable, a Host must have Mutations or Organs that you can invade as a Disease.