Robert Graves Collection (SC050)
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There Is No “Unless” for Poets’:* Robert Graves and Postmodern Thought Nancy Rosenfeld
‘There is no “unless” for poets’:* Robert Graves and Postmodern Thought Nancy Rosenfeld Robert Graves’s place in twentieth century literature and thought is much more central than the relatively marginal status accorded him in standard critical accounts. Graves is best known as the author of historical novels. His I, Claudius, produced as a BBC television series in the 1970s, and its sequel Claudius the God and his Wife Messalina made his name a household word. Yet Graves was a twentieth century Renaissance man: his body of work includes poetry – Graves viewed himself as a poet first and foremost – more than a dozen historical novels, autobiography, studies of mythology and ethnography, writing guides, translation, social commentary, literary criticism. Graves’s autobiography Good-bye to All That is one of the most influential memoirs to come out of the First World War. His Greek Myths remains a basic text in comparative literature studies. Generations of aspiring poets have sought guidance in The White Goddess: A Historical Grammar of Poetic Myth. Poetry, Graves argued in Lecture One of the Oxford Chair of Poetry series delivered in 1964, ‘is a way of life, a vocation or a profession’, even though it is not ‘operationally organized’ as are the professions of medicine, law, architecture, pedagogy.1 This and more: the imperative of questioning ‘every word and sound and implication in a poem either read or written’ stands in direct opposition to ‘present trends in politics, economics and ethics which are wholly inimical to the appearance of new poets, or the honourable survival of those who may have already appeared.’ The true poets are always/already tempered by poetic principle, which is ‘a simple, obstinate belief in miracle: an asseveration of * Robert Graves, Poetic Craft and Principle (London: Cassell, 1967), p. -
Representative Church Body Library, Dublin D 13/ Limerick, Ardfert
Representative Church Body Library, Dublin D 13/ Limerick, Ardfert & Killaloe Diocesan Records 1693-2008 From Bishop Robert Wyse Jackson, 1964, Bishop Edwin Owen, 1981, Revd Jane Galbraith, 2012, Canon Robert Warren, 2012, Very Revd Niall Sloane, 2018 1. Visitations 1. 1693 (Limerick) 2. 1698 (Do.) 3. 1699 (Do.) 4. 1700 (Do.) 5. 1701 (Do.) 6. 1702 (Do.) 7. 1703 (Do.) 8. 1704 (Do.) 9. 1707 (Do.) 10. 1708 (Do.) 11. 1709 (Do.) 12. 1710 (Do.) 13. 1712 (Do.) 14. 1713 (Do.) 15. 1714 (Do.) 16. 1857 (Do.) 17. 1867 (Do.) 18. 1869 (Do.) 19. 1870 (Do.) 20. 1873 (Do.) 21. 1874 (Do.) 22. 1875 (Do.) 23. 1876 (Do.) 24. 1877 (Do.) 25. 1878 (Do.) 26. 1879 (Do.) 27. 1880 (Do.) 28. 1881 (Do.) 29. 1882 (Do.) 30. 1883 (Do.) 31. 1884 (Do.) 32. 1885 (Do.) 33. 1886 (Do.) 34. 1887 (Do.) 35. 1888 (Do.) 36. 1889 (Do.) 37. 1890 (Do.) 38. 1891 (Do.) 39. 1892 (Do.) 40. 1893 (Do.) 41. 1894 (Do.) 42. 1895 (Do.) 43. 1896 (Do.) 44. 1897 (Do.) 45. 1898 (Do.) 46. 1899 (Do.) 47. 1901 (Do.) 48. 1902 (Do.) 49. 1903 (Do.) 50. 1904 (Do.) 51. 1905 (Do.) 52. 1906 (Do.) 53. 1907 (Do.) 54. 1908 (Do.) 55. 1909 (Do.) 56. 1910 (Do.) 57. 1911 (Do.) 58. 1912 (Do.) 59. 1913 (Do.) 60. 1914 (Do.) 61. 1916 (Do.) 62. 1917 (Do.) 63. 1918 (Do.) 64. 1919 (Do.) 65. 1920 (Do.) 66. 1921 (Do.) 67. 1922 (Do.) 68. 1923 (Do.) 69. 1924 (Do.) 70. 1925 (Do.) 71. 1926 (Do.) 72. 1927 (Do.) 73. 1928 (Do.) 74. 1930 (Do.) 75. -
By Robert Graves Клавдий by Robert Graves
Read Ebook {PDF EPUB} Клавдий by Robert Graves Клавдий by Robert Graves. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Cloudflare Ray ID: 65ff9b905a00d6cd • Your IP : 116.202.236.252 • Performance & security by Cloudflare. Biography. Robert Graves was born in 1895 in Wimbledon, a suburb of London. Graves was known as a poet, lecturer and novelist. He was also known as a classicist and a mythographer. Perhaps his first known and revered poems were the poems Groves wrote behind the lines in World War One. He later became known as one of the most superb English language 'Love' poets. He then became recognised as one of the finest love poets writing in the English language. Members of the poetry, novel writing, historian, and classical scholarly community often feel indebted to the man and his works. Robert Graves was born into an interesting time in history. He actually saw Queen Victoria’s Diamond Jubilee procession at the age of two or three. His family was quite patriotic, educated, strict and upper middle class.He saw his father as an authoritarian. He was not liked by his peers in school, nor did he care much for them. -
Works by Robert Graves in Special Collections, University of Otago Library 2012
Robert Graves Poeta 1895-1985 Works by Robert Graves in Special Collections, University of Otago Library 2012 1 There is no now for us but always, Nor any I but we – Who have loved only and love only From the hilltops to the sea In our long turbulence of nights and days: A calendar from which no lover strays In proud perversity. Envoi. (Collected Poems, 1975) On the headstone that marks his grave at Deyá, Marjorca, there is the simple: ‘Robert Graves Poeta 1895-1985’. And it was this aspect that attracted Charles Brasch, editor, patron and poet, to the works of Graves, calling him ‘among the finest English poets of our time, one of the few who is likely to be remembered as a poet.’ Indeed, not only did Brasch collect his own first editions volumes written by Graves, but he encouraged the University of Otago Library to buy more. Thanks to Brasch, Special Collections at the University of Otago now has an extensive collection of works (poetry, novels, essays, children’s books) by him. Born at Wimbledon in 1895, Graves had an Irish father, a German mother, an English upbringing, and a classical education. Enlisting in the Royal Welch Fusiliers, Graves faced the horrors of World War I. He was wounded by shrapnel, left for dead and later able to read his own obituary in The London Times. In 1929, he penned Goodbye To All That, his war-time autobiography which gave him success and fame. And aside from his regular output of poetry books, he wrote historical novels such as I Claudius (1934) and Claudius the God (1934), The White Goddess (1948), the heady study on matriarchal worship and poetry that in the sixties became a source book for readers of the Whole Earth Catalog, and the very successful The Greek Myths (1955). -
University of Victoria Special Collections Graves, Robert, 1895-1985 SC050
University of Victoria Special Collections Graves, Robert, 1895-1985 SC050 Title Robert Graves collection Dates 1934-1970 Extent 2.8 m of textual records ca. 200 photographs 22 drawings 1 portrait Biographical Sketch Robert Graves was an English poet and novelist. Born in London, he was the son of A. P. Graves, who had taken a leading part in the Irish Renaissance in literature and music. Robert Graves was educated at Oxford and served with the British Army in France in World War I. Graves lived at various time in England and Majorca. His early poetry received critical praise. He also collaborated with Laura Riding in "A Survey of Modernist Poetry". He is best known for his historical novels, including "I, Claudius" and "Claudius the God". Other works include "Goodbye to All That" and "The Long Week-End". Graves was professor of poetry at Oxford from 1961 to 1966. Scope and Content The collection consists of Graves' autograph diary (1935-1939), with enclosures including letters from his children, photographs, clippings, and transcripts of poems, articles and letters; correspondence written by Graves to various people, including Isla Cameron, Selwyn Jepson, Aemilia Laracuen, Andrew Mylett, and Raphael Patai; poetry worksheets (1965-1970) and prose and poetry worksheets (1970); manuscripts including essays, reviews, forewords, prefaces, articles, lectures, and for the works "King Jesus", "The Anger of Achilles", "Hebrew Myths: The Book of Genesis", "Greek Gods and Heroes", "An Ancient Castle", "La Luna de los Perros", and "Juvenalia and Other Poems"; photographs; and drawings of Majorca by Paul Hogarth. The collection is arranged in lots as its various parts were acquired not as a single purchase but from different book dealers at different times. -
29 Nov 2015 Projection Series #1 Len Lye's
25 Jul – 29 Nov 2015 Projection Series #1 Projection Series 1: Len Lye’s Colour Box 25 July – 29 November 2015 Daily,Projection 1pm Series 1: Len Lye’s Colour Box Len Lye’s Colour Box Running25 July –time: 29 November 51 minutes 2015 Daily,Projection 1pm Series 1: Len Lye’s Colour Box RunningLen25 July Lye Curator:–time: 29 November 51 minutesPaul 2015Brobbel AssistantDaily, 1pm Len Lye Curator: Sarah Wall RunningLen Lye Curator:time: 51 minutesPaul Brobbel AssistantImages: Unless Len Lye otherwise Curator: stated Sarah allWall material courtesyLen Lye Curator: of the Len Paul Lye Brobbel Foundation and the Govett-BrewsterAssistantImages: Unless Len Lye otherwise Art Curator: Gallery, stated Sarah from allWall material material madecourtesy and preservedof the Len by Lye The Foundation New Zealand and the ArchiveGovett-BrewsterImages: ofUnless Film, otherwise ArtTelevision Gallery, stated and from Soundall material material Ngā Taongamadecourtesy and Whitiāhua preservedof the Len Me by LyeNgā The FoundationTaonga New Zealand Kōrero. and the ArchiveGovett-Brewster of Film, ArtTelevision Gallery, and from Sound material Ngā TaongaPrinter:made and Whitiāhua preserved Me by Ngā The Taonga New Zealand Kōrero. Paperstock:Archive of Film, Television and Sound Ngā Typeface:TaongaPrinter: Whitiāhua Me Ngā Taonga Kōrero. ISBN:Paperstock: 978-0-908848-80-5 Typeface:Printer: Color Cry All Souls Carnival ISBN:PublishedPaperstock: 978-0-908848-80-5 in association with the Projection SeriesTypeface: Len Lye’s Colour Box, 2015. 1952-3Color Cry 1957All Souls Carnival ISBN:Published 978-0-908848-80-5 in association with the Projection Series© 2015 Govett-BrewsterLen Lye’s Colour ArtBox, Gallery, 2015. 1952-33Color min, 16mm Cry Kodachrome, sound 195716min,All Souls 16mm colour, Carnival sound thePublished artist, in writers association and contributors. -
Robert Graves
Robert Graves Robert Graves The University of San Francisco aims “to cultivate the heart that it may love worthwhile things.” First editions with inscriptions and corrected galley proofs of such a writer as Robert Graves, Professor of Poetry at Oxford, have the magic to thrill the student, to give him a love of learning sufficient for a lifetime. Therefore, the University and the Gleeson Library Associates thank Mr. Walter Bartmann for adding to the cultivation of our students by the donation of his collection of first editions of Robert Graves. All titles of this collection are contained in the checklist except ephemera. Titles with asterisk are not in the collection but will be added. ANNUAL MEETING Gleeson Library Associates APRIL 29, 1962 A Checklist Robert Graves Section I Poetry, Novels and Essays 1916 Over the Brazier. David and Goliath. With author's book-plate. 1917 Fairies and Fusiliers. 1919 The White Cloud.* 1920 Treasure Box. Privately printed and signed. 1921 The Pier-Glass. 1922 On English Poetry. Robert Graves http://www.loc.gov/resource/rbpe.0020390s 1923 The Feather Bed. No. 82 of 250 signed. Whipperginny. 1924 Mock Beggar Hall. The Meaning of Dreams. 1925 Welchman's Hose. 525 copies. John Kemp's Wager: A Ballad Opera. My Head! My Head! Contemporary Techniques in Poetry: a Political Analogy. Poetical Unreason and Other Studies. 1926 Another Future of Poetry.* Impenetrability. 1927 Poems 1914–1926. No. 18 of 115 signed. The English Ballad. Lars Porsena or The Future of Swearing. Lawrence and the Arabs. 1928 Mrs. Fisher or The Future of Humour. -
On the Design of Len Lye's Flaming Harmonic
21ST INTERNATIONAL CONFERENCE ON ENGINEERING DESIGN, ICED17 21-25 AUGUST 2017, THE UNIVERSITY OF BRITISH COLUMBIA, VANCOUVER, CANADA ON THE DESIGN OF LEN LYE'S FLAMING HARMONIC McGregor, Angus (1); Gooch, Shayne (1); Webb, Evan (2) 1: University of Canterbury, New Zealand; 2: Len Lye Foundation, New Zealand Abstract Len Lye (1901-1980) was an artist who wanted to build kinetic sculptures at a monumental size however he was constrained by the availability of resources and technology. This paper examines the structural design of a vertical cantilever beam which is a key element in the monumental version of Lye’s ‘Flaming Harmonic’. In ‘Flaming Harmonic’ the vertical cantilever vibrates at resonant bending and whirling frequencies due to a reciprocating harmonic ground movement which is provided by a mechanical drive. Lye produced a 1.3m tall model of a similar work called ‘Harmonic’. Design rules developed in this paper show that ‘Flaming Harmonic’ can be produced at a height of 14m. Similarity between ‘Harmonic’ and ‘Flaming Harmonic’ ensures that while the artwork is produced posthumously, artistic integrity for the larger work will be preserved. The vibratory mode shapes and corresponding stresses are established for ‘fixed’ and ‘pivot’ clamp designs. It is shown that while a slightly different vibrating shape is achieved using each method the ‘pivot’ clamp design results in a lower bending stress and hence a longer life for the vertical cantilever. Keywords: Collaborative design, Design practice, Optimisation, Simulation Contact: Dr. Shayne Gooch University of Canterbury Mechanical Engineering New Zealand [email protected] Please cite this paper as: Surnames, Initials: Title of paper. -
List 35: Robert Graves & Laura Riding
List 35: Robert Graves & Laura Riding McNaughtan’s Bookshop & Gallery 3a & 4a Haddington Place Edinburgh EH7 4AE +44(0)131 556 5897 [email protected] http://www.mcnaughtans.co.uk a b x @mcnbooks McNaughtan’s Bookshop & Gallery List 35: Robert Graves & Laura Riding items 1-2: Laura Riding 5. Graves, Robert. Poems 1929. London: Printed and published at the Seizin Press, 1929. 1. Riding, Laura. Twenty Poems Less. Paris: Hours Press, 1930. FIRST EDITION, NO. 17 OF 225 COPIES SIGNED BY THE AUTHOR, 8vo, pp. [iv], 33, [3]. Original green cloth, spine lettered in FIRST EDITION, NO. 105 OF 200 COPIES SIGNED BY THE AUTHOR, gilt. Spine slightly faded, front flyleaf toned. £250 folio, pp. [iv], 33, [3]. Original quarter black morocco, photo- graphically-decorated paper boards, spine lettered in gilt. One or two spots to page edges. Spine ends slightly rubbed. £350 Higginson & Williams A33. 2. Riding, Laura. Four 6. Lye, Len. No Unposted Letters to Cath- Trouble. Deya, Ma- erina. Paris: Hours Press, jorca: The Seizin Press, [1930]. 1930. FIRST EDITION, NO. 120 OF 200 FIRST EDITION, NO. 99 COPIES SIGNED BY THE AUTHOR, OF 200 COPIES SIGNED BY small 4to, pp. [vi], 50, [4]. THE AUTHOR, folio, [vi], Original quarter black moroc- 27, [1]. Original quarter co, decorated paper boards (by white buckram, boards Len Lye), spine lettered in gilt. decorated in red, brown Spine just a touch rubbed at and textured gilt by Len head and tail. £300 Lye, spine lettered in gilt. Spine very slightly The second issue, with the tipped-in introductory note which was omit- soiled. -
1 the Communicating Village: Humphrey Jennings And
THE COMMUNICATING VILLAGE: HUMPHREY JENNINGS AND SURREALISM NEIL GEORGE COOMBS A thesis submitted in partial fulfilment of the requirements of Liverpool John Moores University for the degree of Doctor of Philosophy January 2014 1 Acknowledgments. With thanks to my supervisors Dr David Sorfa and Dr Lydia Papadimitriou for their support during the process of writing this thesis. 2 Abstract This thesis examines the films of Humphrey Jennings, exploring his work in relation to surrealism. This examination provides an overview of how surrealism’s set of ideas is manifest in Jennings’s documentary film work. The thesis does not assert that his films are surrealist texts or that there is such a thing as a surrealist film; rather it explores how his films, produced in Britain in the period from 1936 to 1950, have a dialectical relationship with surrealism. The thesis first considers Jennings’s work in relation to documentary theory, outlining how and why he is considered a significant filmmaker in the documentary field. It then goes on to consider Jennings’s engagement with surrealism in Britain in the years prior to World War Two. The thesis identifies three paradoxes relating to surrealism in Britain, using these to explore surrealism as an aura that can be read in the films of Jennings. The thesis explores three active phases of Jennings’s film work, each phase culminating in a key film. It acknowledges that Spare Time (1939) and Listen to Britain (1942) are key films in Jennings’s oeuvre, examining these two films and then emphasising the importance of a third, previously generally overlooked, film, The Silent Village (1943). -
Len Lye: Motion Sketch April 17 – June 8, 2014
Len Lye: Motion Sketch April 17 – June 8, 2014 Drawing Room and The Lab Opening Reception: Wednesday, April 16, 6–8pm For further information and images, please contact Molly Gross, Communications Director, The Drawing Center 212 219 2166 x119 | [email protected] April 7, 2014 New York – The Drawing Center presents Len Lye: Motion Sketch, curated by Gregory Burke, Executive Director/CEO of the Mendel Art Gallery and Remai Art Gallery of Saskatchewan, and Tyler Cann, Associate Curator of Contemporary Art at the Columbus Museum of Art and Len Lye Curator-at-Large for the Govett-Brewster Art Gallery. The first solo exhibition of the work of Len Lye in an American museum explores the filmmaker’s multidimensional practice specifically in relation to drawing. Lye’s kinesthetic approach to line—related to Surrealist automatism and anticipating aspects of Abstract Expressionism—also informed his practice in painting, Len Lye, Drawing for Head Man of the Seed World, c. 1930s photography, film, and sculpture. Not limited to works on paper, the exhibition will also reveal Ink on paper, 10 3/5 x 8 2/5 inches. Len Lye Foundation how Lye’s concept of "doodling" underpinned his approach to much of his work. Collection, Govett-Brewster Art Gallery Len Lye: Motion Sketch includes a selection of paintings, drawings, and photograms, never before seen in the United States. In The Drawing Center’s Lab gallery, an extensive film program is presented on video, including such landmark films as Tusalava, 1929; A Colour Box, 1935; and Free Radicals, 1957/1979. Len Lye’s career was marked by a lifelong fascination with movement and an aspiration to compose motion; the movement of the drawing hand was an important touchstone for his works in various media. -
Robert Graves Poeta 1895-1985
Robert Graves Poeta 1895-1985 Works by Robert Graves in Special Collections, University of Otago Library 2012 There is no now for us but always, Nor any I but we – Who have loved only and love only From the hilltops to the sea In our long turbulence of nights and days: A calendar from which no lover strays In proud perversity. Envoi. (Collected Poems, 1975) On the headstone that marks his grave at Deyá, Marjorca, there is the simple: ‘Robert Graves Poeta 1895-1985’. And it was this aspect that attracted Charles Brasch, editor, patron and poet, to the works of Graves, calling him ‘among the finest English poets of our time, one of the few who is likely to be remembered as a poet.’ Indeed, not only did Brasch collect his own first editions volumes written by Graves, but he encouraged the University of Otago Library to buy more. Thanks to Brasch, Special Collections at the University of Otago now has an extensive collection of works (poetry, novels, essays, children’s books) by him. Born at Wimbledon in 1895, Graves had an Irish father, a German mother, an English upbringing, and a classical education. Enlisting in the Royal Welch Fusiliers, Graves faced the horrors of World War I. He was wounded by shrapnel, left for dead and later able to read his own obituary in The London Times. In 1929, he penned Goodbye To All That, his war-time autobiography which gave him success and fame. And aside from his regular output of poetry books, he wrote historical novels such as I Claudius (1934) and Claudius the God (1934), The White Goddess (1948), the heady study on matriarchal worship and poetry that in the sixties became a source book for readers of the Whole Earth Catalog, and the very successful The Greek Myths (1955).