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Jack the Ripper: the Divided Self and the Alien Other in Late-Victorian Culture and Society
Jack the Ripper: The Divided Self and the Alien Other in Late-Victorian Culture and Society Michael Plater Submitted in total fulfilment of the requirements for the degree of Doctor of Philosophy 18 July 2018 Faculty of Arts The University of Melbourne ii ABSTRACT This thesis examines late nineteenth-century public and media representations of the infamous “Jack the Ripper” murders of 1888. Focusing on two of the most popular theories of the day – Jack as exotic “alien” foreigner and Jack as divided British “gentleman” – it contends that these representations drew upon a series of emergent social and cultural anxieties in relation to notions of the “self” and the “other.” Examining the widespread contention that “no Englishman” could have committed the crimes, it explores late-Victorian conceptions of Englishness and documents the way in which the Ripper crimes represented a threat to these dominant notions of British identity and masculinity. In doing so, it argues that late-Victorian fears of the external, foreign “other” ultimately masked deeper anxieties relating to the hidden, unconscious, instinctual self and the “other within.” Moreover, it reveals how these psychological concerns were connected to emergent social anxieties regarding degeneration, atavism and the “beast in man.” As such, it evaluates the wider psychological and sociological impact of the case, arguing that the crimes revealed the deep sense of fracture, duality and instability that lay beneath the surface of late-Victorian English life, undermining and challenging dominant notions of progress, civilisation and social advancement. Situating the Ripper narrative within a broader framework of late-nineteenth century cultural uncertainty and crisis, it therefore argues that the crimes (and, more specifically, populist perceptions of these crimes) represented a key defining moment in British history, serving to condense and consolidate a whole series of late-Victorian fears in relation to selfhood and identity. -
East - West Laos Test of State Lottery Law ASBURY PARK — Nor Showdown Looms Man C
Weatfier Distribution Today Cloudy, with rain today, to. 17,800 night and tomorrow. High today, BEDBANK Mi. Low tonight near 40. High tomorrow, near St. Sea weathei 1 Independent Daily f page I. I HOUBAttHMXKIHHaDt.V-tSt.Ult J REGISTER SH 1-0010 Xnuad daily, Monday through Fridty. Second dm Puttgi • 7c PER COPY 35c PER WEEK VOL. 83, NO. 186 Paid lit R4d Buk and at Additional Malting Otticei. RED BANK, N. J., THURSDAY, MARCH 23,1961 BY CARRIER PAGE ONE Candidate Arrested on 'Request' Seeks Court East - West Laos Test of State Lottery Law ASBURY PARK — Nor Showdown Looms man C. Hansen, who seeks a Democratic nomination for the state Assembly on Joint Action ~a—platform advocating a U.S. Aid state lottery, had himself Is Mulled arrested here yesterday to fur- ther his cause. By SEATO The 42-year-old railroad station •gent from .Monmouth Beach, BANGKOK, Thailand after tipping off newspapers, walked into police headquarters, (AP)—Military advisers of presented the stub of a {3 Irish the Southeast Asia Treaty On Way Sweepstakes ticket to Desk Sgt, Organization kept hard at Thomas Flanagan, and said: "This belongs to me. It's a lot- work today on recommen- WASHINGTON (AP) — tery ticket. What do you propose dations for possible joint President Kennedy is ex- to do? actions to meet the Com- Flanagan, who had been tipped pected to make a major by newsmen to expect Hansen, munist threat in Laos. U.S. policy statement on was ready, "I'll have to book you The military leaders from the 1 the Laotian crisis today. -
Thje Story Jpajpjer Cojljljector N:.��1�:1�:�.4
THJE STORY JPAJPJER COJLJLJECTOR N:.��1�:1�:�.4 ···················································································· ···················································································· Research on Modern "Comics" HERE Is Buying Guidance investigators compared the num on almost everything today ber of beats of a comic on a T and the "comic paper" is window sill, before the paper no exception. The boys of became useless. One of the boys Form 2J at Wakefield Cathedral had the use of a fish and chip Secondary School in England shop, where resistance to grease, have put the modern "comic" salt, and vinegar was measured. under the microscope. Their At first I thought that these findings have been published in tests were something entirely Mitre, the school magazine. new, but on examining some of Five boys of thirteen years did the old comics in my collection the research out of school hours, I see that these, too, have ap and most thoroughly did they parently been used for fly-swat go to work. They nominated as ting, and from the food-stains the best comic one which they on some of them they have also found not only best to read, but been tested as table-cloths! also the best for holding fish and I still have in my possession a chips, for fly-swatting, and for frantic letter from a postal mem fire-lighting! ber of the Northern Section The winning comic-unfortu [Old Boys' Book Club] library nately the name is not given in telling me that his wife had lit the report-took 66 minutes, 38 the fire with a Magnet from the seconds to read, against 9 min Secret Society series. -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
Two-Color Technicolor, the Black Pirate, and Blackened Dyes in 1923
Two-Color Technicolor, The Black Pirate, and Blackened Dyes In 1923 Cecil B. DeMille had complained that “color movies diverted interest from narrative and action, offended the color sensitivities of many, and cost too much.”1 For DeMille, color—even “natural” color processes like Technicolor—was a veil that concealed the all-important expressions on an actor’s face. Yet DeMille was attracted to color and repeatedly employed it in his films of the 1920s, combining tinting and toning with footage either in Technicolor or in the Handshiegl process. Douglas Fairbanks voiced a similar objection to color, likening its use to putting “rouge on the lips of Venus de Milo.”2 Fairbanks argued that color took “the mind of the spectator away from the picture itself, making him conscious of the mechanics—the artificiality—of the whole thing, so that he no longer lived in the story with the characters.”3 At the same time, color motion pictures were said, by their critics, to cause retinal fatigue.4 Fairbanks had once written that color “would tire and distract the eye,” serving more as a distraction than an attraction.5 Indeed, a few years later, before deciding to make The Black Pirate (1926) in two-color Technicolor, Fairbanks hired two USC professors, Drs. A. Ray Irvine and M. F. Weyman, to conduct a series of tests to ascertain the relative amount of eye fatigue (as well as nausea and headaches) generated by viewing black and white vs. color films. Fatigue was calculated in terms of the decline in the viewer’s visual acuity as a result of these screenings. -
BERNARD BAILY Vol
Roy Thomas’ Star-Bedecked $ Comics Fanzine JUST WHEN YOU THOUGHT 8.95 YOU KNEW EVERYTHING THERE In the USA WAS TO KNOW ABOUT THE No.109 May JUSTICE 2012 SOCIETY ofAMERICA!™ 5 0 5 3 6 7 7 2 8 5 Art © DC Comics; Justice Society of America TM & © 2012 DC Comics. Plus: SPECTRE & HOUR-MAN 6 2 8 Co-Creator 1 BERNARD BAILY Vol. 3, No. 109 / April 2012 Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Jon B. Cooke Consulting Editor John Morrow FCA Editor P.C. Hamerlinck AT LAST! Comic Crypt Editor ALL IN Michael T. Gilbert Editorial Honor Roll COLOR FOR $8.95! Jerry G. Bails (founder) Ronn Foss, Biljo White Mike Friedrich Proofreader Rob Smentek Cover Artist Contents George Pérez Writer/Editorial: An All-Star Cast—Of Mind. 2 Cover Colorist Bernard Baily: The Early Years . 3 Tom Ziuko With Special Thanks to: Ken Quattro examines the career of the artist who co-created The Spectre and Hour-Man. “Fairytales Can Come True…” . 17 Rob Allen Roger Hill The Roy Thomas/Michael Bair 1980s JSA retro-series that didn’t quite happen! Heidi Amash Allan Holtz Dave Armstrong Carmine Infantino What If All-Star Comics Had Sported A Variant Line-up? . 25 Amy Baily William B. Jones, Jr. Eugene Baily Jim Kealy Hurricane Heeran imagines different 1940s JSA memberships—and rivals! Jill Baily Kirk Kimball “Will” Power. 33 Regina Baily Paul Levitz Stephen Baily Mark Lewis Pages from that legendary “lost” Golden Age JSA epic—in color for the first time ever! Michael Bair Bob Lubbers “I Absolutely Love What I’m Doing!” . -
Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell
Copyrights sought (Albert) Basil (Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell) Filson Young (Alexander) Forbes Hendry (Alexander) Frederick Whyte (Alfred Hubert) Roy Fedden (Alfred) Alistair Cooke (Alfred) Guy Garrod (Alfred) James Hawkey (Archibald) Berkeley Milne (Archibald) David Stirling (Archibald) Havergal Downes-Shaw (Arthur) Berriedale Keith (Arthur) Beverley Baxter (Arthur) Cecil Tyrrell Beck (Arthur) Clive Morrison-Bell (Arthur) Hugh (Elsdale) Molson (Arthur) Mervyn Stockwood (Arthur) Paul Boissier, Harrow Heraldry Committee & Harrow School (Arthur) Trevor Dawson (Arwyn) Lynn Ungoed-Thomas (Basil Arthur) John Peto (Basil) Kingsley Martin (Basil) Kingsley Martin (Basil) Kingsley Martin & New Statesman (Borlasse Elward) Wyndham Childs (Cecil Frederick) Nevil Macready (Cecil George) Graham Hayman (Charles Edward) Howard Vincent (Charles Henry) Collins Baker (Charles) Alexander Harris (Charles) Cyril Clarke (Charles) Edgar Wood (Charles) Edward Troup (Charles) Frederick (Howard) Gough (Charles) Michael Duff (Charles) Philip Fothergill (Charles) Philip Fothergill, Liberal National Organisation, N-E Warwickshire Liberal Association & Rt Hon Charles Albert McCurdy (Charles) Vernon (Oldfield) Bartlett (Charles) Vernon (Oldfield) Bartlett & World Review of Reviews (Claude) Nigel (Byam) Davies (Claude) Nigel (Byam) Davies (Colin) Mark Patrick (Crwfurd) Wilfrid Griffin Eady (Cyril) Berkeley Ormerod (Cyril) Desmond Keeling (Cyril) George Toogood (Cyril) Kenneth Bird (David) Euan Wallace (Davies) Evan Bedford (Denis Duncan) -
Ye Intruders Beware: Fantastical Pirates in the Golden Age of Illustration
YE INTRUDERS BEWARE: FANTASTICAL PIRATES IN THE GOLDEN AGE OF ILLUSTRATION Anne M. Loechle Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Department of the History of Art Indiana University November 2010 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee _________________________________ Chairperson, Sarah Burns, Ph.D. __________________________________ Janet Kennedy, Ph.D. __________________________________ Patrick McNaughton, Ph.D. __________________________________ Beverly Stoeltje, Ph.D. November 9, 2010 ii ©2010 Anne M. Loechle ALL RIGHTS RESERVED iii Acknowledgments I am indebted to many people for the help and encouragement they have given me during the long duration of this project. From academic and financial to editorial and emotional, I was never lacking in support. I am truly thankful, not to mention lucky. Sarah Burns, my advisor and mentor, supported my ideas, cheered my successes, and patiently edited and helped me to revise my failures. I also owe her thanks for encouraging me to pursue an unorthodox topic. From the moment pirates came up during one of our meetings in the spring of 2005, I was hooked. She knew it, and she continuously suggested ways to expand the idea first into an independent study, and then into this dissertation. My dissertation committee – Janet Kennedy, Patrick McNaughton, and Beverly Stoeltje – likewise deserves my thanks for their mentoring and enthusiasm. Other scholars have graciously shared with me their knowledge and input along the way. David M. Lubin read a version of my third chapter and gave me helpful advice, opening up to me new ways of thinking about Howard Pyle in particular. -
ORSI LIBRI a Late Summer Miscellany 2021
ORSI LIBRI A Late Summer Miscellany 2021 ORSI LIBRI Federico Orsi Antiquarian Bookseller ALAI & ILAB Member Corso Venezia, 29, 20121 Milan, Italy Website www.orsilibri.com – Instagram @orsilibri For any queries, write to [email protected] or ContaCt us at this telephone number: +39 351 5242260 Front Cover: detail of item no. 5. Back Cover: detail of item no. 12. P. IVA (VAT No.) IT11119040969 C. F. RSOFRC87M19G752V PEC [email protected] Detail of item no. 5. RARE THIRD EDITION 1. AN EMINENT WITCRACKER (pseud.), and George CRUICKSHANK, ill. Wit and Wisdom, or the World's Jest-Book: Forming a Rich Banquet of Anecdote and Wit, Expressly Calculated "to Set the Table in a Roar"; Being, Also, an Agreeable Travelling Companion. The Whole Arranged by an Eminent Wit-Cracker, “a Fellow of Infinite Jest”. London, Joseph Smith, 1834. €300 12mo, 576 pp., with several engraved half-page vignettes in the text and one full-paged. Frontispiece plate signed by William Chester Walker (1823-1872, fl.). Illustrations engraved probably after Cruickshank’s sketches. Quarter gilt leather and marbled paper over pasteboard. Some early pencil annotations throughout. First leaf partially teared, with no loss. Rare. The first edition was printed in 1826, the second in 1828. A VERY INTRIGUING LITTLE BOOK OF THE UTMOST RARITY 2. ANON. Les Delices des poesies de la Muse gailliarde et heroique de ce temps augmentez des verites italiennes et de Plusieurs autres pieces nouvelles… Imprimé cette année. S. l., s. n., n. d. [1675?] €1400 FIRST and ONLY edition. 12mo, 96 pp., title within a beautiful and charming woodcut border. -
Edward Lloyd
EDWARD LLOYD Edward Lloyd was born in Thornton Heath, Surrey, on 16 February 1815, being baptised on 17 March 1815 at St. John the Baptist Church, Croydon, Surrey. His father, Thomas Hughes Lloyd, originally from North Wales, was a cloth factor at the time of Edward’s birth, although as a businessman his career was riddled with bankruptcies.1 He had two other sons – Thomas (born 1808), who became a surgeon; and William (born 1810), who became a shoemaker and, towards the end of his life (he died in 1853) a bookseller, possibly working for Edward. One of Thomas’s sons, Charles Edward, became an insurance broker and was one of the executors of Edward Lloyd’s will. After a brief elementary education Edward Lloyd moved to London and found work in a solicitor’s office, and studied shorthand at the Mechanics Institute in Chancery Lane. (He subsequently published Lloyd’s Stenography, a self-teaching course in shorthand, in 1833). He then opened a bookshop and newsagents in Curtain Road, Shoreditch, and on 16 February 1834, in Clerkenwell, he married his first wife, Isabella McArthur, born on 1 May 1809 in Bermondsey, the daughter of Daniel McArthur, a slater, and his wife Frances. They went on to have three children – Edward John (born November 1834), who was later apprenticed to his father and worked for him until around 1880; Charles (born October 1840), who became a civil engineer; and Alfred (born August 1842), who died at the age of only 17 months. At some point after his marriage, Lloyd moved to 62 Broad Street, Bloomsbury, from where he published several of his early periodicals, although by 1841 he had moved to 231 Shoreditch High Street, where the census records his trade as “printer”. -
Department of English and American Studies English Language And
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Miroslav Kohut Gender Relations in the Narrative Organization of Four Short Stories by Thomas Hardy Bachelor’s Diploma Thesis Supervisor: Stephen Paul Hardy, Ph.D. 2011 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature 2 I would like to thank Stephen Paul Hardy, Ph.D. for his valuable advice during writing of this thesis. 3 Table of Contents 1. Introduction ................................................................................................................... 5 1.1 Thomas Hardy as an author ..................................................................................... 7 1.2 The clash of two worlds in Hardy‘s fiction ............................................................. 9 1.3 Thomas Hardy and the issues of gender ............................................................... 11 1.4 Hardy‘s short stories ............................................................................................. 14 2. The Distracted Preacher .............................................................................................. 16 3. An Imaginative Woman .............................................................................................. 25 4. The Waiting Supper .................................................................................................... 32 5. A Mere Interlude -
APPENDIX ALCOTT, Louisa May
APPENDIX ALCOTT, Louisa May. American. Born in Germantown, Pennsylvania, 29 November 1832; daughter of the philosopher Amos Bronson Alcott. Educated at home, with instruction from Thoreau, Emerson, and Theodore Parker. Teacher; army nurse during the Civil War; seamstress; domestic servant. Edited the children's magazine Merry's Museum in the 1860's. Died 6 March 1888. PUBLICATIONS FOR CHILDREN Fiction Flower Fables. Boston, Briggs, 1855. The Rose Family: A Fairy Tale. Boston, Redpath, 1864. Morning-Glories and Other Stories, illustrated by Elizabeth Greene. New York, Carleton, 1867. Three Proverb Stories. Boston. Loring, 1868. Kitty's Class Day. Boston, Loring, 1868. Aunt Kipp. Boston, Loring, 1868. Psyche's Art. Boston, Loring, 1868. Little Women; or, Meg, Jo, Beth, and Amy, illustrated by Mary Alcott. Boston. Roberts. 2 vols., 1868-69; as Little Women and Good Wives, London, Sampson Low, 2 vols .. 1871. An Old-Fashioned Girl. Boston, Roberts, and London, Sampson Low, 1870. Will's Wonder Book. Boston, Fuller, 1870. Little Men: Life at Pluff?field with Jo 's Boys. Boston, Roberts, and London. Sampson Low, 1871. Aunt Jo's Scrap-Bag: My Boys, Shawl-Straps, Cupid and Chow-Chow, My Girls, Jimmy's Cruise in the Pinafore, An Old-Fashioned Thanksgiving. Boston. Roberts. and London, Sampson Low, 6 vols., 1872-82. Eight Cousins; or, The Aunt-Hill. Boston, Roberts, and London, Sampson Low. 1875. Rose in Bloom: A Sequel to "Eight Cousins." Boston, Roberts, 1876. Under the Lilacs. London, Sampson Low, 1877; Boston, Roberts, 1878. Meadow Blossoms. New York, Crowell, 1879. Water Cresses. New York, Crowell, 1879. Jack and Jill: A Village Story.