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The Project Gutenberg Ebook of the Moghul, by Thomas Hoover This
The Project Gutenberg EBook of The Moghul, by Thomas Hoover This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org ** This is a COPYRIGHTED Project Gutenberg eBook, Details Below ** ** Please follow the copyright guidelines in this file. ** Title: The Moghul Author: Thomas Hoover Release Date: November 14, 2010 [EBook #34322] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK THE MOGHUL *** Produced by Al Haines ============================================================== This work is licensed under a Creative Commons Attribution 3.0 Unported License, http://creativecommons.org/ ============================================================== THE MOGHUL Based on real people (ca. 1620) – THE MOGHUL begins in a rip-roaring sea battle north of Bombay in which the vastly out- gunned adventurer, Brian Hawksworth, ship's captain and emissary of King James, blows away a flotilla of Portuguese galleons to gain access to an Indian port. He's come to open trade for “barbaric” England and squeeze out the Portuguese, who try to kill him at every turn. But once on land, he’s captive: the beauty and romance of the exquisite Moghul Empire seduce him from his material goals to a new quest – of supreme sensuality in music, visions, and sacred lovemaking. India, ruled by the son of great Akbar, is about to pass to one of his sons. Hawksworth must choose sides, but will he choose right? The future of England, and of India, depend on it. -
'Goblinlike, Fantastic: Little People and Deep Time at the Fin De Siècle
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output ’Goblinlike, fantastic: little people and deep time at the fin de siècle https://eprints.bbk.ac.uk/id/eprint/40443/ Version: Full Version Citation: Fergus, Emily (2019) ’Goblinlike, fantastic: little people and deep time at the fin de siècle. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email ‘Goblinlike, Fantastic’: Little People and Deep Time at the Fin De Siècle Emily Fergus Submitted for MPhil Degree 2019 Birkbeck, University of London 2 I, Emily Fergus, confirm that all the work contained within this thesis is entirely my own. ___________________________________________________ 3 Abstract This thesis offers a new reading of how little people were presented in both fiction and non-fiction in the latter half of the nineteenth century. After the ‘discovery’ of African pygmies in the 1860s, little people became a powerful way of imaginatively connecting to an inconceivably distant past, and the place of humans within it. Little people in fin de siècle narratives have been commonly interpreted as atavistic, stunted warnings of biological reversion. I suggest that there are other readings available: by deploying two nineteenth-century anthropological theories – E. B. Tylor’s doctrine of ‘survivals’, and euhemerism, a model proposing that the mythology surrounding fairies was based on the existence of real ‘little people’ – they can also be read as positive symbols of the tenacity of the human spirit, and as offering access to a sacred, spiritual, or magic, world. -
A Case for Hard-Heartedness: Clarissa, Indifferency, Impersonality
A Case for Hard-heartedness: Clarissa, Indifferency, Impersonality Wendy Anne Lee !"#$%!&$ Reading Clarissa’s hard-heartedness through the lens of indif- fer ency clari!es what is at stake in her still-puzzling and multi- layered defection. "e phenomenon of hard-heartedness in Samuel Richardson’s Clarissa is here re-evaluated through John Locke’s concept of “indi#er ency” and through contemporary theories of impersonality. Beginning with an account of the novel’s reception in which readers were unnerved by Clarissa’s refusal to marry her rapist, I locate an important counter-response in Anna Laetitia Barbauld, who valued precisely the quality of impassivity in Richardson’s heroine. In eighteenth-century thought, a similar form of disen gagement is articulated by Locke’s notion of indi#erency, an impartiality that risks alienation for the sake of understanding and autonomy. By featuring an im personal Clarissa, I show how the novel’s theory of character, in which a hidden interiority under writes personhood, contains its own critique of a depth- model of psychology. I conclude by examin ing a phase of Clarissa’s narrative not o$en discussed: her life as an urban rape sur vivor, an incarnation that o#ers the most chal leng ing as well as the most promising possibilities for the impersonal person in the novel. !'$()% Wendy Anne Lee is an assistant professor in the English Depart- ment at Yale University. Her book in progress is called “Failures of Feeling: Insensibility and the Novel.” Eighteenth-Century Fiction 26, no. 1 (Fall 2013) ECF -
Defective Accommodation. a Touch of Natube
rooms in which they assemble, and to instruct their sub- DEFECTIVE ACCOMMODATION. ordinates to be continually on the alert while in the ONE of the first lessons taught to every aspirant for discharge of their duties as to the security of the apart- the benefits of Freemasonry, is that which enjoins ments used for Masonic purposes. on him the necessity for care in all his Masonic doings, These resolutions, ancl the thoughts they occasion , lest any of the secrets or mysteries of the Order improperly impress us with the advantages enjoyed by those Lodges become known. This cantion is repeated more than once which own a Hall of their own, or which meet in a building ere an initiate is entitled to take his place as a Master entirely devoted to the purposes of Freemasonry, but the Mason. The injunctions on this point may be said to be cost of such privacy precludes the possibility of its ever regarded to almost the fullest extent so far as individual becoming really popular. It therefore behoves us to make brethren are concerned, but not always so thoroughly when the best use of the materials we have at hand. No doubt regular Lodge meetings are being held. It is sometimes many suggestions might be made by a Board of Examiners, astonishing to notice the carelessness of brethren on such either in this country or in America, which would prove occasions, although we should perhaps be more correct beneficial to Freemasonry, and among the points to which were we to attach the blame to those whose duty it is to such a Board might profitably devote attention is that of see that the apartments set aside for the meetings are so rendering Masonic gatherings more dignified. -
Popular Fiction 1814-1939: Selections from the Anthony Tino Collection
POPULAR FICTION, 1814-1939 SELECTIONS FROM THE ANTHONY TINO COLLECTION L.W. Currey, Inc. John W. Knott, Jr., Bookseller POPULAR FICTION, 1814-1939 SELECTIONS FROM THE THE ANTHONY TINO COLLECTION WINTER - SPRING 2017 TERMS OF SALE & PAYMENT: ALL ITEMS subject to prior sale, reservations accepted, items held seven days pending payment or credit card details. Prices are net to all with the exception of booksellers with have previous reciprocal arrangements or are members of the ABAA/ILAB. (1). Checks and money orders drawn on U.S. banks in U.S. dollars. (2). Paypal (3). Credit Card: Mastercard, VISA and American Express. For credit cards please provide: (1) the name of the cardholder exactly as it appears on your card, (2) the billing address of your card, (3) your card number, (4) the expiration date of your card and (5) for MC and Visa the three digit code on the rear, for Amex the for digit code on the front. SALES TAX: Appropriate sales tax for NY and MD added. SHIPPING: Shipment cost additional on all orders. All shipments via U.S. Postal service. UNITED STATES: Priority mail, $12.00 first item, $8.00 each additional or Media mail (book rate) at $4.00 for the first item, $2.00 each additional. (Heavy or oversized books may incur additional charges). CANADA: (1) Priority Mail International (boxed) $36.00, each additional item $8.00 (Rates based on a books approximately 2 lb., heavier books will be price adjusted) or (2) First Class International $16.00, each additional item $10.00. (This rate is good up to 4 lb., over that amount must be shipped Priority Mail International). -
ABC KIDS/COMEDY Program Guide: Week 23 Index 1 | Page
ABC KIDS/COMEDY Program Guide: Week 23 Index 1 | P a g e ABC KIDS/COMEDY Program Guide: Week 23 Index Index Program Guide .............................................................................................................................................................. 3 Sunday, 31 May 2020 ............................................................................................................................................ 3 Monday, 1 June 2020 ............................................................................................................................................ 9 Tuesday, 2 June 2020 .......................................................................................................................................... 15 Wednesday, 3 June 2020 .................................................................................................................................... 21 Thursday, 4 June 2020 ........................................................................................................................................ 27 Friday, 5 June 2020 ............................................................................................................................................. 33 Saturday, 6 June 2020 ......................................................................................................................................... 39 2 | P a g e ABC KIDS/COMEDY Program Guide: Week 23 Sunday 31 May 2020 Program Guide Sunday, 31 May 2020 5:00am The Hive (Repeat,G) 5:10am Pocoyo -
Adeline Mowbray, Or, the Bitter Acceptance of Woman’S Fate
Revista Alicantina de Estudios Ingleses 23 (2010): 187-211 Adeline Mowbray, or, the Bitter Acceptance of Woman’s Fate Aída Díaz Bild University of La Laguna [email protected] ABSTRACT Eighteenth-century women writers believed that the novel was the best vehicle to educate women and offer them a true picture of their lives and “wrongs”. Adelina Mowbray is the result of Opie’s desire to fulfil this important task. Opie does not try to offer her female readers alternatives to their present predicament or an idealized future, but makes them aware of the fact that the only ones who get victimized in a patriarchal system are always the powerless, that is to say, women. She gives us a dark image of the vulnerability of married women and points out not only how uncommon the ideal of companionate marriage was in real life, but also the difficulty of finding the appropriate partner for an egalitarian relationship. Lastly, she shows that there is now social forgiveness for those who transgress the established boundaries, which becomes obvious in the attitude of two of the most compassionate and generous characters of the novel, Rachel Pemberton and Emma Douglas, towards Adelina. Amelia Opie was one of the most popular and celebrated authors during the 1800s and 1810s, whose techniques and themes reveal her to be a representative woman novelist of her time. Unfortunately, her achievements were eclipsed by those of Elizabeth Gaskell, George Eliot, Charles Dickens or the Brontës, and for a long time her work remained entirely forgotten. However, in the last years there has been a growing interest to recover and reappraise her novels and poems, trying to establish links between Opie and other late eighteenth- and early nineteenth-century women writers. -
Passion and Language in Eighteenth- Century Literature
Copyrighted Material - 9781137442048 Passion and Language in Eighteenth- Century Literature The Aesthetic Sublime in the Work of Eliza Haywood, Aaron Hill, and Martha Fowke Earla Wilputte Copyrighted Material - 9781137442048 Copyrighted Material - 9781137442048 PASSION AND LANGUAGE IN EIGHTEENTH- CENTURY LITERATURE Copyright © Earla Wilputte, 2014. All rights reserved. An earlier version of part of Chapter 4 originally appeared in the essay “Eliza Haywood’s Poems on Several Occasions: Aaron Hill, Writing, and the Sublime,” Eighteenth- Century Women: Studies in their Lives, Work, and Culture 6 (2011): 79– 102 (AMS Press). Part of Chapter 5 originally appeared in the essay “Midwife for the Mind: Delivering the Passions in Aaron Hill’s The Plain Dealer (1724),” Journal for Eighteenth- Century Studies 31, no. 1 (2008): 1– 15. They are used here in revised form, with permission. First published in 2014 by PALGRAVE MACMILLAN® in the United States— a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Where this book is distributed in the UK, Europe and the rest of the world, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN: 978- 1- 137- 44204- 8 Library of Congress Cataloging- in- Publication Data Wilputte, Earla Arden, 1959– Passion and language in eighteenth- century literature : the aesthetic sublime in the work of Eliza Haywood, Aaron Hill, and Martha Fowke / by Earla Wilputte. -
Pamela, Anti-Pamela, and the Tradition of Women's Amatory Fiction
NTU Studies in Language and Literature 107 Number 21 (June 2009), 107-144 Influence or “Influenza”? Pamela, Anti-Pamela, and the Tradition of Women’s Amatory Fiction Jing-fen Su Ph. D. Student, Graduate Institute of Foreign Languages and Literatures National Taiwan University ABSTRACT The publication of Samuel Richardson’s Pamela in November 1740 was an immediate success, and the frenzy over the immensely popular novel quickly developed into an unprecedented sensational event commonly called “the Pamela controversy.” Among the very first literary responses to the Pamela vogue are Henry Fielding’s Shamela (April 1741) and Eliza Haywood’s Anti-Pamela (June 1741), published within less than two months from each other. A closer look at the three novels, however, reveals that Haywood’s Anti-Pamela is curiously closer in style to Richardson’s Pamela than to Fielding’s Shamela, despite the fact that both Fielding and Haywood aim at attacking Richardson with their parodic novels. As one of the first attempts to deal with the intertextual influences between Richardson’s Pamela and Haywood’s much neglected work Anti-Pamela, in this essay I argue that the similarity in style between the two texts comes not from Haywood’s imitating Richardson, but rather from Richardson’s incorporating elements from the tradition of women’s amatory fiction, of which Haywood’s works in the 1720s constitute a significant part. In other words, despite his consistent disparagement of such writings by women as “influenza,” Richardson’s text betrays his indebtedness to Haywood, and in composing Anti-Pamela, Haywood does not depart much from her earlier novelistic style, thus leading to the false impression that Haywood is following Richardson in style. -
Memoir of Amelia Opie
' • ; ,: mmff^fffiKiiJiM mm —-rt FROM THE LIBRARY OF REV. LOUIS FITZGERALD BENSON, D. D BEQUEATHED BY HIM TO THE LIBRARY OF PRINCETON THEOLOGICAL SEMINARY — : Amelia Opie'3 Later Ye.mis.—She sud- denly discovered that all is vanity : she took to gray silks and muslin, and the " thee" and " thou," quoted Habakkuk and Micah with gusto, and set her heart upon preach- ing. That, however, was not allowed. Her Quaker friends could never be sufficiently sure how much was " imagination," and how much the instigation of "the inward witness;" and the privileged gallery in the chapel was closed against her, and her utterance was confined to loud sighs in the body of the Meeting. She tende I is decline ; she im- proved greatly in balance of mind and even- ness of spirits during her long and close in- timacy v ith the Gukneys : and there never l1 her beneficent disposi- tion, shown bv her family d -, no by her 1 i nnty to ti e poor. Her maj 5stic form moved through the narrow nt city, and her bright bag up the most wretched ever lost i ts bright nor the heart its youthfi dgayety. She was a merry laugher inner* even, if the truth be spoken, still a bit of a, romp—ready for bo-peep and hide-a'od-seek, in the midst of a morning call, or at the end of a grave conversation. She e-bjov d sho -ingpiim young Quaker girls her orna- ments, plumes and satins, and telling th-m when she wore them; and, when in I . -
Microfilms Internationa! 300 N
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. -
Pamela: Or, Virtue Reworded: the Texts, Paratexts, and Revisions That Redefine Samuel Richardson’S Pamela
Marquette University e-Publications@Marquette Dissertations (2009 -) Dissertations, Theses, and Professional Projects Pamela: Or, Virtue Reworded: The exT ts, Paratexts, and Revisions that Redefine aS muel Richardson's Pamela Jarrod Hurlbert Marquette University Recommended Citation Hurlbert, Jarrod, "Pamela: Or, Virtue Reworded: The exT ts, Paratexts, and Revisions that Redefine aS muel Richardson's Pamela" (2012). Dissertations (2009 -). Paper 194. http://epublications.marquette.edu/dissertations_mu/194 PAMELA: OR, VIRTUE REWORDED: THE TEXTS, PARATEXTS, AND REVISIONS THAT REDEFINE SAMUEL RICHARDSON’S PAMELA by Jarrod Hurlbert, B.A., M.A. A Dissertation submitted to the Faculty of the Graduate School, Marquette University, in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Milwaukee, Wisconsin May 2012 ABSTRACT PAMELA: OR, VIRTUE REWORDED: THE TEXTS, PARATEXTS, AND REVISIONS THAT REDEFINE SAMUEL RICHARDSON’S PAMELA Jarrod Hurlbert, B.A., M.A. Marquette University, 2012 This dissertation is a study of the revisions Samuel Richardson made to his first novel, Pamela, and its sequel, Pamela in Her Exalted Condition, published within his lifetime. Richardson, who was his own printer, revised Pamela eight times over twenty years, the sequel three times, and the majority of the variants have hitherto suffered from critical neglect. Because it is well known that Richardson responded to friendly and antagonistic “collaborators” by making emendations, I also examine the extant documents that played a role in Pamela’s development, including Richardson’s correspondence and contemporary criticisms of the novel. Pamela Reworded, then, is an explanation, exhibition, and interpretation of what Richardson revised, why he revised, and, more importantly, how the revisions affect one’s understanding of the novel and its characters.