Aubrey Beardsley's Inages of New Ren in T1 Ye11c Q Book
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
BA THESIS Alex Lorenzů
Charles University in Prague Faculty of Arts Department of Anglophone Literatures and Cultures BA THESIS Alex Lorenzů Literary, Cultural and Historical Influences in the Works and Beliefs of Oscar Wilde Literární, kulturní a historické vlivy v díle a přesvědčeních Oscara Wildea Prague 2012 Supervisor: PhDr. Zdeněk Beran Acknowledgements I would like to thank PhDr. Zdeněk Beran for his thorough consultation of the ideas behind my thesis and the approaches to them, as well as for his support during the writing process. Prohlášení Prohlašuji, že jsem tuto bakalářskou práci vypracoval samostatně, že jsem řádně citoval všechny použité prameny a literaturu a že práce nebyla využita v rámci jiného vysokoškolského studia či k získání jiného či stejného titulu. V Praze dne 15. 8. 2012 …....................................... Alex Lorenzů Souhlasím se zapůjčením bakalářské práce ke studijním účelům. Abstract The thesis deals with the cultural and literary influences that can be traced in the works of Oscar Wilde. Its aim is to map out and elucidate some of the important motifs of the author's work and aesthetics in their own context as well as in the wider cultural-historical one. The methods used will be comparison of relevant materials, analysis of certain expressions typical of the author with their connotations, explaining the intertextual allusions in Wilde's work, and historical sources. The requisite attention will also be paid to Wilde as a representative of a subversive element of Victorian society and how this relates to his sexuality; that is to say, exploring the issue of the tabooing of non-heterosexuality, which may have been a decisive factor in Wilde's criticism of the conventions of his era and to his search of positive role-models in the ancient tradition both for his art and for his personal philosophy. -
The Century Guild Hobby Horse Mitchell, Rebecca
The Century Guild Hobby Horse Mitchell, Rebecca DOI: 10.1086/696259 License: None: All rights reserved Document Version Peer reviewed version Citation for published version (Harvard): Mitchell, R 2018, 'The Century Guild Hobby Horse' Papers of the Bibliographical Society of America, vol. 112, no. 1, pp. 75-104. https://doi.org/10.1086/696259 Link to publication on Research at Birmingham portal Publisher Rights Statement: Version accepted for publication by Papers of the Bibliographical Society of America on 11/09/2015. Final version of record available at: https://www.journals.uchicago.edu/doi/10.1086/696259 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. When citing, please reference the published version. Take down policy While the University of Birmingham exercises care and attention in making items available there are rare occasions when an item has been uploaded in error or has been deemed to be commercially or otherwise sensitive. -
The Picture of Dorian Gray Symbols and Motifs Worksheet
The Picture of Dorian Gray Symbols and Motifs Worksheet SYMBOL – A literal object, person, place etc. that represents a figurative idea/concept/emotion. MOTIF – a recurring image or concept that reiterates an idea/concept/emotion. Read the information about each element (supplied below) and summarise the important points (and add your own) to fill in this table. Symbol/Motif What it Significance to our represents understanding of the novel E.g. The painting Beauty, vanity, The presence of the painting is a the passing of time constant reminder of the true result and conscience. of Dorian’s actions. It allows him to act without thought of the consequences and to only worry about his own pleasure, but he cannot hide from it forever. Eventually the painting’s mere existence comes to torture Dorian. Flowers The book The opium dens James Vane Red and white SOURCE 1: Course Hero The Painting By far the most important symbol in the novel is Basil's portrait of Dorian. The centrepiece of the plot, the portrait interacts with Dorian throughout the narrative. When Dorian does something immoral, the results show up on the painting, while Dorian's own face stays unmarked and beautiful. This painting is Basil's best work, but must, because of its magical power, remain unseen by everyone except Dorian. Basil and Henry saw the portrait when it was first complete. Though it is rarely seen, this picture looms symbolically and metaphorically over the entire book. The picture takes the Victorian ideal of art to its logical extreme. If art is useful because it teaches a moral lesson, how perfect must this painting be since it is an immediate barometer of ethical changes? Basil's final glimpse of his masterpiece occurs when he says that to know Dorian he must see his soul. -
Introduction the Fighting Nineties: the Age of the Critical Function
Cambridge University Press 978-1-107-10974-2 - Literature and the Politics of Post-Victorian Decadence Kristin Mahoney Excerpt More information Introduction The Fighting Nineties: The Age of the Critical Function In December 1928, the Leicester Galleries hosted an exhibition of the works of Max Beerbohm titled “Ghosts.” The exhibition included caricatures of Oscar Wilde, Lord Queensberry, John Lane, Walter Pater, Henry Harland, and Aubrey Beardsley. In the exhibition catalog, Beerbohm characteristi- cally apologizes for his own anachronism, feigning embarrassment at the irrelevance of his work to the modern moment. He lives in Italy now, he notes, and it’s very hard to keep up: “So very many people with faces and figures unknown to me have meanwhile become famous that I have abandoned all hope of being ‘topical.’”1 Nevertheless, he suggests that per- haps the visitors to the gallery won’t mind “looking at some people who flourished in past days.”2 He first addresses his fellow specters from the Victorian era: “Those of you who are as old as – or almost (and even that is saying much) as old as I – will perhaps like to have the chords of memory struck by the drawings on these walls.”3 But he continues to suggest that “eventheyoung...mayconceivablyfeelaslightthrill”whilecontemplat- ing the “ghosts” in the gallery.4 “I have noticed,” he writes, “that the young in this era have what those in my own era hadn’t: a not unfriendly interest in the more or less immediate past.”5 This “not unfriendly interest” in the late-Victorian period had been on the rise since the publication of Holbrook Jackson’s well-received The Eighteen-Nineties in 1913. -
The Yellow Book Vol, I
The Yell ow Book An Illustrated (Quarterly Volume I April 1894 London: Elkin Mathews &f John Lane Contents Letterpress I. The Death of the Lion . By Henry James . Tagc 7 II. Tree-Worship Richard Le Gallienne . 57 III. of Cosmetics . A Defence Max Beerbohm . 65 IV. Arthur Christopher Benson 83 V. Irremediable Ella D Arcy ... 87 VI. The Frontier . William Watson . .113 VII. Night on Curbar Edge VIII. A Sentimental Cellar George Saintsbury . 119 IX. Stella Maris . Arthur Symons . .129 X. Mercedes Henry Harland . -135 XI. A Broken Looking-Glass XII. Alere Flammam Edmund Gosse . XIII. A Dream of November 153 XIV. The Dedication Fred M. Simpson . .159 XV. A Lost Masterpiece . George Egerton . .189 XVI. Reticence in Literature Arthur Waugh . 201 XVII. Modern Melodrama Hubert Crackanthorpe . 223 XVIII. London , Davidson . XIX. Down-a-down John -233 XX. The of Love-Story Luigi Richard Garnett, LL.D. 235 Tansillo . Oliver Hobbes John ] XXI. The Fool s Hour and George Moore } Pictures The Yellow Book Vol, I. April, 1894. Pictures By Sir Frederic Leighton, I. A Study . P.R.A. Frontispiece e II. L Education Sentimentale Aubrey Beardsley . P"S 55 III. Le Puy en Velay . Joseph Pennell . 63 IV. The Old Oxford Musicusic } Walter Sickert . .85 Hall . Will Rothenstein . .in V. Portrait of a Gentleman . VI. The Reflected Faun Laurence Housman . 117 VII. Night Piece . Aubrey Beardsley . .127 Sir Frederic Leighton, VIII. A Study . P.R.A. 133 IX. Portrait of a Lady . Will Rothenstein . .151 X. Portrait of Mrs. Patrick] Aubrey Beardsley 157 Campbell . j XI. The Head of Minos J. -
Durham E-Theses
Durham E-Theses The century guild hobby horse and Oscar Wilde: a study of British little magazines, 1884-1897 Tildesley, Matthew Brinton How to cite: Tildesley, Matthew Brinton (2007) The century guild hobby horse and Oscar Wilde: a study of British little magazines, 1884-1897, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2449/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 The Century Guild Hobby Horse and Oscar Wilde: A Study of British Little Magazines, 1884-1897. Matthew Brinton Tildesley. The copyright of this thesis rests with the author or the university to which it was submitted. No quotation from it, or information derived from it may be published without the prior written consent of the author or university, and any information derived from it should be acknowledged. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title The Fabian Child: English and American Literature and Socialist Reform, 1884-1915 Permalink https://escholarship.org/uc/item/2q169884 Author Hollander, Amanda Farrell Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles The Fabian Child: English and American Literature and Socialist Reform, 1884-1915 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in English by Amanda Farrell Hollander 2015 © Copyright by Amanda Farrell Hollander 2015 ABSTRACT OF THE DISSERTATION The Fabian Child: English and American Literature and Socialist Reform, 1884-1915 by Amanda Farrell Hollander Doctor of Philosophy in English University of California, Los Angeles, 2015 Professor Joseph E. Bristow, Chair “The Fabian Child: English and American Literature and Socialist Reform, 1884-1915” intervenes in current scholarship that addresses the impact of Fabian socialism on the arts during the fin de siècle. I argue that three particular Fabian writers—Evelyn Sharp, E. Nesbit, and Jean Webster—had an indelible impact on children’s literature, directing the genre toward less morally didactic and more politically engaged discourse. Previous studies of the Fabian Society have focused on George Bernard Shaw, H. G. Wells, and Beatrice Webb and Sidney Webb to the exclusion of women authors producing fiction for child readers. After the Fabian Society’s founding in 1884, English writers Sharp and Nesbit, and American author Webster published prolifically and, in their work, direct their socialism toward a critical and deliberate reform of ii literary genres, including the fairy tale, the detective story, the boarding school novel, adventure yarns, and epistolary fiction. -
Grade 12 English the Picture of Dorian Gray Notes
THE PICTURE OF DORIAN GRAY Oscar Wilde Oscar Wilde was born on October 16, 1854, in Dublin, Ireland. He was educated at Trinity College in Dublin and at Magdalen College, Oxford, and settled in London, where he married Constance Lloyd in 1884. In the literary world of Victorian London, Wilde fell in with an artistic crowd that included W. B. Yeats, the great Irish poet, and Lillie Langtry, mistress to the Prince of Wales. A great conversationalist and a famous wit, Wilde began by publishing mediocre poetry but soon achieved widespread fame for his comic plays. The first, Vera; or, The Nihilists, was published in 1880. Wilde followed this work with Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895), and his most famous play, The Importance of Being Earnest (1895). Although these plays relied upon relatively simple and familiar plots, they rose well above convention with their brilliant dialogue and biting satire. Wilde published his only novel, The Picture of Dorian Gray, before he reached the height of his fame. The first edition appeared in the summer of 1890 in Lippincott’s Monthly Magazine. It was criticized as scandalous and immoral. Disappointed with its reception, Wilde revised the novel in 1891, adding a preface and six new chapters. The Preface (as Wilde calls it) anticipates some of the criticism that might be leveled at the novel and answers critics who charge The Picture of Dorian Gray with being an immoral tale. It also succinctly sets forth the tenets of Wilde’s philosophy of art. -
A Walking Tour of Sir Arthur Sullivan's London
A Walking Tour of Sir Arthur Sullivan’s London AUTHORS: Theodore C. Armstrong 2015 Connor M. Haley 2015 Nicolás R. Hewgley 2015 Gregory G. Karp-Neufeld 2014 James L. Megin III 2015 Evan J. Richard 2015 Jason V. Rosenman 2014 ADVISOR: Professor John Delorey, WPI SPONSORS: Sir Arthur Sullivan Society Robin Gordon-Powell, Liaison DATE SUBMITTED: 20 June 2013 A Walking Tour of Sir Arthur Sullivan’s London INTERACTIVE QUALIFYING PROJECT WORCESTER POLYTECHNIC INSTITUTE AUTHORS: Theodore C. Armstrong (CS) 2015 Connor M. Haley (BME) 2015 Nicolás R. Hewgley (BBT/TH) 2015 Gregory G. Karp-Neufeld (MIS) 2014 James L. Megin III (CS) 2015 Evan J. Richard (RBE/ME) 2015 Jason V. Rosenman (ECE) 2014 ADVISOR: Professor John Delorey, WPI SPONSORS: Sir Arthur Sullivan Society Robin Gordon-Powell, Liaison DATE SUBMITTED: 20 June 2013 Abstract The Sir Arthur Sullivan Society seeks to educate the public on the life and works of Sir Arthur Sullivan, a 19th-century composer. This project researched the ideal components of, and implemented, a brochure based walking tour of Sir Arthur Sullivan’s London. Additional research into other walking tour formats was conducted. Additionally cultural research of London was also conducted. i Table of Contents Introduction ..................................................................................................................................... 1 Background ..................................................................................................................................... 3 The Sir Arthur Sullivan -
1. Dissertation 081202 V3
Copyright by Moira M. Di Mauro-Jackson, B.A.; M.A. 2008 The Dissertation Committee for Moira M. Di Mauro-Jackson certifies that this is the approved version of the following dissertation: Decadence as a Social Critique in Huysmans, D'Annunzio, and Wilde Committee: Katherine Arens, Co-Supervisor Daniela Bini, Co-Supervisor Elizabeth Richmond-Garza Janet Swaffar Antonio Gragera Decadence as a Social Critique in Huysmans, D'Annunzio, and Wilde by Moira M. Di Mauro-Jackson, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2008 To Larry and Logan Acknowledgements I want to thank my committee supervisors Daniela Bini and Katie Arens for their patience in evaluating and re-evaluating, editing, advising and supporting my work during all the years that this project took to complete. I am grateful for their support and patient coaching. My thanks also to all the other members of my dissertation committee: Antonio Gragera, Elizabeth Richmond-Garza and Janet Swaffar. All of you have been at once time mentors, friends and colleagues and a true example for me to follow. In particular, thanks to Antonio Gragera who endured the first edit of all my chapters and graciously guided me through all the toils and pangs of writing. My gratitude to Dolora Chapelle Wojciehowski and Elizabeth Richmond-Garza who encouraged me to come back and finish my dissertation, long postponed, and to the faculty at Texas State University who never lost faith in me, and whose emotional support have made this project possible: Ann Marie Ellis, dean of Liberal Arts, Robert Fischer, chairman of the department of Modern Languages, Blake Locklin, Carole Martin, and Michael Farris. -
The Aquarist
The Aquarist the aquarium has a high and useful mission to perform for the public good above there mere value as profitable i financial investments The aquarium was one of a succession of enthusiasms associated with the Victorian interest in natural history. Barber records the 'invention' of the aquarium as occurring in 1850 and soon after they were a common feature of every drawing room.ii Although the home aquarium craze ended about 1870, it was replaced by the 'sudden fashion in huge purpose- iii built public aquaria and soon every large town in England was clamouring to have its own. The development of the steam engine allowed large volumes of water to be circulated for the first time and to charge the water with compressed air. The first public aquarium in London, 'The Fish House' in Regents Park, was developed by the then Secretary of the Zoological Society, W.D.Mitchell, with water circulated through the tanks by gravity between two cisterns and returned by a hand pump. Machinery was first used to circulate the water in the Paris Aquarium that opened in 1859. The wonders of the deep could now be brought into the heart of every large town, and observed in comfort for the price of an entrance ticket. The new facilities were built by private companies as a business venture based on entertainment, but also offered superb research opportunities. Francis Buckland had been demonstrating his techniques of salmon culture at the South Kensington Museum since 1863, and after 1867 he became an energetic advocate for the use of aquaria to study commercial sea fish.iv The success in Europe of W.A.Lloyd, a well-recognised naturalist and aquarist, had led him to invest in England. -
Ella Dâ•Žarcy, First Lady of the Decadents
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by eGrove (Univ. of Mississippi) Studies in English, New Series Volume 10 Article 27 1-1-1992 Ella D’Arcy, First Lady of the Decadents Benjamin Franklin Fisher IV University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/studies_eng_new Part of the Literature in English, British Isles Commons Recommended Citation Fisher, Benjamin Franklin IV (1992) "Ella D’Arcy, First Lady of the Decadents," Studies in English, New Series: Vol. 10 , Article 27. Available at: https://egrove.olemiss.edu/studies_eng_new/vol10/iss1/27 This Article is brought to you for free and open access by the English at eGrove. It has been accepted for inclusion in Studies in English, New Series by an authorized editor of eGrove. For more information, please contact [email protected]. Fisher: Ella D’Arcy ELLA D’ARCY, FIRST LADY OF THE DECADENTS Benjamin Franklin Fisher IV The University of Mississippi Constance Eleanor Mary Byrne D’Arcy: why, the very name is lyrical, calling up a kind of dreaminess and reveries that felicitously characterize this lady whose literary career is surrounded by obscurity, for the most part, though illuminated occasionally by recollections of those who knew her relaxing in the sunshine of Parisian cafés during her last years. She is certainly a figure to invite curiosity because in her own day, when her short stories, especially those in The Yellow Book, initially attracted attention, she drew the ire of late Victorian reviewers, who found her brand of bleak realism distasteful, just as they typically found most of the remaining contents in any given volume of that notorious quarterly vile and demoralizing.