The Life and Works of Charles Lamb
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Historic Costuming Presented by Jill Harrison
Historic Southern Indiana Interpretation Workshop, March 2-4, 1998 Historic Costuming Presented By Jill Harrison IMPRESSIONS Each of us makes an impression before ever saying a word. We size up visitors all the time, anticipating behavior from their age, clothing, and demeanor. What do they think of interpreters, disguised as we are in the threads of another time? While stressing the importance of historically accurate costuming (outfits) and accoutrements for first- person interpreters, there are many reasons compromises are made - perhaps a tight budget or lack of skilled construction personnel. Items such as shoes and eyeglasses are usually a sticking point when assembling a truly accurate outfit. It has been suggested that when visitors spot inaccurate details, interpreter credibility is downgraded and visitors launch into a frame of mind to find other inaccuracies. This may be true of visitors who are historical reenactors, buffs, or other interpreters. Most visitors, though, lack the heightened awareness to recognize the difference between authentic period detailing and the less-than-perfect substitutions. But everyone will notice a wristwatch, sunglasses, or tennis shoes. We have a responsibility to the public not to misrepresent the past; otherwise we are not preserving history but instead creating our own fiction and calling it the truth. Realistically, the appearance of the interpreter, our information base, our techniques, and our environment all affect the first-person experience. Historically accurate costuming perfection is laudable and reinforces academic credence. The minute details can be a springboard to important educational concepts; but the outfit is not the linchpin on which successful interpretation hangs. -
THE PROSE STYLE of CHARLES LAMB. the Ohio State University
This dissertation has been microfilmed exactly as received 69-4958 REECER, George Clay, 1934- THE PROSE STYLE OF CHARLES LAMB. The Ohio State University, Ph.D., 1968 Language and Literature, modern University Microfilms, Inc., Ann Arbor, Michigan THE PROSE STYLE OP Oi ARIES LAMB DISSERTATION Presented In Partial Fulfillment of the Requirements for the Degree Doctor of ftiilosophy in the Graduate School of The Ohio State University By George Clay Reecer, A.B., M.A, # -a- * -a -a The Ohio State University 1968 Approved by (i . Adviser Department of English VITA February 18, 1934 Born - Glasgow, Kentucky 1956 . • • A.B., Western Kentucky State College 1959-1961 . • Teaching A s s is ta n t, Depart meat of English, Temple University, Phila delphia, Pennsylvania 1961 . • • . M.A., Temple University 1961-1962 . • • Instructor, Temple University 1962-1963 . • • Mershon National Graduate Fellowship, The Ohio S ta te U n iv ersity , Columbus, Ohio 1964-1968 . • • Instructor, American International College, Springfield, Massachusetts FIELDS OF STUDY Major Field: Englieh Wordsworth Professor James V. Logan Studies in Bomantic Poetry and Poetics. Professor James V. Logan Studies in Nineteenth Century Literature. Professor Bioha rd D. A ltio k i i TAELS OF CONTESTS 2*6® INTRODUCTION......................................... ....................................... 1 Chapter I. D IC T IO N ........................................................................... 13 I I . SYNTAX ................. 61 III. STRUCTURE..................................................................... -
UNIVERSITY of CALIFORNIA, IRVINE Romantic Liberalism
UNIVERSITY OF CALIFORNIA, IRVINE Romantic Liberalism DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in English by Brent Lewis Russo Dissertation Committee: Professor Jerome Christensen, Chair Professor Andrea Henderson Associate Professor Irene Tucker 2014 Chapter 1 © 2013 Trustees of Boston University All other materials © 2014 Brent Lewis Russo TABLE OF CONTENTS Page ACKNOWLEDGMENTS iii CURRICULUM VITAE iv ABSTRACT OF THE DISSERTATION v INTRODUCTION 1 CHAPTER 1: Charles Lamb’s Beloved Liberalism: Eccentricity in the Familiar Essays 9 CHAPTER 2: Liberalism as Plenitude: The Symbolic Leigh Hunt 33 CHAPTER 3: Samuel Taylor Coleridge’s Illiberalism and the Early Reform Movement 58 CHAPTER 4: William Hazlitt’s Fatalism 84 ii ACKNOWLEDGMENTS I would like to thank Charles Rzepka and the Trustees of Boston University for permission to include Chapter One of my dissertation, which was originally published in Studies in Romanticism (Fall 2013). Financial support was provided by the University of California, Irvine Department of English, School of Humanities, and Graduate Division. iii CURRICULUM VITAE Brent Lewis Russo 2005 B.A. in English Pepperdine University 2007 M.A. in English University of California, Irvine 2014 Ph.D. in English with Graduate Emphasis in Critical Theory University of California, Irvine PUBLICATIONS “Charles Lamb’s Beloved Liberalism: Eccentricity in the Familiar Essays.” Studies in Romanticism. Fall 2013. iv ABSTRACT OF THE DISSERTATION Romantic Liberalism By Brent Lewis Russo Doctor of Philosophy in English University of California, Irvine, 2014 Professor Jerome Christensen, Chair This dissertation examines the Romantic beginnings of nineteenth-century British liberalism. It argues that Romantic authors both helped to shape and attempted to resist liberalism while its politics were still inchoate. -
Textiles for Dress 1800-1920
Draft version only: not the publisher’s typeset P.A. Sykas: Textiles for dress 1800-1920 Textile fabrics are conceived by the manufacturer in terms of their material composition and processes of production, but perceived by the consumer firstly in terms of appearance and handle. Both are deeply involved in the economic and cultural issues behind the wearing of cloth: cost, quality, meaning. We must look from these several perspectives in order to understand the drivers behind the introduction of fabrics to the market, and the collective response to them in the form of fashion. A major preoccupation during our time frame was novelty. On the supply side, novelty gave a competitive edge, stimulated fashion change and accelerated the cycle of consumption. On the demand side, novelty provided pleasure, a way to get noticed, and new social signifiers. But novelty can act in contradictory ways: as an instrument for sustaining a fashion elite by facilitating costly style changes, and as an agent for breaking down fashion barriers by making elite modes more affordable. It can drive fashion both by promoting new looks, and later by acting to make those looks outmoded. During the long nineteenth century, the desire for novelty was supported by the widely accepted philosophical view of progress: that new also implied improved or more advanced, hence that novelty was a reflection of modernity. This chapter examines textiles for dress from 1800 to 1920, a period that completed the changeover from hand-craft to machine production, and through Europe’s imperial ambitions, saw the reversal of East/West trading patterns. -
Runaway Slaves in Eighteenth-Century Britain Glossary
Runaway Slaves in eighteenth-century Britain Glossary The advertisements contain many words peculiar to the eighteenth-century, here is a list of the trickiest words, as well as some general definitions. • A seeton (health) A seton is a thread, piece of tape or similar in a small wound to prevent it healing and allow for drainage. • A three years protection in his pocket (item) Most likely some kind of document given to the enslaved man by his master authorising him to hire himself out for wages, negotiating salary and then paying an agreed amount to his master. • Apprentice (occupation) A boy or man being trained in a skilled trade (for example shoe-making, carpentry, etc.). • Baker Kneed (health) See "In-kneed". • Banyon [banyan] (clothing item) A banyan was a loose, informal robe to be worn instead of a coat. • Bavarian coat (clothing item) A coat based on the Bavarian style. • Bays (clothing material) Coarse English worsted and woolen fabric. • Black (racial descriptor) British-used designation for a person from any dark-skinned group of peoples, especially sub-Saharan African. • Blackamore/Blackmore/Blackamoor (racial descriptor) British-used designation for a person from any dark-skinned group of peoples, especially sub-Saharan African. • Bonnet (clothing item) A hat, usually tied under the chin and often framing the face • Breeches (clothing item) Precursor to trousers, stopped just below the knee. • Burdet (clothing material) Cotton fabric. • Camblet (clothing material) Plain woven or twilled fabric. • Cast (referring to eyes) (health) A squint. • Chymist (occupation) A chemist. Runaway Slaves in eighteenth-century Britain Glossary • Cloaths (clothing item) A variant spelling of clothes. -
A Handlist to the Charles Lamb Society Collection at Guildhall Library
A Handlist to the Charles Lamb Society Collection at Guildhall Library A Handlist to the Charles Lamb Society Collection at Guildhall Library DEBORAH K. HEDGECOCK THE CHARLES LAMB SOCIETY 1995 A Handlist to the Charles Lamb Society Collection at Guildhall Library Copyright Deborah Hedgecock 1995 All rights reserved The Charles Lamb Society 1a Royston Road Richmond Surrey TW10 6LT Registered Charity number 803222: a company limited by guarantee ISSN 0308-0951 Printed by the Stanhope Press, London NW5 (071 387 0041) A Handlist to the Charles Lamb Society Collection at Guildhall Library Contents Preface and Acknowledgements 4 Abbreviations 4 Information on Guildhall Library 4 1. Introduction 5 2. Printed Books 6 2.1 Access conditions 6 2.2 Charles Lamb Society Collection: Printed Books 7 2.2.1 The CLS Pamphlet and Large Pamphlet Collection 8 2.2.2 The CLS Lecture Collection 8 2.2.3 Charles Lamb Society Publications 8 2.2.3.1 Charles Lamb Bulletins 8 2.2.3.2 Indexes to Bulletin 9 2.2.3.3 List of supplements to Bulletin 9 2.2.3.4 Charles Lamb Society Annual Reports and Financial Statements 9 3. Manuscripts 9 3.1 Access conditions 9 3.2.1 18th- and 19th-century autograph letters and manuscripts 10 3.2.2 Facsimiles and reproductions of Lamb's letters 18 3.2.3 20th-century Individuals and Collections 20 3.2.4 The Elian (Society) 25 3.2.5 The Charles Lamb Society Archive 26 4. Prints, Maps and drawings 35 4.1 Access Conditions 35 4.2.1 Framed Pictures 36 4.2.2 Pictures and Ephemera Collection 37 4.2.3 Collections of Pictures 58 4.2.4 Ephemera Cuttings Collection 59 4.2.5 Maps 61 4.2.6 Printing Blocks 61 4.2.7 Glass Slides 61 5. -
Appendix 6-3
APPENDIX 9.3 REFERENCES MADE TO FABRICS AND CLOTHING BY K.T. KHLEBNIKOV (Compiled by Margan Allyn Grover, from Khlebnikov 1994) 322 REFERENCES MADE TO FABRICS AND CLOTHING BY K.T. KHLEBNIKOV Compiled by Margan Allyn Grover from K.T. Khlebnikov (1994) When and at What Price Goods Were Purchased from Foreigners: Frieze, 150 yards, 1805 - 2 piasters 14 cents, 1808 – 4p, 1810 – 20p, 1811 – 2p Blue nankeen, 100 funts, 1808 – 1p 50c, 1811 – 2p Large blanket, piece, 1808 – 3p 50c, 1811 – 2p (from Khlebnikov 1994: 20, Table 2) Goods traded by Mr Ebbets in Canton under contract with Mr Baranov: 4,000 pieces of nankeen – at 90 centimes 2,000 pieces of blue nankeen – at 1 piaster 20 cents 800 pieces of flesh-colored nankeen – at 90 cents 300 pieces of black nankeen – at 2p 75c 200 pieces fustian – at 2p 75c 600 pieces of cotton – at 6p 50c 10 piculs velvet – at 28p 250 pieces of demi-cotton - at 1p 50c 10 piculs of thread – at 100p 55 pieces of seersucker – at 4p 595 silk waistcoats for 840p 500 pieces of silk material – at 9.20p (from Khlebnikov 1994: 21-23) Goods Issued in Sitkha to Mr O’Cain and Exchange of Same in Canton, 1806: 500 pieces of silk material, 6p 85c 200 pieces of silk material, 5p 147 pieces of satin, 20p 25c 50 packets of handkerchiefs, 9p 75c 70 pieces of satin, from 18p to 19p 150 pieces of satin, 16p 50c 30 pieces of taffetta, 12p 75c 28 catties of silk, 6p 50c 5 pieces of camelot, 26p Mr Baranov continued to figure the piaster at the exchange rate of two rubles throughout his administration. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author didsend notUMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note wül indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the origmal manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 Horth Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 THOMAS KING AT SADLER'S WELLS AND DRURY LANE: PROPRIETORSHIP AND MANAGEMENT IN LATE EIGHTEENTH-CENTURY ENGLISH THEATRE, 1772-1788 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Evan M. -
Sherwin Williams Prism Paints
Item Number Color Name Color Code SW0001 Mulberry Silk PASTEL SW0002 Chelsea Mauve PASTEL SW0003 Cabbage Rose PASTEL SW0004 Rose Brocade DEEPTONE SW0005 Deepest Mauve DEEPTONE SW0006 Toile Red DEEPTONE SW0007 Decorous Amber DEEPTONE SW0008 Cajun Red DEEPTONE SW0009 Eastlake Gold DEEPTONE SW0010 Wickerwork PASTEL SW0011 Crewel Tan PASTEL SW0012 Empire Gold PASTEL SW0013 Majolica Green PASTEL SW0014 Sheraton Sage PASTEL SW0015 Gallery Green DEEPTONE SW0016 Billiard Green DEEPTONE SW0017 Calico DEEPTONE SW0018 Teal Stencil DEEPTONE SW0019 Festoon Aqua PASTEL SW0020 Peacock Plume PASTEL SW0021 Queen Ann Lilac PASTEL SW0022 Patchwork Plum PASTEL SW0023 Pewter Tankard PASTEL SW0024 Curio Gray PASTEL SW0025 Rosedust PASTEL SW0026 Rachel Pink PASTEL SW0027 Aristocrat Peach PASTEL SW0028 Caen Stone PASTEL SW0029 Acanthus PASTEL SW0030 Colonial Yellow DEEPTONE SW0031 Dutch Tile Blue DEEPTONE SW0032 Needlepoint Navy DEEPTONE SW0033 Rembrandt Ruby DEEPTONE SW0034 Roycroft Rose DEEPTONE SW0035 Indian White PASTEL SW0036 Buckram Binding DEEPTONE SW0037 Morris Room Grey DEEPTONE SW0038 Library Pewter DEEPTONE SW0039 Portrait Tone DEEPTONE SW0040 Roycroft Adobe DEEPTONE SW0041 Dard Hunter Green DEEPTONE SW0042 Ruskin Room Green DEEPTONE SW0043 Peristyle Brass DEEPTONE SW0044 Hubbard Squash PASTEL Item Number Color Name Color Code SW0045 Antiquarian Brown DEEPTONE SW0046 White Hyacinth PASTEL SW0047 Studio Blue Green DEEPTONE SW0048 Bunglehouse Blue DEEPTONE SW0049 Silver Gray PASTEL SW0050 Classic Light Buff PASTEL SW0051 Classic Ivory PASTEL SW0052 Pearl -
In the Pennsylvania Gazette, 1795-1796
NOTES AND DOCUMENTS Richard Wojtowicz MONTANA STATE UNIVERSITY and Billy G. Smith MONTANA STATE UNIVERSITY ADVERTISEMENTS FOR RUNAWAY SLAVES, INDENTURED SERVANTS, AND APPRENTICES IN THE PENNSYLVANIA GAZETTE, 1795-1796 Fugitives filled eighteenth-century America. Indians retreated west- ward to evade white invasion, European immigrants fled the Old World to begin their lives again, and impoverished Americans roamed from place to place in search of a livelihood.' At the same time, people with various skin colors tried desperately to escape their bondage in the New World. When these slaves, indentured servants, and apprentices made a break for freedom, they often encountered citizens willing to apprehend them for the rewards their masters offered. Benjamin Franklin recounted how he was questioned while eloping from his apprenticeship, and that he "was suspected to be some runaway servant, and in danger of being taken up on that suspicion." 2 Blacks, mulattoes, Indians, and young whites could be challenged by any citizen, and if they were unable to produce papers certifying their freedom, then they were liable to incarceration until the authorities were satisfied about their status.3 If the threat of crime and physical violence contributes to the tensions and alienation in modern American cities, the level of suspicion and scrutiny among strangers in early America must have created similar problems for that society. Newspaper advertisements offering rewards for the capture and 34 RUNAWAY SLAVES 35 return of runaways provide a cache of information about their physical and personal characteristics and their probable means of escape. Natu- rally these records must be interpreted judiciously since the descriptions were reported by masters, some of whom may have been deceived by their workers or imagined their bound laborers as they wished them to be. -
The Library. Post-Restoration Quartos of Shakespeare's^ Plays
Third Scries, No. 15, VOL. IV. Downloaded from THE LIBRARY. http://library.oxfordjournals.org/ POST-RESTORATION QUARTOS OF SHAKESPEARE'S^ PLAYS. [ISS H. C. BARTLETT, in her valu- able article on the quarto editions of 'Julius Caesar' in the last number of at University of California, Santa Barbara on August 25, 2015 (THE LIBRARY, points out the need of ] a review of the quarto editions of the plays which appeared after the First Folio (1623) and before the end of the seventeenth century. I have for some time been engaged in the collection of information respecting the quartos which were published after the Restoration, and I propose in this paper to submit a slight account of the quarto editions of each play arranged in alphabetical order, giving due notice of the different adaptations of the plays which became common after the Restoration. On the occasion of the opening of the theatres after their total abolition during the Common- wealth, the managers had to begin entirely afresh, and appeal to a public quite unused to theatrical entertainments. They were taken by surprise, iv. - s 238 POST-RESTORATION QUARTOS and were unprepared with new plays. They were, therefore, obliged to fall back upon the old plays which were divided between the two companies acting at the King's and Duke's Theatres, managed Downloaded from respectively by Thomas Killigrew and Sir William Davenant. Many of Shakespeare's plays had fallen into neglect, and only a small number were considered to be available. Killigrew's share of these plays consisted of: http://library.oxfordjournals.org/ Julius Cassar. -
Dit D by I Tzp
ofP Where Business Meets Leisure dit d by i tzp. a trick Copyright © 2013 Museum of Early Trades and Crafts 9 Main Street Madison, NJ 07940 USA All rights reserved. I B :0985957026 ISB -13:978-0-9859570-2-5 2. WORKING MEN'S CLOTHING IN NEW JERSEY, 1750-1825 BYTYLERRUDDPUTMAN This article examines who made clothing and what poor men wore in early New Jersey. It focuses on the clothing of sailors, farm laborers, slaves, apprentices, and servants between 1750 and 1825. Their clothing was surprisingly varied and colorful, suggesting that they cared more about clothes than might be expected. Following is a glossary of historical fabric and garment terms used in this article. Making and Buying Clothes in Early New Jersey Most of the clothing worn by working men in early New Jersey was made in New Jersey.l Some relied on their wives, mothers, and daughters for certain garments, especially shirts, constructed from a series of cloth squares. Making other men's garments, however, such as breeches, coats, and jackets, required more skill, the sort of trade knowledge restricted to professional tailors. Tailoring was a common occupation in early America; 344 tailors worked in Philadelphia in 1800, for instance.2 Many of these men, especially in the cities, were poor, and either sewed for their immediate neighbors or worked as "journeymen," free employees of a master who owned his own business. In tailoring shops that catered to men from middle and upper social levels, all garments were "bespoke," or custom-made using personalized measurements. Before the 1820s, tailors did not use 9 PlITMAN incremental tape measures but instead marked an individual's measurements on a long, narrow length ofpaper.3 Using these dimensions, a tailor drafted a pattern, the variously-shaped pieces of a commissioned garment, onto cloth.