DOCSLIB.ORG

Music and Elite Identity in the English Country House, C. 1790-1840

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Music and Elite Identity in the English Country House, C. 1790-1840 University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Music Music and Elite Identity in the English Country House, c.1790-1840 by Leena Asha Rana Thesis for the degree of Doctor of Philosophy December 2012 2 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Music Doctor of Philosophy MUSIC AND ELITE IDENTITY IN THE ENGLISH COUNTRY HOUSE, c.1790-1840. by Leena Asha Rana In this thesis I investigate two untapped music book collections that belonged to two women. Elizabeth Sykes Egerton (1777-1853) and Lydia Hoare Acland (1786-1856) lived at Tatton Park, Cheshire, and Killerton House, Devon, respectively. Upon their marriage in the early nineteenth century, they brought with them the music books they had compiled so far to their new homes, and they continued to collect and play music after marriage. I examine the vocal music in Elizabeth’s and Lydia’s collections, and I aim to show how selected vocal music repertoires contributed toward the construction of landed elite identity in these women and their husbands, concentrating on gender, class, national identity and religion. In chapter one, I concentrate on songs that depict destitute and suffering individuals to move both listeners and performers to compassion. The songs are topical and provide insights into contemporary understandings of sympathy and landed elite responsibility for the distressed. In chapter two, I focus on the ingoing and outgoing movements of music in the country house, and the consumption of foreign music in the home. I divide the chapter into two sections, first examining Elizabeth’s Italian vocal music that she collected during her girlhood years in London and York in the 1790s. The Italian music that Elizabeth brought to Tatton complemented other Italian objects and items in the home. Italian culture appealed to the Egerton family both before and after Elizabeth and Wilbraham married. In the second section, I investigate Lydia and her family’s journey to Vienna for the Congress in 1814-1815. Lydia took away with her a book of vocal music to remind her of home in a foreign environment. While away in Vienna, the Aclands attended concerts and music salons, and they purchased music books to bring back home to add to their collection. In the final chapter, I concentrate on the man of the house at music and I consider the social expectations, duties and responsibilities that had befallen our landed elite men, Thomas Dyke Acland and Wilbraham Egerton. I discuss Thomas’s and Wilbraham’s musical engagements and occasions for performing music, and how men’s music-making contributed to a masculine identity. By placing the vocal music in broader social and cultural contexts, reading personal correspondence, newspaper articles, account books and diaries, we can begin to understand what our families thought about music, and how they used and experienced music in and around their homes, forming an important part of their lifestyle. i ii Contents List of Music Examples ................................................................................................................................ vii List of Images ..................................................................................................................................................... xi List of Figures ................................................................................................................................................. xiii Declaration of Authorship .......................................................................................................................... xv Acknowledgements .................................................................................................................................... xvii Introduction: Music-Making in the English Country House, c. 1800 ....................................... 1 Chapter One- Performing Compassion and Acts of Charity: Songs to Rouse Sympathy ................................................................................................................................................................................ 23 1.1 Singing at Home ........................................................................................................................... 26 1.2 Contextual Issues ......................................................................................................................... 29 1.2.1 Definitions ............................................................................................................................. 29 1.2.2 Wilbraham Egerton’s and Thomas Acland’s Acts of Charity ......................... 31 1.2.3 Poverty in Britain ............................................................................................................... 34 1.3 An Education for Girls ............................................................................................................... 36 1.4 Compassionate Songs ................................................................................................................ 40 1.4.1 Children Songs: Orphan and Beggar Girls .............................................................. 42 1.4.2 Children Songs: Orphan Boys ....................................................................................... 61 1.4.3 Slave Songs ............................................................................................................................ 70 1.4.4 Fallen and Wronged Women Songs .......................................................................... 85 1.5 Performances of Compassion: Concluding Thoughts ................................................ 96 Chapter Two- Home and Away: Musical Tours to Italy and Vienna .................................... 99 2.1 At Home with the Egertons: Music and the Family’s Consumption of Italy . 103 iii 2.1.1 Italy Comes to Tatton Park: Initial Contact, c. 1720s ..................................... 103 2.1.2 Italy Comes to Tatton Park: Roman Neoclassicism and the Grand Tour, c.1780- 1790 ........................................................................................................................................ 107 2.1.3 Elizabeth’s Italian Connection: Music Collecting During Girlhood, c. 1790 ................................................................................................................................................................109 2.1.4 Italian Objects at Tatton Park .................................................................................... 127 2.2 Away with the Aclands: English Domesticity Abroad ............................................. 137 2.2.1 ‘A Traveller’: Personal Music-Making in a Foreign Country ....................... 139 2.2.2 Social Life in Vienna ....................................................................................................... 142 2.2.3 Concert Life in Vienna ................................................................................................... 143 2.2.4 Singing Lessons for Lydia ............................................................................................ 149 2.2.5 Fanny von Arnstein’s Music Salon ........................................................................... 152 2.2.6 Reflections on the Acland’s Escapade .................................................................... 157 2.3 Back at Home: A Conclusion ................................................................................................ 158 Chapter Three- The Man of the House at Music: Masculinity and Sociability ............... 159 3.1 Music and Paternalism ........................................................................................................... 165 3.1.1 The Egertons’ Commitments at Provincial Music Festivals, c. 1780-1830 ................................................................................................................................................................166 3.1.2 Thomas Dyke Acland and Paternalism ................................................................. 174 3.1.3 Wilbraham and Thomas: Fathers of the Family and Local Residents .... 178 3.1.4 Paternal Landowners..................................................................................................... 179 3.2 Male Sociability and Friendship ........................................................................................ 180 3.2.1 Thomas’s Boys’ Clubs .................................................................................................... 188 iv 3.2.2 Wilbraham’s Clubs .......................................................................................................... 199 3.2.3 Music at
Load more

Recommended publications
  • Download (2399Kb)
    A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/ 84893 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications Culture is a Weapon: Popular Music, Protest and Opposition to Apartheid in Britain David Toulson A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in History University of Warwick Department of History January 2016 Table of Contents Acknowledgements………………………………………………………………...iv Declaration………………………………………………………………………….v Abstract…………………………………………………………………………….vi Introduction………………………………………………………………………..1 ‘A rock concert with a cause’……………………………………………………….1 Come Together……………………………………………………………………...7 Methodology………………………………………………………………………13 Research Questions and Structure…………………………………………………22 1)“Culture is a weapon that we can use against the apartheid regime”……...25 The Cultural Boycott and the Anti-Apartheid Movement…………………………25 ‘The Times They Are A Changing’………………………………………………..34 ‘Culture is a weapon of struggle’………………………………………………….47 Rock Against Racism……………………………………………………………...54 ‘We need less airy fairy freedom music and more action.’………………………..72 2) ‘The Myth
    [Show full text]
  • RICHARD STRAUSS SALOME Rehearsal Room Vida Miknevičiūtė (Salome) PRESENTING VICTORIAN OPERA PRESENTS PARTNER SALOME OPERA in ONE ACT
    RICHARD STRAUSS SALOME Rehearsal Room Vida Miknevičiūtė (Salome) PRESENTING VICTORIAN OPERA PRESENTS PARTNER SALOME OPERA IN ONE ACT Composer Richard Strauss Librettist Hedwig Lachmann Based on Oscar Wilde’s play Salomé Conductor Richard Mills AM Director Cameron Menzies Set Designer Christina Smith Costume Designer Anna Cordingley Lighting Designer Gavan Swift Choreographer Elizabeth Hill-Cooper CAST Salome Vida Miknevičiūtė Herod Ian Storey Jochanaan Daniel Sumegi Herodias Liane Keegan Narraboth James Egglestone Page of Herodias Dimity Shepherd Jews Paul Biencourt, Daniel Todd, Soldiers Alex Pokryshevsky, Timothy Reynolds, Carlos E. Bárcenas, Jerzy Kozlowski Raphael Wong Cappadocian Kiran Rajasingam Nazarenes Simon Meadows, Slave Kathryn Radcliffe Douglas Kelly with Orchestra Victoria Concertmaster Yi Wang 22, 25, 27 FEBRUARY 2020 Palais Theatre Original premiere 9 December 1905, Semperoper Dresden Duration 90 minutes, no interval Sung in German with English surtitles PRODUCTION PRODUCTION TEAM Production Manager Eduard Inglés Stage Manager Whitney McNamara Deputy Stage Manager Marina Milankovic Assistant Stage Manager Geetanjali Mishra MUSIC STAFF Repetiteurs Phoebe Briggs, Phillipa Safey ACKNOWLEDGEMENTS Surtitles courtesy of Opera Australia ResolutionX, BAACLight Theatre, Lilydale Theatre Company © Anna Cordingley, Costume Designer P. 4 VICTORIAN OPERA 2020 SALOME ORCHESTRA CONCERTMASTER Sarah Cuming HORN Yi Wang * Philippa Gardner Section Principal Jasen Moulton VIOLIN Tania Hardy-Smith Chair supported by Mr Robert Albert Principal
    [Show full text]
  • A Midsummer Night's Dream
    Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears
    [Show full text]
  • Jazz and the Cultural Transformation of America in the 1920S
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
    [Show full text]
  • Black English in Britain in the Eighteenth Century
    Black English in Britain in the Eighteenth Century David Paisey for Ziggi Alexander and Audrey Dewjee Historians have added in various ways to our knowledge of the black presence in Britain during the eighteenth century, but one aspect has not figured largely in the accumulated evidence, namely records of how black people, a distinct underclass, spoke to each other and to all classes of the native white population. In a period long before sound recording, we are obviously dependent on written sources for indications of how lower-class groups spoke, that is to say their deviations in vocabulary, grammar, syntax and pronunciation from what we must call standard English, itself a construct from written sources. Accessible Court records from the period, of testimony by black defendants and witnesses, seem not to have been verbatim,1 and there is no key which might lead us to potential untapped sources in private manuscripts. It is also the case that works actually written and published by literate members of all ethnic groups generally aimed at the standard: this certainly applies to the published works of well- known black writers such as Ignatius Sancho (c. 1729-1780), Olaudah Equiano (c. 1745-1797), Ottobah Cugoano (c. 1757-after 1791) and the African-American Phyllis Wheatley (c. 1753- 1784). There are exceptions, however, in various works of imaginative literature by non-black writers, and these will provide all my evidence here. Amongst these, drama looms large, since the words given to some (though not all) of its black characters constitute an attempt to provide non-speakers of Black English (the actors of the day) with what must have been thought a believable likeness of the real thing.
    [Show full text]
  • Scottish Eccentrics
    SCOTTISH ECCENTRICS by HUGH MacDIARMID SCOTTISH ECCENTRICS The distinguished Scottish poet and literary critic who writes this book recalls how Bernard Shaw in On The Rocks ironically declares that the massacres after the Battle of Culloden were not "mur- der" but simply "liquidation," since the slain Scots in question were "incompatible with British civilization." He then surveys the whole field of Scottish biography, and shows how true this has proved of an amazing number of distinguished Scots, no matter how successfully the bulk of the Scottish people have been assim- ilated to English standards since the Union. The facts are irresist- ible and bring out the "eccen- tricity" of Scottish genius in an extraordinary fashion. The author gives full-length studies often outstanding Scottish eccentrics, including Lord George Gordon of the "Gordon Riots"; Sir Thomas Urquhart, the trans- lator of Rabelais', "Christopher North"; "Ossian" (James Mac- pherson, M.P.); James Hogg, the Ettrick Shepherd; and William McGonagall, perhaps the world's best "bad poet". But he supports these leading cases with apt material drawn from the lives of hundreds of Scots of every period in history and every walk of life, and in this way builds up a bril- liant panoramic picture of Scottish psychology through the ages, singularly at variance with all generally accepted views of the national character. 15 S. net By the Same Author Poetry Sangschaw Penny Wheep To Circumjack Cencrastus First Hymn to Lenin, and other Poems A Drunk Man looks at the Thistle Stony Limits, and other Poems Fiction Annals of the Five Senses Translations The Handmaid of the Lord (novel, from the Spanish of Ramon Maria de Tenreiro) Birlinn Chlann-Rhagnaill (poem, from the Scots Gaelic of Alasdair Mac- Mhaighstir Alasdair) Criticism Contemporary Scottish Studies Albyn: or Scotland and the Future Scottish Scene (in collaboration with Lewis Grassic Gibbon) At the Sign of the Thistle etc.
    [Show full text]
  • “Why So Serious?” Comics, Film and Politics, Or the Comic Book Film As the Answer to the Question of Identity and Narrative in a Post-9/11 World
    ABSTRACT “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD by Kyle Andrew Moody This thesis analyzes a trend in a subgenre of motion pictures that are designed to not only entertain, but also provide a message for the modern world after the terrorist attacks of September 11, 2001. The analysis provides a critical look at three different films as artifacts of post-9/11 culture, showing how the integration of certain elements made them allegorical works regarding the status of the United States in the aftermath of the attacks. Jean Baudrillard‟s postmodern theory of simulation and simulacra was utilized to provide a context for the films that tap into themes reflecting post-9/11 reality. The results were analyzed by critically examining the source material, with a cultural criticism emerging regarding the progression of this subgenre of motion pictures as meaningful work. “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Communications Mass Communications Area by Kyle Andrew Moody Miami University Oxford, Ohio 2009 Advisor ___________________ Dr. Bruce Drushel Reader ___________________ Dr. Ronald Scott Reader ___________________ Dr. David Sholle TABLE OF CONTENTS ACKNOWLEDGMENTS .......................................................................................................................... III CHAPTER ONE: COMIC BOOK MOVIES AND THE REAL WORLD ............................................. 1 PURPOSE OF STUDY ...................................................................................................................................
    [Show full text]
  • University of Oklahoma Graduate College Rhetoric
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE RHETORIC AND GESTURE IN THE PERFORMANCE OF SEVENTEENTH-CENTURY VOCAL MUSIC A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF MUSIC By DANUR KVILHAUG Norman, Oklahoma 2016 RHETORIC AND GESTURE IN THE PERFORMANCE OF SEVENTEENTH-CENTURY VOCAL MUSIC A THESIS APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Jennifer Saltzstein, Chair ______________________________ Dr. Eugene Enrico ______________________________ Dr. Jeffrey Swinkin © Copyright by DANUR KVILHAUG 2016 All Rights Reserved. Table of Contents I. Introduction 1 II. Rhetoric in Quintilian’s Institutio Oratoria 5 - Music and Rhetoric in Institutio Oratoria 12 III. Rhetoric in Seventeenth and Eighteenth-Century Music Treatises 16 IV. Rhetoric in Performance 23 - Tempo and Meter 23 - Rhythm and Articulation 31 - Ornamentation 41 V. Case Studies 51 - Case Study 1 – “Or che’l ciel et la terra e’l vento tace” 52 - Case Study 2 – “Credo,” Missa Ego flos campi 66 - Case Study 3 —“Hor che tempo de dormire” 77 VI. Conclusion 90 Bibliography 93 Appendix – Scores 98 - Case Study 1 98 - Case Study 2 121 - Case Study 3 138 iv List of Figures Figure 1 – Homophonic rhythmic declamation in the first phrase of 35 “Domine Dominus Noster” v I. Introduction “Vocal and choral music in the seventeenth century are text centered. This may seem obvious, but it bears repeating.... Beyond good pronunciation, all subtleties of expressive singing—dynamic contrast, phrasing, variety of articulation, added embellishment—should be rooted in the performers’ comprehension of the text.”1 The above statement by Anne Harrington Heider underscores two simple concepts: performing the vocal music of the High Renaissance and Early Baroque requires intimate knowledge of its texts, and the clear transmission of textual meaning should be a singer’s primary goal.
    [Show full text]
  • Making Time in Music an International Conference 12–14 September 2016 Faculty of Music, University of Oxford
    Making Time in Music An international conference 12–14 September 2016 Faculty of Music, University of Oxford Draft schedule Monday 12 September Parallel sessions: A sessions will take place in the Denis Arnold Hall; B sessions will take place in Lecture Room A. Plenary sessions will take place in the Denis Arnold Hall. The poster session will take place in the JCR and the Committee Room. Tea and coffee breaks and lunches will be provided in the JCR and the Committee Room (included in registration fee). The conference dinner will take place on Monday 12 September at Pembroke College (pre- booking is required). 09:00 Registration (a welcome desk will be open in the Faculty reception area from 09:00) 11:00 Welcome 11:30– Session A1 Session B1 13:00 Interpersonal I Philosophy I Multimodal communication of time in Music as time, music as timeless ensemble performance Kristina Knowles (Northwestern Renee Timmers (University of Sheffield) University) Studying musicians’ gaze behaviour in the Politicking musical time light of synchronisation issues in ensemble Chris Stover (The New School) playing Sarah Vandemoortele, Stijn De Beugher, Geert Brône, Kurt Feyaerts, Toon Goedemé, Thomas De Baets, and Stijn Vervliet (LUCA School of Arts and KU Leuven) Coordination in vocal ensembles Distracted timekeeping Ryan Kirkbride (University of Leeds) Anthony Gritten (Royal Academy of Music) 13:00 Lunch 1 14:00– Session A2 Session B2 15:30 Psychology I MetreRhythmTempo I Timescales and temporal ranges: an enactive Tempo, drive and identity in Cape Breton and dynamic approach to temporality in traditional fiddle music musicking David Kirkland Garner Juan Loaiza (Queen’s University Belfast) (University of South Carolina) Ensemble performance from a systems- ‘Just in Time’: Herbert von Karajan as an theoretical perspective: opportunities and interpreter of Mozart’s Requiem challenges Karina Zybina Marc Duby (University of South Africa) (University Mozarteum, Salzburg) Rhythm in music: a comparative perspective Room for interpretation: musical tempo in John C.
    [Show full text]
  • Part 1), September 2019 Historic Environment Associates
    Appendix 22: A conservation management plan for the central area of the Ashridge Estate (part 1), September 2019 Historic Environment Associates Ashridge Estate A Conservation Management Plan for the Central Area of the Ashridge Estate Part 1 Report Final September 2019 Contents Contents 1 Introduction ....................................................................................................................... 1 Background to the study ............................................................................................................ 2 National Trust Policy .................................................................................................................. 2 Spirit of the Place ....................................................................................................................... 4 Methodology .............................................................................................................................. 4 Authorship ................................................................................................................................. 5 Acknowledgements ................................................................................................................... 5 2 Baseline Information ......................................................................................................... 9 Ownership and Land Management ............................................................................................ 9 Covenants and Legal Restrictions on Management
    [Show full text]
  • Musica Britannica
    T69 (2021) MUSICA BRITANNICA A NATIONAL COLLECTION OF MUSIC Vauxhall Pleasure Gardens c.1750 Stainer & Bell Ltd, Victoria House, 23 Gruneisen Road, London N3 ILS England Telephone : +44 (0) 20 8343 3303 email: [email protected] www.stainer.co.uk MUSICA BRITANNICA A NATIONAL COLLECTION OF MUSIC Musica Britannica, founded in 1951 as a national record of the British contribution to music, is today recognised as one of the world’s outstanding library collections, with an unrivalled range and authority making it an indispensable resource both for performers and scholars. This catalogue provides a full listing of volumes with a brief description of contents. Full lists of contents can be obtained by quoting the CON or ASK sheet number given. Where performing material is shown as available for rental full details are given in our Rental Catalogue (T66) which may be obtained by contacting our Hire Library Manager. This catalogue is also available online at www.stainer.co.uk. Many of the Chamber Music volumes have performing parts available separately and you will find these listed in the section at the end of this catalogue. This section also lists other offprints and popular performing editions available for sale. If you do not see what you require listed in this section we can also offer authorised photocopies of any individual items published in the series through our ‘Made- to-Order’ service. Our Archive Department will be pleased to help with enquiries and requests. In addition, choirs now have the opportunity to purchase individual choral titles from selected volumes of the series as Adobe Acrobat PDF files via the Stainer & Bell website.
    [Show full text]
  • Translating Allusions: the Case of Dubliners by James Joyce / S
    590 / RumeliDE Journal of Language and Literature Studies 2020.18 (March) Translating allusions: The case of Dubliners by James Joyce / S. Tekalp (pp. 590-609) Translating allusions: The case of Dubliners by James Joyce1 Selen TEKALP2 APA: Tekalp, S. (2020). Translating allusions: The case of Dubliners by James Joyce. RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, (18), 590-609. DOI: 10.29000/rumelide.706407 Abstract Intertextuality refers to the relation of a text to other texts. Although the notion has connections with many fields of art such as painting, sculpture, architecture, cinema and theatre, in this study it is examined as a literary concept within the framework of translation studies. Intertextual devices such as quotations, citations and allusions pose great challenge for translators as they require an extensive cultural knowledge and an awareness of the extratextual relations of the text. These relations can be built by author’s use of allusions, quotations, translation, pastiche, parody and other intertextual elements. However, the analysis of all these elements seems to be compelling for a translator. Therefore, to investigate how intertextuality is treated in the Turkish translations of Dubliners, the scope has been restricted to the allusions. Allusion is described as an indirect reference to a literary work, a person, place or thing that is already known. In Dubliners, Joyce uses multiple allusions dedicated to literary texts, historical and political figures and events. The case study has been carried out by examining the allusions separately in all fifteen stories within the book. After that, the Turkish translations performed by Murat Belge and Merve Tokmakçıoğlu were analysed, and the Turkish counterparts of the detected allusions were listed for each story.
    [Show full text]