Two Chinese Domestic Murders by H. J. Lethbridge
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There Is No “Unless” for Poets’:* Robert Graves and Postmodern Thought Nancy Rosenfeld
‘There is no “unless” for poets’:* Robert Graves and Postmodern Thought Nancy Rosenfeld Robert Graves’s place in twentieth century literature and thought is much more central than the relatively marginal status accorded him in standard critical accounts. Graves is best known as the author of historical novels. His I, Claudius, produced as a BBC television series in the 1970s, and its sequel Claudius the God and his Wife Messalina made his name a household word. Yet Graves was a twentieth century Renaissance man: his body of work includes poetry – Graves viewed himself as a poet first and foremost – more than a dozen historical novels, autobiography, studies of mythology and ethnography, writing guides, translation, social commentary, literary criticism. Graves’s autobiography Good-bye to All That is one of the most influential memoirs to come out of the First World War. His Greek Myths remains a basic text in comparative literature studies. Generations of aspiring poets have sought guidance in The White Goddess: A Historical Grammar of Poetic Myth. Poetry, Graves argued in Lecture One of the Oxford Chair of Poetry series delivered in 1964, ‘is a way of life, a vocation or a profession’, even though it is not ‘operationally organized’ as are the professions of medicine, law, architecture, pedagogy.1 This and more: the imperative of questioning ‘every word and sound and implication in a poem either read or written’ stands in direct opposition to ‘present trends in politics, economics and ethics which are wholly inimical to the appearance of new poets, or the honourable survival of those who may have already appeared.’ The true poets are always/already tempered by poetic principle, which is ‘a simple, obstinate belief in miracle: an asseveration of * Robert Graves, Poetic Craft and Principle (London: Cassell, 1967), p. -
By Robert Graves Клавдий by Robert Graves
Read Ebook {PDF EPUB} Клавдий by Robert Graves Клавдий by Robert Graves. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Cloudflare Ray ID: 65ff9b905a00d6cd • Your IP : 116.202.236.252 • Performance & security by Cloudflare. Biography. Robert Graves was born in 1895 in Wimbledon, a suburb of London. Graves was known as a poet, lecturer and novelist. He was also known as a classicist and a mythographer. Perhaps his first known and revered poems were the poems Groves wrote behind the lines in World War One. He later became known as one of the most superb English language 'Love' poets. He then became recognised as one of the finest love poets writing in the English language. Members of the poetry, novel writing, historian, and classical scholarly community often feel indebted to the man and his works. Robert Graves was born into an interesting time in history. He actually saw Queen Victoria’s Diamond Jubilee procession at the age of two or three. His family was quite patriotic, educated, strict and upper middle class.He saw his father as an authoritarian. He was not liked by his peers in school, nor did he care much for them. -
Works by Robert Graves in Special Collections, University of Otago Library 2012
Robert Graves Poeta 1895-1985 Works by Robert Graves in Special Collections, University of Otago Library 2012 1 There is no now for us but always, Nor any I but we – Who have loved only and love only From the hilltops to the sea In our long turbulence of nights and days: A calendar from which no lover strays In proud perversity. Envoi. (Collected Poems, 1975) On the headstone that marks his grave at Deyá, Marjorca, there is the simple: ‘Robert Graves Poeta 1895-1985’. And it was this aspect that attracted Charles Brasch, editor, patron and poet, to the works of Graves, calling him ‘among the finest English poets of our time, one of the few who is likely to be remembered as a poet.’ Indeed, not only did Brasch collect his own first editions volumes written by Graves, but he encouraged the University of Otago Library to buy more. Thanks to Brasch, Special Collections at the University of Otago now has an extensive collection of works (poetry, novels, essays, children’s books) by him. Born at Wimbledon in 1895, Graves had an Irish father, a German mother, an English upbringing, and a classical education. Enlisting in the Royal Welch Fusiliers, Graves faced the horrors of World War I. He was wounded by shrapnel, left for dead and later able to read his own obituary in The London Times. In 1929, he penned Goodbye To All That, his war-time autobiography which gave him success and fame. And aside from his regular output of poetry books, he wrote historical novels such as I Claudius (1934) and Claudius the God (1934), The White Goddess (1948), the heady study on matriarchal worship and poetry that in the sixties became a source book for readers of the Whole Earth Catalog, and the very successful The Greek Myths (1955). -
Robert Graves
Robert Graves Robert Graves The University of San Francisco aims “to cultivate the heart that it may love worthwhile things.” First editions with inscriptions and corrected galley proofs of such a writer as Robert Graves, Professor of Poetry at Oxford, have the magic to thrill the student, to give him a love of learning sufficient for a lifetime. Therefore, the University and the Gleeson Library Associates thank Mr. Walter Bartmann for adding to the cultivation of our students by the donation of his collection of first editions of Robert Graves. All titles of this collection are contained in the checklist except ephemera. Titles with asterisk are not in the collection but will be added. ANNUAL MEETING Gleeson Library Associates APRIL 29, 1962 A Checklist Robert Graves Section I Poetry, Novels and Essays 1916 Over the Brazier. David and Goliath. With author's book-plate. 1917 Fairies and Fusiliers. 1919 The White Cloud.* 1920 Treasure Box. Privately printed and signed. 1921 The Pier-Glass. 1922 On English Poetry. Robert Graves http://www.loc.gov/resource/rbpe.0020390s 1923 The Feather Bed. No. 82 of 250 signed. Whipperginny. 1924 Mock Beggar Hall. The Meaning of Dreams. 1925 Welchman's Hose. 525 copies. John Kemp's Wager: A Ballad Opera. My Head! My Head! Contemporary Techniques in Poetry: a Political Analogy. Poetical Unreason and Other Studies. 1926 Another Future of Poetry.* Impenetrability. 1927 Poems 1914–1926. No. 18 of 115 signed. The English Ballad. Lars Porsena or The Future of Swearing. Lawrence and the Arabs. 1928 Mrs. Fisher or The Future of Humour. -
List 35: Robert Graves & Laura Riding
List 35: Robert Graves & Laura Riding McNaughtan’s Bookshop & Gallery 3a & 4a Haddington Place Edinburgh EH7 4AE +44(0)131 556 5897 [email protected] http://www.mcnaughtans.co.uk a b x @mcnbooks McNaughtan’s Bookshop & Gallery List 35: Robert Graves & Laura Riding items 1-2: Laura Riding 5. Graves, Robert. Poems 1929. London: Printed and published at the Seizin Press, 1929. 1. Riding, Laura. Twenty Poems Less. Paris: Hours Press, 1930. FIRST EDITION, NO. 17 OF 225 COPIES SIGNED BY THE AUTHOR, 8vo, pp. [iv], 33, [3]. Original green cloth, spine lettered in FIRST EDITION, NO. 105 OF 200 COPIES SIGNED BY THE AUTHOR, gilt. Spine slightly faded, front flyleaf toned. £250 folio, pp. [iv], 33, [3]. Original quarter black morocco, photo- graphically-decorated paper boards, spine lettered in gilt. One or two spots to page edges. Spine ends slightly rubbed. £350 Higginson & Williams A33. 2. Riding, Laura. Four 6. Lye, Len. No Unposted Letters to Cath- Trouble. Deya, Ma- erina. Paris: Hours Press, jorca: The Seizin Press, [1930]. 1930. FIRST EDITION, NO. 120 OF 200 FIRST EDITION, NO. 99 COPIES SIGNED BY THE AUTHOR, OF 200 COPIES SIGNED BY small 4to, pp. [vi], 50, [4]. THE AUTHOR, folio, [vi], Original quarter black moroc- 27, [1]. Original quarter co, decorated paper boards (by white buckram, boards Len Lye), spine lettered in gilt. decorated in red, brown Spine just a touch rubbed at and textured gilt by Len head and tail. £300 Lye, spine lettered in gilt. Spine very slightly The second issue, with the tipped-in introductory note which was omit- soiled. -
Noël Coward, Rebecca West, and the Modernist Scene
Noël Coward, Rebecca West, and the Modernist Scene Faye Hammill Abstract: Coward and West shared a long friendship, and often met each other at theatrical openings, on transatlantic liners, and at parties hosted by the 'international set'. Their wary negotiation with one another's celebrity and cultural value played out not only at these social events but also in print, through reviews, gossip columns, and memoirs. Using the relationship between Coward and West as a case study, this essay explores the social scene of modernism, with attention to the suggestion of theatricality in the word 'scene'. It takes up the notion of the 'modernist party' as, on the one hand, a kind of stage on which celebrities from different spheres performed together, and, on the other, a happening which, through reports in print, contributed to the forming of literary reputations and to the public fascination with modern style. Keywords: modernist party, performance, print culture, ocean liner, hostess I knew him for over 50 years, not always easily. Our paths had followed different lines and though we often pleased each other we often irritated each other. I am so glad, in spite of this, that this interesting, amusing upright man never excluded me from his world. Last year he asked me to go with him to the première of 'Dear Winston'. I could not go; but when I recall the invitation it is as if I felt again the grasp of his hand, which was always just the right temperature, cool enough, warm enough, and expressed a unique kind of affection; dry but not dry like a desert, dry like a very good dry sherry. -
Robert Graves Poeta 1895-1985
Robert Graves Poeta 1895-1985 Works by Robert Graves in Special Collections, University of Otago Library 2012 There is no now for us but always, Nor any I but we – Who have loved only and love only From the hilltops to the sea In our long turbulence of nights and days: A calendar from which no lover strays In proud perversity. Envoi. (Collected Poems, 1975) On the headstone that marks his grave at Deyá, Marjorca, there is the simple: ‘Robert Graves Poeta 1895-1985’. And it was this aspect that attracted Charles Brasch, editor, patron and poet, to the works of Graves, calling him ‘among the finest English poets of our time, one of the few who is likely to be remembered as a poet.’ Indeed, not only did Brasch collect his own first editions volumes written by Graves, but he encouraged the University of Otago Library to buy more. Thanks to Brasch, Special Collections at the University of Otago now has an extensive collection of works (poetry, novels, essays, children’s books) by him. Born at Wimbledon in 1895, Graves had an Irish father, a German mother, an English upbringing, and a classical education. Enlisting in the Royal Welch Fusiliers, Graves faced the horrors of World War I. He was wounded by shrapnel, left for dead and later able to read his own obituary in The London Times. In 1929, he penned Goodbye To All That, his war-time autobiography which gave him success and fame. And aside from his regular output of poetry books, he wrote historical novels such as I Claudius (1934) and Claudius the God (1934), The White Goddess (1948), the heady study on matriarchal worship and poetry that in the sixties became a source book for readers of the Whole Earth Catalog, and the very successful The Greek Myths (1955). -
499 Notes De
100875XDZ_GERMAN_Mep_PC.fm Page 499 Mercredi, 9. novembre 2011 12:19 12 NOTES DE FIN 499 NOTES DE FIN Notes de l’Introduction 1. Fernand VAN LANGENHOVE, Comment naît un cycle de légendes. Francs-tireurs et atrocités en Belgique, Lausanne et Paris, 1916. 2. Marc BLOCH, «þRéflexions d’un historien sur les fausses nouvelles de la guerreþ», in id., Écrits de guerre, 1914-1918, éd. par Étienne BLOCH, Paris, 1997, pp. 169-184, publié à l’origine dans la Revue de synthèse, 1921. 3. Par exemple, James M. READ, Atrocity Propaganda 1914-1948, New Haven, 1941, et Harold D. LASSWELL, Propagande Technique in World War I, 1927, nouv. éd., Cambridge, Massachusetts, 1971, en particulier le chap. IV, à propos du «þsatanismeþ» appliqué à la fabri- cation des «þatrocitésþ». 4. Pour la meilleure discussion de ce dernier point de vue, voir Trevor WILSON, «þLord Bryce’s Investigation into Alleged German Atrocities in Belgium, 1914-1915þ», Journal of Contemporary History, 14/3, 1979, pp. 369-383, et Trevor WILSON, The Myriad Faces of Warþ: Britain and the Great War, 1914-1918, Cambridge, 1986, pp. 182-191. 5. Peter SCHÖLLER, Le Cas de Louvain et le Livre blanc, Louvain-Paris, 1958. 6. Lothar WIELAND, Belgien 1914. Die Frage des belgischen «þFranktieurkriegesþ» und die deutsche öffentliche Meinung von 1914 bis 1936, Francfort, Berne, New York, 1984. 7. Michael JEISMANN, Das Vaterland der Feinde. Studien zum nationalen Feindbegriff und Selbstverständnis in Deutschland und Frankreich 1792-1918, Stuttgart, 1992. 8. Ruth HARRIS, «þThe “Child of the Barbarian”þ: Rape, Race et Nationalism in France during the First World Warþ», Past and Present, 141, 1993, pp. -
93 Winter 1999
The Charles Willia1lls Society Newsletter -----No. 93 Winter 1999 1. .-_ '_ . _ . ---....-..... 2 THE SOCIETY The Charles Williams Society The Society was founded in 1975, thirty years after Charles Williarns's sudden death at the end of the Second World War. It exists to celebrate Charles Wil liams and to provide a forum for the exchange of views and information about his life and work. Members of the Society receive a quarterly newsletter and may attend the Society's meetings which are held three times a year. Facilities for members also include a post~llending library and a reference library housed at King's College London. Officers of the Society President: John Heath-Stubbs • Chairman: Mrs Eileen Mable • Membership Secretary: 28 Wroxham Way Mrs Lepel Kornicka Harpenden 15 King's Avenue, Ealing Herts, AL5 4PP London, W5 2SJ 01582713641 01819910321 • Secretary: • Librarian: Dr Brian Horne Revd Dr Richard Sturch Flat 8, 65 Cadogan Gardens Islip Rectory London, SW3 2RA The Rise, Islip 01715819917 Oxford, OX5 2TG 01865372163 • Newsletter Editor: Until the appointment of a • Treasurer: Mr Richard Jeffery new editor, please send all Lothlorien newsletter material and Harcourt Hill editorial correspondence to Oxford, OX2 9AS Eileen Mable. 01865 248 922 Winter 1999 THE NEWSLETIER 3 Contents Newsletter No 93 Winter 1999 Officers of the Society 2 Reading groups 3 From the Editor 4 Forthcoming meetings 6 Council meeting report 7 Society news 8 Charles Williams Society Conference 9 Charles Williams, Robert Graves and the White Goddess 11 Grevel Lindop Book review 32 Charles Hadfield - Canal Man and More Editorial Policy 35 Reading groups For information about the Oxford reading group please contact Brenda Boughton, tel: 01865 515589. -
Durham E-Theses
Durham E-Theses Great War, White Goddess, and Translation as Catharsis: A Study of Robert Graves and Ted Hughes MCKENZIE, LAURA,ELIZABETH How to cite: MCKENZIE, LAURA,ELIZABETH (2018) Great War, White Goddess, and Translation as Catharsis: A Study of Robert Graves and Ted Hughes , Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/12503/ 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 Great War, White Goddess, and Translation as Catharsis: A Study of Robert Graves and Ted Hughes Laura Elizabeth McKenzie A thesis presented for the degree of Doctor of Philosophy Department of English Studies Durham University, Durham, UK September 2017 1 ABSTRACT Great War, White Goddess, and Translation as Catharsis: A Study of Robert Graves and Ted Hughes The First World War played a critical role in shaping the poetic consciousness of both Robert Graves and Ted Hughes. -
"Mid-Winter Songs". Margaret Sue Hulley Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1998 A Study of the Influence of Text in Morten Lauridsen's "Mid-Winter Songs". Margaret Sue Hulley Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Hulley, Margaret Sue, "A Study of the Influence of Text in Morten Lauridsen's "Mid-Winter Songs"." (1998). LSU Historical Dissertations and Theses. 6742. https://digitalcommons.lsu.edu/gradschool_disstheses/6742 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 Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 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 o f 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 affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will 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. -
English Language and Literature
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Alžběta Komrsková Stereotypical Depiction of Female Characters in Robert Graves's novel I, Claudius Bachelor's Diploma Thesis Supervisor: Prof. Mgr. Milada Franková, CSc, M.A. 2021 / declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. Author's signature Acknowledgement: I would like to thank my supervisor prof. Mgr. Milada Franková, CSc., M.A Table of Contents Introduction 5 1 Robert Von Ranke Graves 7 1.1 Graves and Feminism 8 1.2 Graves as Historian 10 1.3 Graves vs. Claudius 12 2 Historical Analysis 13 2.1 Women in Ancient Rome 13 2.2 Women in 1920s 16 3 Literary Analysis 19 3.1 Livia 19 3.2 Julia the Elder 28 3.3Livilla 32 Conclusion 40 Works Cited 42 Summary 45 Resume 46 Introduction Robert Graves is a well-known British author, and his novel /, Claudius is one of his most famous works, mainly due to the television adaptation. The novel and the TV series created a certain notion about the civilization of ancient Rome as a cruel society full of intrigues and murders among the members of the royal family, and especially among the royal women. This diploma thesis deals with Graves's strongly misogynistic and stereotypical depiction of female characters. The ancient Rome was certainly a cruel place for women. They did not have many rights; they were traditionally viewed as caretakers and mothers and especially as subordinates to their male relatives.