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John Lehmann's New Writing: the Duty to Be Tormented
John Lehmann’s New Writing: The Duty to Be Tormented Françoise Bort To cite this version: Françoise Bort. John Lehmann’s New Writing: The Duty to Be Tormented. Synergies Royaume Uni et Irlande, Synergies, 2011, The War in the Interwar, edited by Martyn Cornick, pp.63-73. halshs- 01097893 HAL Id: halshs-01097893 https://halshs.archives-ouvertes.fr/halshs-01097893 Submitted on 7 Jun 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License John Lehmann’s New Writing: the Duty to be Tormented Françoise Bort Université de Bourgogne Synergies Royaume-Uni Royaume-Uni Summary: John Lehmann’s magazine New Writing, launched in 1936, may be said to give literary historians a slow-motion image of the evolution of 63-73 pp. artistic consciousness in one of the most turbulent periods of the twentieth et century. Throughout the fourteen years of its existence, encompassing the Irlande Spanish Civil War and the Second World War, the magazine covers a neglected period of transition in the evolution of modernism. Through his editorial n° 4 policy and a susceptible interpretation of the Zeitgeist, Lehmann voices the particular torments of his generation, too young to have participated in - 2011 the First World War, but deeply affected by it. -
VICTORIAN LEGACY CONFERENCE Organized by Professor Martin HEWITT All Saints College, University of LEEDS, 11-13 July 2005
VICTORIAN LEGACY CONFERENCE Organized by Professor Martin HEWITT All Saints College, University of LEEDS, 11-13 July 2005 * (Session : The Victorians in the 20th century) * Françoise BORT Université Paris-Est Victorian Legacy: the Lehmanns' Instructions for Use. (Tuesday, July 12th, 2005) The Lehmann siblings, Rosamond (born in 1901) and John (born in 1907), have always boasted their illustrious Victorian literary and artistic ancestry as descendants of William and Robert Chambers. The Chambers brothers have left their hallmark in the history of publishing, not only for their companionship with Dickens or Wilkie Collins among others, but also for their own entrepreneurial achievements. They counted authors like Thackeray and Robert Browning among their closest friends, launched the Edinburgh Journal and became part and parcel of Victorian letters and intellectual life. In fact, their lives and careers display but faint resemblances with John Lehmann’s beginnings as an editor. Unlike the self-made and self-taught Chambers, John was educated at Eton and Trinity College (Cambridge), and then worked for the Hogarth Press in 1931 and 1932 before he founded his own magazine New Writing in 1936. Rosamond, for her part, became famous almost overnight in April 1927, as the author of Dusty Answer1. The novel triggered one of the most resounding literary scandals in the 1920s and came to be considered as an epitome of the Zeitgeist. Above all, John and Rosamond Lehmann had in common a profound interest in emerging artistic expression, which makes it all the more surprising to see them recalling their Victorian ancestors whenever they tackled the subject of their own commitment to the craft of letters. -
R Parr Thesis.Pdf
The Letters of Elizabeth Bowen 1934-1949 Roz Parr 1 Table of Contents Rationale.......................................................................................................................................................................3 I. Introduction..............................................................................................................................................3 II. Elizabeth Bowen....................................................................................................................................4 III. Editing Theory......................................................................................................................................6 IV. Methodology........................................................................................................................................14 Bowen’s Letters.......................................................................................................................................................24 February 2nd, 1934 to Lady Cynthia Asquith..............................................................................................24 June 18th, 1942 to John Hayward......................................................................................................25 June 21st, 1943 to Jephson O’Conor ................................................................................................27 May 24th, 1944 to Owen Rutter..........................................................................................................30 -
Lehmann, John (1907-1987) by Craig Kaczorowski
Lehmann, John (1907-1987) by Craig Kaczorowski Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2010 glbtq, Inc. Reprinted from http://www.glbtq.com John Lehmann was one of the most distinguished and discerning British men of letters of the mid-twentieth century. Renowned as a poet, novelist, critic, memoirist, and biographer, he wrote more than twenty-five books. However, it is as an editor and publisher that Lehmann is perhaps most highly esteemed, beginning with New Writing (and its associated titles), a pioneering biannual periodical that he edited from 1936 to 1946, and which featured works from such notable writers as Christopher Isherwood and Stephen Spender, among many others. Lehmann also edited the popular Penguin New Writing series of paperbacks from 1946 to 1950. He was also the managing director of Leonard and Virginia Woolf's legendary Hogarth Press, and founded his own publishing house, John Lehmann, Ltd. He re-launched the venerable publication The London Magazine in 1954, aimed at a "public interested in serious literature," where he remained as editor until 1961. While his three volumes of memoirs, published between 1955 and 1966, are mostly reticent about his sexuality, Lehmann's 1976 book, In the Purely Pagan Sense, provides a revealing and valuable portrait of gay life in England and pre-war Germany, written in the form of a novel. Lehmann also published several volumes of his own poetry, as well as acclaimed biographies of Virginia Woolf, Edward Lear, and Rupert Brooke. As a gay man, Lehmann once observed that he was "always looking for the friend who will give me the direct, warm and natural, entirely loyal relationship that I dream about." He was never entirely successful, however, in finding such a relationship. -
Canada J Bibliotheque Nationale Du Canada Collectians Development Branch Direction Du Devefoppement Des Collections
* CANADIAN THESES ON MICROFICHE SBN THESES CANALIENNES SUR MICROFICHE I • T National Library of Canada j Bibliotheque nationale du Canada Collectians Development Branch Direction du devefoppement des collections Sanation Theses on Service des theses canadiennes • Microfiche Service sur microfiche' Ottawa, Canada 'K1A0N4 NOTICE AVIS The quality of this microfiche is heavily dependent La qualite de cette microfiche depend grandement de upon the "quality of the original thesis submitted for la qUalite de la these soumise au microfilmage Nous microfolrnmg, Every effort has been made to ensure avons tout fait'pour assurer une qualite supeneure the highest quahty'of reproduction possible de reproduction If pages are missing, contact the university which S'II manque des pages, veu'illez communiquer granted the degree ' ,. avec I'universite qui a confere le grade Some pages may have rnd"istinct print especially La qualite d'impression de ceYtaines pages peut if the original pages were typed with a poor typewriter [aisser a desirer, surtout si les* pages onojnales ont ete ribbon or if thB university sent us a poor photocopy dactylographies a I'aide d'un'ruban use ou si I'univer site n.ous a fait parvenir une photocopie de mauvaise . qualite « Previously ' copyrighted rha"tenalsrh<3 , (journal articles, Les dotuments qui font deja Tobjet d'qn droit .published tests/etc) are not filmed "W d'auteur (articles de revue, examens publies, etc ) ne sont pas microfilmes I r Reproduction in full or in part of this film is gov " La reproduction, merrie partielle, de ce microfjlm erned by the Canadian Copyfight Act, RSC 1970. -
English Literature
English Literature Year 12 Summer Induction Work Task One: set text reading In preparation for the course, you need to read “The Great Gatsby” by F. Scott Fitzgerald which is one of your set texts for the exam. You can read it for free online at https://www.planetebook.com/free-ebooks/the-great-gatsby.pdf We will provide copies of the novel for you but if you want to annotate the copy, you will need to buy your own- you can usually pick up a cheap second hand copy from Amazon. You will study “The Great Gatsby” in detail in term 2 but it helpful to have read it by September so you can make links to it as you study the poetry anthology in term 1. As you read, you should keep notes on your reactions to events and thoughts about the characters, the way that love is presented and explored in the novel, and anything you feel is significant about the context of the text. You might like to do some reading from Sparknotes online to support your ideas and guide you on things to look for in each chapter: https://www.sparknotes.com/lit/gatsby/ Task Two: understanding literature through time research task Part of the course will involve studying Literature across time and it is important that you have an understanding of the key changes and developments in literature during various periods. Spend some time researching the following literary genres and periods. For each one, make notes on: • The historical context. What were some of the key historical events and changes that were happening during this period? • The main genre conventions and features of this literary period or movement. -
Late Modernist Debuts
Late Modernist Debuts Publishing and Professionalizing Young Novelists in 1920s Britain Marius Hentea In “Literature as a Profession,” a 1913 editorial in the Times, an unprec- edented surge of aspiring young writers was met with the strongest discour- agement: “There are now more youths than ever eager to be writers. There are more, indeed, than the public could possibly read, even if it regarded reading as a sacred duty; and it can only protect itself against their impor- tunities by a dazed indifference like that of harassed tourists in the East.”1 The imperial imagery—young writers were compared to colonial beg- gars, distracting the good people of England from the real sights they want- ed to see—revealed the Times’s strong feelings on the matter. A man with an imperial connection of his own, Edward Bell (his publishing house’s Indian and Colonial Library sold nearly 1.5 million books between 1894 and 1911), was equally emphatic in his rejection of young authors.2 He had edited Chatterton’s poetical works early in his publishing career, but in March 1914, when he heard of a proposal to turn the Author’s Union magazine into a platform for young writers, he did no more than quote Punch: “Don’t.”3 The assumption behind these rejections was that young writers lacked the experience to write anything worth reading. Yet in 1915, no doubt be- cause “our boys” were suffering in the trenches, youth was given a chance in Nisbet’s Writers of the Day series, whose guiding idea was to have young authors assess their established elders. -
The History of British Women's Writing, 1920–1945, Volume Eight
The History of British Women's Writing, 1920-1945 Volume Eight Maroula Joannou ISBN: 9781137292179 DOI: 10.1057/9781137292179 Palgrave Macmillan Please respect intellectual property rights This material is copyright and its use is restricted by our standard site license terms and conditions (see http://www.palgraveconnect.com/pc/connect/info/terms_conditions.html). If you plan to copy, distribute or share in any format including, for the avoidance of doubt, posting on websites, you need the express prior permission of Palgrave Macmillan. To request permission please contact [email protected]. The History of British Women’s Writing, 1920–1945 Copyright material from www.palgraveconnect.com - licensed to University of Strathclyde - PalgraveConnect - 2015-02-12 - PalgraveConnect of Strathclyde - licensed to University www.palgraveconnect.com material from Copyright 10.1057/9781137292179 - The History of British Women©s Writing, 1920-1945, Edited by Maroula Joannou The History of British Women’s Writing General Editors: Jennie Batchelor and Cora Kaplan Advisory Board: Isobel Armstrong, Rachel Bowlby, Carolyn Dinshaw, Margaret Ezell, Margaret Ferguson, Isobel Grundy, and Felicity Nussbaum The History of British Women’s Writing is an innovative and ambitious monograph series that seeks both to synthesize the work of several generations of feminist scholars, and to advance new directions for the study of women’s writing. Volume editors and contributors are leading scholars whose work collectively reflects the global excellence in this expanding -
John Lehmann's New Writing: the Duty to Be Tormented
John Lehmann’s New Writing: the Duty to be Tormented Françoise Bort Université de Bourgogne Synergies Royaume-Uni Royaume-Uni Summary: John Lehmann’s magazine New Writing, launched in 1936, may be said to give literary historians a slow-motion image of the evolution of 63-73 pp. artistic consciousness in one of the most turbulent periods of the twentieth et century. Throughout the fourteen years of its existence, encompassing the Irlande Spanish Civil War and the Second World War, the magazine covers a neglected period of transition in the evolution of modernism. Through his editorial n° 4 policy and a susceptible interpretation of the Zeitgeist, Lehmann voices the particular torments of his generation, too young to have participated in - 2011 the First World War, but deeply affected by it. The magazine constitutes an attempt to change the role and social representation of authors and artists, to help them find new modes of commitment to collective sufferings, and create a community of readers involved in the defence of art and literature as part and parcel of the political experience. Keywords: Modernist magazines, engagement, literary history, history of publishing, Late Modernism, authorship Résumé : New Writing, la revue de John Lehmann publiée pour la première fois en 1936, donne en quelque sorte aux historiens de la littérature une image au ralenti de l’évolution de la conscience artistique durant l’une des périodes les plus turbulentes du XXe siècle. La revue fut publiée pendant quatorze années, comprenant la Guerre d’Espagne et la Deuxième Guerre mondiale, et documenta ainsi une période de transition dans l’évolution du modernisme qui n’a pas reçu l’attention qu’elle mérite. -
This Electronic Thesis Or Dissertation Has Been Downloaded from the King’S Research Portal At
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Rosamond Lehmann : a modern writer. Pfaltz, Katherine The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 06. Oct. 2021 Rosamond Lehmann: A Modern Writer Katharine Pfaltz King's College, London Supervisor: Dr. Max Saunders LONDIM. UNIY. Abstract This study argues for Rosamond Lehmann's place among enduring women writers of the twentieth century. Lehmann has been criticized by reviewers for being too much of a "women's novelist". -
Supplementary Letters 1928–1946
SUPPLEMENTARY LETTERS 1928–1946 This PDF is one of a series designed to assist scholars in their research on Isaiah Berlin, and the subjects in which he was interested. The series will make digitally available both selected published items and edited transcripts of unpublished material. The PDF is posted by the Isaiah Berlin Legacy Fellow at Wolfson College, with the support of the Trustees of the Isaiah Berlin Literary Trust. All enquiries, including those concerning rights, should be directed to the Legacy Fellow at [email protected] Supplementary Letters 1928–1946 Some of the following letters would have been included in the first volume of Berlin’s correspondence, Flourishing: Letters 1928–1946, had they come to light in time. Others are included for the sake of completeness, given that most of the surviving letters from this period were included in the published volume. Cross-references in the footnotes (which are not exhaustive) of the form ‘(31/6)’ or ‘(198– 203)’ are to the published volume, by page and (where applicable) note. The relevant portion of the note in that volume is sometimes repeated here for the convenience of readers. See pp. xxviii–xxix there for the conventions followed in these notes. The evidence from the letters to the Samunovs1 and other sources suggests that neither IB nor his parents ever had any serious intention of emigrating to Palestine/Israel. Rather they were thinking in terms of investment, or building a property which they might use on visits to the country, or both. Sources appear at the end of each letter. -
Weak Feelings: Femininity, Affect, and Sexuality in Modern Fiction and Theory
Weak Feelings: Femininity, Affect, and Sexuality in Modern Fiction and Theory by Tiffany D. Ball A dissertation submitted in partial fulfillment of requirements for the degree of Doctor of Philosophy (English and Women’s Studies) in The University of Michigan 2016 Doctoral Committee: Professor Valerie J. Traub, Chair Professor Sidonie A. Smith Professor Elizabeth R. Wingrove Professor Patricia Smith Yaeger, Deceased Associate Professor Andrea Patricia Zemgulys © Tiffany Ball All Rights Reserved 2016 For my parents and for MK ii Acknowledgments This dissertation couldn’t have been written without my incredible committee. They cheered me on. They spent countless hours responding to my work. They illuminated the path. Sid Smith, I am grateful for your pragmatism, humor, and keen eye. Your seminar helped me see my way to finishing. Andrea Zemgulys, thank you for the clarity you bring to the study of modern literature. Your unflagging enthusiasm for me and for my project bolstered me in difficult times. Elizabeth Wingrove, I am grateful for all your sharp responses to my work. Thank you for stepping into the committee seamlessly when I needed you. Patsy Yaeger, my time with you was too short, but I see you in this project in so many ways. I miss your vitality and charm. And Valerie Traub, I really can’t begin to thank you enough. I lost track of the number of times I left your office feeling invigorated and capable. I am grateful for your patience, guidance, and faith in me. I am amazed by your brilliance, rigor, and generosity. I am honored to know you as mentor and friend.