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An Eden with No Snake in It: Pure Comedy and Chaste Camp in The
An Eden With No Snake in It: Pure Comedy and Chaste Camp in the English Novel by Joshua Gibbons Striker Department of English Duke University Date:_______________________ Approved: ___________________________ Victor Strandberg, Co-Supervisor ___________________________ Katherine Hayles, Co-Supervisor ___________________________ Kathy Psomiades ___________________________ Michael Moses Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2019 ABSTRACT An Eden With No Snake in It: Pure Comedy and Chaste Camp in the English Novel by Joshua Gibbons Striker Department of English Duke University Date:_______________________ Approved: ___________________________ Victor Strandberg, Co-Supervisor ___________________________ Katherine Hayles, Co-Supervisor ___________________________ Kathy Psomiades ___________________________ Michael Moses An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2019 Copyright by Joshua Gibbons Striker 2019 Abstract In this dissertation I use an old and unfashionable form of literary criticism, close reading, to offer a new and unfashionable account of the literary subgenre called camp. Drawing on the work of, among many others, Susan Sontag, Rita Felski, and Peter Lamarque, I argue that P.G. Wodehouse, E.F. Benson, and Angela Thirkell wrote a type of pure comedy I call chaste camp. Chaste camp is a strange beast. On the one hand it is a sort of children’s literature written for and about adults; on the other hand it rises to a level of literary merit that children’s books, even the best of them, cannot hope to reach. -
Useful and Beautiful: Published by the William Morris Society in the United States Winter 2018 • 2
Useful and Beautiful: Published by the William Morris Society in the United States Winter 2018 • 2 “In the First Rank,” an acrylic painting by Carolyn Marsland, commissioned by Lord Tom Sawyer. A depiction of the 1889 Dockers March with Eleanor Marx, William Morris, and Keir Hardie et al. TABLE OF CONTENTS LETTER FROM THE PRESIDENT Cover: “In the First Rank,” an acrylic painting This year the William Morris Society held its annual by Carolyn Marsland, commissioned by Lord meeting at the Modern Language Association Convention in Tom Sawyer. A depiction of the 1889 Dockers Chicago, Illinois from January 3-6. Our session, organized and March with Eleanor Marx, William Morris, and Keir Hardie et al. presided over by board member Kelly Ann Fitzpatrick, was enti- tled “William Morris: Reflections on Art and Labor” and included Letter from the President ......................................2 these three papers: “The Handcrafted Work of Art in the Age of An Afternoon with Lord Tom Sawyer Mechanical Reproduction: Walter Benjamin and the Revolution- by Jane Carlin .................................................3 ary Potential of William Morris’s Decorated Books,” by Brandi- Morris & Co. and the Last Romanovs: An Inter- ann Molby of Loyola University, Chicago; “Aestheticism and the view with Nicholas Onegin of the State Her- mitage Museum by Anna Matyukhina ...........5 Birth of the Consultant: Wilde versus Morris on Art, Work and the Self,” by Patrick Fessenbecker of Bilkent University; and “Wil- William Morris Meets Lucy Parsons by Stephen Keeble ...........................................8 liam Morris and The Dawn: Ideas for ‘The Society of the Future’,” by Rebekah Greene of the Georgia Institute of Technology. -
Beauty in Thorns Is the Story of Awakenings of All Kinds
A spellbinding reimagining of ‘Sleeping Beauty’ set amongst the wild bohemian circle of the Pre-Raphaelite artists and poets. Bringing to life the dramatic true story of love, obsession and heartbreak that lies behind the Victorian era’s most famous paintings, Beauty in Thorns is the story of awakenings of all kinds. Readers’ Guide Reader’s Guide to Beauty in Thorns by Kate Forsyth then wrapped me in towels and ran inside, the dog chasing after us. She ran out on to the Pacific Highway, carrying me, my older sister Belinda running beside. A young man picked us up, and took us to the Royal North Shore Hospital. When the triage nurses unwound the bloody towels from my head, he fainted. The dog’s fangs had torn open my skull so that the grey matter of the brain could be seen. My right ear had been almost torn off The Story Behind My Fascination and my left eye was badly damaged. It took with ‘Sleeping Beauty’ hours of surgery and more than two hundred stitches to repair the injuries. Most people know the story of Sleeping Beauty, a girl who is cursed to sleep for a I did not wake up after the surgery. My hundred years after pricking her finger on a temperature soared. I lay on a bed of ice, spindle. She is awoken with a kiss … fans blowing cold air on me. Nothing worked. Ten days after the dog attack, the My fascination with this fairy tale springs doctors told my mother that I had from my own life story, when I too was contracted bacterial meningitis and that it awoken from a death-like coma by a kiss. -
Indexing the Novels of Angela Thirkell
Thirty-nine to one: indexing the novels of Angela Thirkell Hazel K Bell Describes the compilation of a cumulative index to 37 books and two batches of letters by Angela Thirkell, and considers what such an index may show about an author. Angela Thirkell (AT) was born in 1890, granddaughter of the There is much in Thirkell that is worth the finding, and among pre-Raphaelite painter, Sir Edward Burne-Jones. She embarked 37 volumes that is no light task. Thirkell devotees would find it upon a career as an author at the age of 43, with two broken difficult, without benefit of my index, to know where AT writes marriages behind her, to support herself and her sons financially. of: Brahms, bridesmaids' dresses, the British Medical Journal, In the remaining 28 years of her life she wrote a total of 35 books, a Christening cake, couvade, Noel Coward, perpetual curates, including a sequence of 29 novels set in 'Barsetshire', in the Daily Express, Sir Isaac Newton's dog, Easter Island, fathers succession to Anthony Trollope's, and one set in 1838.1 have— of new babies, a foot-muff, the Frog prince, a gargoyle, grape voluntarily, uncommissioned — compiled a cumulative index to scissors, a hat for a horse, jazz, Pepso bread, or the book a mother all her novels, two collections of her short stories, her biography proposes to write, 'Why I hate my children'. I could look in my of Harriette Wilson, her autobiographical account of her index and state just where they all are. I even indexed some lines childhood, a satirical account of her emigration to Australia, and that I thought too good to lose in the mass, such as the two batches of her letters. -
Jutland Cottage, 1953
JUTLAND COTTAGE, 1953 7 Table of affinities : In the Book of Common Prayer, A Table of Kindred and Affinity wherein whosoever are related are forbidden by the Church of England to marry together. It is all a fairy story … : A paraphrase of the last paragraph of The Water Babies, a Fairy Tale for a Land-Baby by Charles Kingsley, 1863. AlsoESR p.75, Never Too Late p.268, LAA p.228. 8 Before the passing moment flies : This sounds like a quotation, but I can’t trace it. To go back to the days before the Second World War …: This section refers back to Wild Strawberries. The nice square pews to which the Rev. Caleb Oriel had taken such exception were gone: And at last it seemed probable to Mr Oriel's nearest friends that he was in a fair way to be overcome. Not that he had begun to make love to Beatrice, or committed himself by the utterance of any opinion as to the propriety of clerical marriages; but he daily became looser about his peculiar tenets, raved less immoderately than heretofore as to the atrocity of the Greshamsbury church pews, and was observed to take some opportunities of conversing alone with Beatrice. Trollope, Anthony: Doctor Thorne (1860) Ch 32 Thanks to RB for this. 9 Total vacancy of hoofs : Dickens’s Great Expectations , Chapter 15, where Joe says “and which I meantersay as even a set of shoes all four round might not be acceptable as a present, in a total wacancy of hoofs .” Date of foundation of Eton College : 1440-41 – but does this fit with what is said about Southbridge school in Summer Half and other earlier novels? 10 David Leslie had been a temporary flier ….: Did David ever ackcherly fly? I’m not sure. -
The Fiction of John Buchan, Dornford Yates and Angela Thirkell
Appendix: The Fiction of John Buchan, Dornford Yates and Angela Thirkell John Buchan date of The Dancing Floor is 1926, not 1927 Only Buchan’s fiction is listed here: volumes of short stories carry an asterisk *. The variant American titles are in parentheses. Sir Quixote of the Moors 1895 John Burnet of Barns 1898 Grey Weather* 1899 A Lost Lady of Old Years 1899 The Half-Hearted 1900 The Mountain [unfinished chapters] 1901 The Watcher by the Threshold* 1902 A Lodge in the Wilderness 1906 Prester John (The Great Diamond Pipe) 1910 The Moon Endureth* 1912 Salute to Adventurers 1915 The Thirty-Nine Steps 1915 The Power-House 1916 Greenmantle 1916 Mr Standfast 1919 The Path of the King* 1921 Huntingtower 1922 Midwinter 1923 The Three Hostages 1924 John Macnab 1925 The Dancing Floor 1926 Witch Wood 1927 The Runagates Club* 1928 The Courts of the Morning 1929 Castle Gay 1930 The Blanket of the Dark 1931 The Gap in the Curtain 1932 The Magic Walking Stick 1933 A Prince of the Captivity 1933 The Free Fishers 1934 The House of the Four Winds 1935 The Island of Sheep (The Man from the Norlands) 1936 Sick Heart River (Mountain Meadow) 1941 The Long Traverse (Lake of Gold) 1941 225 226 Appendix Dornford Yates As with the Buchan list, I have listed here only his books, not the separate publi- cation of his short stories. Nearly all Yates’s short stories were collected and pub- lished in book form after their magazine appearance, and these volumes carry an asterisk *. Titles in parentheses are the variant American titles. -
Journal of Arts & Humanities
Journal of Arts & Humanities Edward Burne-Jones’ Art and Music: A Chant of Love Liana De Girolami Cheney1 ABSTRACT This essay examines Edward Burne-Jones’ (August 28, 1833–June 17, 1898) artistic concepts of ut pictura poesis (as is painting, so is poetry) and ut pictura musica (as is painting so is music), a comparison of poetry, music, and painting depicted in his imagery of the Female Musician of 1866 (at the Whitworth Art Gallery in Manchester, UK, Fig. 1), and Music of 1877 (at the Ashmolean Museum in Oxford, UK, Fig. 2). The comparison or paragone between music and art is viewed here in two ways: 1) in a natural realm as an expression of love for a muse, Maria Cassavetti Zambaco; and 2) in a metaphysical realm as a vehicle of artist expression for depicting beauty. Painting and music are then poetical guidance for Burne-Jones’ manifestation of love. Maria is Burne-Jones’ model, muse, and sorceress. His paintings are depictions of musical scenes that capture a poetical world of ardent and endless love, as well the world of the senses, a physical realm, and the world of aesthetics, a metaphysical realm. Keywords: Edward Burne-Jones, Maria Zambaco, paragone (comparison), music, love, art, Pre-Raphaelites. Available Online: 28th September, 2015. This is an open access article under Creative Commons Attribution 4.0 License, 2015. “If music is the food of love, play on”! William Shakespeare, opening words of Twelfth Night” 1 Investigadora de Historia de Arte, SIELAE, Universidad de Coruña, Spain, E-mail: [email protected]. http://www.theartsjournal.org/index.php/site/index 47 Cheney, JAH (2015), Vol. -
"Impudent Scribblers": Place and the Unlikely Heroines of the Interwar Years
Perriam, Geraldine (2011) "Impudent scribblers": place and the unlikely heroines of the interwar years. PhD thesis http://theses.gla.ac.uk/2515/ Copyright and moral rights for this thesis are retained by the author 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 Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] “Impudent Scribblers”: Place and the unlikely heroines of the interwar years Geraldine Perriam BEd, MEd, MRes, Dip. Teach. Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy Department of Geographical and Earth Sciences Faculty of Law, Business and Social Sciences University of Glasgow Deposited in University Library on 18th April, 2011 ABSTRACT The central focus of this thesis is the storytelling of place and the place of storytelling. These elements comprise the geoliterary terrains of narrative, the cultural matrix in which texts are sited, produced and received, including the lifeworld of the author. The texts under scrutiny in this research have been written by women during the interwar years of the 20th Century in Britain and Australia. One of the primary aims of the thesis is to explore the geoliterary terrains (including the space known as the middlebrow) of these texts in light of their relative neglect by contemporary critics in comparison with the prominence given to works written by men during this period. -
William Morris Gallery
GB 0365 MORRIS WILLIAM MORRIS GALLERY This catalogue was digitised by The National Archives as part of the National Register of Archives digitisation project Nra11835 The National Archives CATALOGUE OF THE Morris Collection WILLIAM MORRIS GALLERY WALTHAMSTOW COVER 'Eyebright' chintz designed by "William Morris, 1883. LONDON BOROUGH OF WALTHAM FOREST CATALOGUE OF THE Morris Collection T" H. M. C. 11835 NATIONAL REGISTER OF ARCHIVES WILLIAM MORRIS GALLERY WALTHAMSTOW (D 1969 ist printing 1958 2nd revised edition 1969 The William Morris Gallery and Brangwyn Gift WATER HOUSE, LLOYD PARK, FOREST ROAD, WALTHAMSTOW E.17 TELEPHONE OI-527 5544 EXT: 390 HOURS OF OPENING Weekdays 10-5 (with extensions to 8 p.m. on Tuesday and Thursday from April to September). First Sunday in the month 10-12 and 2-5. Closed Christmas Day, Good Friday, Easter Saturday and Bank Holidays. ADMISSION FREE HOW TO GET THERE From central London: Victoria Line Tube to Blackhorse Road, thence bus 123; Central Line Tube to Leyton, thence bus 69 or 34; Walthamstow Central Station (B.R.), thence buses 38, 69, 262, 275, 276, 34. Green Line coach 718; Bus 38. Bus stop: Bell Corner, Walthamstow. Contents Foreword vi Explanatory Notes viii Catalogue Group A . Cartoons and original designs For general and painted decoration 2 For stained glass 3 For textiles 9 For tiles 14 For wallpapers 14 For furniture 15 For miscellanea 15 Group B. Wallpapers By Morris and Company 16 By Messrs. Arthur Sanderson & Sons Ltd. 19 Wallpaper pattern books 23 Group C. Ceramics and stained glass Ceramics by Morris and Company 24 Ceramics by William De Morgan 25 Stained glass 27 Groups F and N . -
The Burne-Jones Pianos and the Victorian Female Gender Performance
PERFORMING UPON HER PAINTED PIANO: THE BURNE-JONES PIANOS AND THE VICTORIAN FEMALE GENDER PERFORMANCE By AMELIA KATE ANDERSON A THESIS Presented to the Department of the History of Art and Architecture and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2017 THESIS APPROVAL PAGE Student: Amelia Kate Anderson Title: Performing Upon Her Painted Piano: The Burne-Jones Pianos and The Victorian Female Gender Performance This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of the History of Art and Architecture by: Dr. Nina Amstutz Chairperson Dr. Joyce Cheng Member Dr. Marian Smith Member and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2017 ii © 2017 Amelia Kate Anderson iii THESIS ABSTRACT Amelia Kate Anderson Master of Arts Department of the History of Art and Architecture June 2017 Title: Performing Upon Her Painted Piano: The Burne-Jones Pianos and The Victorian Female Gender Performance This thesis centers around three pianos designed and/or decorated by the Victorian artist Sir Edward Coley Burne-Jones: The Priestley Piano, The Graham Piano, and the Ionides Piano. I read and interpret the Burne-Jones pianos not only as eXamples of the artist’s exploration of the boundaries of visual art and music, but also as reflections of the Victorian era female gender performance. Their physical forms and decorations, both designed and eXecuted by Burne-Jones, enhance the piano as an instrument and accentuate their respective female performers. -
Editorial Introduction
Editorial Introduction Meg Tasker This special issue was inspired by a symposium hosted by the National Gallery of Victoria in collaboration with Alison Inglis from the University of Melbourne’s art history program, on the occasion of the major NGV exhibition Medieval Moderns—The Pre-Raphaelite Brother- hood.1 The exhibition, which ran from April to July 2015, was built around the National Gallery of Victoria’s significant collection of Pre-Raphaelite art and design and was accom- panied by a public program of events and a fully illustrated catalogue (Fig. 1). While sumptuous oils and delicate drawings featured in the exhibition, as might have been expected, the diversity of artistic and creative activity associated with Pre-Raphaelitism was also evident. As one reviewer commented: “amongst the drawings, paintings, sculptural works, albumen photographs, and illustrations, curator Laurie Benson has deftly integrated stained glass, textiles, furniture, wallpaper and ceramics.”2 The eclecticism of subject matter and engagement with different media clearly reflected the technical experimentation of the Pre- Raphaelite Brotherhood, as well as their legacy of influence on artists and artisans who are frequently characterised as followers or associates, whether as part of the Arts and Crafts movement, or Aestheticism. The associated symposium (2-4 July 2015) opened with a keynote evening lecture by leading British art historian, Dr. Barbara Bryant, titled “Australia’s Pre- Raphaelite Collection—the People behind the Portraits,” and a guided tour of the exhibition by curator Laurie Benson, followed by sixteen papers Fig. 1. Cover of exhibition catalogue: delivered by curators and scholars with expertise in the Medieval Moderns: The Pre-Raphaelite Brotherhood, NGV, 2015. -
Access Guide
Access Guide We hope this guide supports your visit. Please speak to any member of staff for more information. Map Entrance 2 Contents Effie Gray Millais 8 Christina Rossetti 14 Elizabeth Siddal 24 Annie Miller 34 Fanny Cornforth 38 The Brotherhood 48 Joanna Boyce Wells 58 Fanny Eaton 64 Georgiana Burne-Jones 69 Maria Zambaco 78 Jane Morris 86 Marie Spartali Stillman 97 Evelyn De Morgan 107 3 4 Entrance Introduction Today, the phrase Pre-Raphaelite evokes images of young women with loose hair and flowing garments, as seen in so many paintings of the art movement. The exhibition, Pre-Raphaelite Sisters, opens a new view on the women within and behind the art. How did these women relate to the images? What did they really look like? How did they become involved? How did they fare? What happened to them in later life? The exhibition invites you to explore the creative contribution of women in the Pre-Raphaelite circle and reveals their own artistic ambitions and glimpses of their private lives. Supported by The Tavolozza Foundation, The Michael Marks Charitable Trust and The Peter Cadbury Charitable Trust Belcolore By Dante Gabriel Rossetti (1828–82) This is a fine example of the sexually-alluring type of image for which one of the most recognizable Pre-Raphaelite models, Fanny Cornforth (1835–1909), sat in the 1860s. She is shown in a ‘boudoir’ pose with unbound hair and low-cut gown and holds a rose provocatively to her lips. The title Belcolore is the name of a ‘buxom country wench’ in the Decameron by the fourteenth-century Italian writer, Giovanni Boccaccio.