Food, Bodies, and Social Attention in Modern Britain by Alice Tsay a Dissertation Submitted in Partial Fulfillm
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Coventry Patmore: Critic of Literature and Art Julitta Gaul Loyola University Chicago
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1941 Coventry Patmore: Critic of Literature and Art Julitta Gaul Loyola University Chicago Recommended Citation Gaul, Julitta, "Coventry Patmore: Critic of Literature and Art" (1941). Master's Theses. Paper 187. http://ecommons.luc.edu/luc_theses/187 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1941 Julitta Gaul - COVENTRY PATMORE CRITIC OF LITERATURE AND ART BY SISTER JULITTA GAUL. S.C.C. A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF :MASTER OF ARTS I:N LOYOLA UNIVERSITY FEBRUARY 1941 ,...... PREFACE The past two decades have witnessed a revival of interest in Coventry Patmore, whom the world has come to know as 11 the poet of nuptial love." In 1921 Frederick Page collected and published a large uumber of Patmore's latest essays under the title of Courage~ Politics and other Essgys, while Osbert Burdett published a microscopic examination of the Patmorean theme under the title The Idea of Patmore. The numerous articles commemorating the centenary of Patmore's birth were followed in 1924 by a biography of his daughter Emily, a religious of the Holy Child Jesus, whose life is a kind of commentary on the odes of ~ Unknown ~· Frederick Page's study of Patmore's poetry appeared in 1933. -
London Borough of Lambeth
LONDON BOROUGH OF LAMBETH LAMBETH ARCHIVES DEPARTMENT Reference number IV/224 Title Morley College Covering dates 1888-2013 Physical extent 29 boxes & 2 volumes Creator Morley College Administrative history Morley College originated in the work of the Coffee Music Halls Company Ltd. who promoted temperance and the arts in London. The college was established by Emma Cons, a visionary and social reformer who fought to improve standards of London’s Waterloo district. In 1880, Cons, with the support of the Coffee Music Halls Company Ltd. leased what is now known as the ‘Old Vic’ theatre and created the Royal Victoria Coffee and Music Hall. In 1882 the hall began to host weekly lectures in which eminent scientists would address the public on a wide range of topics. The success of these lectures led to the establishment of Morley Memorial College for working men and women, named after Samuel Morley, a textile manufacturer, MP and philanthropist who contributed to Morley College. In the 1920s the college moved to Westminster Bridge Road where it remains today although it has since expanded and now includes Morley Gallery and Arts Studio and the Nancy Seear Building. The college has attracted eminent staff including composer Gustav Holst, Director of Music 1907- 1924, a post later filled by Sir Michael Kemp Tippet, 1940-1951. Other high profile personalities associated with the college include composer Ralph Vaughn Williams, writer Virginia Woolf and artist David Hockney. Acquisition or transfer information Collection acquired by Lambeth Archives between 1999-2007 as a gift. Acquisition numbers: 1999/11, 2002/30, 2003/13, 2006/11, 2007/23; ARC/2013/6,8. -
Spring 2009 General Issue
Journal of the Short Story in English Les Cahiers de la nouvelle 52 | Spring 2009 General issue “Echo's Bones": Samuel Beckett's Lost Story of Afterlife José Francisco Fernández Electronic version URL: http://journals.openedition.org/jsse/962 ISSN: 1969-6108 Publisher Presses universitaires de Rennes Printed version Date of publication: 1 June 2009 ISSN: 0294-04442 Electronic reference José Francisco Fernández, « “Echo's Bones": Samuel Beckett's Lost Story of Afterlife », Journal of the Short Story in English [Online], 52 | Spring 2009, Online since 01 December 2010, connection on 03 December 2020. URL : http://journals.openedition.org/jsse/962 This text was automatically generated on 3 December 2020. © All rights reserved “Echo's Bones": Samuel Beckett's Lost Story of Afterlife 1 “Echo's Bones": Samuel Beckett's Lost Story of Afterlife José Francisco Fernández 1 What until very recently was the terra incognita of Beckett studies, his early fiction of the 1930s, has been given a tremendous impulse in the last decade of the 20th century and in the first years of the 21st, thanks, among other things, to the publication in 1992 by Eoin O’Brien and Edith Fournier of Beckett’s first novel Dream of Fair to middling Women (written in 1932). Important scholarly works by John Pilling, such as Beckett before Godot (1997), have shed light on dark aspects of Beckett’s writing at this time, and naturally James Knowlson’s magnificient biography Damned to Fame (1996) has provided a reliable account of the author’s life during this obscure period. 2 Recent scholarship has put much emphasis on Beckett’s readings as a young man, in an attempt to trace the sources of his creative imagination (Beckett’s Books, 2006, by Matthew Feldman, and Notes Diverse Holo, 2006, edited by Matthijs Engelberts and Everett C. -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Pick, J.M. (1980). The interaction of financial practices, critical judgement and professional ethics in London West End theatre management 1843-1899. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/7681/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] THE INTERACTION OF FINANCIAL PRACTICES, CRITICAL JUDGEMENT AND PROFESSIONAL ETHICS IN LONDON WEST END THEATRE MANAGEMENT 1843 - 1899. John Morley Pick, M. A. Thesis submitted for the Degree of Doctor of Philosophy in the City University, London. Research undertaken in the Centre for Arts and Related Studies (Arts Administration Studies). October 1980, 1 TABLE OF CONTENTS Acknowledgements 4 Abstract 5 One. Introduction: the Nature of Theatre Management 1843-1899 6 1: a The characteristics of managers 9 1: b Professional Ethics 11 1: c Managerial Objectives 15 1: d Sources and methodology 17 Two. -
The Development of the Role of the Actor-Musician in Britain by British Directors Since the 1960’S
1 The Development of the Role of the Actor-Musician in Britain by British Directors Since the 1960’s Francesca Mary Greatorex Theatre and Performance Department Goldsmiths University of London A thesis presented in fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) 2 I hereby declare that the work presented in this thesis is my own. Signed: ……………………………………………. 3 Acknowledgements This thesis could not have been written without the generosity of many individuals who were kind enough to share their knowledge and theatre experience with me. I have spoken with actors, musical directors, set designers, directors, singers, choreographers and actor-musicians and their names and testaments exist within the thesis. I should like to thank Emily Parsons the archivist for the Liverpool Everyman for all her help with my endless requests. I also want to thank Jonathan Petherbridge at the London Bubble for making the archive available to me. A further thank you to Rosamond Castle for all her help. On a sadder note a posthumous thank you to the director Robert Hamlin. He responded to my email request for the information with warmth, humour and above all, great enthusiasm for the project. Also a posthumous thank you to the actor, Robert Demeger who was so very generous with the information regarding the production of Ninagawa’s Hamlet in which he played Polonius. Finally, a big thank you to John Ginman for all his help, patience and advice. 4 The Development of the Role of the Actor-Musician in Britain by British Directors During the Period 1960 to 2000. -
Literary Influences in the Art of Dante Gabriel Rossetti
Literary influences in the art of Dante Gabriel Rossetti Item Type text; Thesis-Reproduction (electronic) Authors Oswald, Artell Pikka, 1945- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 18:19:44 Link to Item http://hdl.handle.net/10150/347796 LITERARY INFLUENCES IN THE ART OF DANTE GABRIEL ROSSETTI by Artell Pikka Oswald A Thesis Submitted to the Faculty of the DEPARTMENT OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 19 7 2 STATEMENT BY AUTHOR This thesis has been submitted in partial ful fillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permis sion for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED APPROVAL BY THESIS CO-DIRECTORS This thesis has been approved on the date shown below; <r - 3 ~ 7 ROBERT W. -
An Analysis of the Poetry of Alice Meynell on the Basis of Her Personal Principles of Literature
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1949 An Analysis of the Poetry of Alice Meynell on the Basis of Her Personal Principles of Literature Gertrude Agnes Carter Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the English Language and Literature Commons Recommended Citation Carter, Gertrude Agnes, "An Analysis of the Poetry of Alice Meynell on the Basis of Her Personal Principles of Literature" (1949). Master's Theses. 744. https://ecommons.luc.edu/luc_theses/744 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1949 Gertrude Agnes Carter AN ANALYSIS OF THE POETRY OF ALICE MEYNELL ON THE BASIS OF HER PERSOIlAL PRIBCIl'LES OF LlTERAl'URE BY' Sister Gertrude Agnes Carter A THESIS SUBMITTED IN .t'AH.1'!AL FtJLFlLUlENT OF THE REQUIRl!:MENTS FOR THE DEGREE OF MASTER OF AR'rS IN LOYOLA UNIVERSITY June 1949 VITA Sister Gertrude Agnes was born in Chelsea, Massachusetts, August 31, 1898. She attended St. Rose Ch'ammar and High Schools in Chelsea. The Bachelor of Arts degree with a major in English was con£erred on her by St. Mary-of-the-Woods College, Indiana, June, 1932. In 1942 she received .t'rom the Indiana State Board of Education a lire license to teach Social Studies in the accredited high schools of Indiana The writer has taught in St. -
Dante's Belacqua As Beckett's Modern Everyman1 Miskin
Submitted : 29.09.2020 Accepted : 06.12.2020 Year : December 2020 Volume: 1 Issue: 2 DOI : 10.47333/modernizm.2020265785 FROM SLOTHFUL WANDERERS TO CRAWLING BODIES: DANTE’S BELACQUA AS BECKETT’S MODERN EVERYMAN1 Selvi Danacı2 Abstract Dante Alighieri (1265-1321) was a life-long obsession for Samuel Beckett (1906-1989), and the Divine Comedy (1320) had a great impact on his literary trajectory. Concerned with ―Purgatory‖ in particular, Beckett was fascinated with Dante‘s Belacqua, a character Dante encounters in Ante-purgatory where the souls wait for a lifetime in order to begin their journey of purgation. Belacqua is portrayed by Dante as a slothful figure who is not much interested in purging his soul and seems quite content with his lethargic state. While for Dante, Belacqua is a pitiful soul, an epitome of sloth, and a negative example for humankind; for Beckett, he is the ultimate representative of the modern man who has lost his purpose in life and his will to make sense of the world he occupies. In Beckett‘s novels, then, Dante‘s Belacqua is transformed from an exemplary character serving for a moral message into an ‗everyman‘ figure reflecting the existential predicament of the twentieth- century individual. Dante‘s Belacqua, in this sense, constitutes the gist of Beckett‘s outsider protagonists who are depicted as aimless and indifferent wanderers. Therefore, these characters are portrayed as merely different versions of Belacqua. In this light, this article purposes to discuss how Beckett adapts Dante‘s Belacqua to the twentieth-century context and revives him as the epitome of the modern everyman who suffers from an existential plight, and how Beckett‘s oeuvre is, indeed, shaped by this very character. -
Why We Need Coventry Patmore
Why We Need . WHY WE NEED COVENTRY PATMORE STRATFORD CALDECOTT “With his eye turned firmly outward and upward —to the world and to God—Patmore’s writing reveals a keen perception of the infinite disclosed in every single finite creature.” The soul is the express image of God, and the body of the soul; thence, it, also, is an image of God, and “the human form divine” is no figure of speech. In the Incarnation, the body, furthermore, is God, so that St. Augustine dares to say, “the flesh of Christ is the head of man.” —The Rod, the Root, and the Flower The era of European civilization marked by the French Revolu- tion was one torn between the dialectic movements of Rational- ism and Romanticism. If Rationalism glorified the idea of uni- versal order perceived and attained through the use of reason, Romanticism rejected intellectual order in the name of self-ex- pression; it is associated in philosophy above all with the “turn to the subject” and away from any kind of objectivism. The question of “the” truth was swept away, leaving rather a concern with what was true for me and for you (hence, historicism, evolutionism, rela- Communio 41 (Spring 2014). © 2014 by Communio: International Catholic Review 160 STRATFORD CALDECOTT tivism, and irony)—a glorification of the “active, dynamic and imaginative self,” and the attempt to “express” the world rather than “describe” it. Thus, nature herself becomes a form of self- expression (Hegel). What the Romantic movement caught a glimpse of was that this “self-expression” of nature ultimately means that nature’s innermost form is symbolic. -
Waterloo Guided Walks
WATERLOO GUIDED WALKS Waterloo is a historic and a fascinating neighbourhood, full of surprises, which can be discovered on these self-guided walks. Choose one or two routes through this historic part of South London, or add all four together to make one big circuit. Each section takes about 30 minutes without stops. WWW.WEAREWATERLOO.CO.UK @wearewaterloouk We are working with the Cross River Partnership through their Mayor’s Air Quality Funded programme Clean Air Better Business (CABB) to deliver air quality improvements and encourage active travel for workers, residents and visitors to the area. VICTORIAN WATERLOO Walk through the main iron gate (you are welcome to visit or attend a service) and skirt the church to the right, leaving by the gate hidden in the hedge right behind the building. Follow Secker Street left and right, In medieval times this area was desolate Lambeth Marsh, which only really came to life with the crossing Cornwall Road to Theed Street completion of Westminster Bridge in 1750. Then around a century later the first railways arrived, running above ground level on mighty brick viaducts. Start in Waterloo Station, under the four-faced clock suspended from the roof at the centre of the concourse, a popular meeting 4 spot for travellers for almost 80 years. Theed Street, Windmill Walk and Roupell Street This is one of London’s most atmospheric quarters, much fi lmed, with its nineteenth-century terraces, elegant streetlamps and steeply pitched roofs. The gallery on the corner of Theed Street was once a cello factory and the musical motif continues as you walk: the gate signed ‘The Warehouse’ is home to the London Festival Orchestra, which became independent in the 1980s and performs at major venues and festivals. -
Rapture and Typos in Dante and Beckett
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE DARK PARADISE: RAPTURE AND TYPOS IN DANTE AND BECKETT A thesis submitted in partial fulfillment of the requirements For the degree of Master of Art in Theatre By Robert Lynn Newton December 2012 The thesis of Robert Lynn Newton is approved: __________________________________ __________________ Dr. Ron Popenhagen Date __________________________________ __________________ Dr. Dorothy G. Clark Date __________________________________ __________________ Dr. Ah-Jeong Kim, Chair Date California State University, Northridge ii For Janet Pearson What thoughts, who knows. Thoughts, no, not thoughts. Profounds of mind. Buried in who knows what profounds of mind. Of mindlessness. Whither no light can reach. Samuel Beckett iii TABLE OF CONTENTS Signature Page ii Dedication iii Abstract v Introduction 1 Chapter One 5 Belacqua Real and Imagined Chapter Two 23 Rapture: The Balcony of the Soul Chapter Three 39 Typos: The Footprint of the Creator Chapter Four 56 Rapture II: The Treacherous Moon Chapter Five 70 Dark Paradise Works Cited 82 Works Consulted 85 iv ABSTRACT DARK PARADISE: RAPTURE AND TYPOS IN DANTE AND BECKETT By Robert Lynn Newton Master of Arts in Theatre The intertextuality of Dante and Beckett is examined through the use of dramatic contrasts of light and dark. Rapture represents sentient light, derived from Dante’s study of Aristotle, Ptolemy, and Avicenna. Its opposite Typos is a material form that cancels the light, casts a shadow, or leaves a signature of the creator on the face of creation. Characters in Beckett’s Happy Days, and the stories “Ding-Dong” and “Dante and the Lobster” present manifestations of Dante’s Beatrice figure centered in the attributes of facial expressions as a sign of Rapture. -
“She Left the Window”: Challenging Domestic Ethos in Wilkie Collins's
“She Left the Window”: Challenging Domestic Ethos in Wilkie Collins’s The Woman in White Rachael Zeleny Abstract: Historically, literary critics have considered Wilkie Collins’s Woman in White as yet another example of a novel that tentatively endorses alternate ver- sions of acceptable femininity but ultimately confines women within the traditional- ly confines of domesticity by the novel’s close. To draw such a conclusion, however, would be to overlook Collins’s intertextual relationship with artists and paintings of this time. By employing the lens of visual rhetoric, a reader has a better under- standing of how Collins uses Marian Halcombe’s proximity to windows throughout the novel as a means for challenging domestic ethos to the very last page. Keywords: feminist rhetoric, Pre-Raphaelite art, Wilkie Collins, Victorian art, sensa- tion novels, domestic ethos “I have got nothing and she has a fortune. I am dark and ugly and she is fair and pretty. Everybody thinks me crabbed and odd (with per- fect justice); and everybody thinks her sweet tempered and charming (with more justice still). In short, she is an angel and I am—Try some of that marmalade, Mr. Hartright and finish the sentence, in the name of female propriety, for yourself “ — Marian Halcombe, The Woman in White by Wilkie Collins Wilkie Collins’s sensation novel The Woman in White (1859) was a runaway bestseller. As demonstrated by the quotation above, Marian Halcombe cannot be located within the restrictive categories of Anglo femininity that circulated in mid-nineteenth-century Britain. Marian’s identity crisis rings true consider- ing the popularity of a singular paradigm of middle-class femininity, the Angel in the House, as coined by Coventry Patmore in his 1854 narrative poem of that title.