Essays. Chosen and Edited with a Pref. and a Few Notes
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Delightful Visibility and Its Limits. Joseph Addison on “The
Delightful Visibility and its Limits. Joseph Addison on “The Pleasures of the Imagination” It is undoubtedly his close connection to Cartesianism1 which leads the French philosopher Nicolas Malebranche at the end of the 17th century to pay little attention to the relevance of the imagination for the realm of the visible. His programme of rationalism with its ambition to marginalize the human faculty of creating images by assigning it to a worthless sense perception renders it almost impossible to recognize the constitutive function of this faculty for visuality in general. A few decades later, however, things change with the emergence of empiricism and the publication of John Locke’s Essay concerning Human Understanding, especially with regard to the differentiation between primary and secondary qualities.2 According to this distinction, qualities like colours, sounds and tastes are not part of the material object itself but constructed in the process of perception. In contrast to primary qualities like extension and figure, which belong directly to the material object, secondary qualities like colours, sounds and tastes emerge from the imagination, proving it to be an important part of perception in general. Concerning these particular notions, it was Locke who gave Joseph Addison the cue for his Essay on the Pleasures of the Imagination.3 As unmistakably announced in the title of his essay, Addison undertakes nothing less than a counter-programme to Malebranche’s devaluation of the imagination, turning towards the delights affiliated with this faculty and at the same time attempting to establish a theoretical approach. Unlike other discourses on the imagination4, he does not attempt to defend or justify a ‚lesser’ human faculty. -
Creating a Sustainable Main Street
Creating A Sustainable Main Street Woodbury, CT SDAT Report Table of Contents INTRODUCTION 1 MARKET 2 COMMUNITY DESIGN 12 ARTS & ARTISANS 34 MOBILITY & LIVABILITY 38 PLACEMAKING 50 MOVING FORWARD 58 TEAM ROSTER & THANKS 61 APPENDICES 64 INTRODUCTION • Inclusive and Participatory Processes. Public participation is the foundation of good community design. The SDAT involves a wide range of stakeholders and utilizes short feedback loops, resulting In December of 2014, Woodbury, CT submitted a proposal to the in sustainable decision-making that has broad public support and ownership. American Institute of Architects (AIA) for a Sustainable Design Assessment Team (SDAT) to assist the community and its citizens in • Objective Technical Expertise. The SDAT Team is assembled to include a range of technical addressing key issues facing the community. The issues included experts from across the country. Team Members do not accept payment for services and serve in economic development, mobility, and urban design. The AIA accepted a volunteer capacity on behalf of the AIA and the partner community. As a result, the SDAT Team the proposal and, after a preliminary visit by a small group in July has enhanced credibility with local stakeholders and can provide unencumbered technical advice. 2015, recruited a multi-disciplinary team of volunteers to serve on the • Cost Effectiveness.Through SDAT, communities are able to take advantage of leveraged resources SDAT Team. In October 2015, the SDAT Team members worked closely for their planning efforts. The AIA contributes up to $15,000 in financial assistance per project. The with local officials, community leaders, technical experts, non-profit SDAT team members volunteer their labor and expertise, allowing communities to gain immediate organizations and citizens to study the community and its concerns. -
PAPER VI UNIT I Non-Fictional Prose—General
PAPER VI UNIT I Non-fictional Prose—General Introduction, Joseph Addison’s The Spectator Papers: The Uses of the Spectator, The Spectator’s Account of Himself, Of the Spectator 1.1. Introduction: Eighteenth Century English Prose The eighteenth century was a great period for English prose, though not for English poetry. Matthew Arnold called it an "age of prose and reason," implying thereby that no good poetry was written in this century, and that, prose dominated the literary realm. Much of the poetry of the age is prosaic, if not altogether prose-rhymed prose. Verse was used by many poets of the age for purposes which could be realized, or realized better, through prose. Our view is that the eighteenth century was not altogether barren of real poetry. Even then, it is better known for the galaxy of brilliant prose writers that it threw up. In this century there was a remarkable proliferation of practical interests which could best be expressed in a new kind of prose-pliant and of a work a day kind capable of rising to every occasion. This prose was simple and modern, having nothing of the baroque or Ciceronian colour of the prose of the seventeenth-century writers like Milton and Sir Thomas Browne. Practicality and reason ruled supreme in prose and determined its style. It is really strange that in this period the language of prose was becoming simpler and more easily comprehensible, but, on the other hand, the language of poetry was being conventionalized into that artificial "poetic diction" which at the end of the century was so severely condemned by Wordsworth as "gaudy and inane phraseology." 1.2. -
Masculinization of Tragedy in Joseph Addison's Cato and George Lillo's
Litera: Dil, Edebiyat ve Kültür Araştırmaları Dergisi Litera: Journal of Language, Literature and Culture Studies Litera 2018; 28(2): 233-252 DOI: 10.26650/LITERA2018-0006 Research Article Masculinization of Tragedy in Joseph Addison’s Cato and George Lillo’s The London Merchant Joseph Addison’un Cato ve George Lillo’nun Londralı Tüccar Eserlerinde Tragedyanın Maskülenleşmesi Sinan GÜL1 ABSTRACT During the 18th century, the development of gender and sexuality in the modern Western world was under tremendous impact of visual and literary culture. Considering this, by examining Addison’s Cato. A Tragedy. By Mr. Addison. Without the Love Scenes (1764) (Latin version) and Lillo’s The London Merchant (1731), this article analyzes the masculine features of the characters of 18th-century tragedies in England and investigates the reasons behind the dismissal and belittlement of love scenes and feminine qualities in those tragedies. In comedies, women and their qualities were openly ridiculed, while in tragedies, masculine values and patriarchal rules were overtly protected. Depicting societal norms and ideals, Cato and The London Merchant portray the evolving notions of masculinity. Despite increasing female influence in political and social culture, love, often associated with feminine qualities, was belittled in domestic and public domains. In doing so, playwrights either entirely ignored the idea of using female characters in their plays, thus creating contextual errors of portraying husbands without wives or sons without mothers, or depicted women as the sources of passion that could potentially destroy society, men in particular. Therefore, the concept of love was neglected, undervalued, or dismissed, with playwrights rather offering patriotic or capitalist virtues to substitute the idea of love so that their plays would be deemed as appropriate for public appreciation. -
May 2018 Newsletter
YOUR MONTHLY GUIDE TO PORT’S LIBRARY BOOKINGS MAY 2018 HARMONY AND HUMANITY WITH THE LEVINS QUICK READS Wednesday, May 16 at 7:30 p.m. Holiday hours Known for their sun-splashed songwriting that celebrates The library will be closed over our common humanity, The Levins were 2016 Northeast Memorial Day weekend: Satur- Regional Folk Alliance (NERFA) Formal Showcase Artists and day, May 26 through Monday, were voted 2014 Falcon Ridge Emerging Artists. May 28. The Levins’ recordings have garnered them invitations to Port Fest perform in Amsterdam, England, and throughout the U.S. They have received recognition and numerous songwrit- Visit the library’s booth at this ing awards in the Children’s, Jewish, Folk, and Indie music fun community gathering! Meet communities. Their unique harmonies and tightly blended and chat with staff, learn about unison vocals, along with their guitar and piano interplay, the latest library offerings, see reflect the couple’s own musical and personal relationship. some new tech, and find ac- tivities for kids. Saturday, May Their 2015 release Trust debuted in the Top 10 Folk chart 19 from 11 a.m. to 4 p.m. on and the Top 20 Roots chart. Tom Staudter of The New York the track between Weber and Times wrote that the album “underscores positive mes- Schreiber. sages of love, peace, and self-awareness. Each tune serves as another stepping stone toward a better day and a richer FOL Book & Author life.” The disc’s title song, “Trust,” was a Top 10 song of 2015 Luncheon for WFUV’s John Platt, who said, “The Levins speak to our There’s still time to reserve your better selves with their crystalline harmonies and uplifting seat—but hurry! The Friends of lyrics.” the Library’s 49th Annual Book & Author Luncheon is on Friday, May 11 at 11 a.m. -
Macaulay's Essays on Milton and Addison... Online
lzh5D (Read download) Macaulay's Essays On Milton And Addison... Online [lzh5D.ebook] Macaulay's Essays On Milton And Addison... Pdf Free From Ingramcontent DOC | *audiobook | ebooks | Download PDF | ePub Download Now Free Download Here Download eBook Ingramcontent 2012-04-01Original language:EnglishPDF # 1 9.69 x .58 x 7.44l, 1.10 #File Name: 1279308583278 pagesMacaulay s Essays on Milton and Addison | File size: 15.Mb From Ingramcontent : Macaulay's Essays On Milton And Addison... before purchasing it in order to gage whether or not it would be worth my time, and all praised Macaulay's Essays On Milton And Addison...: 2 of 2 people found the following review helpful. Literary prodigyBy Mary E. SibleyMacaulay's father was a philanthropist. He read from age three. He took pleasure in conversation. His first literary success was an essay on Milton, 1825. He was appointed a member of the Supreme Council of India.Joseph Addison resided at Magdalen College, Oxford for ten years. He was elected a fellow. His serious attention was concentrated on Latin Poetry. His classical knowledge was confined within narrow limits. Addison imitated Virgil with skill. He was probably introduced by Dryden to Congreve.In 1700 Addison was in France and subsequently in Genoa. Addison was not mean, he was not cowardly. He wrote with a delicate and humane sense of humor. He was in Parliament for nine years. His influence was the result of his literary talents. Addison did not speak in the chamber.Steele had known Addison from childhood. The best writing in THE TATLER was the handiwork of Addison. -
Emplacing and Excavating the City: Art, Ecology, and Public Space in New Delhi
Transcultural Studies 2015.1 75 Emplacing and Excavating the City: Art, Ecology, and Public Space in New Delhi Christiane Brosius, Ruprecht-Karls-Universität Heidelberg Every claim on public space is a claim on the public imagination. It is a response to the questions: What can we imagine together?… Are we, in fact, a collective; is the collective a site for the testing of alternatives, or a ground for mobilising conformity? (Adajania 2008) Introduction Contemporary art production can facilitate the study of a city’s urban fabric, its societal change, and its cultural meaning production; this is particularly the case when examining exhibition practices and questions of how, why, when, where, and by whom artworks came to be emplaced and connected to certain themes and concepts.* Emplacement here refers to the process of constructing space for certain events or activities that involve sensory and affective aspects (Burrell and Dale 2014, 685). Emplacing art thus concerns a particular and temporary articulation of and in space within a relational set of connections (rather than binaries). In South Asia, where contemporary “fine art”1 is still largely confined to enclosed spaces like the museum or the gallery, which seek to cultivate a “learned” and experienced audience, the idea of conceptualising art for and in rapidly expanding and changing cities like Delhi challenges our notions of place, publicness, and urban development. The particular case discussed here, the public art festival, promises—and sets out—to explore an alternative vision of the city, alternative aspirations towards “belonging to and participating in” it.2 Nancy Adajania’s question “What can we imagine together” indirectly addresses which repositories and languages are available and can be used for such a joint effort, and who should be included in the undertaking. -
Download Survey Written Responses
Family Members What place or memorial have you seen that you like? What did you like about it? 9/11 memorial It was inclusive, and very calming. 9/11 Memorial It was beautiful. Park with a wall with names on it. Angels status. Water fountain. Water fountain area and location. Touchscreen info individual memorials Oklahoma City Memorial memorabilia collections 9-11 memorial Place to reflect and remember; reminder of the lessons we should Several Washington DC memorials learn from hateful acts Love that all the names were 911 New York City Place on a water fall Before the 911 Memorial was erected; I visited the site a month after the event. I liked its raw state; film posters adverts still hanging up from films premiered months prior. The brutal reality of the site in baring its bones. The paper cranes left by the schoolchildren. The Holocaust Museum along with the Anne Frank Haus spoke to me; the stories behind the lives of these beautiful people subjected to nothing but hate for who they loved and who they were. The educational component to the Holocaust Museum in D.C. spoke volumes to me. To follow the journey of a Holocaust victim... For Pulse, I see a blend of all of this. To learn the stories of why so many sought refuge and enjoyment there. Why did so many leave their "families"? Because they could not be who they were. I find it is important that we teach this lesson-it's okay to be who you are-we have your back-we love you-we will dance with you-in any form of structure. -
Cato: a Tragedy, in Five Acts
The Project Gutenberg eBook, Cato, by Joseph Addison, et al This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Cato A Tragedy, in Five Acts Author: Joseph Addison Release Date: March 10, 2010 [eBook #31592] Language: English Character set encoding: ISO-8859-1 ***START OF THE PROJECT GUTENBERG EBOOK CATO*** E-text prepared by Delphine Lettau and the Project Gutenberg Online Distributed Proofreading Canada Team (http://www.pgdpcanada.net) C AT O ; A Tragedy, IN FIVE ACTS, BY JOSEPH ADDISON, ESQ. AS PERFORMED AT THE THEATRE ROYAL, COVENT GARDEN. PRINTED UNDER THE AUTHORITY OF THE MANAGERS FROM THE PROMPT BOOK. WITH REMARKS BY MRS. INCHBALD. PARIS, PRINTED FOR BAUDRY, ENGLISH, ITALIAN, SPANISH, PORTUGUESE AND GERMAN LIBRARY, RUE DU COQ-SAINT-HONORÉ. 1823. REMARKS. The author of this tragedy, to whose vigorous mind the English are indebted for their choicest moral works, came into the world with a frame so weak, that he was christened immediately on his birth, in consequence of the symptoms he gave of a speedy dissolution. The hand which reared him did a more than ordinary service to the age in which he lived, and to succeeding generations. Addison's pious writings, untainted by the rigour of superstition, have softened the harsh spirit of ancient religion, whilst they have confirmed all its principles. He was the son of the Reverend Launcelot Addison, Rector of Milston, in the county of Wilts, at which place he was born, on the 6th of May, 1672. -
TOM LOESER DEPARTMENT of ART 2826 Lakeland Ave 6241
TOM LOESER DEPARTMENT OF ART 2826 Lakeland Ave 6241 Humanities Building Madison, WI 53704 University of Wisconsin-Madison Mobile: 608-345-6573 Madison, WI 53706 Email: [email protected] www.tomloeser.com EDUCATION 1992 MFA, University of Massachusetts-Dartmouth, Dartmouth, MA 1983 BFA, Furniture Design, Boston University, Boston, MA 1979 BA, Sociology and Anthropology, Haverford College, Haverford, PA ACADEMIC APPOINTMENTS 2002-present Professor of Art, University of Wisconsin, Madison, WI 2017 Program Leader, UW in London Program 2009-2014 Department Chair, Art Department, University of Wisconsin-Madison 1996-2002 Associate Professor of Art, University of Wisconsin, Madison, WI 1992-1996 Assistant Professor of Art, University of Wisconsin, Madison, WI 1991-1992 Instructor, Art Department, University of Wisconsin, Madison, WI 1989-1990 Adjunct Professor, California College of Arts and Crafts, Oakland, CA 1988 Instructor, Rhode Island School of Design, Providence, RI 1987 Instructor, Rhode Island School of Design, Providence, RI 1987 Instructor, Swain School of Design, New Bedford, MA HONORS AND AWARDS 2015-present University of Wisconsin, Vilas Research Professor 2015-2020 University of Wisconsin, WARF Named Professorship 2013 Wisconsin Visual Art Lifetime Achievement Award, awarded by the Museum of Wisconsin Art, Wisconsin Visual Artists and the Wisconsin Academy of Sciences. 2012 Elected to American Craft Council College of Fellows 2006 Wisconsin Arts Board Visual Arts Fellowship 2006 University of Wisconsin Kellett Mid-Career Award 2004 -
National Endowment for the Arts FY 2017 Fall Grant Announcement
National Endowment for the Arts FY 2017 Fall Grant Announcement State and Jurisdiction List Project details are accurate as of December 7, 2016. For the most up to date project information, please use the NEA's online grant search system. The following categories are included: Art Works, Art Works: Creativity Connects, Challenge America, and Creative Writing Fellowships in Poetry. The grant category is listed with each recommended grant. All are organized by state/jurisdiction and then by city and then by name of organization/fellow. Click the state or jurisdiction below to jump to that area of the document. Alabama Louisiana Oklahoma Alaska Maine Oregon Arizona Maryland Pennsylvania Arkansas Massachusetts Rhode Island California Michigan South Carolina Colorado Minnesota South Dakota Connecticut Mississippi Tennessee Delaware Missouri Texas District of Columbia Montana Utah Florida Nebraska Vermont Georgia Nevada Virginia Hawaii New Hampshire Virgin Islands Illinois New Jersey Washington Indiana New Mexico West Virginia Iowa New York Wisconsin Kansas North Carolina Wyoming Kentucky Ohio Some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Information is current as of December 7, 2016. Alabama Number of Grants: 6 Total Dollar Amount: $120,000 Alabama Dance Council, Inc. (aka Alabama Dance Council) $30,000 Birmingham, AL Art Works - Dance To support the 20th anniversary of the Alabama Dance Festival. The statewide festival will feature performances and a residency by CONTRA-TIEMPO. The festival also will include a New Works Concert featuring choreographers from the South, regional dance company showcases, master classes, workshops, community classes, and a Dance for Schools program. -
Andrew Kahn, Introduction to Montesquieu's Persian Letters
Andrew Kahn, introduction to Montesquieu’s Persian Letters (1721] (Oxford Classics 2008), pp.xxii-ii. The following extract from Andrew Kahn’s Introduction the Persian Letters (1721) by Baron de Montesquieu shows how the idea of reporting on the nature of European society from the standpoint of remote foreigners such as Indians or Asiatics had caught hold of the imaginations of literary men in England and France in that period. His version of events reveals that Swift himself has the idea of writing “Indian Letters” and was beaten to it by his contemporary, the English man of letters and journalist Joseph Addison. Although Gulliver’s Travels is modelled on a genre of exotic travel-book including Marco Polo’s Travels (1323) and The Travels of Sir John Mandeville (1499), the trick of ‘defamiliarisation’ applied to European society in account of it given to the denizens used by Swift in Gulliver’s Travels (1726)—a reversal of the method—is very much of the same order as Montesqueiu’s letters and Addison’s “Indian Letter” before it, both of which he was most likely to have known when he put pen to paper to write the Travels in 1723. We can only guess at the precise impulse that led Montesquieu to conceive his oriental fiction. Montaigne’s reputation had lapsed during the height of French classicism, and he ceased to be reprinted for about fifty years from the 1670s; but, as we know from his notebooks, Montesquieu read and esteemed him and would certainly have known Montaigne’s great essay On Cannibals of 1580.