The Rebel, December 1918
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The Rat Pack and the British Pierrot
THE RAT PACK AND THE BRITISH PIERROT: NEGOTIATIONS OF NATIONAL IDENTITY, ALIENATION AND BELONGING IN THE AESTHETICS AND INFLUENCES OF CONCERTED TROUPES IN POPULAR ENTERTAINMENT. DAVE CALVERT A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Arts by Research The University of Huddersfield January 2013 Abstract The thesis below consists of an introduction followed by three chapters that reflect on the performance work of two distinct forms, the British Pierrot troupe and the Rat Pack. The former is a model of performance adopted and adapted by several hundred companies around the British coastline in the first half of the twentieth century. The latter is an exclusive collaboration between five performers with celebrated individual careers in post-World War Two America. Both are indebted to the rise of blackface minstrelsy, and the subsequent traditions of variety or vaudeville performance. Both are also concerned with matters of national unity, alienation and belonging. The Introduction will expand on the two forms, and the similarities and differences between them. While these broad similarities lend a thematic framework to the thesis, the distinctions are marked and specific. Accordingly, the chapters are discrete and do not directly inform or refer to each other. Chapter One considers the emergence of the Pierrot troupe from a historical European aesthetic and argues that despite references to earlier Italian and French modes of performance, the innovations of the new form situate the British Pierrot in its contemporary and domestic context. Chapter Two explores this context in more detail, and looks at the Pierrot’s place in a symbolic network that encompasses royal imagery and identity, the racial implications of blackface minstrelsy and the carnivalesque liminality of the seaside. -
Book Reviews
BOOK REVIEWS The Rural Tradition: a Study of the Non-Fiction Prose Writers of the English Countryside. By W.J. Keith. Toronto: University of Toronto Press, 1974. Pp. xiv, 310. $15.00. Thirteen years ago, a young university teacher and novelist enquired what I had done my recently completed Ph.D. dissertation on; and when I told him it was on George Sturt and English rural labouring life, he asked if 1 was joking. I could see why. On the face of it, writers like Sturt or Richard Jefferies - assuming one knew of them at all - were simply not the kind whose non-fiction about rural life demanded academic treatment. They wrote about relatively uncomplicated beings and doings, in lucid and unostentatious prose. There were no metaphysical depths to sound in them, no paradoxes to tease out, no striking historical obscurities to elucidate. Their works did not belong in any obvious genre, and there had been no significant critical controversies about them. Yet these very qualities could make such writers peculiarly interesting to work on if one was moved by them and wanted to find out why. 1n 1965, W.J. Keith gave us the first academic book on Richard Jefferies, based in part on an MA. thesis of his own. It was a very decent piece of work, unmarred by special pleading or a self-servingly ingenious discovery of non-existent complexities, and it was well calculated to get Jefferies taken seriously by readers ignorant of, or prejudiced against, the important review-article on hirp by Q.D. Leavis in Scrutiny (1938). -
The Collected Lord Fred
T h e C o l l ec t e d P o e m s o f Lord fred D o u glas L o n d o n M a r t i n S e e k e r xvii Buc kingham Street Ade lphi T h e C o l l e c t e d P o e m s o f Lord fred D o u gl as L o n d o n M a r t i n S e e k e r xvu Buckingham Stre et Ade lphi LIBRAA Y UNIVE RS ITY OF CALIF ORNIA S ANTA BARBARA 0 M Y MOTHE R T HE poems in thi s collection dating from about 1 890 to the 1 1 e present year 9 9, are print d in something approximating to ch ro i d n olog c al or er. Consequently readers are invited to note that the ll best poems are not , genera y speaking, to be found in the begin i n ng of the volume . A D . Contents 1 1 Apologia , 1 Autumn Days , 3 1 To Shakespeare, 4. Am oris I Vincula , 5 1 6 A Summer Storm , 1 A Winter Sunset , 7 1 8 In Summer , 2 0 In Winter, e 2 1 In Sarum Clos , 2 2 The Sphynx, o 2 Impressi n de Nuit , 3 To L 2 4 2 Night Coming Into a Garden, 5 2 6 Night Coming Out of a Garden , P e 2 rkin Warbeck, 7 6 A Song, 3 Et ern elle Plainte , 3 7 F - - Jonquil and leur de lys , 39 A Prayer, : In Memoriam Francis Archibald Douglas , The Image of Death, Vae Victis 49 1 The Garden of Death, 5 To Sleep, 5 3 Ode to My Soul , 54. -
December 6, 2011 (XXIII:15) George Cukor, MY FAIR LADY (1964, 170 Min.)
December 6, 2011 (XXIII:15) George Cukor, MY FAIR LADY (1964, 170 min.) Directed by George Cukor Book of musical play by Alan Jay Lerner From a play by George Bernard Shaw Screenplay by Alan Jay Lerner Produced by Jack L. Warner; James C. Katz (1994 restoration) Original Music by André Previn Cinematography by Harry Stradling Sr. Film Editing by William H. Ziegler Production Design by Cecil Beaton and Gene Allen Art Direction by Gene Allen and Cecil Beaton Costume Design by Cecil Beaton and Michael Neuwirth Musical play lyrics by Alan Jay Lerner Music by Frederick Loewe Choreography by Hermes Pan Audrey Hepburn...Eliza Doolittle Rex Harrison...Professor Henry Higgins Stanley Holloway...Alfred P. Doolittle Report, 1960 Let's Make Love, 1960 Heller in Pink Tights, 1957 Wilfrid Hyde-White...Colonel Hugh Pickering Wild Is the Wind, 1957 Les Girls, 1956 Lust for Life, 1956 Gladys Cooper...Mrs. Higgins Bhowani Junction, 1954 A Star Is Born, 1954 It Should Happen Jeremy Brett...Freddy Eynsford-Hill to You, 1953 The Actress, 1952 Pat and Mike, 1952 The Theodore Bikel...Zoltan Karpathy Marrying Kind, 1950 Born Yesterday, 1950 A Life of Her Own, Mona Washbourne...Mrs. Pearce 1949 Adam's Rib, 1949 Edward, My Son, 1947 A Double Life, Isobel Elsom...Mrs. Eynsford-Hill 1944 Gaslight, 1942 Keeper of the Flame, 1940 The John Holland...Butler Philadelphia Story, 1939 The Women, 1936 Camille, 1936 Romeo and Juliet, 1935 Sylvia Scarlett, 1935 David Copperfield, 1965 Academy Awards: 1933 Little Women, 1933 Dinner at Eight, 1932 Rockabye, 1932 Best Picture – Jack L. Warner A Bill of Divorcement, 1932 What Price Hollywood?, 1931 Best Director – George Cukor Tarnished Lady, 1930 The Royal Family of Broadway, 1930 The Best Actor in a Leading Role – Rex Harrison Virtuous Sin, and 1930 Grumpy. -
Bertram Rota
January 2013 Bertram Rota Ltd 31 LONG ACRE COVENT GARDEN, LONDON WC2E 9LT Telephone: + 44 (0) 20 7836 0723 * Fax: + 44 (0) 20 7497 9058 E-mail: [email protected] www.bertramrota.co.uk IN OUR NINETIETH ANNIVERSARY YEAR From the Gavin H. Fryer Collection a fine selection of works by Joseph Conrad, Compton Mackenzie, V.S. Pritchett and others Catalogue 308 Part II Established 1923 TERMS OF BUSINESS. The items in this catalogue are offered at net sterling prices, for cash upon receipt. Charges for postage and packing will be added. All books are insured in transit. PAYMENT. We accept cheques and debit and credit cards (please quote the card number, start and expiry date and 3 digit security code as well as your name and address). For direct transfers: HSBC, 129 New Bond Street, London, W1A 2JA, sort code 40 05 01, account number 50149489 . VAT is added and charged on autograph letters and manuscripts (unless bound in the form of a book), drawings, prints and photographs WANTS LISTS. We are pleased to receive lists of books especially wanted. They are given careful attention and quotations are submitted without charge. We also provide valuations of books, manuscripts, archives and entire libraries. HOURS OF BUSINESS. We are open from 10.30 to 6.00 from Monday to Friday. Appointment recommended. Unless otherwise described, all the books in this catalogue are published in London, in the original cloth or board bindings, octavo or crown octavo in size. Dust-wrappers should be assumed to be present only when specifically mentioned. Featuring in particular works by Conrad and those two other literary masters of their time, Compton Mackenzie and V.S. -
From Pedrolino to a Pierrot: the Origin, Ancestry and Ambivalence of the British Pierrot Troupe
University of Huddersfield Repository Calvert, Dave From Pedrolino to a Pierrot: The Origin, Ancestry and Ambivalence of the British Pierrot Troupe Original Citation Calvert, Dave (2013) From Pedrolino to a Pierrot: The Origin, Ancestry and Ambivalence of the British Pierrot Troupe. Popular Entertainment Studies, 4 (1). pp. 6-23. ISSN 1837-9303 This version is available at http://eprints.hud.ac.uk/id/eprint/17298/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ 6 Dave Calvert University of Huddersfield, UK From Pedrolino to a Pierrot: The Origin, Ancestry and Ambivalence of the British Pierrot Troupe In this article, the author considers the British development of the seaside Pierrot troupe, arguing that its construction is consistent with the notion of invented tradition, and the associated concerns with identity and nationality. -
Replacement List of Fiction, Compiled by the A.L.A
REGIONAL LIBRARY DEPOSITOR~Y _ D - 3 , s5o oo~ 263 ess • REPLACEMENT LIST OF FICTION • • • REPLACEMENT LIST OF FICTION • COMPILED BY THE A.L.A. EDITORIAL STAFF FROM REPORTS OF PRACTICE IN TWELVE REPRESENTATIVE LIBRARIES S@cond Edition ) • CHICAGO AMERICAN LIBRARY ASSOCIATION 1939 .---..... -- - I - • • PREFACE • This edition o:f the Replacement list of fictiol1 is e. t'eeord nasea on reDorten Dra.er.1ce 1 not on ontn1on -- eltllBr or a connnr~; toa or an im11v1dual .__ aa ~o wbal. l.ll.lea l1lJI·az~iiis shoulc;1 re place. It includes titles of fiction which ar@ t'eported to ~ actually ana rr~quentlY reDlacect bY reDreeentAt1ve Amerlrum 11- orarles. on 1nstruct1ona !rom and w1tn tno advioo ot th~ Edit9rlal Committee, the editorial sla.tf ol the A.L.A. Publishfne Oepat't ment selected twelve 11b!"ar1es tn rour groups serv1ng ~opuJ~tions • or rrom 10,000 to 41 000 1 000. Theae libraries were aakad to aheok tbe tirat e<11t1on ot Replacoment list ot :t'iction for title~ whlch Copyri<]ht 1939 by the they would still replace and were asked to furnish 11s~s or addi AMERICAN LIBRARY AssOCI ATJON tional titlea or or titlea tn atrrerent enltlona rrom tnoso 1n tho main list whi"b they would re-purcbaae when or1s1m~l copiee had to Published August 1939 be "!thdraYfll .trom clrculQ.tion. This iD.!ormatlon w-4~ combined at A.L.A. headqwrrtenJ4 No attempt was made to reeonc1le differing op1n1ona. If a t1tle was tnclurtea by only one ot tna llorarlan 1n a oooulatton grouD, it was 1ncluaea 1n tlle list. -
The Early Life and Adventures of Sylvia Scarlett
The Early Life and Adventures of Sylvia Scarlett By Compton Mackenzie Sylvia Scarlett CHAPTER I THE first complete memory of her father that Sylvia possessed was of following her mother out into the street on a clear moonlight night after rain and of seeing him seated in a puddle outside the house, singing an unintelligible song which he conducted with his umbrella. She remembered her mother's calling to him sharply, and how at last after numerous shakings and many reproaches he had walked into the house on all fours, carrying the umbrella in his mouth like a dog. She remembered that the umbrella was somehow wrong at the end, different from any other umbrella she had ever seen, so that when it was put into the hall-stand it looked like a fat old market woman instead of the trim young lady it should have resembled. She remembered how she had called her mother's attention to the loss of its feet and how her mother, having apparently realized for the first time her presence at the scene, had promptly hustled her up-stairs to bed with so much roughness that she had cried. When Sylvia was older and had become in a way her mother's confidante, sitting opposite to her in the window to sew until it was no longer possible to save oil for the lamp, she ventured to recall this scene. Her mother had laughed at the remembrance of it and had begun to hum the song her father had sung: La donna è mobile La da-di la-di-da. -
Compton Mackenzie
Compton Mackenzie: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Mackenzie, Compton, 1883-1972 Title: Compton Mackenzie Papers Dates: 1816-1970, undated Extent: 199 document boxes (83.58 linear feet), 1 oversize folder (osf), 40 galley files (gf) Abstract: The papers of Scottish writer Compton Mackenzie provide detailed documentation of his entire professional and personal life. Also included are the papers of his parents, actors Edward Compton and Virginia Bateman Compton, and of his first wife, writer Faith Compton Mackenzie, as well as small collections pertaining to his grandmother, actor Sidney Frances Cowell Bateman, and his friend, writer Norman Douglas. Call Number: Manuscript Collection MS-02620 Language: English, French, Gaelic, German, Greek, Italian Access: Open for research. Researchers must create an online Research Account and agree to the Materials Use Policy before using archival materials. Use Policies: Ransom Center collections may contain material with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations. Researchers are advised that the disclosure of certain information pertaining to identifiable living individuals represented in the collections without the consent of those individuals may have legal ramifications (e.g., a cause of action under common law for invasion of privacy may arise if facts concerning an individual's private life are published that would be deemed highly offensive to a reasonable person) for which the Ransom Center and The University of Texas at Austin assume no responsibility. Restrictions on Authorization for publication is given on behalf of the University of Use: Texas as the owner of the collection and is not intended to include or imply permission of the copyright holder which must be obtained by the researcher. -
The Chronicle Novel Op Compton Mackenzie 1937-1945 a Study Op the Four Winds Op Love
1179 UNIVERSITY D'OTTAWA ECOLE DES GRADUES THE CHRONICLE NOVEL OP COMPTON MACKENZIE 1937-1945 A STUDY OP THE FOUR WINDS OP LOVE by John A. MacPherson Thesis presented to the Faculty of Arts of the University of Ottawa in partial fulfillment of the requirements for the degree of Doctor of Philosophy Tf.we>JO..„. V / Antigonish, Nova Scotia, 1966 UNIVERSITY OF OTTAWA SCHOOL OF GRADUATE STUDIES UMI Number: DC53810 INFORMATION TO USERS 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 bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send 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. UMI UMI Microform DC53810 Copyright 2011 by ProQuest LLC All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 UNIVERSITE D OTTAWA ECOLE DES GRADUES ACKNOWLEDGMENTS This thesis was prepared under the supervision of Doctor Alphonse P. Campbell of the English Department of the University of Ottawa. The writer is indebted to the executive officers of St. Francis Xavier University, Antigonish, Nova Scotia, for their interest in this project and for a leave of absence from professional duties which permitted its writing. For the considerable assistance of the librarians of the University of Texas, McGill University, Harvard Univer sity, St. -
Compton Mackenzie
COMPTON MACKENZIE LO SCRITTORE CHE SI PRESE GIOCO DELLA BUROCRAZIA DEI SERVIZI PAOLO BERTINETTI Scrittore inglese di origini scozzesi, Edward Montague Compton Mackenzie raggiunge il successo nella prima metà del XX secolo. Inizialmente apprezzato, poi deluso da recensioni poco lusinghiere perché i testi sono ritenuti frutto di fantasia, decide di ricorrere alla narrazione autobiografica e ricostruire la propria esperienza di agente segreto. Se l’intento in Greek Memories è di ricostruire fedelmente le vicende vissute, il tono è quello di un thriller ma con digressioni ironiche sul funzionamento della burocrazia dei Servizi segreti, che gli costano persino la condanna per aver violato l’Official Secret Act. La narrazione si fa ancora più pungente in Water in the Brain, dove evidenzia l’ossessione dei Servizi segreti britannici per i regolamenti in materia di segretezza. Edward Montague Compton Mackenzie (1883-1972), oltre a essere stato uno dei fondatori dello Scottish National Party – circostanza che non gli fu di aiuto quando si trovò nel mirino delle autorità Sirbritanniche – fu uno dei protagonisti della scena culturale inglese della prima metà del Novecento. Nato in Inghilterra da una fami- glia di attori di origine scozzese e laureatosi in Storia al Magdalen College di Oxford, giunse al successo letterario con Sinister Street (1914) e il sequel Vita e avventure di Sylvia Scarlett (1918), romanzi apprezzati da scrittori del calibro di Henry James, Ford Maddox Ford, Francis Scott Fitzgerald. D.H. Lawrence sostenne addirittura che il libro relativo a Sylvia Scarlett era «come la vita». Lo stesso cinema ne ripropose il fascino attraverso il film che ne trasse George Cukor nel 1935, che tuttavia si rivelò un clamoroso fiasco: Syl- via, esuberante e disinvolto personaggio interpretato da Katharine Hepburn, almeno per l’America di quei tempi era troppo osé; da noi un po’ meno, ma la versione italiana, tanto per mettere le mani avanti, fu significativamente intitolata Il diavolo è femmina. -
COMPTON MACKENZIE and HIS WORK by Sheila Kaye-Smith
COMPTON MACKENZIE AND HIS WORK By Sheila Kaye-Smith OR a week I have gazed across the the most important of the arts. He Fsea at Compton Mackenzie's island would give that honor to music, though home of Jethou. Every day I have he himself is no performer and serves planned to cross over, and every day I his Goddess but in the most humble have been defeated, either by fog or capacity. wind or the failure of the only available Because he has kept out of the main motor boat on my own island. It is no stream of London literary life and kept joke, this Great Russell between Sark himself free of the philosophies and and Jethou, by no means to be negoti conventions of literary people, there is ated by small craft in bad weather; and about his work an originality and a the Little Russell on the farther side be freedom which can scarcely be found tween Jethou and Guernsey is not elsewhere in modern English literature. much better. Perhaps the aloofness is the conse Compton Mackenzie has chosen to quence of the originality and freedom exile himself upon his island, and this rather than their cause, but no matter is typical of both the man and his work. how these two may stand in relation to As a rule the average English man each other as cause and effect, there is novelist can be found either in Chelsea no denying that Compton Mackenzie's or Bloomsbury, if he is not at the Sav position in modern English literature is age Club.