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Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as -
Ophelia: a Psychological Portrait Xena Fitzgerald Class of 2017
Ophelia: A Psychological Portrait Xena Fitzgerald Class of 2017 The tragic image of Ophelia, a young representation in art contributed to a variety of popular noblewoman who drowns during the play Hamlet, interpretations of her character. has haunted Britain since Shakespeare wrote her into Ophelia as a character is frequently represented existence around the year 1600. Ophelia reached the as various forms of femininity. Art historian Kimberly peak of her popularity around the mid-nineteenth Rhodes explains that during the Victorian era Ophelia century. In the realm of painting, she was a popular represented a range of female typologies from the subject for Pre-Raphaelite painters who were concerned “dutiful daughter” to the “madwoman.”3 Because with tropes of Victorian femininity as well as with Ophelia has very few lines within the play and her most the psychology of their subjects. In this paper I will signifcant action, her death, does not even appear on consider how the artist Anna Lea Merritt (1844-1930), stage, Rhodes describes her as “a blank page on which who was infuenced by the Pre-Raphaelite movement, patriarchy can inscribe and project its desires.”4 Along leapt beyond popular tropes to visually portray Ophelia with other Shakespearean heroines, Ophelia was taken in her 1880 painting with emotional and psychological up as an exemplar for femininity.5 Moral guides such depth more successfully than her contemporaries (fg. 1). as Anna Jameson’s Characteristics of Women, Moral, Born in Pennsylvania, Merritt, like Mary Poetical, and Historical instructed women and girls to Cassatt, pursued an artistic career in Europe. -
Financial Statements 31 July 2012
Financial Statements 31 July 2012 The Conservatoire for Dance and Drama Tavistock House Tavistock Square London WC1H 9JJ Company number: 4170092 Charity number: 1095623 2 Contents Company Information 5 Report of the Board of Governors 6 Conservatoire Student Public Performances 2011-12 17 Statement of Responsibilities of the Board Of Governors 22 Corporate Governance Statement 23 Independent Auditors’ Report to the Members of the Conservatoire for Dance and Drama 27 Income and Expenditure Account 29 Balance Sheet 30 Cash Flow Statement 31 Statement of Principal Accounting Policies 32 Notes to the Financial Statements 33 Copies of these financial statements can be obtained from the registered office overleaf and are available in large print and other formats on request. 3 4 Company Information Governors James Smith CBE (Chairman) Nicholas Karelis (These are all company directors, Prof Christopher Bannerman Sir Tim Lankester charity trustees and members of Rosemary Boot Susannah Marsden the company.) Kim Brandstrup Richard Maxwell Ralph Bernard Alison Morris Kit Brown Simon O’Shea Richard Cooper Luke Rittner Christopher de Pury Anthony Smith Ryan Densham Andrew Summers CMG Emily Fletcher Kathleen Tattersall OBE Melanie Johnson Joint Principal Prof Veronica Lewis MBE Edward Kemp (also Governors and Directors) (Accountable Officer) Clerk to the Board of Governors and John Myerscough/Claire Jones (from Nov 27 2012) Company Secretary Registered Address Tavistock House Tavistock Square London, WC1H 9JJ Affiliates founding London Contemporary -
Catalogue of the Original Manuscripts, by Charles Dickens and Wilkie
UC-NRLF B 3 55D 151 1: '-» n ]y>$i^![^P^P^P^f^^ Bay of aalf. WEDNESDAY, the 18th of JUNE. AT THREE o'CLOCK PRECISELY. )>; ^^jj Note.— The following Facsimiles ivill he found in this Cata- logue :— Lot 2. A page of " The Frozen Deep," in the handwriting of Charles Dickens. Lot 6. The first page of " The Perils of Certain English Prisoners,' in the handwriting of Charles Dickens." Lot 18. The Introduction Page to " The Woman in White," in the handwriting of Wilkie Collins. CATALOGUE OF THE ORIGINAL MANUSCRIPTS, BY CHAELES DICKENS AND WILKIE COLLINS, OF The Frozen Deep, and The Perils of Certain English Prisoners, Poems by Dickens ; The Woman in by Dickens and Collins ; Two White, No Name, Armadale, Moonstone, &c., &c,, by Collins. ^Iso a Uia lills nf f ritiati iJIjiatmals in fabirlj tb^g bntlj took part* WHICH WILL BE SOLD BY AUCTION, BY MESSRS. SOTHEBY, WILKINSON & HODGE, ^udioncfira oi f tkrarg |pr0p£rt5 ^ Morks illuatrattiis oi ilj£ fint ^rts, AT THEIR HOUSE, No. 13, WELLINGTON STREET, STRAND, W.C. On WEDNESDAY, the 18th day of JUNE, 1890, AT THREE o'clock precisely. MAY BE VIEWED TWO DAYS PRIOR. CATALOGUES MAY BE HAD. Dbtden Pbess: J. Davt & Sons, 137, Long Acre, London. CONDITIONS OF SALE. I. The highest bidder to be the buyer ; and if any dispute arise between bidders, the lot so disputed shall be immediately put up again, provided the auctioneer cannot decide the said dispute. II. No person to advance less than I5. ; above five pounds, 25. 6d., and so on in proportion. -
Dicken's Tattycoram and George Eliot's Caterina Sarti Beryl Gray
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln The George Eliot Review English, Department of 2001 Nobody's Daughters: Dicken's Tattycoram and George Eliot's Caterina Sarti Beryl Gray Follow this and additional works at: http://digitalcommons.unl.edu/ger Part of the Comparative Literature Commons, Literature in English, British Isles Commons, and the Women's Studies Commons Gray, Beryl, "Nobody's Daughters: Dicken's Tattycoram and George Eliot's Caterina Sarti" (2001). The George Eliot Review. 411. http://digitalcommons.unl.edu/ger/411 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in The George Eliot Review by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. NOBODY'S DAUGHTERS: DICKENS'S TATTY CORAM AND GEORGE ELIOT'S CATERINA SARTI1 by Beryl Gray Doughty Street, where Dickens lived for three years (1836-9), is within a stone's throw of the site of London's Hospital for Foundling Children, which was established in 1739 by the retired sea-captain, Thomas Coram, whom Dickens venerated. Tavistock House - Dickens's home 1851-60, and where he wrote Little Dorrit, the novel in which Tattycoram appears - was also only a short walk from the Hospital. Dickens entirely approved of the way the 'Foundling' was managed in his own day. The Household Words article 'Received, a Blank Child',' which he co-authored with his sub-edi tor, W. H. Wills, unreservedly praises the establishment's system of rearing, training, and apprenticing its charges. -
Dickens : a Chronology of His Whereabouts
Tracking Charles Dickens : A Chronology of his Whereabouts Previous Dickens chronologies have focused on his life and works : this one does not attempt to repeat their work, but to supplement them by recording where he was at any given date. Dickens did not leave a set of appointment diaries, but fortunately he did leave a lifetime of letters, pinpointing at the head both the date and place of composition. This chronology is based on that information as published in the awesome Pilgrim Edition of his letters published by the Oxford University Press. The source of each entry in the chronology is identified. There are more than 14,000 letters in Pilgrim, giving a wealth of detail for the chronology. Many of the letters, of course, were written from his home or office, but he was an indefatigable traveller, and in the evening he still somehow found the energy to write one from his hotel room. Even so, there are inevitably many dates with no letter, and some of those gaps have been (and will be) filled from information in the letters themselves, and from other reliable sources. Philip Currah. DICKENSDAYS E.B. Elias Bredsdorff, Hans Andersen and Charles Dickens : A Friendship and Its Dissolution.Cambridge, Eng. : Heffer, 1956. 140 p. ill. E.P. Edward F. Payne, Dickens Days in Boston : A Record of Daily Events. Boston : Houghton Mifflin, 1927. 274 p. ill. E.J. Edgar Johnson, Charles Dickens : His Tragedy and Triumph. London : Victor Gollancz, 1953. 2 v. (xxii, 1159, cxcvii p.) ill. J.F. John Forster, The Life of Charles Dickens. -
William Blake Henry Fuseli Auckland City Art Gallery
WILLIAM BLAKE ILLUSTRATIONS OF THE BOOK OF JOB HENRY FUSELI THE THREE WITCHES OF MACBETH AND ASSOCIATED WORKS AUCKLAND CITY ART GALLERY AUGUST 8 - OCTOBER 2 1980 WILLIAM BLAKE (1757-1827) As poet, watercolourist and engraver, Blake was the creator of an idiosyncratic mythology. Born of a lower middle class merchant family, Blake had no academic training, but attended Henry Par's preparatory drawing school from 1767 until his apprenticeship in 1772 to James Basire, engraver to the Society of Antiquaries. At Westminster Abbey,Blake made drawings for Gough's Sepulchral Monuments in Great Britain (1786), thereby immersing himself in the mediaeval tradition, with which he found a spiritual affinity. In 1782 Blake married and moved to Leicester Fields in London, where he completed and published in 1783 his first work, Poetical Sketches. In these early years he developed lasting friendships with the painters Barry, Fuseli and Flaxman, and for a while shared Flaxman's preoccupation with classical art. For his next major publication, Songs of Innocence, completed in 1789, Blake invented a new engraving technique whereby lyrics and linear design could be reproduced simultaneously in several stages in the copper plate. The resulting prints were then hand-coloured. This complete fusion of tint and illustration recalls mediaeval illuminated manuscripts, from which Blake derived obvious inspiration. From 1790 until 1800 Blake lived in Lambeth and produced books, thematically characterised by energetic protest against eighteenth century morality (The Marriage of Heaven and Hell, 1790-3) and against political authority (Ammca 1793, and The French Revolution, 1791). These works corroborate Blake's radicalism, which was demonstrated by his sympathy with Swedenborg in religion, with Mary Wollstonecaft in education, and with the Jacobins during the French Revolution. -
“The Other Woman” – Eliza Davis and Charles Dickens
44 DICKENS QUARTERLY “The Other Woman” – Eliza Davis and Charles Dickens MURRAY# BAUMGARTEN University of California, Santa Cruz he letters Eliza Davis wrote to Charles Dickens, from 22 June 1863 to 8 February 1867, and after his death to his daughter Mamie on 4 August 1870, reveal the increasing self-confidence of English Jews.1 TIn their careful and accurate comments on the power of Dickens’s work in shaping English culture and popular opinion, and their pointed discussion of the ways in which Fagin reinforces antisemitic English and European Jewish stereotypes, they indicate the concern, as Eliza Davis phrases it, of “a scattered nation” to participate fully in the life of “the land in which we have pitched our tents.2” It is worth noting that by 1858 the fits and starts of Jewish Emancipation in England had led, finally, to the seating of Lionel Rothschild in the House of Commons. After being elected for the fifth time from Westminster he was not required, due to a compromise devised by the Earl of Lucan and Benjamin Disraeli, to take the oath on the New Testament as a Christian.3 1 Research for this paper could not have been completed without the able and sustained help of Frank Gravier, Reference Librarian at the University of California, Santa Cruz, Assistant Librarian Laura McClanathan, Lee David Jaffe, Emeritus Librarian, and the detective work of David Paroissien, editor of Dickens Quarterly. I also want to thank Ainsley Henriques, archivist of the Kingston Jewish Community of Jamaica, Dana Evan Kaplan, the rabbi of the Kingston Jewish community, for their help, and the actress Miryam Margolyes for leading the way into genealogical inquiries. -
Charles Dickens and His Cunning Manager George Dolby Made Millions from a Performance Tour of the United States, 1867-1868
Georgia State University ScholarWorks @ Georgia State University Communication Theses Department of Communication 12-17-2014 Making it in America: How Charles Dickens and His Cunning Manager George Dolby Made Millions from a Performance Tour of The United States, 1867-1868 Jillian Martin Follow this and additional works at: https://scholarworks.gsu.edu/communication_theses Recommended Citation Martin, Jillian, "Making it in America: How Charles Dickens and His Cunning Manager George Dolby Made Millions from a Performance Tour of The United States, 1867-1868." Thesis, Georgia State University, 2014. https://scholarworks.gsu.edu/communication_theses/112 This Thesis is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. MAKING IT IN AMERICA: HOW CHARLES DICKENS AND HIS CUNNING MANAGER GEORGE DOLBY MADE MILLIONS FROM A PERFORMANCE TOUR OF THE UNITED STATES, 1867-1868 by JILLIAN MARTIN Under the Direction of Leonard Teel, PhD ABSTRACT Charles Dickens embarked on a profitable journey to the United States in 1867, when he was the most famous writer in the world. He gave seventy-six public readings, in eighteen cities. Dickens and his manager, George Dolby, devised the tour to cash in on his popularity, and Dickens earned the equivalent of more than three million dollars. They created a persona of Dickens beyond the literary luminary he already was, with the help of the impresario, P.T. Barnum. Dickens became the first British celebrity to profit from paid readings in the United States. -
A Christmas Carol 13 by Charles Dickens 13 Title Page Adapted by Gregory A
DECEMBER 2015 Nov 27–Dec 30, 2015 By Charles Dickens Adapted by Gregory A. Falls Directed by John Langs Celebrating 40 years! Photo by Chris Bennion December 2015 Volume 12, No. 6 Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Robin Kessler, Kim Love, Shaun Swick Production Artists and Graphic Design Presented by Mike Hathaway Sales Director Brieanna Bright, Joey Chapman, Gwendolyn Fairbanks, Ann Manning Seattle Area Account Executives GORDON JAMES Marilyn Kallins, Terri Reed, Tim Schuyler Hayman San Francisco/Bay Area Account Executives Brett Hamil Online Editor Jonathan Shipley Associate Online Editor Jonathan Shipley Ad Services Coordinator Carol Yip Sales Coordinator December Holiday Hours M-F: 11 am-6 pm Sat: 11 am-5 pm 10133 Main Street in Bellevue 425-777-4451 www.GordonJamesDiamonds.com Leah Baltus Editor-in-Chief Paul Heppner Publisher Marty Griswold Associate Publisher Dan Paulus Art Director Jonathan Zwickel Senior Editor Gemma Wilson Associate Editor Amanda Manitach Visual Arts Editor The Paul Heppner President Mike Hathaway Vice President Marty Griswold One Director of Business & Community Development PLACE WHERE SNOW FALLS EVERY NIGHT Genay Genereux Accounting Sara Keats Experience the wonder of our spectacular holiday performance with toy soldier drummers, Marketing Coordinator costumed characters, exhilarating music, swirling snowflakes and glittering lights. Corporate Office 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 SNOWFLAKE LANE: 7 pm, Nov. 27 – Dec. 24 CELEBRATION LANE: 7 pm, Dec. 26 – Dec. 31 [email protected] 800.308.2898 x105 www.encoremediagroup.com Learn more at snowflakelane.com Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. -
Drawing After the Antique at the British Museum
Drawing after the Antique at the British Museum Supplementary Materials: Biographies of Students Admitted to Draw in the Townley Gallery, British Museum, with Facsimiles of the Gallery Register Pages (1809 – 1817) Essay by Martin Myrone Contents Facsimile, Transcription and Biographies • Page 1 • Page 2 • Page 3 • Page 4 • Page 5 • Page 6 • Page 7 Sources and Abbreviations • Manuscript Sources • Abbreviations for Online Resources • Further Online Resources • Abbreviations for Printed Sources • Further Printed Sources 1 of 120 Jan. 14 Mr Ralph Irvine, no.8 Gt. Howland St. [recommended by] Mr Planta/ 6 months This is probably intended for the Scottish landscape painter Hugh Irvine (1782– 1829), who exhibited from 8 Howland Street in 1809. “This young gentleman, at an early period of life, manifested a strong inclination for the study of art, and for several years his application has been unremitting. For some time he was a pupil of Mr Reinagle of London, whose merit as an artist is well known; and he has long been a close student in landscape afer Nature” (Thom, History of Aberdeen, 1: 198). He was the third son of Alexander Irvine, 18th laird of Drum, Aberdeenshire (1754–1844), and his wife Jean (Forbes; d.1786). His uncle was the artist and art dealer James Irvine (1757–1831). Alexander Irvine had four sons and a daughter; Alexander (b.1777), Charles (b.1780), Hugh, Francis, and daughter Christian. There is no record of a Ralph Irvine among the Irvines of Drum (Wimberley, Short Account), nor was there a Royal Academy student or exhibiting or listed artist of this name, so this was surely a clerical error or misunderstanding. -
The Frozen Deep Ebook Free Download
THE FROZEN DEEP PDF, EPUB, EBOOK Wilkie Collins | 114 pages | 26 Jul 2018 | Alma Books Ltd | 9781847497673 | English | Richmond, United Kingdom The Frozen Deep PDF Book Sep 28, Kerry Murphy rated it liked it Shelves: , audio. Available at Gutenberg Project. Thomas rated it really liked it Shelves: classics. Frozen Sun. Frozen Story Collection Disney Frozen. Still, there are similarities in the plots of the three characters in both books. If a reader has read A Tale of Two Cities, he or she will see similarities. Characters construct wooden huts and beds and wear nightclothes, women wear veils; men lost in the north keep to the social hierarchy, even when starving and complaining of the cold, and go in search of local townships on the frozen deep. Continue on UK site. The introductory Overture, compact in form and brilliant in character, is marked throughout by skill, taste, and feeling; we may note particularly a duet for Violoncello and Flute, felicitously intimating the tender and pathetic elements of the story, and written with unmistakable affection and the true sympathy of a sister Art. After leaving school at fifteen, Dickens started work as an office boy, but soon taught himself shorthand and entered journalism as a parliamentary reporter. Sign up and get a free eBook! On the other hand, Oscar Wilde, Henry James, and Virginia Woolf complained of a lack of psychological depth, loose writing, and a vein of saccharine sentimentalism. Average rating 3. With his strength and his temper, we understand that if Wardour ever finds out who that man is, he is as good as dead.