The Oxford Companion to English Literature, 6Th Edition

Total Page:16

File Type:pdf, Size:1020Kb

The Oxford Companion to English Literature, 6Th Edition B Bab Ballads, a collection of humorous ballads by W. S. lated by J. Harland in 1929 and most of his work is ^Gilbert (who was called 'Bab' as a child by his parents), available in English translation. first published in Fun, 1866-71. They appeared in Babylon, an old ballad, the plot of which is known 'to volume form as Bab Ballads (1869); More Bab Ballads all branches of the Scandinavian race', of three sisters, (1873); Fifty Bab Ballads (1877). to each of whom in turn an outlaw proposes the alternative of becoming a 'rank robber's wife' or death. Babbitt, a novel by S. *Lewis. The first two chose death and are killed by the outlaw. The third threatens the vengeance of her brother 'Baby BABBITT, Irving (1865-1933), American critic and Lon'. This is the outlaw himself, who thus discovers professor at Harvard, born in Ohio. He was, with Paul that he has unwittingly murdered his own sisters, and Elmer More (1864-1937), a leader of the New Hu­ thereupon takes his own life. The ballad is in *Child's manism, a philosophical and critical movement of the collection (1883-98). 1920s which fiercely criticized *Romanticism, stress­ ing the value of reason and restraint. His works include BACH, German family of musicians, of which Johann The New Laokoon (1910), Rousseau and Romanticism Sebastian (1685-1750) has become a central figure in (1919), and Democracy and Leadership (1924). T. S. British musical appreciation since a revival of interest *Eliot, who described himself as having once been a in the early 19th cent, led by Samuel Wesley (1766- disciple, grew to find Babbitt's concept of humanism 1837, son of C. *Wesley) and *Mendelssohn. His inadequate as an alternative to religion, and described youngest son, Johann Christian (1735-82), settled it (in an essay published in 1928 in Forum) as 'a in London in 1762 and became known as the 'English product—a by-product—of Protestant theology in its Bach': he became music-master to the family of George last agonies'. III, and though his operas for London were in the prevailing Italian fashion he also wrote various arias in BABEL, Isaak Emmanuilovich (1894-71941), Russian English and some settings of folk songs. He was Jewish writer born in Odessa, the son of a shopkeeper. painted by his friend *Gainsborough and is buried in St After an Orthodox Jewish upbringing, he arrived in Paneras churchyard. Petrograd in 1915. *Gorky published Babel's first story Back to Methuselah: A Metabiological Pentateuch in 1916. From 1917 Babel served as soldier and war (1918-20) is an infrequently performed cycle of five correspondent, taking part in the Polish campaign with plays by Bernard *Shaw, beginning in the Garden of the First Cavalry in 1920. From this came his mas­ Eden and reaching the year AD 31,920, which examines terpiece, the collection of stories Red Cavalry (1923-5), the metaphysical implications of longevity. Shaw which describes with harsh vigour the savagery of war revised the text and its preface, and added a postscript, and its paradoxical fascination for the intellectual in the mid-i94os when choosing Back to Methuselah to Jewish narrator Lyutov. Many of Babel's other stories represent his work in the Oxford University Press are loosely autobiographical ('The Story of My Dove­ *World's Classics series. cot', 'First Love'), but he also wrote a cycle of stories about a very different Jewish life, that of the Odessan Backbite, Sir Benjamin, one of the scandal-mongers in gangster Benya Krik ('The King', 'How It Was Done in Sheridan's *The School for Scandal. Odessa', and others). Neither his ornamentalist style nor his themes found favour with the Soviet author­ Bacon, Friar, see FRIER BACON, AND FRIER BONGAY. ities, and in the late 1920s he came under increasing BACON, Francis, first Baron Verulam and Viscount St pressure. This led to almost total artistic silence, but he Albans (1561-1626), the fifth son of Sir Nicholas was again attacked at the First Congress of the Union of Bacon, lord keeper to Queen Elizabeth 1558-79, by his Soviet Writers. He was arrested in 1939 and disap­ second marriage, to Lady Anne Cooke. Bacon's mother peared into the Soviet penal system: the date of his was the daughter of Sir Anthony Cooke, tutor to King death is tentative. Like other writers, Babel was Edward VI, and was an exceptionally gifted scholar posthumously rehabilitated, and editions of his and translator in her own right. One of her sisters work appeared in the Soviet Union in the 1950s married the queen's chief minister, *Burleigh. Bacon and 1960s, though his Jewishness would seem to be the was born in London, at York House in the Strand, and reason for a tacit new ban on publication of his work. In with his brother Antony went up to Trinity College, the rest of the world his reputation as a master of the Cambridge, between 1573 and 1575; they were tutored short story continues to grow. Red Cavalry was trans­ by the master, John Whitgift, subsequently archbishop 57 BACON I BACON of Canterbury. As part of his grooming for high public presents to sway his judgement, and at this point both office he spent from 1576 to 1579 with the queen's James and Buckingham abandoned him as scapegoat ambassador to France, Sir Amias Paulet, studying for their own unpopular policies. Bacon's career was statecraft and performing diplomatic duties. Bacon's ruined: he was given a huge fine, imprisoned in the public career suffered two serious setbacks. His father Tower, and forbidden to come within 10 miles of the died suddenly, in Feb. 1579, having settled estates on court. But the fine was never collected; the imprison­ his first four sons, and in the process of doing so for his ment lasted three days, the whole affair being cynically youngest. Deprived of an inheritance, Bacon returned intended to placate the reform party, while the real to England to become a lawyer, entering Gray's Inn in abuses continued. Deprived of power, Bacon was 1579, graduating in 1582. His abilities were soon vulnerable to Buckingham's greed, and was made recognized, and he was appointed a lecturer in law and to sell York House in the Strand. Out of office, he invited to sit on government legal committees while devoted himself fully to writing, producing in quick still in his twenties. In 1581 he became an MP (for succession A History of the Life and Reign of King Bossiney, Cornwall) and served in every parliament *Henry VII (1622), the De Dignitate & Augmentis until 1621, first in the Commons, then in the Lords. He Scientiarum (1623, a Latin expansion of * The Advance­ achieved recognition as a parliamentary speaker, but ment of Learning), the *Essays (1625), and the post­ his boldness in the 1593 session in opposing the humously published * New Atlantis (1627). Until his unusually heavy taxes that the queen wanted led to his downfall, Bacon's writings were the product of the being expelled from royal favour, promotion to higher vacations or other leisure time in a busy public career. legal office going to his rival, *Coke. The queen Simultaneously a Protestant or moderate Calvinist (as continued to employ Bacon in various legal offices, his Confession of Faith shows) and a humanist, sharing severely testing his loyalty to the Crown by appointing that movement's emphasis on the individual's duty to him one of the prosecutors of his former patron the earl take part in a vita activa for the common good, all of *Essex, whose increasingly headstrong behaviour Bacon's intellectual activities were directed towards led him eventually to the scaffold. Under King James, practical ends, from which the whole of society would Bacon achieved the public offices for which he had so benefit. He outlined many schemes for reforming the long been preparing. Knighted in 1603, he became laws, making them easier to understand and more king's counsel in 1604, solicitor-general in 1607, coherent; he wanted the universities to widen their attorney-general in 1613, a privy counsellor in curriculum from the three traditional professions 1616, lord keeper in 1617, and lord chancellor in (theology, law, medicine) to take in the 'arts and 1618. Having more than emulated his father in public sciences at large'; and he was ahead of his time in office, he excelled him in rank, being elevated to the realizing that a continuous growth of knowledge was House of Lords as Baron Verulam in 1618, and created possible. Bacon's plan to reform the whole of natural Viscount St Albans in 1621. Although remarkable, the philosophy (or science), outlined in the fragmentary promotion was well deserved, for Bacon impressed Instauratio Magna (1620), of which the * Novum everybody with his forensic skills, intellectual pene­ Organum was the only more or less complete part, tration, and ability to present complex issues clearly. aimed to effect a new union between 'the mind and the But the higher reaches of state office carried their own universe', from which would spring a range of inven­ dangers, and Bacon increasingly found that his care­ tions to 'overcome the necessities and miseries of fully worked out advice and counsel were ignored both humanity'. (See also BACONIAN THEORY.) by James and by the court favourite, the first earl of Bacon's writings inspired the founding of the *Royal *Buckingham. In the absence of a proper salary Society in 1662, and had a considerable influence on structure, government officials under James depended *Hobbes, *Boyle, *Locke, *Defoe, and many others.
Recommended publications
  • The Letters of Robert Burns 1
    The Letters of Robert Burns 1 The Letters of Robert Burns The Project Gutenberg EBook of The Letters of Robert Burns, by Robert Burns #3 in our series by Robert Burns Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg eBook. This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do not change or edit the header without written permission. Please read the "legal small print," and other information about the eBook and Project Gutenberg at the bottom of this file. Included is important information about your specific rights and restrictions in how the file may be used. You can also find out about how to make a donation to Project Gutenberg, and how to get involved. The Letters of Robert Burns 2 **Welcome To The World of Free Plain Vanilla Electronic Texts** **eBooks Readable By Both Humans and By Computers, Since 1971** *****These eBooks Were Prepared By Thousands of Volunteers!***** Title: The Letters of Robert Burns Author: Robert Burns Release Date: February, 2006 [EBook #9863] [Yes, we are more than one year ahead of schedule] [This file was first posted on October 25, 2003] Edition: 10 Language: English Character set encoding: ISO-8859-1 *** START OF THE PROJECT GUTENBERG EBOOK THE LETTERS OF ROBERT BURNS *** Produced by Charles Franks, Debra Storr and PG Distributed Proofreaders BURNS'S LETTERS. THE LETTERS OF ROBERT BURNS, SELECTED AND ARRANGED, WITH AN INTRODUCTION, BY J.
    [Show full text]
  • AWAR of INDIVIDUALS: Bloomsbury Attitudes to the Great
    2 Bloomsbury What were the anti-war feelings chiefly expressed outside ‘organised’ protest and not under political or religious banners – those attitudes which form the raison d’être for this study? As the Great War becomes more distant in time, certain actions and individuals become greyer and more obscure whilst others seem to become clearer and imbued with a dash of colour amid the sepia. One thinks particularly of the so-called Bloomsbury Group.1 Any overview of ‘alter- native’ attitudes to the war must consider the responses of Bloomsbury to the shadows of doubt and uncertainty thrown across page and canvas by the con- flict. Despite their notoriety, the reactions of the Bloomsbury individuals are important both in their own right and as a mirror to the similar reactions of obscurer individuals from differing circumstances and backgrounds. In the origins of Bloomsbury – well known as one of the foremost cultural groups of the late Victorian and Edwardian periods – is to be found the moral and aesthetic core for some of the most significant humanistic reactions to the war. The small circle of Cambridge undergraduates whose mutual appreciation of the thoughts and teachings of the academic and philosopher G.E. Moore led them to form lasting friendships, became the kernel of what would become labelled ‘the Bloomsbury Group’. It was, as one academic described, ‘a nucleus from which civilisation has spread outwards’.2 This rippling effect, though tem- porarily dammed by the keenly-felt constrictions of the war, would continue to flow outwards through the twentieth century, inspiring, as is well known, much analysis and interpretation along the way.
    [Show full text]
  • Wavebid > Buyers Guide
    Auction Catalog March 2021 Auction Auction Date: Sunday, Feb 28 2021 Bidding Starts: 12:00 PM EST Granny's Auction House Phone: (727) 572-1567 5175 Ulmerton Rd Email: grannysauction@gmail. Ste B com Clearwater, FL 33760 © 2021 Granny's Auction House 02/28/2021 07:36 AM Lot Title & Description Number 12" x 16" Wyland Lucite Limited Edition Orca Family Statue - Free form clear lucite form reminiscent of ice with sun softened edges 1 holding family pod of 3 Orcas/ killer whales, etched Wyland signature lower left, numbered 105/950 lower right - in house shipping available 2 6" x 4" Russian Lacquerware Box Signed and Numbered with Mythic Cavalry Scene - Black Ground, Bright Red Interior - In House Shipping Available Tiffany & Co. Makers Sterling Silver 6 1/2" plate - 16052 A, 7142, 925-1000, beautiful rimmed plate. 5.095 ozt {in house shipping 3 available} 2 Disney Figurines With Original Boxes & COA - My Little Bambi and Mothe # 14976 & Mushroom Dancer Fantasia. {in house shipping 4 available} 2 Art Glass Paperweights incl. Buccaneers Super Bowl Football - Waterford crystal Super Bowl 37 Buccaneers football #1691/2003 & 5 Murano with copper fleck (both in great condition) {in house shipping available} 6 Hard to Find Victor "His Master's Voice" Neon Sign - AAA Sign Company, Coltsville Ohio (completely working) {local pick up or buyer arranges third party shipping} 7 14K Rose Gold Ring With 11ct Smokey Topaz Cut Stone - size 6 {in house shipping available} 8 5 200-D NGC Millennium Set MS 67 PL Sacagawea Dollar Coins - Slabbed and Graded by NGC, in house shipping available Elsa de Bruycker Oil on Canvas Panting of Pink Cadillac Flying in to the distance - Surrealilst image of cadillac floating above the road 9 in bright retro style, included is folio for Elsa's Freedom For All Statue of Liberty Series - 25" x 23" canvas, framed 29" x 28" local pick up and in house shipping available 10 1887 French Gilt Bronze & Enamel Pendent Hanging Lamp - Signed Emile Jaud Et Jeanne Aubert 17 Mai 1887, electrified.
    [Show full text]
  • Carrington, Dora (1893-1932) by Ray Anne Lockard
    Carrington, Dora (1893-1932) by Ray Anne Lockard Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Dora Carrington with Reprinted from http://www.glbtq.com Lytton Strachey. Dora de Houghton Carrington was an English painter, designer and decorative artist whose life and relationships were complex. She is best known for her deep attachment to the homosexual writer Lytton Strachey, but she had affairs with both men and women. Carrington painted only for her own pleasure, did not sign her works, and rarely exhibited them, hence she was not well known as a painter during her lifetime. Even though she was a founding member of the Omega Workshop with Roger Fry, her decorative art also remained unknown to the public until the late 1960s. Born in Hereford, England on March 29, 1893, Dora Carrington was the fourth child of Samuel Carrington and Charlotte Houghton. When Dora was ten years old the family moved to Bedford where she attended a girls' high school and took extra art classes. Seven years later, in 1910, Dora won a scholarship to the Slade School of Art in London where she studied with Henry Tonks and Fred Brown until 1914. During her years at Slade, the artist dropped her first name, becoming known simply as Carrington, and cut her hair into a bowl cut. She was a successful student at the Slade School and was awarded several prizes during her years there. When Carrington was eighteen she met Mark Gertler (1897-1939), a fellow artist who had the most influence on her early years.
    [Show full text]
  • Exploring the Poetry of John Agard and Grace Nichols Part
    Exploring the poetry of John Agard and Grace Nichols Part Two: Grace Nichols As you discovered last week, husband and wife, John Agard and Grace Nichols, are two very well-known and well-regarded poets who are both still living, writing and performing poetry in Britain today. Last week, you looked at a selection of poems by John Agard. This week, the focus is on the poetry of his wife Grace Nichols. Grace Nichols (b. 1950) Grace Nichols was born in Georgetown, Guyana, and lived in a small village on the country's coast until her family moved to the city when she was eight years old. She took a Diploma in Communications from the University of Guyana, and subsequently worked as a teacher (1967–70), as a journalist and in government information services, before she immigrated to the United Kingdom in 1977. Much of her poetry is characterised by Caribbean rhythms and culture, and influenced by Guyanese and Amerindian folklore. Her first collection of poetry, I is a Long-Memoried Woman, won the THINK: What similarities 1983 Commonwealth Poetry Prize. She has written several further books of poetry can you draw between the and a novel for adults, Whole of a Morning Sky, 1986. Her books for children early life of Grace Nichols include collections of short stories and poetry anthologies. Her religion is with that of her husband Christianity after she was influenced by the UK's many religions and multi-cultural John Agard? society. For example, they are both She lives in Lewes, East Sussex, with her partner, the Guyanese poet John Agard.
    [Show full text]
  • Coalescence and the Fiction of Iain Banks
    Études écossaises 12 | 2009 La Science Coalescence and the fiction of Iain Banks David Leishman Electronic version URL: http://journals.openedition.org/etudesecossaises/208 DOI: 10.4000/etudesecossaises.208 ISSN: 1969-6337 Publisher UGA Éditions/Université Grenoble Alpes Printed version Date of publication: 30 April 2009 Number of pages: 215-230 ISBN: 978-2-84310-138-0 ISSN: 1240-1439 Electronic reference David Leishman, « Coalescence and the fiction of Iain Banks », Études écossaises [Online], 12 | 2009, Online since 30 April 2010, connection on 08 September 2020. URL : http://journals.openedition.org/ etudesecossaises/208 ; DOI : https://doi.org/10.4000/etudesecossaises.208 © Études écossaises David Leishman Université Stendhal – Grenoble 3 Coalescence and the fi ction of Iain Banks Iain Banks’s second novel, Walking on Glass, seems to be ideally suited for the 2007 SAES conference theme of “l’envers du décor” or “behind the scenes”, since it is preoccupied with the exploration of literature’s mechanisms and workings and with the frontiers of fi ctional worlds. All this is foregrounded in the novel’s incipit. The opening paragraphs are dominated by the colour white as if to reaffi rm the ultimate liminality of the text, the presence of the blank page that lies permanently beneath (p.11). Meanwhile, an incongruous character has opened up a service hatch in the (white) fl oor and is scrabbling about inside with a torch, the unfamiliar conduit leading to hidden levels and unimagined apparatus that defamiliarise the surface reality and challenge its seamlessness. The text precisely specifi es the time as being “3:33” and this trinity is pre- sented by the narrator as a “good omen”, portentous of “a day events would coalesce” (p.
    [Show full text]
  • MAX BEERBOHM AS a LITERARY CRITIC by BEVERLY JOAN
    MAX BEERBOHM AS A LITERARY CRITIC by BEVERLY JOAN NORBY B.A., University of British Columbia, 1949 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October, 1967 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and Study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by h.i>s representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of ENGLISH The University of British Columbia Vancouver 8, Canada Date October, 1967 ABSTRACT The purpose of this thesis has been to define Max Beerbohm's critical literary principles, to evaluate his con• tribution to aesthetic criticism and thereby to determine his place in the critical tradition. The methods of investi• gation have been: to study the formative influences on the development of his critical principles and to evaluate the results of their application in Max's essays and dramatic criticisms. From this study it is evident that as a man and as an artist Max was "formed" during the Eighteen-nineties. By nature he was an intellectual dandy who always preferred strong, narrow creative personalities like himself. He was detached, fastidious, witty, and humane, and he was noted for his wisdom and sound common sense, even as a very young man.
    [Show full text]
  • Ginosko21.Pdf
    1 Ginosko Literary Journal #21 Summer 2018 GinoskoLiteraryJournal.com PO Box 246 Fairfax, CA 94978 Robert Paul Cesaretti, Editor Member CLMP Est. 2002 Writers retain all copyrights Cover Art “Giacometta” by Deborah Childress 2 ginosko A Greek word meaning to perceive, understand, realize, come to know; knowledge that has an inception, a progress, an attainment. The recognition of truth from experience. γινώσκω 3 The craft or art of writing is the clumsy attempt to find symbols for the wordlessness. In utter loneliness a writer tries to explain the inexplicable. And sometimes if he is very fortunate and if the time is right, a very little of what he is trying to do trickles through — not ever much. And if he is a writer wise enough to know it can't be done, then he is not a writer at all. A good writer always works at the impossible. There is another kind who pulls in his horizons, drops his mind as one lowers rifle sights. And giving up the impossible he gives up writing. Whether fortunate or unfortunate, this has not happened to me. The same blind effort, the straining and puffing go on in me. And always I hope that a little trickles through. This urge dies hard. John Steinbeck 4 C O N T E N T S Sparks 11 Chris Connolly Skater 14 Donna D. Vitucci TWO SECRETS 15 Norbert Kovacs Midnight’s mistress 19 Poor men’s currency 21 The weight of water in would-be mermaid lungs 23 Jessica Simpkiss Skinny 26 Birthday Gifts from A Lover 29 Refuge 30 Tattoo 31 Victoria Endres Ordering in Four Movements 33 Luanne Castle ON A SWEET RIVER 38 Elizabeth
    [Show full text]
  • RBWF Burns Chronicle Index
    A Directory To the Articles and Features Published in “The Burns Chronicle” 1892 – 2005 Compiled by Bill Dawson A “Merry Dint” Publication 2006 The Burns Chronicle commenced publication in 1892 to fulfill the ambitions of the recently formed Burns Federation for a vehicle for “narrating the Burnsiana events of the year” and to carry important articles on Burns Clubs and the developing Federation, along with contributions from “Burnessian scholars of prominence and recognized ability.” The lasting value of the research featured in the annual publication indicated the need for an index to these, indeed the 1908 edition carried the first listings, and in 1921, Mr. Albert Douglas of Washington, USA, produced an index to volumes 1 to 30 in “the hope that it will be found useful as a key to the treasures of the Chronicle” In 1935 the Federation produced an index to 1892 – 1925 [First Series: 34 Volumes] followed by one for the Second Series 1926 – 1945. I understand that from time to time the continuation of this index has been attempted but nothing has yet made it to general publication. I have long been an avid Chronicle collector, completing my first full set many years ago and using these volumes as my first resort when researching any specific topic or interest in Burns or Burnsiana. I used the early indexes and often felt the need for a continuation of these, or indeed for a complete index in a single volume, thereby starting my labour. I developed this idea into a guide categorized by topic to aid research into particular fields.
    [Show full text]
  • Austin Clarke Papers
    Leabharlann Náisiúnta na hÉireann National Library of Ireland Collection List No. 83 Austin Clarke Papers (MSS 38,651-38,708) (Accession no. 5615) Correspondence, drafts of poetry, plays and prose, broadcast scripts, notebooks, press cuttings and miscellanea related to Austin Clarke and Joseph Campbell Compiled by Dr Mary Shine Thompson 2003 TABLE OF CONTENTS Introduction 7 Abbreviations 7 The Papers 7 Austin Clarke 8 I Correspendence 11 I.i Letters to Clarke 12 I.i.1 Names beginning with “A” 12 I.i.1.A General 12 I.i.1.B Abbey Theatre 13 I.i.1.C AE (George Russell) 13 I.i.1.D Andrew Melrose, Publishers 13 I.i.1.E American Irish Foundation 13 I.i.1.F Arena (Periodical) 13 I.i.1.G Ariel (Periodical) 13 I.i.1.H Arts Council of Ireland 14 I.i.2 Names beginning with “B” 14 I.i.2.A General 14 I.i.2.B John Betjeman 15 I.i.2.C Gordon Bottomley 16 I.i.2.D British Broadcasting Corporation 17 I.i.2.E British Council 17 I.i.2.F Hubert and Peggy Butler 17 I.i.3 Names beginning with “C” 17 I.i.3.A General 17 I.i.3.B Cahill and Company 20 I.i.3.C Joseph Campbell 20 I.i.3.D David H. Charles, solicitor 20 I.i.3.E Richard Church 20 I.i.3.F Padraic Colum 21 I.i.3.G Maurice Craig 21 I.i.3.H Curtis Brown, publisher 21 I.i.4 Names beginning with “D” 21 I.i.4.A General 21 I.i.4.B Leslie Daiken 23 I.i.4.C Aodh De Blacam 24 I.i.4.D Decca Record Company 24 I.i.4.E Alan Denson 24 I.i.4.F Dolmen Press 24 I.i.5 Names beginning with “E” 25 I.i.6 Names beginning with “F” 26 I.i.6.A General 26 I.i.6.B Padraic Fallon 28 2 I.i.6.C Robert Farren 28 I.i.6.D Frank Hollings Rare Books 29 I.i.7 Names beginning with “G” 29 I.i.7.A General 29 I.i.7.B George Allen and Unwin 31 I.i.7.C Monk Gibbon 32 I.i.8 Names beginning with “H” 32 I.i.8.A General 32 I.i.8.B Seamus Heaney 35 I.i.8.C John Hewitt 35 I.i.8.D F.R.
    [Show full text]
  • 'Useless Art' Or 'Practical Protest': the Fin
    ‘Useless Art’ or ‘Practical Protest’: The Fin-de-Siècle Artist between Social Engagement and Artistic Detachment Author: Jutta Mackwell PhD The University of Edinburgh 2007 Abstract This thesis follows recent scholarly interest in the British fin de siècle, focussing on the artist and the notion of art within the context of capitalisation and rapidly changing social strata. It claims that the artist can be understood as a socially orientated rather than purely economically motivated player, who tries to position himself and his art within a distinctly transformed cultural landscape. It demonstrates how many texts and art works of the fin de siècle are permeated by a socio-critical and didactical discourse, which serves to legitimize the artist and his art work on the one hand, and aims at the aesthetic education of his audience on the other. This approach allows for a reconciliation of the paradoxical co- existence of socio-critical engagement and the concept of ‘art for art’s sake’ in fin-de-siècle art works. Chapter One, “Leaving the Ivory Tower,” provides a temporal framework for the discussion of the fin de siècle by tracing the development of the eighteenth-century, idealized notion of the artist through the writings of John Ruskin, Matthew Arnold and Walter Pater. It also gestures towards the connection of this tradition to Theodore Adorno’s understanding of ‘social art’. Examining Oscar Wilde’s “The Critic as Artist” within the context of this temporal trajectory, this chapter aims to establish an understanding of the paradoxical demands that face the artist in the light of capitalisation and the development of a mass readership at the end of the nineteenth century.
    [Show full text]
  • Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell
    Copyrights sought (Albert) Basil (Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell) Filson Young (Alexander) Forbes Hendry (Alexander) Frederick Whyte (Alfred Hubert) Roy Fedden (Alfred) Alistair Cooke (Alfred) Guy Garrod (Alfred) James Hawkey (Archibald) Berkeley Milne (Archibald) David Stirling (Archibald) Havergal Downes-Shaw (Arthur) Berriedale Keith (Arthur) Beverley Baxter (Arthur) Cecil Tyrrell Beck (Arthur) Clive Morrison-Bell (Arthur) Hugh (Elsdale) Molson (Arthur) Mervyn Stockwood (Arthur) Paul Boissier, Harrow Heraldry Committee & Harrow School (Arthur) Trevor Dawson (Arwyn) Lynn Ungoed-Thomas (Basil Arthur) John Peto (Basil) Kingsley Martin (Basil) Kingsley Martin (Basil) Kingsley Martin & New Statesman (Borlasse Elward) Wyndham Childs (Cecil Frederick) Nevil Macready (Cecil George) Graham Hayman (Charles Edward) Howard Vincent (Charles Henry) Collins Baker (Charles) Alexander Harris (Charles) Cyril Clarke (Charles) Edgar Wood (Charles) Edward Troup (Charles) Frederick (Howard) Gough (Charles) Michael Duff (Charles) Philip Fothergill (Charles) Philip Fothergill, Liberal National Organisation, N-E Warwickshire Liberal Association & Rt Hon Charles Albert McCurdy (Charles) Vernon (Oldfield) Bartlett (Charles) Vernon (Oldfield) Bartlett & World Review of Reviews (Claude) Nigel (Byam) Davies (Claude) Nigel (Byam) Davies (Colin) Mark Patrick (Crwfurd) Wilfrid Griffin Eady (Cyril) Berkeley Ormerod (Cyril) Desmond Keeling (Cyril) George Toogood (Cyril) Kenneth Bird (David) Euan Wallace (Davies) Evan Bedford (Denis Duncan)
    [Show full text]