Ruthven Todd's Blake Papers at Leeds
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Poetry Prose
CONTEMPORARY POETRY AND PROSE Poems by Wallace Stevens Dylan Thomas E. E. Cummings Gavin Ewart Kerker Quinn Ruthven Todd Kenneth Allott Roger Roughton Short Story by Isaac Babel A Labrador Ballad - An Appalachian Ballad A Greenland Folk-Legend July 1936. Monthly. Sixpence CONTEMPORARY POETRY AND PROSE July 1936 Monthly Sixpence CONTENTS POEM E. E. Cummings THREE POEMS Kenneth Allott FAREWELL TO FLORIDA Wallace Stevens Two POEMS TOWARDS A POEM Dylan Thomas DOLLFUSS DAY, 1935 Gavin Ewart WORM INTERVIEWED Ruthven Todd MAKING FEET AND HAND,S Benjamin Peret MORALITY PLAY Kerker Quinn SOLUBLE NOUGHTS AND CROSSES; or, CALIFORNIA, HERE I COME Roger Roughton THE BALLAD OF Miss COLMAN (Anon) THE PROUD LAMKIN (Anon) NUKARPIARTEKAK (Anon) IN THE BASEMENT Isaac Babel Poem by E. E. Cummings little joe gould Has lost his teeth and doesn't know where to find them (and found a secondhand set which click)'little gould used to amputate his appetite with bad brittle candy but just (nude eel) now little joe lives on air Harvard Brevis Est for Handkerchief read Papernapkin no laundry bills likes People preferring Negroes Indians Youse n.b. ye twang of -little joe (yankee) gould irketh sundry who are trying to find their minds (but never had any to lose) and a myth is as good as a smile but little joe gould's quote oral history unquote might (publishers note) be entitled a wraith's progress or mainly awash while chiefly submerged or an amoral morality sort-of-aliveing by innumerable kind-of-deaths (Amerique Je T'Aime and it may be fun to be fooled but it's more fun to be more to be fun to be little joe gould) Three Poems by Kenneth Allott Decor The shunting of course goes on all day and night the coupling, the buffers, the points, the hammering the ever-open door of all-night kitchen (Everything here is fresh every day your lordship.) and the great arc lights splutter every night and the trains are very tiresome with their blue flashes the small hours, all night and every night. -
Henry Fuseli's Alternative Classicism
Henry Fuseli's alternative classicism Review of: Andrei Pop, Antiquity, Theatre & The Painting of Henry Fuseli, Oxford University Press 2015, 288 Pages, 64 black and white and 11 colour illustrations, ISBN: 9780198709275 Martin Myrone In his pioneering study, Tracks in the Snow: Studies in English Science and Art (1946), Ruthven Todd wrote of the work of the Swiss-born painter of supernatural and terrible subjects, critic and translator, writer on art and sometime Keeper and Professor of the Royal Academy of Arts in London, Henry Fuseli (1741-1825): Today, when we are stumbling towards an understanding of our dreams, we have found in the word 'unconscious' an admirable excuse for liking, say, the desolate arcades and squares of Chirico, the plasmic dancing amoeba of Miro and the flexible watches, the crutch-supported buttocks and the hidden images of Salvador Dali. Like Fuseli, we have a passion for the inexplicable Todd was reflecting of more than a century of neglect, since the artist's death, firstly a 'stream of appreciation [that] continued as a trickle, sometimes almost underground' then, after around 1900, outright neglect or hostility. He registered his own interest in Fuseli, published in the context of a wider study of the creative interrogation of materialism and empiricism in William Blake and John Martin, and in literature, during the late eighteenth and early nineteenth centuries, as part of a growing tide of literary and art historical investigation, pioneered by scholars in Switzerland, including Paul Ganz and Arnold Federmann, and by some contemporaries in England including Sacheverell Sitwell, John Piper and Geoffrey Grigson, the latter two being dedicatees of Tracks in the Snow. -
John Sommerfield and Mass-Observation
131 John Sommerfield and Mass-Observation Nick Hubble Brunel University When the name of John Sommerfield (1908-1991) appears in a work of literary criticism it is usually either in connection with a specific reference to May Day, his experimental proletarian novel of 1936, or as part of a list containing some or all of the following names: Arthur Calder-Marshall, Jack Lindsay, Edgell Rickword, Montagu Slater, Randall Swingler and Amabel Williams-Ellis. As part of this semi-autonomous literary wing of the Communist Party, Sommerfield played his full role in turn on the Left Review collective in the 1930s, in various writers’ groups such as the Ralph Fox Group of the 1930s and the Realist Writers’ Group launched in early 1940, and on the editorial commission of Our Time in the late 1940s, before leaving the Party in 1956. However, significantly for the argument that follows concerning Sommerfield’s capacity to record the intersubjective quality of social existence, he was as much known for his pub going and camaraderie as his politics, with Dylan Thomas once saying “if all the party members were like John Sommerfield, I’d join on the spot” (Croft 66). Doris Lessing came to know him in the early 1950s, after he approached her to join the current incarnation of the Communist Party Writers’ Group, and she describes him fondly in her memoirs: “He was a tall, lean man, pipe- smoking, who would allow to fall from unsmiling lips surreal diagnoses of the world he lived in, while his eyes insisted he was deeply serious. -
David Gascoyne Interviewed by Mel Gooding
NATIONAL LIFE STORIES ARTISTS’ LIVES David Gascoyne Interviewed by Mel Gooding C466/03 This transcript is copyright of the British Library Board. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] This transcript is accessible via the British Library’s Archival Sound Recordings website. Visit http://sounds.bl.uk for further information about the interview. © The British Library Board http://sounds.bl.uk IMPORTANT Access to this interview and transcript is for private research only. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road NW1 2DB 020 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators ( [email protected] ) © The British Library Board http://sounds.bl.uk The British Library National Life Stories Interview Summary Sheet Title Page Ref no: C466/03 Digitised from cassette originals Collection title: Artists’ Lives Interviewee’s surname: Gascoyne Title: Mr Interviewee’s forename: David Sex: Male Occupation: poet, artist and translator Date and place of birth: 1916 Dates of recording: 11.07.1990 Location of interview: interviewee's home Name of interviewer: Mel Gooding Type of recorder: Marantz CP430 Recording format: D60 Cassette F numbers of playback cassettes: F1380 – F1385 Total no. -
Modern American Poetry James S. Jaªe · Rare Books Modern American Poetry
Modern American Poetry James S. Jaªe · Rare Books Modern American Poetry James S. Jaªe · Rare Books New York 2014 1. AGEE, JAmEs. Permit Me Voyage. With A Foreword By Archibald All items are offered subject to prior sale. MacLeish. 8vo, original cloth, dust jacket. New Haven: Yale Uni- All books and manuscripts have been carefully described; versity Press, 1934. First edition of Agee’s scarce first book, a col- however, any item is understood to be sent on approval and may lection of poems. Tipped to the front free endpaper is a slip of be returned within seven days of receipt for any reason paper on which is inscribed a note from stephen Vincent Benét: provided prior notification has been given. “Dear miss Locke, Here is the macleish book, my sister’s, and one Libraries will be billed to suit their budgets. by a young poet who, I think, has great promise, merry Xmas to you both! stephen Vincent Benét.” spine a little faded, inch-deep We accept Visa, masterCard and American Express. strip at top of the back cover faded as well, otherwise a near fine New York residents must pay appropriate sales tax. copy. $1,250.00 We will be happy to provide prospective customers with 2. AIKEN, CoNrad. Blue Voyage. 8vo, decorated endpapers, origi- digital images of items in this catalogue. nal cloth-backed textured paper over boards, t.e.g., publisher’s slip- Visitors are welcome monday through Friday and by case. N.Y.: scribner’s, 1927. First edition, limited issue. one of 125 appointment; however, it is advisable to call in advance. -
GRAVESIANA GRAVESIANA the Journal of the Robert Graves Society Norman Austin of the ROBERT GRAVES SOCIETY the JOURNAL
CONTRIBUTORS GRAVESIANA GRAVESIANA The Journal of the Robert Graves Society Norman Austin THE JOURNAL SOCIETY GRAVES OF THE ROBERT Joseph Bailey ISSN xxxx-xxxx Matthew Betts Peter G. Christensen Lucia Graves Dominic Hibberd Mark Jacobs Frank Kersnowski Anne Mounic John Woodrow Presley Philip Stewart Dunstan Ward EricWebb Cover image by Karl Goldscmidt from the 1948 edition of The White Goddess SUPPORTED BY State University of Universit at De S t John s College N e w Y ork at Buffalo Les Illes Balears Oxford VOLUME III NUMBER II 2010 2010 £17 GBP €25 EUR $30 USD Gravesiana: The Journal of the Robert Graves Society Submission and Contact Information Editor Dunstan Ward formerly University of London Institute in Paris, 1. As from this 2010 issue, Gravesiana is published annually online as France Associate Editors an electronic journal (see inside front cover for subscription informa- Lucia Graves Writer and Translator, London, UK tion and further details). Patrick Villa formerly University of Bristol, UK Founding Editor 2. Articles should be word-processed, using MS Word if possible. Patrick Quinn Chapman University, Orange, California, USA Editorial Board 3. References should follow the MHRA system; see Modern Robert Bertholf formerly State University of New York at Buffalo, USA Humanities Research Association Style Guide: A Handbook for Fran Brearton Queen’s University, Belfast, Northern Ireland Authors, Editors, and Writers of Theses, second edition (2008), avail- Robert Davis University of Glasgow, Scotland able for download free of charge as a PDF file. First references to a Joan Miquel Fiol University of the Balearic Islands, Mallorca, Spain Carl Hahn Bibliographer and Book Collector, Clarksville, book, article, or other publication should be given in full in an endnote. -
The Poetry of the Thirties
THE POETRY OF THE THIRTIES LONDON VICTOR GOLLANCZ LTD 1975 O A. T. Tolley 1975 ISBN o 575 01976 x To Margaret in memory and to Mr W because you said so Printed in Great Britain by The Camelot Press Ltd, Southampton CONTENTS 2 OXFORD 39 Oxford Poetry, 1925-32 - C. Day Lewis - W. H. Auden - Louis MacNeice - Stephen Spender - Influence of Eliot - 3 CAMBRIDGE 58 Cambridge, c. 1930 - Ronald Bottrall - Julian Bell - John Lehmann - William Empson -James Reeves 4 FORWARDFROM MORTMERE 85 ccMortmere'y- Homer Lane - Poems, 1928 - "Paid on Both Sides" - Poem, I930 - Graves and Riding - Impact of Poems, 1930 - The Orators - Poems in New Coun- try - The Dance of Death - The Dog Beneath the Skin 5 NEW SIGNATURES:NEW COUNTRY 108 New Signatures - New Country (A.S. J. Tessi- mond, Michael Roberts) - The Listener 6 POETRYAND POLITICS 122 Stephen Spender - John Lehmann - C. Day Lewis - Rex Warner - the Problem of Political Poetry - The First Phase of Political Poetry 8 7 MARX,FREUD AND CHRIST 152 - - W. H. Auden and Communism - Look Cf*.nMnnwl- 5i7 W A.lrlam :- +La1-+- +h:s+:eo . , . A*. AIUUU*. I.. LIIb AUCU L..lLALlUY i -, 8 THE OLDORDER AND THE NEW I75 , Louis MacNeice -John Betjeman THE POETRY OF THE THIRTIES CONTENTS 9 THE CENTREOF THE STAGE Lewis, Stephen Spender, George Barker - Acceptance of the New Poetry - Scrutiny, Retrospect F. R. Leavis and other critics 18 NEWERSIGNATURES 356 The Newer Poets - Twentieth Century Verse, NEW VERSE - - - New Verse - Geoffrey Grigson - Norman Ruthven Todd, H. B. Mallalieu, D. S. Cameron - Bernard Spencer - Kenneth Savage, Julian Symons, Roy Fuller, Fran- Allott cis Scarfe - The Apocalypse Movement, J. -
The Twelve Large Colour Prints of William Blake
The Twelve Large Colour Prints of William Blake: A Study on Techniques, Materials and Context Minne Tanaka A thesis submitted in partial fulfilment of the requirements of Nottingham Trent University for the degree of Doctor of Philosophy April 2008 ii ABSTRACT The Twelve Large Colour Prints of William Blake: A Study on Techniques, Materials and Context Minne Tanaka The aim of this thesis is to study in entirety the group of large colour prints which William Blake made between 1795 and 1805. The series of prints represents the single most important and complete development of Blake’s skill as an innovative printmaker. Although they include some of Blake’s best-known images, they have not been studied before in their entirety or from the point of view of analysing the techniques and methods Blake had used. My study will show how Blake executed these truly impressive prints in terms of materials, method and motives. The first half of the thesis deals with the materialistic aspects of Blake’s colour printing. In chapter one tracing the controversial two-pull discussion to the root, I will make clear the focus points as well as revealing the early tradition of experimental criticism on Blake’s colour printing method. Focusing on two important critics, W. Graham Robertson and Ruthven Todd, and the periods they lived, I attempt to reveal the role they played in a wider context. Also I show how the tradition of Blake’s art was inherited directly through the Ancients to the Pre-Raphaelite Brotherhood, which leads to Robertson and Todd. -
Anthropology in the Public Arena Anthropology in the Public Arena Historical and Contemporary Contexts
Anthropology in the Public Arena Anthropology in the Public Arena Historical and Contemporary Contexts Jeremy MacClancy A John Wiley & Sons, Ltd., Publication This edition fi rst published 2013 © 2013 John Wiley & Sons, Inc. Wiley-Blackwell is an imprint of John Wiley & Sons, formed by the merger of Wiley’s global Scientifi c, Technical and Medical business with Blackwell Publishing. Registered Offi ce John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK Editorial Offi ces 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford, OX4 2DQ, UK The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK For details of our global editorial offi ces, for customer services, and for information about how to apply for permission to reuse the copyright material in this book please see our website at www.wiley.com/ wiley-blackwell. The right of Jeremy MacClancy to be identifi ed as the author of this work has been asserted in accordance with the UK Copyright, Designs and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs and Patents Act 1988, without the prior permission of the publisher. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. Designations used by companies to distinguish their products are often claimed as trademarks. All brand names and product names used in this book are trade names, service marks, trademarks or registered trademarks of their respective owners.