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Tiriel the DEATH of a CULTURE
Tiriel THE DEATH OF A CULTURE By L. H. ALLEN* When Nations grow old the Arts grow cold Blake was born in 1757, the year which Swedenborg announced as beginning the Last Judgment. In The Marriage ofHeaven and a Hell Blake pronounced that new heaven had begun. The Marriage was evidently itsmanifesto,1 and Blake itsprophet. "Whenever any individual rejects error and embraces truth a last Judgment passes upon that individual."2 It is the passing of old values, the finding of new; and Blake has expanded the theme in his Vision of thehast Judgment. We may call it the death of a culture and the birth of a new one; or, variantly, the passing of an epoch in a culture and the birth of its successor. This, in the main, is the theme of Tiriel, and I shall give, as brieflyas I can, the story:Old Tiriel stands before his ruined palace which once dominated theWestern Plains. In his arms is the dying Myratana, his wife?"soul, spirit, fire." He calls on his rebellious sons, the eldest of whom mocks him, saying that,until they rebelled, theywere the slaves of his cruelty. Tiriel curses them, accusing them of having drained theirmother dry, and declaring that he will bury her. But his sonHeuxos calls on a son of Zazel, TiriePs brother, to dig the grave, reviling his fatherbecause he has enslaved ZazePs sons and rejected his own. Tiriel replies: "Bury your mother, but you cannot bury the curse of Tiriel." over Thereupon he wanders the "dark and pathless mountains," with blinded eyes, being aware of the sun, but unable to feel the in * Professor of English literature, University College, Canberra. -
Anna Seward and the Poetics of Sensibility and Control Andrew O
Criticism Volume 58 | Issue 2 Article 9 2016 Anna Seward and the Poetics of Sensibility and Control Andrew O. Winckles Adrian College, [email protected] Follow this and additional works at: http://digitalcommons.wayne.edu/criticism Recommended Citation Winckles, Andrew O. (2016) "Anna Seward and the Poetics of Sensibility and Control," Criticism: Vol. 58 : Iss. 2 , Article 9. Available at: http://digitalcommons.wayne.edu/criticism/vol58/iss2/9 ANNA SEWARD At the 2011 meeting of the North American Society for the Study AND THE POETICS of Romanticism, Anne K. Mellor OF SENSIBILITY reflected on how the field has AND CONTROL changed since her foundational Andrew O. Winckles 1993 study Romanticism and Gender. She commented that, though women writers such as Anna Seward and the End of the Mary Wollstonecraft, Jane Austen, Eighteenth Century by Claudia and Mary Shelley have cemented Thomas Kairoff. Baltimore, MD: themselves as legitimate objects Johns Hopkins University Press, of study, this has largely been at 2012. Pp. 328. $58 cloth. the expense of a broader under- standing of how women writers were working during the period. In addition to the Big Six male Romantics, we have in many cases simply added the Big Three female Romantics.1 Though this has begun to change in the last ten years, with important studies appearing about women like Anna Letitia Barbauld, Mary Robinson, Joanna Baillie, and Hannah More, we still know shockingly little about women writers’ lives, cultural con- texts, and works. A case in point is Anna Seward, a poet and critic well known and respected in her own lifetime, but whose critical neglect in the nineteenth and twentieth centu- ries has largely shaped how recent critics interact with her work. -
Anna Seward and the End of the Eighteenth Century Kairoff, Claudia T
Anna Seward and the End of the Eighteenth Century Kairoff, Claudia T. Published by Johns Hopkins University Press Kairoff, Claudia T. Anna Seward and the End of the Eighteenth Century. Johns Hopkins University Press, 2012. Project MUSE., <a href=" https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/12865 Access provided at 24 Oct 2019 11:50 GMT with no institutional affiliation This work is licensed under a Creative Commons Attribution 4.0 International License. Bibliography Adams, Malise Forbes, and Mary Mauchline. “Kauffman’s Decorative Work.” In Angelica Kauffman: A Continental Artist in Georgian England, edited by Wendy Wassyng Roworth, 113–40. London: Reaktion, 1993. Alexander, David. “Chronological Checklist of Singly Issued English Prints after Angelica Kauffman.” In Angelica Kauffman: A Continental Artist in Georgian En- gland, edited by Wendy Wassyng Roworth, 179–89. London: Reaktion, 1993. ———. “Kauffman and the Print Market in Eighteenth-century England.” In Angelica Kauffman: A Continental Artist in Georgian England, edited by Wendy Wassyng Roworth, 141–78. London: Reaktion, 1993. Ashmun, Margaret. The Singing Swan: An Account of Anna Seward and Her Acquain- tance with Dr. Johnson, Boswell, and Others of Their Time. New Haven, CT: Yale University Press, 1931. Austen, Jane. Letters. Edited by Deirdre Le Faye. 3rd ed. Oxford: Oxford University Press, 1995. ———. Sense and Sensibility. Oxford: Oxford University Press, 1990. Backscheider, Paula R. Eighteenth-Century Women Poets and Their Poetry: Inventing Agency, Inventing Genre. Baltimore, MD: Johns Hopkins University Press, 2005. Backscheider, Paula R., and Catherine E. Ingrassia, eds. British Women Poets of the Long Eighteenth Century: An Anthology. -
Erasmus Darwin's Romanticism
Rhyme and Reason: Erasmus Darwin’s Romanticism Noel Jackson ore remarkable, it may seem, than the sudden disappearance of Mscientific poetry from the late-eighteenth-century English liter- ary landscape is the fact that it was ever widely read in the first place. “Philosophical poetry,” as it was then known, and especially the work of its most famous practitioner, Erasmus Darwin, has been scorned as a gimmicky, tedious, frequently laughable exercise. This ugly stepsister of didactic verse amalgamates poetic fancy and scientific fact, yoking versified descriptions to prose notes detailing the contemporary state of research in natural philosophy, industrial technology, botany, chem- istry, and medicine, to name only a few subjects of this poetry. In an often-cited letter to John Thelwall, Samuel Taylor Coleridge boasted of his catholic taste in poetry, professing an almost equal appreciation for “the head and fancy of Akenside, and the heart and fancy of Bowles,” among others1 — but none for such fanciful productions of the brain as Darwin’s paean to the steam engine, in part 1 of The Botanic Gar- den, The Economy of Vegetation.2 Coleridge’s disappointed wish, recorded 1 Coleridge to Thelwall, December 17, 1796, in Collected Letters of Samuel Taylor Coleridge, ed. Earl Leslie Griggs, 6 vols. (Oxford: Clarendon, 1956 – 71), 1:279. Here- after cited as STCL. Coleridge’s opinion of The Botanic Garden is concise enough: “I absolutely nauseate Darwin’s poem” (Coleridge to Thelwall, May 13, 1796, in STCL, 1:216). 2 Darwin published part 2 of the poem, The Loves of the Plants, first, in 1789. -
Nachdruckverzeichnis
Nachdruckverzeichnis Mit Ausnahme von Kapitel 7, bei dem es sich um einen neuen Beitrag für den vor- liegenden Band handelt, erschienen die Kapitel ursprünglich an folgenden Orten: Kapitel 1 Querelles 1 (1996), 77–104. Kapitel 2 Anke Gilleir / Alicia Montoya / Suzan van Dijk (eds.): Women Writing Back / Writing Women Back. Leiden/Boston 2010, 73–92. Kapitel 3 Zeitschrift für Ideengeschichte VII/4 (Winter 2013), 41–52. Kapitel 4 Rainer Bayreuther u.a. (Hg.): Kritik in der Frühen Neuzeit: Intellektuelle avant la lettre. Wolfenbütteler Forschungen. Wiesbaden 2011, 191–216. Kapitel 5 Ina Schabert / Barbara Schaff (Hg.): Autorschaft: Genus und Genie in der Zeit um 1800. Berlin 1994, 105–124. Kapitel 6 Comparatio 10/1 (2018), 1–18. Kapitel 8 Caroline Lusin (Hg.): Empathie, Sympathie und Narration: Rezeptionslenkung in Prosa, Drama und Film. Heidelberg 2015, 225–239. Kapitel 9 Andreas Hartmann / Fritz Neumann (Hg.): Mythen Europas: Schlüsselfguren der Imagination. Vom Barock bis zur Aufklärung. Regensburg 2007, 166–187. Kapitel 10 Hadumod Bußmann / Renate Hof (Hg.): Genus: Zur Geschlechter- differenz in den Kulturwissenschaften. Stuttgart 1995, 162–205. Kapitel 11 Comparative Critical Studies 6/1 (2009), 149–164. Kapitel 12 Annette Keilhauer / Lieselotte Steinbrügge (éds.): Pour une histoire genrée des littératures romanes. Éditions Lendemains 32. Tübingen 2013, 105–118. Kapitel 13 Literature Compass 11/10 (2014), 667–676. Kapitel 14 Renate von Bardeleben (Hg.): Frauen in Kultur und Gesellschaft. Tübingen 2000, 1–17. © Der/die Herausgeber bzw. der/die Autor(en), exklusiv lizenziert durch Springer- 265 Verlag GmbH, DE, ein Teil von Springer Nature 2021 I. Schabert, Die Gleichheit der Geschlechter, Die Feministische Aufklärung in Europa | The Feminist Enlightenment in Europe | Les Lumières européennes au feminin, https://doi.org/10.1007/978-3-662-62981-9 Abbildungsverzeichnis Abb. -
Russian Visions
7 3. Andante espressiv RUSSIAN VISIONS RUSSIAN VISIONS 20th-century Music for Cello and Piano 20th-century Music for Cello and Piano SOMMCD 0606 Igor STRAVINSKY (1882-1971) Alfred SCHNITTKE (1934-1998) Dmitri SMIRNOV (b.1948) Bozidar Vukotic cello · Alissa Firsova piano STRAVINSKY Suite Italienne for cello and piano [16:36] bm 3. Largo 3:26 1 1. Introduzione 2:06 bn 4. Allegro 2:00 2 2. Serenata 3:15 bo 5. Lento 1:51 3 3. Aria 4:42 4 4. Tarantella 2:17 SMIRNOV 5 5. Minuetto e Finale 4:13 bp Tiriel, Op. 41c* 9:30 SCHNITTKE SCHNITTKE Sonata No. 1 for cello and piano [18:04] Musica nostalgica for cello and piano 6 1. Largo 3:40 arr. M. Rostropovich 7 2. Presto 5:48 bq In tempo di Menuetto 3:14 8 3. Largo 8:34 Sonata No. 2 (Quasi una Sonata) [14:14] Total duration 61:40 9 1. Senza tempo 2:47 bl 2. Allegro 4:08 *First recording Recorded at the Menuhin Hall on 9 & 10 February 2019 Recording Producer: Siva Oke Recording Engineer: Paul Arden-Taylor Igor STRAVINSKY · Alfred SCHNITTKE · Dmitri SMIRNOV* Front cover: Le Coq d’Or: Set Design for Act I by Natalia Goncharova (1881-1962). Private collection. Bridgeman Images. *First recording Design: Andrew Giles Booklet Editor: Michael Quinn DDD © & 2020 SOMM RECORDINGS · THAMES DITTON · SURREY · ENGLAND Bozidar Vukotic cello · Alissa Firsova piano Made in the EU his programme brings together 20th-century works for cello and piano by Giambattista Pergolesi to perform with the violinist Paul Kochanski. -
The Adventurous History of Sabrina Sidney
CONSTRUCTING THE EIGHTEENTH-CENTURY WOMAN: THE ADVENTUROUS HISTORY OF SABRINA SIDNEY By KATHARINE ILES A thesis submitted to the University of Birmingham For the degree of DOCTOR OF PHILOSOPHY School of History and Cultures College of Arts and Law University of Birmingham April 2012 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT The story of Thomas Day’s attempt to educate a young girl according to the theories of Jean-Jacques Rousseau, with the aim of marrying her, has often been referred to as a footnote in Enlightenment history. However, the girl chosen by Day, Sabrina Sidney, has never been placed at the centre of any historical enquiry, nor has the experiment been explored in any depth. This study places Sabrina at its centre to investigate its impact on her and to examine the intellectual and societal debates that informed Thomas Day’s decision to educate a wife. This thesis argues that Sabrina Sidney was in a constant state of construction, which changed depending on a myriad of factors and that constructions of her were fluid and flexible. -
Eight Poems in One Movement for Solo Voice and Orchestra by Ned
SUN (1966): EIGHT POEMS IN ONE MOVEMENT FOR SOLO VOICE AND ORCHESTRA BY NED ROREM: BACKGROUND, ANALYSIS, AND PERFORMANCE GUIDE Soohee Jung, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNVERSITY OF NORTH TEXAS May 2012 APPROVED: Jeffrey Snider, Major Professor and Chair, Division of Vocal Studies Paula Homer, Committee Member Elvia Puccinelli, Committee Member Lynn Eustis, Director of Graduate Studies, College of Music James C. Scott, Dean of the College of Music James D. Meernik, Acting Dean of the Toulouse Graduate School Jung, Soohee. Sun (1966): Eight Poems in One Movement for Solo Voice and Orchestra by Ned Rorem: Background, Analysis, and Performance Guide. Doctor of Musical Arts (Performance), May 2012, 71 pp., 17 musical examples, 2 figures, bibliography, 39 titles. The purpose of the document is to present Ned Rorem’s Sun (1966): Eight Poems in One Movement for Solo Voice and Orchestra. The eight songs are “To the Sun,” “Sun of the Sleepless,” “Dawn,” “Day,” “Catafalque,” “Full Many a Glorious Morning,” “Sundown Lights,” and “From What Can I Tell My Bones?” The document is divided into four main chapters: 1) Background; 2) Poet and Poem Background; 3) Musical Analysis; 4) Performance Guide. Chapter 1 contains biographical information on Ned Rorem, and basic information of the work, Sun. Here, a relationship between the eight songs is presented. Chapter 2 discusses biography of poet and background of the poem. The poetry is examined to determine the theme and to identify imagery, and metaphor. Chapter 3 offers detailed musical analysis for each of the eight songs and interludes. -
Mont Blanc in British Literary Culture 1786 – 1826
Mont Blanc in British Literary Culture 1786 – 1826 Carl Alexander McKeating Submitted in accordance with the requirements for the degree of Doctor of Philosophy University of Leeds School of English May 2020 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. The right of Carl Alexander McKeating to be identified as Author of this work has been asserted by Carl Alexander McKeating in accordance with the Copyright, Designs and Patents Act 1988. Acknowledgements I am grateful to Frank Parkinson, without whose scholarship in support of Yorkshire-born students I could not have undertaken this study. The Frank Parkinson Scholarship stipulates that parents of the scholar must also be Yorkshire-born. I cannot help thinking that what Parkinson had in mind was the type of social mobility embodied by the journey from my Bradford-born mother, Marie McKeating, who ‘passed the Eleven-Plus’ but was denied entry into a grammar school because she was ‘from a children’s home and likely a trouble- maker’, to her second child in whom she instilled a love of books, debate and analysis. The existence of this thesis is testament to both my mother’s and Frank Parkinson’s generosity and vision. Thank you to David Higgins and Jeremy Davies for their guidance and support. I give considerable thanks to Fiona Beckett and John Whale for their encouragement and expert interventions. -
Opera & Ballet 2017
12mm spine THE MUSIC SALES GROUP A CATALOGUE OF WORKS FOR THE STAGE ALPHONSE LEDUC ASSOCIATED MUSIC PUBLISHERS BOSWORTH CHESTER MUSIC OPERA / MUSICSALES BALLET OPERA/BALLET EDITION WILHELM HANSEN NOVELLO & COMPANY G.SCHIRMER UNIÓN MUSICAL EDICIONES NEW CAT08195 PUBLISHED BY THE MUSIC SALES GROUP EDITION CAT08195 Opera/Ballet Cover.indd All Pages 13/04/2017 11:01 MUSICSALES CAT08195 Chester Opera-Ballet Brochure 2017.indd 1 1 12/04/2017 13:09 Hans Abrahamsen Mark Adamo John Adams John Luther Adams Louise Alenius Boserup George Antheil Craig Armstrong Malcolm Arnold Matthew Aucoin Samuel Barber Jeff Beal Iain Bell Richard Rodney Bennett Lennox Berkeley Arthur Bliss Ernest Bloch Anders Brødsgaard Peter Bruun Geoffrey Burgon Britta Byström Benet Casablancas Elliott Carter Daniel Catán Carlos Chávez Stewart Copeland John Corigliano Henry Cowell MUSICSALES Richard Danielpour Donnacha Dennehy Bryce Dessner Avner Dorman Søren Nils Eichberg Ludovico Einaudi Brian Elias Duke Ellington Manuel de Falla Gabriela Lena Frank Philip Glass Michael Gordon Henryk Mikolaj Górecki Morton Gould José Luis Greco Jorge Grundman Pelle Gudmundsen-Holmgreen Albert Guinovart Haflidi Hallgrímsson John Harbison Henrik Hellstenius Hans Werner Henze Juliana Hodkinson Bo Holten Arthur Honegger Karel Husa Jacques Ibert Angel Illarramendi Aaron Jay Kernis CAT08195 Chester Opera-Ballet Brochure 2017.indd 2 12/04/2017 13:09 2 Leon Kirchner Anders Koppel Ezra Laderman David Lang Rued Langgaard Peter Lieberson Bent Lorentzen Witold Lutosławski Missy Mazzoli Niels Marthinsen Peter Maxwell Davies John McCabe Gian Carlo Menotti Olivier Messiaen Darius Milhaud Nico Muhly Thea Musgrave Carl Nielsen Arne Nordheim Per Nørgård Michael Nyman Tarik O’Regan Andy Pape Ramon Paus Anthony Payne Jocelyn Pook Francis Poulenc OPERA/BALLET André Previn Karl Aage Rasmussen Sunleif Rasmussen Robin Rimbaud (Scanner) Robert X. -
Music for Youth Orchestras Selected in Conjunction with National Association of Youth Orchestras (UK)
Music for Youth Orchestras Selected in conjunction with National Association of Youth Orchestras (UK) Boosey & Hawkes invites youth orchestras to explore the rich and exciting repertoire created by 20th century and contemporary composers. Works have been specially selected and graded for youth orchestra, and information includes helpful suggestions for training and rehearsals. 1 Symphony Orchestra 10 Chamber Orchestra 11 String Orchestra 13 Wind Orchestra Levels of difficulty are from 1-5 (hardest) * these works are on sale through good music retailers, all other works are on hire through B&H ** in addition to the inspection scores available upon three week loan, scores of these works are available on sale for continuous study For further information, inspection scores and tapes of the works in this brochure, please contact Peter Joyce on +44 (0)20 7054 7258 or [email protected] Symphony Orchestra Adams, John Two Fanfares (1986) ** Duration 8 mins Level 4/5 2.2picc.2.corA.4(III,IV ad lib)—4.4.3.1—timp.perc(3)— 2 opt.synth(Casio 200 or Yamaha DX series)—pft—harp—strings The two orchestral fanfares by American composer John Adams (b.1947) are amongst his most popular works, performed by leading orchestras throughout the world. The scoring of Tromba Lontana highlights two solo trumpets placed either side of the platform and their calls are accompanied by ethereal orchestration which demands great subtlety in performance. The contrasting Short Ride in a Fast Machine is a brilliant study in minimalist pulsation, whose exciting challenges will ensure an enthusiastic response. Argento, Dominick Fire Variations (1981-82) ** Duration 20 mins Level 4 3(III=picc).2.corA.3(III=bcl).3—4.3.3.1—timp.perc(2)—pft—cel—harp—strings The American composer Dominick Argento (b.1927) is best known for his widely-performed operas, but he has also written a number of very attractive orchestral works, including Fire Variations. -
Smirnov, Dimitri Trinity Music
Trinity Music, Op. 57 (1990) Dimitri Smirnov “This composition was commissioned by the Verdehr Trio and was composed in Ruza, a small place near Moscow. The three instruments−clarinet, violin, and piano−are treated here as a triunity, threefold unity, some equality, three units joining up in one super instrument with a triple nature: woodwind, string, and keyboard, a kind of perfection, a small model of The Holy Trinity created in the universe. The music is very soft and quiet. It is the music of half-tints and smooth, delicate motion, of careful attentive listening into sounds and half-pauses, with the atmosphere of contemplation and mystery.” ─Dimitri Smirnov The world premiere of Trinity Music was on March 9, 1991 at Caja D Ahorros d’Avila, Avila, Spain. During the Verdehr Trio’s winter tour to the Soviet Union in 1990, they met and performed for prominent Soviet composers in Moscow and became acquainted with Dimitri Smirnov and his wife, Elena Firsova, also a composer who wrote Verdehr-Terzett for the Trio in 1991. The mood of Trinity Music is mysterious, and eerie effects are created by the clarinet producing double sonorities in the opening with triple sonorities and single tones of different colors occurring in the cadenza later in the work. A spatial-like quality pervades throughout the entire work with bell tones in the piano and harmonics in the violin. Contrasting rhythms in all three instruments lead to an electrifying climax and cadenza. The composition concludes much as it begins, mysterious, quiet, and ethereal. Dimitri Smirov (born 1948, Minsk, Belaruse) was born into a family of opera singers.