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Henry James and William Wetmore Story
“Interrogation of the Past”: Henry James and William Wetmore Story ELIZABETH POWERS Though artists of many nations made the journey to Italy, to partake of “the great Roman back - ground,” as Henry James described it in his biography of Nathaniel Hawthorne, very few of them were at home there. Winckelmann and Raphael Mengs both penetrated the high - est and homeliest circles of Italian life, but for most foreign - ers Italy was a vast museum or an imaginative home, das Land, wo die Zitronen blühn . Its unaccountable reality was a different matter, even for Goethe, a seemingly cosmopoli - tan man who nevertheless was not comfortable with Roman society and, while in Italy, consorted almost exclusively (with a few important exceptions) with other Germans. As he wrote to the duke in Weimar a few months after his ar - rival, interest in the living Rome ( das neue lebendige Rom ) would interfere with his imagination. Despite its suggestions of experience, the poem cycle Roman Elegies , begun in 1788 , is mediated through art and literature (the triumvir of Catullus, Propertius, and Tibullus), while the connection be - tween love and Rome was probably the result of his meeting with Christiane Vulpius shortly after his return to Weimar. Italian Journey (1813 –17 ) mentions meals taken but no Ital - ian food; in Rome Goethe ate at Caffè Greco (also known as Caffè Tedesco). The Roman Carnival , despite the beautiful hand-colored plates that accompanied its first publication in 1789 , is written by someone who suffered rather than ap - preciated the event. It was not principally the primitive nature of Italian do - mestic life or the byzantine political conditions that kept for - arion 16.2 fall 2008 52 “interrogation of the past” eigners in their enclaves. -
2017 Stevens Helen 1333274
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Paradise Closed Energy, inspiration and making art in Rome in the works of Harriet Hosmer, William Wetmore Story, Elizabeth Barrett Browning, Nathaniel Hawthorne, Sophia Peabody Hawthorne, Elizabeth Gaskell and Henry James, 1847-1903 Stevens, Helen Christine Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 Paradise Closed: Energy, inspiration and making art in Rome in the works of Harriet Hosmer, William Wetmore Story, Elizabeth Barrett Browning, Nathaniel Hawthorne, Sophia Peabody Hawthorne, Elizabeth Gaskell and Henry James, 1847-1903 Helen Stevens 1 Thesis submitted for the degree of PhD King’s College London September, 2016 2 Table of Contents Acknowledgements .................................................................................................... -
Winter 2009 (Vol. 32 – Issue 2)
Humanitas Vol. 32 Winter 2009 Issue 2 A Message From the OCC Table of Contents President An Invitation to Attend the 3 Dear OCC Members, Ohio Junior Classical League Convention Please allow me to begin this message by thank- ing Gwen Compton-Engle of John Carroll Uni- William Wetmore Story and versity for her efforts in putting together this past year’s Ohio Classical Conference. All of “Black” Cleopatra Cynthia King, Wright State 4 those in attendance greatly enjoyed all of the presentations given throughout the weekend. University During discussions at the meeting, a common Vergil Week at Case Western 10 theme that emerged was the future of Classics Programs at the High School and University Reserve University Level in the state of Ohio. Many high school teachers expressed a concern about the recent OCC Scholarship Information 12 push to add courses in Chinese, potentially at the expense of the Latin programs at their in- OCC Offi cers and Council 16 stitutions. If you are aware of a High School Program whose existence is threatened, please contact the OCC President as soon as possible so that the OCC can take the appropriate ac- tion. During Saturday’s panel discussion on recruit- ing students, the participants put forth a num- ber of helpful suggestions to increase commu- nication between High School teachers and University professors of the Classics. Many University professors expressed a desire to be able to directly contact students potentially interested in studying Classics at their univer- sity. In an attempt to meet this need, please see inside this edition of Humanitas an invitation to college professors to attend the Ohio Junior Classical League Convention in 2009. -
Dc0261data.Pdf
Washington Monument HABS No. DC-428 Located on high ground west of 15th Street between Independence and Constitution Avenues, NW Washington District of Columbia PHOTOGRAPHS WRITTEN HISTORICAL AND DESCRIPTIVE DATA Historic American Buildings Survey National Park Service Department of the Interior r * f. ■ -ft -■-.-. , Washington, D.C. 20240 * . J MABS PC, Form 10-920 UNITED STATES DEPARTMENT OF THE INTERIOR (Jura 1983) NATIONAL PARK SERVICE i ARCHITECTURAL DATA FORM STATE COUNTY TOWN OR VICINITY District of Columbia Washington HISTORIC NAME OF STRUCTURE (INCLUDE SdURCE FOR NAME) HABS NO. Washington Monument DC-428 SECONDARY OR COMMON NAMES OF STRUCTURE COMPLETE ADDRESS (DESCRIBE LOCATION FOR RURAL SITES) Located on high ground west of 15th Street between Independence and Constitution Avesf( NW DATE OF CONSTRUCTION (INCLUDE SOURCE) ARCHITECTS) (INCLUDE SOURCE) Original design: Robert Mills 1848-1884 Design altered by: George Perkins Marsh SIGNIFICANCE (ARCHITECTURAL AND HISTORICAL, INCLUDE ORIGINAL USE OF STRUCTURE) Landmark monument, dedicated to the memory of George Washington, it serves as a centerpiece in the grand vista connecting the Capitol to the Lincoln Memorial. Designed by the noted architect, Robert Mills. STYLE (IFAPPROPRIATE) MATERIAL OF CONSTRUCTION (INCLUDE STRUCTURAL SYSTEMS) Maryland marble with granite backing APE AND DIMENSIONS OF STRUCTURE (SKETCHED FLOOR PLANS ON SEPARATE PAGES ARE ACCEPTABLE) 4*555'-tall four sided obelisk topped by pyramidion with observation windows; 55' square at base EXTERIOR FEATURES OF NOTE INTERIOR FEATURES OF NOTE (DESCRIBE FLOOR PLANS, IF NOT SKETCHED) Open central shaft contains cast-iron stairway and passenger elevator MAJOR ALTERATIONS AND ADDITIONS WITH DATES Construction begun 1848 but virtually halted in 1855 when the Washington National Monument Society was taken over by the Know-Nothing political party. -
The Seated Cleopatra in Nineteenth Century American Sculpture
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 1997 The Seated Cleopatra in Nineteenth Century American Sculpture Kelly J. Gotschalk Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the History of Art, Architecture, and Archaeology Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/4350 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. APPROVAL CERTIFICATE The Seated Cleopatra in Nineteenth Century AmericanSculpture by Kelly J. Gotschalk Director of Graduate Studies � Dean, School of the Arts Dean, School of Graduate Studies �////PP? Date THE SEATED CLEOPATRA INNINETEENTH CENTURY AMERICAN SCULPTURE by Kelly J. Gotschalk B.F.A., Virginia Commonwealth University, 1990 Submitted to the Faculty of the School of the Arts of Virginia Commonwealth University in Partial Fulfillment of the Requirements forthe Degree Master of Arts Richmond, Virginia November, 1997 ACKNOWLEDGMENTS I would like to thank Dr. Fredrika Jacobs and Dr. Charles Brownell fortheir invaluable guidance andendless encouragement in the preparation of this thesis. I would also like to thank my husband, Tom Richards, and my family for their constant support and understanding. In addition, my sincere thanks to my co-workers, Amanda Wilson, Christin Jones and Laurel Hayward fortheir friendship, proofreadingand accommodating a few spur-of-the-moment research trips. ii CONTENTS ACKNOWLEDGMENTS.. .. .. .. .. .. .. 11 LIST OF ILLUSTRATIONS. iv ABSTRACT ......................................... V JNTRODUCTION. -
James Russell Lowell - Poems
Classic Poetry Series James Russell Lowell - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive James Russell Lowell(22 February 1819 – 12 August 1891) James Russell Lowell was an American Romantic poet, critic, editor, and diplomat. He is associated with the Fireside Poets, a group of New England writers who were among the first American poets who rivaled the popularity of British poets. These poets usually used conventional forms and meters in their poetry, making them suitable for families entertaining at their fireside. Lowell graduated from Harvard College in 1838, despite his reputation as a troublemaker, and went on to earn a law degree from Harvard Law School. He published his first collection of poetry in 1841 and married Maria White in 1844. He and his wife had several children, though only one survived past childhood. The couple soon became involved in the movement to abolish slavery, with Lowell using poetry to express his anti-slavery views and taking a job in Philadelphia, Pennsylvania as the editor of an abolitionist newspaper. After moving back to Cambridge, Lowell was one of the founders of a journal called The Pioneer, which lasted only three issues. He gained notoriety in 1848 with the publication of A Fable for Critics, a book-length poem satirizing contemporary critics and poets. The same year, he published The Biglow Papers, which increased his fame. He would publish several other poetry collections and essay collections throughout his literary career. Maria White died in 1853, and Lowell accepted a professorship of languages at Harvard in 1854. -
Joseph Story
From Republican Scholar to Federalist Judge: The Transformation of Joseph Story Bethany Spare Dr. Sanders History 586 April 28, 201 FROM REPUBLICAN SCHOLAR TO FEDERALIST JUDGE: THE TRANSFORMATION OF JOSEPH STORY Author: Bethany Spare History 586: Senior Seminar Dr. Charles Sanders Joseph Story sat on the Supreme Court with Chief Justice John Marshall and in many ways it seemed like Marshall simply overshadowed the younger justice. However, Story began his political and legal career as a member of the Republican Party. What changed his mind, why did he change from a supporter of the Jeffersonian Democratic-Republicans to a firm defender of the Federalist Party while on the Supreme Court? Story‟s letters, speeches, and Commentaries were analyzed to find evidence. Kent Newmyer, Gerald Dunne, and Joseph McClellan are three modern historians who were consulted as well. Story was not a man to be led by others‟ opinions, once he was convinced in his own mind that a course of action was right, he would not be swayed until he saw that that course was no longer allowing him to follow his conscience. While a young man he defended the Republican Party but as he grew to respect the law and especially the English common law—practiced also in America—the Republican Party became more and more restrictive. Finally convinced that the best way was to defend the “science of law,” and the study of jurisprudence over all other considerations, he saw that the Federalist Party would allow him to do just that. An examination of his decisions in Prigg v. -
Visual Narratives of the Portrait Busts of Edmonia Lewis
VISUAL NARRATIVES AND THE PORTRAIT BUSTS OF EDMONIA LEWIS A THESIS IN Art History Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF ARTS by SUSAN CROWE B.A., University of Missouri-St. Louis, 2006 B.A., St. Louis University, 1997 Kansas City, Missouri 2010 © 2010 SUSAN CROWE ALL RIGHTS RESERVED VISUAL NARRATIVES AND THE PORTRAIT BUSTS OF EDMONIA LEWIS Susan Elizabeth Crowe, Candidate for the Master of Arts Degree University of Missouri-Kansas City, 2010 ABSTRACT This study considers the social and historical significance of the extant portrait busts sculpted by Edmonia Lewis. The Afro-Native American artist is best known for her thematic sculptures such as Forever Free (1867), Hagar (1875), and Death of Cleopatra (1876). The academic attention paid to these works obscures the fact that portrait busts account for over a third of her artistic output. Consequently, Lewis’s portrait busts have not received a concentrated analysis. Who were the individuals portrayed? What were their relationships to the artist? Using Lewis's bust of James Peck Thomas (1874), her only existing portrait of an African-American patron as a case study, this study explores these two questions in depth. Drawing primarily from unpublished court documents, Thomas’s autobiography as well as newspaper articles, this examination opens a unique window into the individual lives of Lewis's subjects, thereby expanding our knowledge of nineteenth-century American visual and cultural history. ii The faculty listed below, appointed by the Dean of the College of Arts and Sciences have examined a thesis titled “Visual Narratives and the Portrait Busts of Edmonia Lewis,” presented by Susan Crowe, candidate for the Master of Arts degree, and certify that in their opinion it is worthy of acceptance. -
Notes and References
Notes and References INTRODUCTION I. Elizabeth Gaskell, The Life of Charlotte Bronte·, ed. Alan Shelston (Harmonds worth: Penguin Books, 1977) ch. vn, p. I 55. This is a reprint of the 185 7 first edition. 2. Frank Kermode, The Genesis of Secrecy. On the Interpretation of Narrative (Harvard University Press, 1979) p. 117. 3. David Novarr, The Making of Walton's Lives (Ithaca: Cornell University Press, 1958) p. 495. Nearly thirty years ago Novarr modestly noted the disregard of form in the study of biography. More aggressively, Leon Edel presses the case for the formal analysis of biography in 'Biography: The Question of Form', Friendship's Garland, Essays Presented to Mario Praz, ed. Vittorio Gabrieli (Rome: Edizioni de Storia e Letteratura, I 966) pp. 343-60, and more recently in 'Biography: A Manifesto', biography, I: I (1978) 1-3. 4. Edward Gibbon, An Essay on the Study of Literature (I 761, French; New York: Garland Publishing, 1970) pp. 99-100. Gibbon adds that the rarest quality is meeting 'a genius who knows how to distinguish them [the types offacts] amidst the vast chaos of events, wherein they are jumbled and deduce them, pure and unmixed, from the rest' (p. 100). 5. On Donne, see Novarr, The Making of Walton's Lives, p. 56; on Boswell, Robert Gittings, The Nature of Biography (Seattle: University of Washington Press, 1978) p. 32; Thomas Carlyle, History of Frederick II of Prussia Called Frederick the Great, ed. John Clive (University of Chicago Press, 1969) pp. ~; Lytton Strachey, Eminent Victorians (1918; New York: Capricorn Books, 1963) pp. -
9780748693436 the Sculptural
Chapter 3 ‘Of marble men and maidens’: Sculptural Transformations In Nathaniel Hawthorne’s The Marble Faun (1860), another impor- tant sculpture by Praxiteles becomes the focus of desire. In their discussion of Hawthorne’s use of the visual arts in his works, Rita Gollin and John Idol trace his engagement with painting and sculp- ture in the exhibitions and galleries he encountered during his sojourn in Europe in 1853–60, which he detailed in his English, French and Italian Notebooks.1 From their observations, it is clear that, faced in these spaces with antique sculpture, Hawthorne, like George Eliot’s Dorothea and Thomas Hardy, felt overwhelmed by the burden of his- tory. Following a second visit to the British Museum he fi nds himself crushed by the ‘dead weight’ of the past that had struck him on the fi rst and wishes ‘that the Elgin marbles and the frieze of the Parthenon were all burnt to lime’ (qtd in Gollin and Idol 1991: 72). Yet, once he becomes more familiar with the collections and discovers that he is no longer ‘weighed down by the multitude of things to be seen’, he is able ‘to discern “grace and nobility” even in the “battered and shattered” remains of Greek sculpture’ (Gollin and Idol 1991: 73).2 Gollin and Idol observe that, in time, Hawthorne came to prefer sculpture to painting, in part due to its realism, and that his appreciation of stat- uary improved with greater exposure to it, especially in Rome and Florence where he begins to engage in Pygmalionesque fantasies of animation. -
John Marshall, Magnificent Mugwump
Catholic University Law Review Volume 6 Issue 2 Article 4 1956 John Marshall, Magnificent Mugwump Arthur John Keeffe Follow this and additional works at: https://scholarship.law.edu/lawreview Recommended Citation Arthur J. Keeffe, John Marshall, Magnificent Mugwump, 6 Cath. U. L. Rev. 103 (1957). Available at: https://scholarship.law.edu/lawreview/vol6/iss2/4 This Article is brought to you for free and open access by CUA Law Scholarship Repository. It has been accepted for inclusion in Catholic University Law Review by an authorized editor of CUA Law Scholarship Repository. For more information, please contact [email protected]. JOHN MARSHALL, MAGNIFICENT MUGWUMP by ARTHUR JOHN KEEFFE* The tendency of all of us is to catalogue every one as either liberal or con- servative. No truer song has ever been sung than the one Private Willis sings as the curtain rises for the second act of Iolanthe.1 Following this passion for classi- fication, there are those who classify John Marshall as the arch-conservative of all time.2 But speaking personally, if one must do this, John Marshall should be called America's first and most magnificent "Mugwump".3 In this he does not differ from those Americans who vote every year for the best man, regardless of party label. There are three periods of Marshall's life that put an indelible stamp on his character. First, Marshall grew up on the frontier, in the backwoods of Virginia, not on a prosperous plantation in the Tidewater. Although he was the eldest of fifteen children, his mother and father had time to instruct him, with occasional *Professor of Law, The Catholic University of America. -
A Judge for All Seasons
William & Mary Law Review Volume 43 (2001-2002) Issue 4 Symposium: The Legacy of Chief Article 6 Justice John Marshall March 2002 A Judge for All Seasons R. Kent Newmyer Follow this and additional works at: https://scholarship.law.wm.edu/wmlr Part of the Legal History Commons, and the Supreme Court of the United States Commons Repository Citation R. Kent Newmyer, A Judge for All Seasons, 43 Wm. & Mary L. Rev. 1463 (2002), https://scholarship.law.wm.edu/wmlr/vol43/iss4/6 Copyright c 2002 by the authors. This article is brought to you by the William & Mary Law School Scholarship Repository. https://scholarship.law.wm.edu/wmlr A JUDGE FOR ALL SEASONS R. KENT NEWMYER* [Marshall] has done more to establish the Constitution of the United States on sound construction than any other man living. John Quincy Adams' He would have been deemed a great man in any age, and of all ages. Joseph Story2 [I]f American law were to be represented by a single figure, sceptic [sic] and worshipper alike would agree without dispute that the figure could be but one alone, and that one, John Marshall. Oliver Wendell Holmes Jr.3 Holmes was right-The evidence that John Marshall is the representative figure of American law is overwhelming. What was true in 1901 remains true today. There is a paradox involved, however, the kind Holmes himself loved to ponder as something that "would take the scum off your mind."' The paradox is that Marshall's reputation for greatness appears to exceed the scope of * Professor of Law and History, University of Connecticut.