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The Furness Memorial Library
3 The Furness Memorial Library Daniel Traister In memory of William E. Miller (1910-1994), Assistant Curator, Furness Memorial Library ilmarth S. Lewis, the great Horace Walpole collector, W once quipped that, if use were the criterion by which people judged the quality of libraries, we should judge that library to be the best which had the largest collection of telephone books. The Horace Howard Furness Memorial Library, now part of the Walter H. and Leonore Annenberg Rare Book and Manuscript Library at the University of Pennsylvania, has never needed to justify itself by denigrating “mere” use in favor of qual- ity and importance of collections. Over the years of its existence, it has always been among the most heavily used of Penn’s special collections (and this without even one telephone book in sight). The quality of its collections has never been in doubt, either. Its use is in part a reflection, obviously enough, of the drawing power of William Shakespeare. The Furnesses, father and son, based the collection on Shakespeare’s works and his stage and print career. Around these same topics their successors have continued to build it. The Furnesses’ chosen author has surely elicited more editions of and words about himself than any other writer in English—more, perhaps, than any other writer in the world. His continuing preeminence at all levels of education, and the popularity of Shakespearian productions on stage and screen, are evidence of an enthusiasm so widespread that it cannot be written off as merely academic. More than three hundred and fifty years after his death, Shakespeare continues to be box office. -
Walt Whitman (1819-1892)
Whitman 1 Walt Whitman (1819-1892) 2 Section headings and information Poems 6 “In Cabin’d Ships at Sea” 7 “We Two, How Long We Were Foole’d” 8 “These I Singing in Spring” 9 “France, the 18th Year of These States” 10 “Year of Meteors (1859-1860)” 11 “Song for All Seas, All Ships” 12 “Gods” 13 “Beat! Beat! Drums!” 14 “Vigil Strange I Kept on the Field one Night” 15 “A March in the Ranks Hard-Prest, and the Road Unknown” 16 “O Captain! My Captain!” 17 “Unnamed Lands” 18 “Warble for Lilac-Time” 19 “Vocalism” 20 “Miracles” 21 “An Old Man’s Thought of School” 22 “Thou Orb Aloft Full-Dazzling” 23 “To a Locomotive in Winter” 24 “O Magnet-South” 25 “Years of the Modern” Source: Leaves of Grass. Sculley Bradley and Harold W. Blodgett, ed. NY: W.W. Norton & Company, 1973. Print. Note: For the IOC, copies of the poems will contain no information other than the title, the poem’s text, and line numbers. Whitman 2 Leaves of Grass, 1881, section headings for those poems within this packet WW: Walt Whitman LG: Leaves of Grass MS: manuscript “Inscriptions” First became a group title for the opening nine poems of LG 1871. In LG 1881 the group was increased to the present twenty-four poems, of which one was new. “Children of Adam” In two of his notes toward poems WW set forth his ideas for this group. One reads: “A strong of Poems (short, etc.), embodying the amative love of woman—the same as Live Oak Leaves do the passion of friendship for man.” (MS unlocated, N and F, 169, No. -
Hotel Directions
PHILADELPHIA MARRIOTT DOWNTOWN DIRECTIONS TO THE HOTEL For GPS: Enter 1200 Filbert Street, Philadelphia PA as the address From the North: Using I-95 South-Trenton, Princeton and From the South: Using I-95 North- Phila. Airport, Baltimore, Washington DC Take I-95 to Exit 22 (I-676 West/Central Philadelphia). Follow I-676 West for one mile to the Broad Street exit. At the end of the ramp make the first left onto Vine Street/Local Traffic. Proceed on Vine Street 3 traffic lights to 12th Street. Make a right on onto 12th Street, proceed 3 blocks to Filbert Street. The hotel will be on the right corner of 12th & Filbert, one block past the PA Convention Center. From the Northeast: Using the PA Turnpike, Northeast Extension, Route 9 Follow the Northeast Extension South until it ends. Take I-476 South to Exit 6: (I-76East/Philadelphia). Proceed on I-76 East to Exit 38: (I-676 East/Central Philadelphia). Proceed on I-676 East for one mile to the Broad Street exit. Exit to the left, follow the traffic signs to Vine Street/Local Traffic. Proceed on Vine Street 3 traffic lights to 12th Street. Make a right on 12th Street and proceed 3 blocks to Filbert Street. The hotel will be on the right corner of 12th & Filbert, one block past the PA Convention Center. From the East: Using the New Jersey Turnpike-Northern New Jersey, New York Take the New Jersey Turnpike to exit 4: Camden/Philadelphia. Stay to the right though the tollbooths, take Route 73 North to Route 38 West. -
Calamus, Drum-Taps, and Whitman's Model of Comradeship
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1996 Calamus, Drum-Taps, and Whitman's Model of Comradeship Charles B. Green College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Literature Commons Recommended Citation Green, Charles B., "Calamus, Drum-Taps, and Whitman's Model of Comradeship" (1996). Dissertations, Theses, and Masters Projects. Paper 1539626051. https://dx.doi.org/doi:10.21220/s2-61z8-wk77 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. "CALAMUS," DRUM-TAPS, AND WHITMAN’S MODEL OF COMRADESHIP A Thesis Presented to The Faculty of the Department of English The College of William and Mary in Virginia In Partial fulfillment of the Requirements for the Degree of Master of Arts by Charles B. Green 1996 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Author Approved, December 1996 Kenneth M. Price Robert SdnoLhick Li chard Lowry 11 ACKNOWLEDGEMENTS The writer wishes to express his appreciation to Professor Kenneth M. Price, under whose supervision this project was conducted, for his patient guidance and criticism throughout the process. ABSTRACT The purpose of this paper is to explore the relationship between Whitman's "Calamus" and Drum-Taps poems, and to determine the methods by which the poet communicates what Michael Moon calls in his Disseminating Whitman: Revision and Corporeality in Leaves of Grass "a program" of revising the "meaning of bodily experience" in terms of man to man affection. -
Faith Reforming
Reforming Faith by Design Frank Furness’ Architecture and Spiritual Pluralism among Philadelphia’s Jews and Unitarians Matthew F. Singer Philadelphia never saw anything like it. The strange structure took shape between 1868 and 1871 on the southeast corner of North Broad and Mount Vernon streets, in the middle of a developing residential neighborhood for a newly rising upper middle class. With it came a rather alien addition to the city’s skyline: a boldly striped onion dome capping an octagonal Moorish-style minaret that flared outward as it rose skyward. Moorish horseshoe arches crowned three front entrances. The massive central At North Broad and Mount Vernon streets, Rodeph Shalom’s first purpose-built temple—de- doorway was topped with a steep gable signed by Frank Furness—announced the growing presence and aspirations of the newly developed neighborhood’s prospering German Jewish community. beneath a Gothic rose window that, in HISTORICAL SOCIETY OF PENNSYLVANIA turn, sat within another Moorish horse- shoe. Composed of alternating bands of phia. In a city of red-brick rowhouses built full Jewish emancipation and equality and yellow and red sandstone, the arches’ halo- primarily in neoclassical styles, Rodeph sparked new spasms of anti-Semitism. like tops appeared to radiate from central Shalom’s new temple mixed Islamic, Pedestrians gazing upon Rodeph disks incised with abstracted floral shapes. Byzantine and Gothic elements. Shalom may have wondered whether their Buttresses shored the sides of the building, Founded in 1795 as the first Ashkenazi wandering minds conjured an appari- which stood tall and vertical like a Gothic (Central and Eastern European) Jewish tion from a faraway time and place. -
Honoring Veterans W O T / O T O H P
SINCE 1838, N OBODY COVERS HUNTINGTON NEWS BETTER THAN THE LONG -I SLANDER . $1 Founded by Walt Whitman LongIslanderNews.com VOL. 180, ISSUE 44 THURSDAY, NOVEMBER 14, 2019 32 PAGES n o t g n i t n INSIDE u H f o n Honoring Veterans w o T / o t o h P Amid a display of hundreds of American flags, veterans groups, elected officials and residents gathered at Veterans Plaza in front of Huntington Town Hall to honor the men and women who serve. For more photos and the story, flip to page 2. TOWN OF HUNTINGTON Comptroller: ‘Town Fiscal Stress At Zero’ The Public Hearing for adoption of the revenues . since the Park Ranger program is made up 2020 Budget was held before the Town Karayianakis stated that the town tax of part-time staff, this would supplement Board at its Nov . 6 meeting with the de - levy increase of $2.8 million or 2.28% current staffing. SPOTLIGHT partment heads presenting an overview of with 2.26 million of the increase is due to Sammis stated that he is expecting “sig - 2019 and a look forward to 2020. contractual agreements related to the re - nificant increase in parking ticket issuance Town Comptroller Peggy Karayianakis source recovery plant. The tax bill for the as a result of the creation of a parking en - reported that in 2019 the town reduced fi - average homeowner will increase approx - forcement team concept. He also discussed nancial stress to zero and was awarded imately $37 per household for the town a capital improvement of $100K for an up - two awards from the Government Finance portion of the tax bill. -
Drum-Taps and Battle-Pieces
Reconciliation as Sequel and Supplement: Drum-Taps and Battle-Pieces PETER J. BELLIS University of Alabama at Birmingham Whitman and Melville could have ended their books of Civil War poems with the close of hostilities, but for both writers an additional movement toward reunification and reconciliation is required to give the war shape and meaning: Drum-Taps requires a sequel and Battle-Pieces a supplement. In both cases, however, thematic or conceptual completion brings formal disruption: reconciliation is deferred or displaced into a separate section of the text and marked by an all too visible scar or seam. The break in Whitman’s text marks the point between wartime conflict and postwar reconciliation, a necessary pivot in what he comes to see as a single temporal and psychological process. For Melville, on the other hand, reconciliation is blocked by the politicized struggle of Reconstruction, a discursive shift that leaves the volume not so much temporally incomplete as structurally flawed. Whitman sees reconciliation as a task that poetry can still accomplish, given time; Melville fears that it may lie beyond the reach of discourse altogether. Mickle Street Review 21 | Spring 2016 | 2 hy does Drum-Taps require a sequel, and Battle-Pieces a supplement? Walt Whitman and Herman Melville could simply have ended their books with W the close of Civil War hostilities, but each decides against it. For both of them, something more is needed to give the war shape and meaning: an additional movement toward reunification and reconciliation. But in both cases, thematic or conceptual completion brings formal disruption: reconciliation is deferred or displaced into a separate section of the text and marked by an all too visible scar or seam. -
Whitman's Urban Kaleidoscope
Comunicação & Cultura, n.º 9, 2010, pp. 111-122 Whitman’s urban kaleidoscope Lara Duarte * Walt Whitman lived in the New York area for more than half his life, so it is perhaps not surprising that he should have declared his intention to chant urban life at the very outset of Leaves of Grass. “This is the City and I am one of its Citizens,” 1 he proclaims in the first untitled poem of the 1855 edition, later to become known as “Song of Myself,” thus laying the foundation stone of his reputation as the first American poet to celebrate the city. Most of the Poet’s life was spent in urban environments. In addition to the forty-two years he lived in and around New York, a further ten were spent in Washington D.C., where he moved in 1862, before settling in Camden, New Jersey, for the last twenty years of his life. Little wonder then that cityscapes and vignettes of urban scenes feature prominently in Whitman’s poetry and prose. In “City of Orgies” (PP 279), written in 1860, the Poet, who looked to the city as the future of American democracy, boasts “City whom that I have lived and sung in your midst will one day make you illustrious” and in the eleven lines of the poem “Broadway,” penned towards the end of his life (1888), he portrays the heady excitement of the rushed comings and goings of “hurrying human tides” and “endless sliding, mincing, shuffling feet,” which he considers to be “like the parti-colored world itself” (PP 624). -
The Ghost Ship on the Delaware
The Ghost Ship on the Delaware By Steven Ujifusa For PlanPhilly Thousands pass by the Ghost Ship on the Delaware River every day. They speed past it on Columbus Boulevard, I-95, and the Walt Whitman Bridge. They glance at it while shopping at IKEA. For some, it is just another eyesore on Philadelphia’s desolate waterfront, no different from the moldering old cruisers and troop transports moored in the South Philadelphia Navy Yard. The Ghost Ship on the Delaware. www.ssunitedstatesconservancy.org Some may pull over to the side of the road and take a closer look through a barbed wire fence. They then realize that the Ghost Ship is of a different pedigree than an old troop transport. Its two finned funnels, painted in faded red, white and blue, are dramatically raked back. Its superstructure is low and streamlined, lacking the balconies and large picture windows that make today’s cruise ships look like floating condominiums. Its hull is yacht-like, defined by a thrusting prow and gracefully rounded stern. Looking across the river to Camden, one might see that the hull of the Ghost Ship bears more than a passing resemblance to the low-slung, sweeping one of the battleship U.S.S. New Jersey. This ship is imposing without being ponderous, sleek but still dignified. Even though her engines fell silent almost forty years ago, she still appears to be thrusting ahead at forty knots into the gray seas of the North Atlantic. Finally, if one takes the time to look at the bow of the Ghost Ship, it is clear that she has no ordinary name. -
Walt Whitman Quarterly Review
Walt Whitman Quarterly Review http://ir.uiowa.edu/wwqr Whitman’s Sexual Themes During a Decade of Revision: 1866-1876 M. Jimmie Killingsworth Volume 4, Number 1 (Summer 1986) pps. 7-15 Stable URL: http://ir.uiowa.edu/wwqr/vol4/iss1/3 ISSN 0737-0679 Copyright c 1986 by The University of Iowa. Whitman’s Sexual Themes During a Decade of Revision: 1866-1876 M. Jimmie Killingsworth Abstract Examines Whitman’s “double attitude” toward his ”poems dealing with sexuality” (”a stub- bornness about their importance coupled with a defensiveness bordering on apology or even re- gret”), focusing on ”Calamus” poems (including number 16 (”Who is Now Reading This?”) and ”You Felons on Trial in Courts”) and others (including ”Song of Myself” and ”A Woman Waits for Me”); critiques arguments by Arthur Golden and Oscar L. Triggs and argues that the ”sexual ardor of Leaves of Grass continued to cool throughout the sixties, and the revisionary strategies of the decade beginning in 1866–the dilution of the poetry of the body and the new emphasis on spiritual matters–increased the distance between Whitman the man and the erotic personas of the early editions of Leaves of Grass.” WHITMAN'S SEXUAL THEMES DURING A DECADE OF REVISION: 1866-1876 M. JIMMIE KILLINGSWORTH By 1888 the elderly Walt Whitman had fallen to explaining and defending Leaves of Grass nearly as often as he was adding to it. In "A Backward Glance O'er Travel'd Roads," I find him, though outwardly assertive, also noticeably defensive on the topic of sexuality: From another point of view "Leaves of Grass" is avowedly the song of Sex and Amativeness, and even Animality - though meanings that do not usually go along with those words are be hind all, and will duly emerge; and all are sought to be lifted into a different light and atmos phere. -
Directions to Citizens Bank Park
The Phillies Citizens Bank Park One Citizens Bank Way Philadelphia, PA 19148-5249 directions to citizens bank park Northeast Philadelphia, Bucks County, New York and points North Take I-95 South to Packer Avenue, Exit 19 (bear right off exit), bear right at 2nd light onto Packer Ave. Follow map to ballpark parking. Take I-95 South to Broad Street, Exit 17. Bear right and follow map to ballpark parking. Delaware County, Delaware, Maryland, and points South Take I-95 North past airport to Broad Street, Exit 17. Follow map to ballpark parking. Take I-95 North to Packer Avenue, Exit 19. Follow map to ballpark parking. Take I-95 North to Platt Bridge, Exit 13. After bridge, turn right at 2nd light onto Pattison Avenue and follow map to ballpark parking. West Chester, Chester County Take Route 3, West Chester Pike, to I-476 south (Blue Route). Follow I-476 to I-95 north and follow DELAWARE COUNTY directions. Harrisburg, Lebanon, Reading, Pottstown Take the Pennsylvania Turnpike east to Valley Forge, Exit 326. At the Valley Forge exit, take I-76 (Schuylkill Expressway) east all the way through Philadelphia. Take the Sports Complex Exit, 349. Make a right off the exit onto Broad Street. Follow map to ballpark parking. Take the Packer Avenue Exit, 350. Follow map to ballpark parking. Take the Pennsylvania Turnpike east to Valley Forge, Exit 326. At the Valley Forge exit, take I-76 (Schuylkill Expressway) east to I-476 south (Blue Route) to I-95 North and follow DELAWARE COUNTY directions. Scranton, Wilkes-Barre, Allentown, Bethlehem, Quakertown Take the Pennsylvania Turnpike Northeast Extension (I-476) south. -
Maritime Commerce in Greater Philadelphia
MARITIME COMMERCE IN GREATER PHILADELPHIA Assessing Industry Trends and Growth Opportunities for Delaware River Ports July 2008 1 TABLE OF CONTENTS Table of Contents Maritime Commerce In Greater Philadelphia Executive Summary 3 Introduction and Project Partners 8 Section 1: Economic Impact Analysis 9 Section 2: Delaware River Port Descriptions & Key Competitors 12 Section 3: Global Trends and Implications for Delaware River Ports 24 Section 4: Strategies and Scenarios for Future Growth 31 Section 5: Conclusions and Key Recommendations 38 Appendices Appendix A: Glossary 40 Appendix B: History of the Delaware River Ports 42 Appendix C: Methodology for Economic Impact Analysis 46 Appendix D: Port-Reliant Employment 48 Appendix E: Excerpts from Expert Panel Discussions 49 Appendix F: Port Profiles 55 Appendix G: Additional Data 57 Appendix H: Delaware River Port Maps 62 Appendix I: End Notes 75 Appendix J: Resources 76 2 EXECUTIVE SUMMARY Executive Summary For more than 300 years, the from origin to final destination. supports 12,121 jobs and $772 mil- Delaware River has served as a key ⇒ Implications for Delaware lion in labor income, generating $2.4 commercial highway for the region. River Ports. The region has ca- billion in economic output. While Greater Philadelphia’s mari- pacity to accommodate growth, The port industry’s regional job time roots remain, rapid globalization but its ports must collaborate to base is relatively small, but those jobs and technological advances are driv- develop a comprehensive plan generate higher than average income ing an industry-wide transformation that addresses existing con- and output per job. Regional direct that has impacted the role that Dela- straints and rationally allocates jobs represent an average annual in- ware River ports play in the larger cargo based on competitive ad- come (including fringe benefits) of economy.