Ülkäni Öwreniş
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The CAMRA Regional Inventory for London Pub Interiors of Special Historic Interest Using the Regional Inventory
C THE CAMPAIGN FOR REAL ALE The CAMRA Regional Inventory for London Pub Interiors of Special Historic Interest Using the Regional Inventory The information The Regional Inventory listings are found on pages 13–47, where the entries are arranged alphabetically by postal districts and, within these, by pub names. The exceptions are outer London districts which are listed towards the end. Key Listed status Statutory listing: whether a pub building is statutorily listed or not is spelled out, together with the grade at which it is listed LPA Local planning authority: giving the name of the London borough responsible for local planning and listed building matters ✩ National Inventory: pubs which are also on CAMRA’s National Inventory of Pub interiors of Outstanding Historic Interest Public transport London is well served by public transport and few of the pubs listed are far from a bus stop, Underground or rail station. The choice is often considerable and users will have no di≤culty in easily reaching almost every pub with the aid of a street map and a transport guide. A few cautionary words The sole concern of this Regional Inventory is with the internal historic fabric of pubs – not with qualities like their atmosphere, friendliness or availability of real ale that are featured in other CAMRA pub guides. Many Regional Inventory pubs are rich in these qualities too, of course, and most of them, but by no means all, serve real ale. But inclusion in this booklet is for a pub’s physical attributes only, and is not to be construed as a recommendation in any other sense. -
Download Annual Review 2003
Annual Review and Summary Financial Statement 2003 Mitchells & Butlers owns 2,000 high-quality managed pubs in prime locations. A The Horse Shoe Bar Drury Street, Glasgow Turnover up 2% to £1,513m EBITDA flat at £374m Operating profit* down 5% to £275m Profit before tax** down 1% at £199m Net operating cash flow** £241m up £106m Earnings per share** down 0.1p to 18.4p Final dividend per share 5.65p B The Three Stags, Ember Inn Bebington, The Wirral * Before major operating exceptional items. ** On a pro forma basis. Our locations as at 30 September 2003 This table depicts how our UK pubs and pub restaurants are targeted by location or by primary occasion (drinks or food), together with the number of sites for each. Drinks-led Food-led Residential Residential C Tyburn House, Sizzling Pub Co Ember Inns 159 Vintage Inns 203 Castle Vale, Birmingham Sizzling Pub Co 125 Harvester 142 Scream 91 Toby Carvery 74 Arena 57 Innkeeper’s Fayre 24 Unbranded 386 Unbranded 86 City Centre City Centre O’Neill’s 86 All Bar One 49 Goose 41 Browns 15 Edward’s 35 Unbranded 0 D Travellers Rest, Vintage Inn, Flares 32 Caerphilly, Wales Unbranded 352 Contents 1 Our pubs, bars and restaurants 22 Profit and loss 2 Chairman’s statement 22 Cash flow 4 Chief Executive’s review 22 Balance sheet 6 Pubs & Bars 23 Summary Directors’ report 10 Restaurants 23 Corporate governance 14 Our guests 24 Board of Directors 16 Our people 25 Other members of the 18 Community Executive Committee 20 Finance Director’s report 25 Summary remuneration report E Browns 21 Summary financial statement -
THE BASILISK and ITS ANTIDOTE: a STUDY of the CHANGING IMAGE of CHOPIN in LITERATURE by ALICE CAROLYN MAY WOOTTON B.A., Universi
THE BASILISK AND ITS ANTIDOTE: A STUDY OF THE CHANGING IMAGE OF CHOPIN IN LITERATURE by ALICE CAROLYN MAY WOOTTON B.A., University of Victoria, I966 A.R.CT. (Toronto), L.R.S.M. (London) A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in Comparative Literature We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April, 1970 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 tha permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Comparative Literature The University of British Columbia Vancouver 8, Canada Date March 17„ 1970 Supervisor: Professor Joyce Hallamore ABSTRACT One area related to Fryderyk Chopin which has received little attention is his influence upon literature. In order to de• velop two aspects of this theme a key word "basilisk" has been introduced which Robert Schumann as music critic used in explaining the unusual impression that Chopin's music first presented on the printed page. This word, with its overtones both magical and ominous, suggests the symbol for the growing wave of aestheticism with which the cult of Chopin came to be associated. Translated into literature the expression of the Chopin cult found its way into the early writings of Thomas Mann, Hermann Hesse, and John Galsworthy. -
A HISTORY of LONDON in 100 PLACES
A HISTORY of LONDON in 100 PLACES DAVID LONG ONEWORLD A Oneworld Book First published in North America, Great Britain & Austalia by Oneworld Publications 2014 Copyright © David Long 2014 The moral right of David Long to be identified as the Author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988 All rights reserved Copyright under Berne Convention A CIP record for this title is available from the British Library ISBN 978-1-78074-413-1 ISBN 978-1-78074-414-8 (eBook) Text designed and typeset by Tetragon Publishing Printed and bound by CPI Mackays, Croydon, UK Oneworld Publications 10 Bloomsbury Street London WC1B 3SR England CONTENTS Introduction xiii Chapter 1: Roman Londinium 1 1. London Wall City of London, EC3 2 2. First-century Wharf City of London, EC3 5 3. Roman Barge City of London, EC4 7 4. Temple of Mithras City of London, EC4 9 5. Amphitheatre City of London, EC2 11 6. Mosaic Pavement City of London, EC3 13 7. London’s Last Roman Citizen 14 Trafalgar Square, WC2 Chapter 2: Saxon Lundenwic 17 8. Saxon Arch City of London, EC3 18 9. Fish Trap Lambeth, SW8 20 10. Grim’s Dyke Harrow Weald, HA3 22 11. Burial Mounds Greenwich Park, SE10 23 12. Crucifixion Scene Stepney, E1 25 13. ‘Grave of a Princess’ Covent Garden, WC2 26 14. Queenhithe City of London, EC3 28 Chapter 3: Norman London 31 15. The White Tower Tower of London, EC3 32 16. Thomas à Becket’s Birthplace City of London, EC2 36 17. -
Indian Summer of a Forsyte and in Chancery
Indian Summer of a Forsyte and In Chancery John Galsworthy Indian Summer of a Forsyte and In Chancery Table of Contents Indian Summer of a Forsyte and In Chancery.......................................................................................................1 John Galsworthy............................................................................................................................................1 i Indian Summer of a Forsyte and In Chancery John Galsworthy THE FORSYTE SAGA VOLUME II TO ANDRE CHEVRILLON Indian Summer of A Forsyte "And Summer's lease hath all too short a date." −−Shakespeare I In the last day of May in the early 'nineties, about six o'clock of the evening, old Jolyon Forsyte sat under the oak tree below the terrace of his house at Robin Hill. He was waiting for the midges to bite him, before abandoning the glory of the afternoon. His thin brown hand, where blue veins stood out, held the end of a cigar in its tapering, long−nailed fingers−−a pointed polished nail had survived with him from those earlier Victorian days when to touch nothing, even with the tips of the fingers, had been so distinguished. His domed forehead, great white moustache, lean cheeks, and long lean jaw were covered from the westering sunshine by an old brown Panama hat. His legs were crossed; in all his attitude was serenity and a kind of elegance, as of an old man who every morning put eau de Cologne upon his silk handkerchief. At his feet lay a woolly brown−and−white dog trying to be a Pomeranian−−the dog Balthasar between whom and old Jolyon primal aver−sion had changed into attachment with the years. Close to his chair was a swing, and on the swing was seated one of Holly's dolls −−called 'Duffer Alice'−−with her body fallen over her legs and her doleful nose buried in a black petticoat. -
The London Wall (Circular Via Thames Path) the London Wall (Circular Via Roman Era Waterfront)
The London Wall (Circular via Thames Path) The London Wall (Circular via Roman Era Waterfront) 1st walk check 2nd walk check 3rd walk check 1st walk check 2nd walk check 3rd walk check 10th Sept. 2020 Current status Document last updated Thursday, 10th September 2020 This document and information herein are copyrighted to Saturday Walkers’ Club. If you are interested in printing or displaying any of this material, Saturday Walkers’ Club grants permission to use, copy, and distribute this document delivered from this World Wide Web server with the following conditions: • The document will not be edited or abridged, and the material will be produced exactly as it appears. Modification of the material or use of it for any other purpose is a violation of our copyright and other proprietary rights. • Reproduction of this document is for free distribution and will not be sold. • This permission is granted for a one-time distribution. • All copies, links, or pages of the documents must carry the following copyright notice and this permission notice: Saturday Walkers’ Club, Copyright © 2020, used with permission. All rights reserved. www.walkingclub.org.uk This walk has been checked as noted above, however the publisher cannot accept responsibility for any problems encountered by readers. The London Wall Start: Tower Hill Underground Finish: Blackfriars Station Length: 4.5 km (2.8 mi). Cumulative ascent/descent: negligible. Toughness: 1 out of 10 Time: 1 ½ to 3 hours walking time. Transport: Tower Hill Underground Station is a stop on the Circle and District lines between Monument and Aldgate/Aldgate East stations respectively and only a short distance from Tower Gateway DLR and Fenchurch Street Main Line stations as well as the Tower Millennium riverboat pier. -
The City of London
18 B I 19 The City of London The City is London’s most ancient quarter and a global fi nancial centre that has been closely connected with international trade and commerce for 2,000 years. The tightly built ‘Square Mile’ of small streets, crooked alleys, squares, courts, churches, civic buildings, o ces and high rises stretches from the Royal Courts of Justice in the Strand (Temple Bar) to Aldgate in the east and from the Thames in the south to City Road in the north. ondon fi rst became a port of wealth and prominence under Roman occupation ( 43–410). In the 2nd century, the L TOWER OF Romans built a towering defence wall around LONDON the City, 20ft high and 8ft wide, as impressive HOUSES OF as Hadrian’s Wall in the North. It formed the PARLIAMENT foundations for the medieval city wall that was restored by King Alfred in the 9th century and remained standing until the 18th and 19th cen- turies. The legacy of this wall is that it loosely defi nes the perimeters of the City to this day and signifi cant remains may still be seen at Tower Hill, the Barbican and on the modern road called London Wall. After the Norman Conquest of 1066, William the Conqueror built three mighty for- tresses in the City to subdue its citizens (the Tower, o cially outside the City’s limits, is the only one that remains). However, William also recognised the City’s value to the wealth of the country and approved a London charter which upheld previous Saxon rights and privileges. -
Character and Credibility in the Forsyte Saga
D. J. Dooley CHARACTER AND CREDIBILITY IN THE FORSYTE SAGA DiscussiNG VINCENT SHEEAN's Dorothy and Red in the New York Review of Books several years ago, Steven Marcus wrote that Dorothy Thompson and Sinclair Lewis belonged to "the last generation of Americans who were able to believe that one could give a full and reliable account of oneself in strictly conscious terms." "They did not", he went on, "think of themselves as we have come to do. They did not think of themselves as having unconscious minds, which were overwhelmingly powerfu~ largely uncontrollable, and a central part of themselves." So Lewis was among the last of the external, realistic school of novelists, and the strength of his sociological images lay in their breadth of representativeness, a breadth somehow inseparable from their shallowness. In Marcus's view, we can no longer look at character in this way or accept fiction based on such assumptions concerning people and their relation to their environment. That ought to seem completely platitudinous. Was Lawrence not tell ing his readers many years ago that they must not look in his novels for the old stable ego of character? Was Virginia W oolf not right in "Mr. Bennett and Mrs. Brown", when she said that whatever human personality may be we cannot feel that such writers as Wells, Bennett, and Galsworthy have done anything but bury it under the accumulation of external, realistic details in their novels? Even if Freudianism is now on the wane, has not our approach to personality altered so drastically that the attempts of older novelists to capture it strike us as completely unconvincing? What have Wells, Bennett, or Galsworthy to say to the world of Enderby or Portnoy' s Complaint? Curiously, whether he ought to or not, one particular exponent of the early twentieth-century sociological novel does seem to have a great deal to say to our times. -
In Chancery by the SAME AUTHOR
T INC ii BY JOHN GALSWORTHY. ^ The Publishers of this book will be glad to send, from lime to time, announce- ments of their pubHcations to anyone who will send his name and address with an indication of the class of literature in which he is chiefly interested. Orders should be sent through a bookseller. WILLIAM H E 1 N E M A N N 20 21, Bedford Street, W.C.2 In Chancery BY THE SAME AUTHOR Piibl'tshed by William Heinemann THE ISLAND PHARISEES THE MAN OF PROPERTY THE COUNTRY HOUSE FRATERNITY THE PATRICIAN THE DARK FLOWER THE FREELANDS BEYOND FIVE TALES SAINTS PROGRESS A MOTLEY THE INN OF TRANQUILLITY THE LITTLE MAN, AND OTHER SATIRES A SHEAF ANOTHER SHEAF TATTERDEMALION MOODS, SONGS, AND DOGGERELS ADDRESSES IN AMERICA MEMORIES. Illustrated by Maud Earl AWAKENING. Illustrated by R. H. Sauter. Issued by other Publishers VILLA RUBEIN, AND OTHER STORIES A COMMENTARY PLAYS (Four Vols.) In Chancery By John Galsworthy 'Two households both alike in dignity, From ancient grudge break to new mutiny." Romeo and Juliet. London : William Heinemanix London : William Heinemann. 1920. TO JESSIE AND JOSEPH CONRAD 191318 In Chancery is sequel to The Man of Property and to Indian Summer of a Forsyte (contained in the volume entitled Five Tales), and continues The Forsyte Saga. —J. G. CONTENTS PART I CHATTEK I. AT timothy's 3 II. EXIT A MAN OF THE WORLD H III. SOAMES PREPAKKS TO TAKE STEPS 28 IV. SOHO - - - - 35 V. JAMES SEES VISIONS 43 VI. NO-LONGER-YOUNG JOLYON AT HOME 50 VII. -
SOAMES FORSYTE: a STUDY in CHARACTERIZATION by Lynn Lubin Gold, B
SOAMES FORSYTE: A STUDY IN CHARACTERIZATION By Lynn Lubin Gold, B. A. A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts. Department of English McGill University Montreal April, 1964 CONTENTS Introduction Page i I. Biographical Material and its Relevance to the Criticism 1 II. The Man of Proper.,tt: A Possessive Hus band 9 III. In Chancery: A Tragicomic Lover 28 IV. To Let: The Unselfish Father 56 V. A Modern Comedy: The Final Portrait 83 A Selected Bibliography 109 i Introduction The atm of this atudy is to examine Galsworthy's portrait of Soames Forsyte through the course of six novels, to interpret the changes in that portrait, and to determine whether Soames really developed, as leading critics suggest, from a villainous to a heroic character. Galsworthy wrote his best novel, The Man of Property, in an uncharacteristically rebellous mood because of the circumstances of his courtship of Ada. As he grew older and more tolerant, as he and his wife were accepted into the society against which they had rebelled, and as his position in literature became firmly established, he looked at Soames with increasing insight and compassion. Because of Galsworthy's balanced technique and method of understatement, it is easy to miss noticing and appreciating his objectivity and detachment. Although in A Modern Comedy he chose to emphasize those characteristics which he respected in Soames, he did not lose sight of his original conception of the character; nor did he try to erase the flaws and ltmitations of Soames's personality in order to draw an idealized self-portrait. -
The Forsyte Saga Returns to Public Television in 2015 Epic Drama Stars Damian Lewis
The Forsyte Saga Returns to Public Television in 2015 Epic drama stars Damian Lewis The Forsyte Saga, the dazzling 13-part British television drama of class, sex and power, will return to public television starting in May 2015. Based on John Galsworthy’s novel of the same name, The Forsyte Saga chronicles the lives of an English family over 34 years from the Victorian era through World War I. Superior, arrogant and confident, the Forsytes are the ultimate power family. What lies beneath is a festering core of unhappy and brutal relationships, riddled with tensions and jealousy. The stellar cast includes Damian Lewis (Homeland, Wolf Hall on MASTERPIECE); Ioan Gruffudd (King Arthur, Fantastic Four); Corin Redgrave, Gina McKee, and Rupert Graves. The protagonist of the saga is Soames Forsyte (Damian Lewis): at 31, Soames is a rich, successful partner in the family law firm. He is the original ‘man of property’ and a true believer in Forsyte family values. His fiery, tormented relationship with his beautiful wife Irene (Gina McKee), is at the heart of the saga. Her life changes forever when she meets Philip Bosinney (Ioan Gruffudd), an architect hired by Soames to build a country house, and they fall in love. A classic of English literature, The Forsyte Saga was originally published in three volumes from 1906 -1920. It painted a fascinating picture of early twentieth century London life, and helped win the author John Galsworthy the Nobel Prize in Literature in 1932. The Forsyte Saga was produced by Granada Television and premiered in the US in 2002 on PBS’ Masterpiece. -
The Wordsworthian Inheritance of Melville's
THE WORDSWORTHIAN INHERITANCE OF MELVILLE’S POETICS by Cory R. Goehring B.A., Washington and Jefferson College, 2000 M.A., University of Massachusetts-Amherst, 2004 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2010 UNIVERSITY OF PITTSBURGH ARTS AND SCIENCES This dissertation was presented by Cory R. Goehring It was defended on May 19, 2010 and approved by Nancy Glazener, Associate Professor, English Marah Gubar, Associate Professor, English Fred Evans, Professor, Philosophy Jonathan Arac, Andrew W. Mellon Professor, English ii Copyright © by Cory R. Goehring 2010 iii THE WORDSWORTHIAN INHERITANCE OF MELVILLE’S POETICS Cory R. Goehring, Ph.D. University of Pittsburgh, 2010 It has become commonplace among both Melville and Wordsworth critics to recognize a basic ambiguity or contradictoriness in each artist’s writing. In this project, I find the roots of that tension in each artist’s concept of the imagination and the process of poetic creation. More importantly, I find that Melville’s concept of art, as reflected in his magnum opus Moby-Dick and substantiated in his poetry, reveals a basic affinity with Wordsworth’s Imagination. Specifically, my project traces the lingering elements of Wordsworth’s concept of the poetic process in Melville’s writing, particularly focusing on two important and complex relationships in that creative process: 1) the implicit paradox of activity and passivity in a poetics that assumes at its heart inspiration, and Wordsworth’s particular devotion to preserving rather than reconciling that paradox; and 2) the role of society in a creative process that seeks to privilege individual genius while ensuring the social efficacy of the workings of that genius.