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The Owl and the Pussy-Cat the Owl and the Pussy-Cat Went
The Owl and the Pussy-Cat The Owl and the Pussy-Cat went to sea In a beautiful pea-green boat, They took some honey, and plenty of money, Wrapped up in a five pound-note. The Owl looked up to the stars above, And sang to a small guitar, 'O lovely Pussy! O Pussy, my love, What a beautiful Pussy you are, You are, You are! What a beautiful Pussy you are.' Pussy said to the Owl, 'You elegant fowl, How charmingly sweet you sing. O let us be married, too long have we tarried, But what shall we do for a ring?' They sailed away for a year and a day, To the land where the Bong-tree grows, And there in the wood a Piggy-wig stood, With a ring in the end of his nose, His nose, His nose! With a ring in the end of his nose. 'Dear Pig, are you willing, to sell for one shilling Your ring?' Said the Piggy, 'I will.' So they took it away, and were married next day, By the Turkey who lives on the hill. They dined on mince, and slices of quince, Which they ate with a runcible spoon; And hand in hand, on the edge of the sand, They danced by the light of the moon, The moon, The moon, They danced by the light of the moon. Edward Lear (1812-1888) 15 Gramercy Park New York, NY 10003 (212) 254-9628 / www.poetrysociety.org Sympathy I know what the caged bird feels, alas! When the sun is bright on the upland slopes; When the wind stirs soft through the springing grass, And the river flows like a stream of glass; When the first bird sings and the first bud opens, And the faint perfume from its chalice steals— I know what the caged bird feels! I know why the caged -
Graphic Interlude Are You Game?
Angles New Perspectives on the Anglophone World 11 | 2020 Are You Game? Graphic Interlude Are you Game? Winslow Homer, Ambrose Andrews, Briton Rivière, Sharon Lockhart, Anonymous, Marcus Gheeraerts I, Gawen Hamilton, Sir John Everett Millais, Thomas Rowlandson, Marion Post Wolcott, John Rogers, Mary Sargant Florence, Thomas Anshutz, Sir William Reynolds-Stephens and George Cruikshank Electronic version URL: http://journals.openedition.org/angles/3117 DOI: 10.4000/angles.3117 ISSN: 2274-2042 Publisher Société des Anglicistes de l'Enseignement Supérieur Electronic reference Winslow Homer, Ambrose Andrews, Briton Rivière, Sharon Lockhart, Anonymous, Marcus Gheeraerts I , Gawen Hamilton, Sir John Everett Millais, Thomas Rowlandson, Marion Post Wolcott, John Rogers, Mary Sargant Florence, Thomas Anshutz, Sir William Reynolds-Stephens and George Cruikshank, « Graphic Interlude », Angles [Online], 11 | 2020, Online since 01 November 2020, connection on 13 November 2020. URL : http://journals.openedition.org/angles/3117 ; DOI : https://doi.org/10.4000/ angles.3117 This text was automatically generated on 13 November 2020. Angles est mise à disposition selon les termes de la Licence Creative Commons Attribution 4.0 International. Graphic Interlude 1 Graphic Interlude Are you Game? Winslow Homer, Ambrose Andrews, Briton Rivière, Sharon Lockhart, Anonymous, Marcus Gheeraerts I, Gawen Hamilton, Sir John Everett Millais, Thomas Rowlandson, Marion Post Wolcott, John Rogers, Mary Sargant Florence, Thomas Anshutz, Sir William Reynolds-Stephens and George Cruikshank Game as Amusement, Fun, Pleasure Angles, 11 | 2020 Graphic Interlude 2 Winslow Homer (1836-1910), Snap the Whip (1872) - Oil on canvas (30.5x 50.8cm) This outdoor scene is one of many painted by Winslow Homer, one of the most famous American artists of the nineteenth century. -
Essays of Robert Louis Stevenson by Robert Louis
Essays of Robert Louis Stevenson By Robert Louis Stevenson 1 PREFACE The text of the following essays is taken from the Thistle Edition of Stevenson's Works, published by Charles Scribner's Sons, in New York. I have refrained from selecting any of Stevenson's formal essays in literary criticism, and have chosen only those that, while ranking among his masterpieces in style, reveal his personality, character, opinions, philosophy, and faith. In the Introduction, I have endeavoured to be as brief as possible, merely giving a sketch of his life, and indicating some of the more notable sides of his literary achievement; pointing out also the literary school to which these Essays belong. A lengthy critical Introduction to a book of this kind would be an impertinence to the general reader, and a nuisance to a teacher. In the Notes, I have aimed at simple explanation and some extended literary comment. It is hoped that the general recognition of Stevenson as an English classic may make this volume useful in school and college courses, while it is not too much like a textbook to repel the average reader. I am indebted to Professor Catterall of Cornell and to Professor Cross of Yale, and to my brother the Rev. Dryden W. Phelps, for some assistance in locating references. W.L.P., YALE UNIVERSITY, 13 February 1906. 2 CONTENTS INTRODUCTION BIBLIOGRAPHY I ON THE ENJOYMENT OF UNPLEASANT PLACES NOTES II AN APOLOGY FOR IDLERS NOTES III AES TRIPLEX NOTES IV TALK AND TALKERS NOTES V A GOSSIP ON ROMANCE NOTES VI THE CHARACTER OF DOGS NOTES VII A COLLEGE MAGAZINE NOTES 3 VIII BOOKS WHICH HAVE INFLUENCED ME NOTES IX PULVIS ET UMBRA NOTES 4 INTRODUCTION I LIFE OF STEVENSON Robert Louis Stevenson[1] was born at Edinburgh on the 13 November 1850. -
Hail to the Caldecott!
Children the journal of the Association for Library Service to Children Libraries & Volume 11 Number 1 Spring 2013 ISSN 1542-9806 Hail to the Caldecott! Interviews with Winners Selznick and Wiesner • Rare Historic Banquet Photos • Getting ‘The Call’ PERMIT NO. 4 NO. PERMIT Change Service Requested Service Change HANOVER, PA HANOVER, Chicago, Illinois 60611 Illinois Chicago, PAID 50 East Huron Street Huron East 50 U.S. POSTAGE POSTAGE U.S. Association for Library Service to Children to Service Library for Association NONPROFIT ORG. NONPROFIT PENGUIN celebrates 75 YEARS of the CALDECOTT MEDAL! PENGUIN YOUNG READERS GROUP PenguinClassroom.com PenguinClassroom PenguinClass Table Contents● ofVolume 11, Number 1 Spring 2013 Notes 50 Caldecott 2.0? Caldecott Titles in the Digital Age 3 Guest Editor’s Note Cen Campbell Julie Cummins 52 Beneath the Gold Foil Seal 6 President’s Message Meet the Caldecott-Winning Artists Online Carolyn S. Brodie Danika Brubaker Features Departments 9 The “Caldecott Effect” 41 Call for Referees The Powerful Impact of Those “Shiny Stickers” Vicky Smith 53 Author Guidelines 14 Who Was Randolph Caldecott? 54 ALSC News The Man Behind the Award 63 Index to Advertisers Leonard S. Marcus 64 The Last Word 18 Small Details, Huge Impact Bee Thorpe A Chat with Three-Time Caldecott Winner David Wiesner Sharon Verbeten 21 A “Felt” Thing An Editor’s-Eye View of the Caldecott Patricia Lee Gauch 29 Getting “The Call” Caldecott Winners Remember That Moment Nick Glass 35 Hugo Cabret, From Page to Screen An Interview with Brian Selznick Jennifer M. Brown 39 Caldecott Honored at Eric Carle Museum 40 Caldecott’s Lost Gravesite . -
Poetry Year Four Year Five Year Six
Core Knowledge UK Year Four to Six Core Knowledge Strands of Progression: Language and Literature Strand B: Poetry Year Four Year Five Year Six Poems Poems Poems Become familiar with the following works: Become familiar with the following works: Become familiar with the following works: At the Zoo (William Makepeace Thackeray) Afternoon on a Hill (Edna St Vincent Millay) The Arrow and the Song (Henry Wadsworth By Myself (Eloise Greenfield) Clouds (Christina Rossetti) Longfellow) Catch a Little Rhyme (Eve Merriam) Ducks’ Ditty (Kenneth Grahame) A Ballad of London (Richard Le Gallienne) Colonel Fazackerley (Charles Causley) Dreams (Langston Hughes) A Bird Came Down the Walk (Emily Dickinson) The Crocodile (Lewis Carroll) Driving Home (Gerard Benson) The Eagle (Alfred Lord Tennyson) The Dragon on the Playground (Kenn Nesbitt) The drum (Nikki Giovanni) Into My Heart an Air that Chills (A. E. Houseman) Daddy Fell into the Pond (Alfred Noyes) Fog (Carl Sandburg) Jabberwocky (Lewis Carroll) Dream Variations (Langston Hughes) Humanity (Elma Stuckey) Jerusalem (William Blake) Eletelephony (Laura Richards) I am the Song (Charles Causley) The Listeners (Walter de la Mare) Father William (Lewis Carroll) The Lady of Shallot (Alfred, Lord Tennyson) Little Red Riding Hood and the Wolf (Roald Dahl) For want of a nail, the shoe was lost… Life Doesn’t Frighten Me (Maya Angelou) The Road Not Taken (Robert Frost) (traditional) Macavity (T. S. Eliot) A Smugglers’ Song (Rudyard Kipling) Happiness (A. A. Milne) Monday’s Child -
Catalogue of the Library and Autographs of William F. Johnson
* Copy / I - V CATALD DUE 30 X Ilibr&ry • &nd - OF WILLIAM F. JOHNSON, ESQ., w OK BOSTON, MASS. fVERY VALUABLE and Interesting Collection of English and American Literature comprising, under the title Americana, a num¬ ber of scarce works by the Mathers, Eliot and other authors of their day ; in General Literature, many Standard and Popular Works of Biography, History and Romance, and worthy of especial notice and attention, a Collection of FIRST EDITIONS of REMARKABLE INTEREST AND VALUE BY REASON OF BOTH RARITY AND BEAUTY OF CONDITION, including the most desired specimens of the works of Coleridge, Hunt, Lamb, Keats, Shelley, Thackeray, Browning, Bry¬ ant, Emerson, Hawthorne, Longfellow and others. Also to be mentioned a charming lot of CRUIKSH ANKIANA, and books illustrated by Leech and Rowlandson. In addition to all the book treasures there are Specimen Autographs of the best known and honored English and American Authors, Statesmen and others, many of them particularly desirable for condition or interesting con¬ tents. TO BE SOLD AT AUCTION Monday, Tuesday, "Wednesday and Thursday, JANUARY 2T—30, 1890, BANQS & 60.,,. , * i A ■» 1 > > > • «. it1 > » i ) >) > ) ) > 5 > 1 J > * ) » > 739 & 741 Broadway, New York. 7 ~ % > n > > ) t> ) >7 > SALE TO BEGIN AT 3 O’CLOCK!’ ' > 7 > ' 7 ' > > 7 ) 7 *7 >v > ) , 7 {y Buyers wl~io cannot attend tloe sale me\y have pcir- chases made to tlieir order toy ttie Auctioneers. •* \ in 3 7 . '" i 'O'b ■ 9 c 1 ( f' * ( 0 « C. < C I < < < I / I , < C l < C » c 1 « l ( 1C. C f «. < « c c c i r < < < < 6 < C < < C \ ( < « ( V ( c C ( < < < < C C C t C. -
Victorian Writers, Remembered & Forgotten
University of South Carolina Scholar Commons Faculty Publications English Language and Literatures, Department of 10-2008 Victorian Writers, Remembered & Forgotten Patrick G. Scott University of South Carolina - Columbia, [email protected] Follow this and additional works at: https://scholarcommons.sc.edu/engl_facpub Part of the English Language and Literature Commons Publication Info 2008. (c) Patrick Scott, 2008 This Paper is brought to you by the English Language and Literatures, Department of at Scholar Commons. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. , Department of Rare Books & Special Collections VICTORIAN- WRITERS RentelDbered & F9rgotten . .. Mezzanine Exhibition Gallery~ Thomas Cooper Library . University of South Carolina October-November. 2008· FOREWORD This exhibition welcomed to the University the Thirty-Ninth Annual Meeting of the Victorians Institute, a two-day conference bringing to Columbia nearly a hundred Victorian scholars from the south-east and across the United States. So many of the great writers of the Victorian age are still well-known names that myriads of others get overlooked or neglected. The University of South Carolina's Department of Rare Books & Special Collections has first editions and even manuscript material from many of the best-remembered Victorian writers, but it also preserves the writings of others who are now almost forgotten. In some cases, such lesser-known items may be even rarer than long-sought-after first editions by the most famous names. The current exhibition juxtaposes work by major Victorians, such as Charles Dickens, Alfred Tennyson, Charlotte Bronte, and George Eliot, with the work of some of these other · writers who deserve to be better-known. -
Edward Lear's Lines of Flight
Journal of the British Academy, 1, 31–69. DOI 10.5871/jba/001.031 Posted 18 July 2013. © The British Academy 2013 Edward Lear’s lines of flight Chatterton Lecture on Poetry read 1 November 2012 by MATTHEW BEVIS Abstract: ‘Verily I am an odd bird’, Edward Lear wrote in his diary in 1860. This article examines a range of odd encounters between birds and people in Lear’s paint ings, illustrations, and poems. It considers how his interest in birds—an interest at once scientific and aesthetic—helped to shape his nonsense writings. I suggest that poetic and pictorial lines of flight became, for Lear, a means of exploring the claims that art might make on our attention. Keywords: Edward Lear, poetry, painting, flight, birds, Charles Darwin, nonsense, evolution, Alfred Tennyson. until now I never knew That fluttering things have so distinct a shade. Wallace Stevens, ‘Le Monocle de Mon Oncle’ (1918) ‘If you cannot tell me how the shadows of the blessed jackdaws will fall I don’t know what I shall do’, wrote Edward Lear to William Holman Hunt in 1852.1 The poet’s feeling for the life of things was often enhanced by his regard for their fleeting effects. ‘Myriads of pigeons!’, he later exclaimed, ‘And when they fly, their shadows on the ground!’2 Notwithstanding the lessons of Plato’s cave, shadows, for Lear, inhabit the realm of the knowable; they are not simply a mistake, or a deception, or a diversion from the real. At once copies and reanimations, shadows may also stand as an analogue for art. -
A Victorian Artists Haven. Wormley and Sandhills
Walk 5 A Victorian Artists’ Haven Wormley and Sandhills Map: OS Explorer 133 – Haslemere & Petersfield Scale 1:25,000 Start: Park in New Road on single yellow line after 10 am or in the station car park (there is a charge). Alternatively park in Brook Road or come by train. Grid Ref: New Road: SU957378 Distance: 5km/3 mile over easy terrain using both the public roads (with and without pavements) and public footpaths that can be muddy in wet weather. Please Note: All the properties mentioned on this walk are privately owned and permission has not been requested to walk on their land. 1 Walk 5 A Victorian Artists’ Haven Wormley and Sandhills Directions No artistic colony can ever have been more agreeable than the little community that flourished at Witley in the second half of the 19th Century. Of the 25 distinguished writers and painters who lived in this area between 1860 and 1905 over half of them resided in this small area in the south of the parish, attracted down from London with the arrival of the railways. With your back to the A283 walk up New Road to Combe Lane, cross over and proceed ahead to Witley station. Proceed to the top of the station car park and take the public footpath over the railway line and continue ahead over a cross roads. When the footpath meets a road turn left. Redlands is on your left. Arthur Melville RWS, ARSA (1855-1904) rented the house from his friend Walford Graham Robertson. The Studio is next to Redlands. -
'Saved from the Sordid Axe': Representation and Understanding
1 ‘Saved from the sordid axe’: representation and understanding of pine trees by English visitors to Italy in the eighteenth and nineteenth century Pietro Piana, Charles Watkins and Ross Balzaretti Abstract Pine trees were frequently depicted and celebrated by nineteenth century English artists and travellers in Italy. The amateur artist and connoisseur Sir George Beaumont was horrified to discover in 1821 that many Roman stone pines were being felled and paid a landowner to preserve a prominent tree on Monte Mario. William Wordsworth saw this tree in 1837 and celebrated that it had been ‘Saved from the sordid axe by Beaumont's care’. Pines continued to be painted by amateurs and professionals including Elizabeth Fanshawe, William Strangways, Edward Lear, John Ruskin. These trees were also an important element of local agriculture; in parts of Liguria they were grown in vineyards in an unusual type of coltura promiscua providing both support for the vines and fertiliser from pine needles; in Tuscany and Ravenna pine plantations and forests were an important source of pine nuts. In this paper we combine the analysis of local land management records, paintings and traveller’s accounts to reclaim differing understandings of the role of the pine in nineteenth century Italy. Introduction: Sir George Beaumont, Wordsworth and the pines of Rome With the final defeat of Napoleon at Waterloo in June 1815 Italy, especially Rome, once again became a favourite destination for British cultural tourists (Buzard, 1993, Liversidge and Edwards, 1996, Black, -
First Grade Summer Reading List
First Grade Summer Reading List Anthologies: • A Kate Greenaway Family Treasury by Kate Greenaway • Aesop’s Fables illustrated by Thomas Bewick • Alan Garner’s Fairy Tales of Gold by Alan Garner • Best-Loved Fairy Tales by Walter Crane • Caldecott’s Favorite Nursery Rhymes by Randolph Caldecott • Child’s Garden of Verses by Robert Louis Stevenson, illustrated by Jessie Willcox Smith • Child’s Treasury of Poems by Mark Daniel • Children’s Treasury of Virtues by William Bennett, illustrated by Michael Hague, and others in the series • Fables by Arnold Lobel • Fairy Tales by Hans Christiansen illustrated by Peedersen and Frolich • Favorite Poems of Childhood by Philip Smith • Great Children’s Stories: The Classic Volland Edition, illus. by F. Richardson • Happy Prince and Other Fairy Tales by Oscar Wilde • How Many Spots Does a Leopard Have? and Other Tales, retold by Julius Lester • In a Circle Long Ago: A Treasury of Native Lore from North America, retold by Nancy Van Laan • James Herriot’s Treasury for Children by James Herriot • Johnny Appleseed, poem by Reeve Lindbergh, illustrated by Kathy Jakobsen • Let’s Play: Traditional Games of Childhood, Camilla Gryski • Moral Tales by Maria Edgeworth • Mother Goose’s Melodies (Facsimile of the Munroe and Francis “Copyright 1833” Version) • My Favorite Story Book by W. G. Vande Hulst RA • Nonsense Poems and others by Edward Lear RA • Now We Are Six by A. A. Milne RA • Nursery and Mother Goose Rhymes by Marguerite de Angeli • Once On A Time by A. A. Milne RA • Over the River and Through the Wood, by Lydia Maria Child, illustrated by Brinton Turkle • Paddington Treasury, by Michael Bond • Parent’s Assistant by Maria Edgeworth RA • Pleasant Field Mouse Storybook by Jan Wahl • Poems to Read to the Very Young by Josette Frank • Prince Rabbit by A. -
The History of Children's Illustration and Literature Has Always Offered
MARCELLA TERRUSI CHILD PORTRAITS. REPRESENTATIONS OF THE CHILD BODY IN CHILDREN’S ILLUSTRATION AND LITERATURE: SOME INTERPRETATIVE CATEGORIES RITRATTI DI BAMBINO. RAPPRESENTAZIONI DEL CORPO INFANTILE NELLE ILLUSTRAZIONI E NELLA LETTERATURA PER BAMBINI: ALCUNE CATEGORIE INTERPRETATIVE A critical path in the history of children’s illustration and literature, discovering the portraits and metaphors of childhood that attract the scholar’s attention to pedagogical thought on the imagination, and some ideas for interpreting representations of the child body. Un percorso critico nella storia della letteratura e delle illustrazioni per bambini, alla scoperta dei ritratti e delle metafore di infanzia che hanno attratto l’attenzione degli studiosi per un pensiero pe- dagogico sull’immaginazione e di alcune idee per interpretare le rappresentazioni dei corpi infantili. Key words: history of children’s literature, history of illustration, metaphors of childhood, collective imagi- nation, body. Parole chiave: storia della letteratura dell’infanzia, storia delle illustrazioni, metafore dell’infanzia, imma- ginazione collettiva, corpo. The history of children’s illustration and literature has always offered images of childhood in which different children’s figures emerge from the folds of the story with the strength of a visual representation that gives scholars different eyes for interpret- ing the underlying symbolic universe. The rich heritage found in the best works of children’s illustrated literature offers an ideal opportunity for deciphering the depth of childhood metaphors. Children’s literature, or invisible literature (Beseghi e Grilli 2011) while increasingly less invisible as new contributions enrich its critical study, invites us to observe the children’s world in all its intricate details, in the figures that render its fundamental “otherness” (Bernardi 2016) compared to the adult world, in all its complexity and wealth.