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Little Wars by H.G. Wells
Little Wars 1 Little Wars The Project Gutenberg EBook of Little Wars, by (H)erbert (G)eorge Wells #20 in our series by (H)erbert (G)eorge Wells Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg eBook. This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do not change or edit the header without written permission. Please read the "legal small print," and other information about the eBook and Project Gutenberg at the bottom of this file. Included is important information about your specific rights and restrictions in how the file may be used. You can also find out about how to make a donation to Project Gutenberg, and how to get involved. **Welcome To The World of Free Plain Vanilla Electronic Texts** **eBooks Readable By Both Humans and By Computers, Since 1971** *****These eBooks Were Prepared By Thousands of Volunteers!***** Title: Little Wars Author: (H)erbert (G)eorge Wells Release Date: January, 2003 [EBook #3691] [This file was last updated on August 5, 2002] Edition: 11 Language: English Character set encoding: ASCII *** START OF THE PROJECT GUTENBERG EBOOK LITTLE WARS *** eText by Alan D. Murray - North Carolina Edition 11 revisions by William Jenness and Andrew Sly. Little Wars (A Game for Boys from twelve years of age to one hundred and fifty and for that more intelligent sort of girl who likes boys' games and books) With an Appendix on Kriegspiel By H. -
Nathaniel Hawthorne: the Man, His Tales, and Romances Online
lzh5D (Read download) Nathaniel Hawthorne: The Man, His Tales, and Romances Online [lzh5D.ebook] Nathaniel Hawthorne: The Man, His Tales, and Romances Pdf Free Edward Wagenknecht DOC | *audiobook | ebooks | Download PDF | ePub Download Now Free Download Here Download eBook #873441 in eBooks 2015-12-15 2015-12-15File Name: B019FJACGS | File size: 17.Mb Edward Wagenknecht : Nathaniel Hawthorne: The Man, His Tales, and Romances before purchasing it in order to gage whether or not it would be worth my time, and all praised Nathaniel Hawthorne: The Man, His Tales, and Romances: 6 of 7 people found the following review helpful. Fantastic Comprehensive Of Hawthorne's WorksBy Drew TI am currently in the process of writing a paper on Hawthorne and of the 30 sources I've looked at thus far, this is by far the best. It's a solid reference of Hawthorne's works. Wagenknecht does a wonderful job of putting down the facts and incorporating the opinions and reviews of other Hawthorne scholars. The book remains neutral throughout, which I enjoyed. In writing a paper, it's best to be given the facts with some slight interpretation and then formulate your own views. This book spawns creative thoughts. It's definitely recommended to anyone looking for a comprehensive guide! Additionally, in my research I found a lot of the books on Hawthorne to be quite old. This one if more fresh and contemporary as it was written in 1989. We know more about the dark places in the heart of man today than we did in his time, but nothing we have learned seems to make Hawthorne a less important writer now than he was then.Beginning with a succinct biography of the renowned American writer of the nineteenth century, this book goes on to consider, in successive chapters, all of Hawthorne's tales, romances, and uncompleted experimental writings. -
The Sound of Ford Madox Ford: War-Time, Impressionism, and Narrative Form
The Sound of Ford Madox Ford: War-Time, Impressionism, and Narrative Form Rachel Kyne ELH, Volume 87, Number 1, Spring 2020, pp. 211-244 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/elh.2020.0007 For additional information about this article https://muse.jhu.edu/article/751744 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] THE SOUND OF FORD MADOX FORD: WAR-TIME, IMPRESSIONISM, AND NARRATIVE FORM BY RACHEL KYNE “It is rather curious, the extra senses one develops here,” Ford Madox Ford wrote to Lucy Masterman in August 1916 from the Ypres Salient.1 “I sit writing in the twilight &, even as I write, I hear the shells whine & the M. G.’s [machine guns] crepitate & I see (tho’ it is hidden by a hill), the grey, flat land below & the shells bursting. Thanks so very much for the Echo de Paris.”2 Musing on the coexistence of the sounds of war and the activity of writing, Ford inadvertently slips from the audible landscape of the front to the literary Echo of the page. Ford’s experience of war sounds in the summer of 1916 awakened him to the literary possibilities of an auditory impressionism. Between mid-July and mid-September 1916, he was deployed to France, partici- pated in his first active combat at the Battle of the Somme, suffered a concussion caused by an exploding shell, lost his memory for three weeks, returned to his battalion in the Ypres Salient with a renewed devotion to capturing the war in writing, and suffered a second collapse attributed to -
The Inventory of the H.G. Wells Collection #458
The Inventory of the H.G. Wells Collection #458 Howard Gotlieb Archival Research Center Wells, Herbert George, 1866 - 1946 Purchi.se 1969 Box 1 Letters . 16 AIS, l postcard AIB, 3 holograph envelopes ✓1899 AIS 1899 N0 vember 27, Sandgate, Ken} to Harold Grost, Esq. ✓ 1900 AIS 1900 January 28, Sandgate, Kent, to "Connell" Conal 0 •Riordan 2 PPo ✓AIS 1900 October 19, Sandgate, Keny to 'lftMy Dear Sir" 3 PPo on l Marked "iBrivaten o V ALS 1900 November _22, Sandgate, Kent, to 11Dear Sir11 2 PP• on l Marked 11Private 11 ·v'Envelope holograph. Postmarked 1900 November 23. Addressed to William H. Maas, Esqo, Londono ✓1905 AIS 1905 April 30, Sandgate, to the Director of trre Natural History Museum~ ✓1914 ALS 1914 April 7, t,1ondonJ to «.DEar Sirs" ✓ 1922 AIS nodo, Dun.mow, to Mrs o Dawson Scott. Envelope holograph. Postli"..arked 1922, June 12, London. Addressed to Mrs. Dawson Scott. ✓ ALS n.d., London, to Mrs 0 Scotto Envelope holograph. Postmarked 1922, June 15, Londono Addressed to Mrs. Dawson Scott. ( 1924 AIS 1924 November 3, Dunmow, to Miss Hordero /1925 AIS 1925 June 8, Dunmow, to Miss H0 rdero v/1928 Postcard ALSo Postmarked 1928 January 21, London, to Mrs• Dawson Scotto V" 1935 ALS 1935 May 15, r.Londonl, to -Miss Hordero Wells, Herbert George 1866 - 1946 Page 2 AL5 November 15, n .y., r.London l to Lord Du...visa.ny. AL5 Ilodo [London] to 11 :My dear Sir" 4 PP• on 2 cards. Ats n.d. Dunmow to Mr. Ridling ?, 1 P• ' .AL5 n.d. -
Bowen Abstract
The Rise and Fall of the Bass Clarinet in A Keith Bowen The bass clarinet in A was introduced by Wagner in Lohengrin in 1848. It was used up to 1990 in about sixty works by over twenty composers, including the Ring cycle, five Mahler symphonies and Rosenkavalier. But it last appeared in Messiaen’s Turangalîla-Symphonie (1948, revised 1990), and the instrument is generally regarded as obsolete.1 Several publications discuss the bass clarinet, notably Rice (2009). However, only Leeson2 and Joppig3 seriously discuss the ‘A’ instrument. Leeson suggests possibilities for its popularity: compatibility with the tonality of the soprano clarinets, the extra semitone at the bottom of the range and the sonority of the instrument. For its disappearance he posits the extension of range of the B¨ bass, and the convenience of having only one instrument. He suggests that its history is more likely to be found in the German than in the French bass clarinet tradition. Joppig examines one aspect of this tradition: Mahler’s use of the clarinet family. The first successful4 bass clarinet was the bassoon form, invented by Grenser in 1793 and made in quantity for almost a century. These instruments descended to at least C and had sufficient range for all parts for the bass clarinet in A.5 They were made in B¨ and C, but no examples in A are known so far. Their main use was in wind bands to provide a more powerful bass than the bassoon.6 For orchestral music, they were perceived to be only partially successful as bass for the clarinet family because of their different principle of construction.7 The modern form was invented by Desfontenelles in 1807 and improved by Buffet (1833) and Adolphe Sax (1838). -
Ford Madox Ford Collection Also Including a Fine Selection of Works by Joseph Conrad, Compton Mackenzie, V.S
February 2013 Bertram Rota Ltd 31 LONG ACRE COVENT GARDEN, LONDON WC2E 9LT Telephone: + 44 (0) 20 7836 0723 * Fax: + 44 (0) 20 7497 9058 E-mail: [email protected] www.bertramrota.co.uk IN OUR NINETIETH ANNIVERSARY YEAR The Gavin H. Fryer Ford Madox Ford Collection also including a fine selection of works by Joseph Conrad, Compton Mackenzie, V.S. Pritchett and others Catalogue 308 Part I Established 1923 TERMS OF BUSINESS. The items in this catalogue are offered at net sterling prices, for cash upon receipt. Charges for postage and packing will be added. All books are insured in transit. PAYMENT. We accept cheques and debit and credit cards (please quote the card number, start and expiry date and 3 digit security code as well as your name and address). For direct transfers: HSBC, 129 New Bond Street, London, W1A 2JA, sort code 40 05 01, account number 50149489 . VAT is added and charged on autograph letters and manuscripts (unless bound in the form of a book), drawings, prints and photographs WANTS LISTS. We are pleased to receive lists of books especially wanted. They are given careful attention and quotations are submitted without charge. We also provide valuations of books, manuscripts, archives and entire libraries. HOURS OF BUSINESS. We are open from 10.30 to 6.00 from Monday to Friday. Appointment recommended. Unless otherwise described, all the books in this catalogue are published in London, in the original cloth or board bindings, octavo or crown octavo in size. Dust-wrappers should be assumed to be present only when specifically mentioned. -
Making the New: Literary Periodicals and the Construction of Modernism
Making the New: Literary Periodicals and the Construction of Modernism Peter Marks University of Sydney We are told that we live in a postmodernworld, experiencing unprecedented innovations, delights, and anxieties. Rather than rehearse these here, I want initially to touch brieflyon one theoretical attempt to make sense of this condition, one that definesPostmodernism in relation to its presumed antecedent, Modernism. I want to use this as a way of questioning the "monumental" view of literary Modernism, in which a massive landscape abounds with canonical texts carved by mythical giants: Joyce, Eliot, Woolf, Pound, Stein-the usual suspects. I do this by considering the role of literary periodicals in the construction, production, and initial reception of those texts. The later part of this discussion focuses on transition, the Paris-based journal of the 1920s and 1930s whose aspirations, pretensions, vigor and perilous existence typify the complex forces in play. I emphasize the point that while indi vidual periodicals consciously adopted distinct identities, they need to be understood collectively forthe vital functionsthey performed: they printed avant-garde work as well as advanced criticism and theory; acted as nurseries for experimental young writers, and as platformsfor the already-established; forged and maintained interna tional links between writers and groups; provided avant-garde writers with sophisti cated readers, and vice versa; and maintained an ipteractiveplurality of cultural dis course. Alive with the energy of experimentation, they register the fertile, complex, yet intriguingly tentative development of modem literature. In his inquisitive and provocative work, ThePostmodern Turn, lhab Hassan moves towards a concept of postmodernism by constructing a table of "certain schematic differences from modernism" (91). -
Foreword Chapter 1 the Commitments of Ecocriticism
Notes Foreword 1. “Destroying the world in order to save it,” CNN, May 31, 2004, Ͻhttp://www.cnn.com/2004/SHOWBIZ/Movies/05/31/film.day.after. tomorrow.ap/Ͼ (Accessed June 25, 2004). Sources for the epigraphs are as follows: William Rueckert, “Literature and Ecology: An Experiment in Ecocriticism,” Iowa Review, 9 no. 1 (Winter 1978): 121; and Raymond Williams, What I Came to Say (London: Radius, 1989), 76, 81. 2. “Global warming is real and underway,” Union of Concerned Scientists, n. d., Ͻhttp://www.ucsusa.org/global_environment/global_warming/index.cfmϾ (Accessed June 25, 2004). “Larsen B Ice Shelf Collapses in Antarctica,” National Snow and Ice Data Center, n. d., Ͻhttp://nsidc.org/iceshelves/ larsenb2002/Ͼ (Accessed June 25, 2004). Vandana Shiva, Water Wars (Cambridge, MA: South End Press, 2002), 98–99. 3. UN Intergovernmental Panel on Climate Change, “Projections of Future Climate Change,” in Climate Change 2001: The Scientific Basis, Ͻhttp://www.grida.no/climate/ipcc_tar/wg1/339.htmϾ (Accessed June 25, 2004). Shiva, Water Wars, 1. 4. Greg Palast, “Bush Energy Plan: Policy or Payback?” BBC News, May 18, 2001, Ͻhttp://news.bbc.co.uk/1/hi/world/americas/1336960.stmϾ (Accessed June 25, 2004). Mark Townsend and Paul Harris, “Now the Pentagon tells Bush: Climate Change will Destroy Us,” The Observer, February 22, 2004, Ͻhttp://observer.guardian.co.uk/international/story/0,6903,1153513,00. htmlϾ (Accessed June 25, 2004). 5. Paul Brown, “Uranium Hazard Prompts Cancer Check on Troops,” The Guardian, April 25, 2003, Ͻhttp://www.guardian.co.uk/uranium/story/ 0,7369,943340,00.htmlϾ (Accessed June 25, 2004). -
FORD MADOX FORD and the YOUNG LOVELL Paul Skinner
‘PRETTY BIG AND SERIOUS’: FORD MADOX FORD AND THE YOUNG LOVELL Paul Skinner Introduction There is a peculiar fascination about the work that borders – chrono- logically and sometimes thematically – on an acknowledged master- piece. The Marsden Case, Ford’s 1923 novel, touches on many of the themes of Some Do Not . and preceded it by less than a year, while, just before The Good Soldier, there was – exactly one hundred years ago – The Young Lovell.1 From his hotel in St. Rémy-de-Provence in March 1913, Ford wrote to his agent, James Pinker: ‘Let me whisper into your secretive ear that the novel I am now writing is going to be one of the great historical novels of the world; no doubt you will let that fact be reflected in the contract that I understand you to be making for me’.2 And, again to Pinker, two weeks later: The title of the book is, for the time being, ‘The Young Lovell’, a Romance of the Borders. The date is towards the end of the XVth Century, running up to the beginnings of the Reformation, though it isn’t in that sense concerned with religion. The action takes place in Northumberland and the story contains any number of things concerning ‘The Percy out of Northum- berland’, the Bishops Palatine of Durham, the besieging of castles, border raids, and so on with what is called ‘a strong element of the supernatural’ and a vigorous love interest. This is rather putting the matter in terms of advertisement, but the book will be, when it is done, a pretty big and serious historical work, rather like ‘The Fifth Queen’, but, in a sense, more romantic. -
Ford Madox Ford
FORD MADOX FORD The view Ford attributes to Conrad was surely his own "every work of art has must have a profound moral purpose." "This is the saddest story I have ever heard." With this haunting sentence Ford Madox Ford began what he always considered his best novel, The Good Soldier. One of his biographers considered Ford's the saddest story, and used the phrase as the title of his life of the writer. He lived from 1873 to 1939, published over eighty books, knew everyone. His grandfather was a painter, his father a musicologist, he was related by marriage to the Rossettis, Dante and Christina, he was raised in the atmosphere of Victorian and preRaphaelite art, he published his first book at the age of eighteen. Ford colloborated with Joseph Conrad on several novels when the Polish born author was unsure of his command of English. But, as the memoir Ford wrote in the year of Conrad's death makes clear, it was the technique of fiction that fascinated the two men. A story should read the way it would sound if told by a good storyteller that was their shared theory.. Later Conrad novels have as their distinctive trait the narrative voice of one who, over a bottle, is recalling the events of the story. This technique called for a progression quite different from the chronological. When you tell your spouse about your day, you constantly © Ralph McInerny, 2005. interrupt yourself, recall something that happened earlier than what you were telling, move back and forth, yet somehow drive forward to the point. -
John Buchan's Uncollected Journalism a Critical and Bibliographic Investigation
JOHN BUCHAN’S UNCOLLECTED JOURNALISM A CRITICAL AND BIBLIOGRAPHIC INVESTIGATION PART II CATALOGUE OF BUCHAN’S UNCOLLECTED JOURNALISM PART II CATALOGUE OF BUCHAN’S UNCOLLECTED JOURNALISM Volume One INTRODUCTION............................................................................................. 1 A: LITERATURE AND BOOKS…………………………………………………………………….. 11 B: POETRY AND VERSE…………………………………………………………………………….. 30 C: BIOGRAPHY, MEMOIRS, AND LETTERS………………………………………………… 62 D: HISTORY………………………………………………………………………………………………. 99 E: RELIGION……………………………………………………………………………………………. 126 F: PHILOSOPHY AND SCIENCE………………………………………………………………… 130 G: POLITICS AND SOCIETY……………………………………………………………………… 146 Volume Two H: IMPERIAL AND FOREIGN AFFAIRS……………………………………………………… 178 I: WAR, MILITARY, AND NAVAL AFFAIRS……………………………………………….. 229 J: ECONOMICS, BUSINESS, AND TRADE UNIONS…………………………………… 262 K: EDUCATION……………………………………………………………………………………….. 272 L: THE LAW AND LEGAL CASES………………………………………………………………. 278 M: TRAVEL AND EXPLORATION……………………………………………………………… 283 N: FISHING, HUNTING, MOUNTAINEERING, AND OTHER SPORTS………….. 304 PART II CATALOGUE OF BUCHAN’S UNCOLLECTED JOURNALISM INTRODUCTION This catalogue has been prepared to assist Buchan specialists and other scholars of all levels and interests who are seeking to research his uncollected journalism. It is based on the standard reference work for Buchan scholars, Robert G Blanchard’s The First Editions of John Buchan: A Collector’s Bibliography (1981), which is generally referred to as Blanchard. The catalogue builds on this work -
FORD MADOX FORD's ROLE in the ROMANTICIZING of the BRITISH NOVEL a C C E P T E D of T^E Re<3Uirements
FORD MADOX FORD’S ROLE IN THE ROMANTICIZING OF THE BRITISH NOVEL by James Beresford Scott B.A., University of British Columbia, 1972 M.A., University of Toronto, 1974 A Dissertation Submitted In Partial Fulfillment ACCEPTED of T^e Re<3uirements For The Degree Of FACULTY OF GRADUATE STUDIES doctor of PHILOSOPHY in the Department of English a - k k i We**accept this dissertation as conforming TWT1 / / ".... to the recruired standard Dr. C .DDoyle.l^upSr visor fDeoartment of English) Dr/ j/LouisV^ebarKtffiQiiEhr’ffSmber (English) Dr. D . S. jfhatcher, Department Member iEnglish) Dr. J. Mohey^ Outside^ Mem^er (History) Dr. pA.F. Arend, Outside Member (German) Dr. I.B. Nadel, External Examiner (English, UBC) ® JAMES BERESFORD SCOTT, 1992 University Of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photocopying or other means, without the permission of the author. I . i Supervisor: Dr. Charles D. Doyle ABSTRACT Although it is now widely accepted that the Modern British novel is grounded in Romantic literary practice and ontological principles, Ford Madox Ford is often not regarded as a significant practitioner of (and proselytizer for) the new prose aesthetic that came into being near the start of the twentieth century. This dissertation argues that Ford very consciously strove to break away from the precepts that had informed the traditional novel, aiming instead for a non- didactic, autotelic art form that in many ways is akin to the anti-neoclassical art of the British High Romantic poets. Ford felt that the purpose of literature is to bring a reader into a keener apprehension of all that lies latent in the individual sell?— a capacity that he felt had atrophied in a rational, rule-abiding, industrialized culture.