Keynes and the Ethics of Socialism Edward W
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AWAR of INDIVIDUALS: Bloomsbury Attitudes to the Great
2 Bloomsbury What were the anti-war feelings chiefly expressed outside ‘organised’ protest and not under political or religious banners – those attitudes which form the raison d’être for this study? As the Great War becomes more distant in time, certain actions and individuals become greyer and more obscure whilst others seem to become clearer and imbued with a dash of colour amid the sepia. One thinks particularly of the so-called Bloomsbury Group.1 Any overview of ‘alter- native’ attitudes to the war must consider the responses of Bloomsbury to the shadows of doubt and uncertainty thrown across page and canvas by the con- flict. Despite their notoriety, the reactions of the Bloomsbury individuals are important both in their own right and as a mirror to the similar reactions of obscurer individuals from differing circumstances and backgrounds. In the origins of Bloomsbury – well known as one of the foremost cultural groups of the late Victorian and Edwardian periods – is to be found the moral and aesthetic core for some of the most significant humanistic reactions to the war. The small circle of Cambridge undergraduates whose mutual appreciation of the thoughts and teachings of the academic and philosopher G.E. Moore led them to form lasting friendships, became the kernel of what would become labelled ‘the Bloomsbury Group’. It was, as one academic described, ‘a nucleus from which civilisation has spread outwards’.2 This rippling effect, though tem- porarily dammed by the keenly-felt constrictions of the war, would continue to flow outwards through the twentieth century, inspiring, as is well known, much analysis and interpretation along the way. -
Lytton Strachey
Lytton Strachey: An Inventory of His Collection at the Harry Ransom Humanities Research Center Descriptive Summary Creator Strachey, Lytton, 1880-1932 Title Lytton Strachey Collection Dates: 1885-1957 Extent 5 boxes (2.08 linear feet) Abstract This collection documents the life and works of the English Bloomsbury group writer. The collection consists of manuscripts of Strachey's major biographical works Portraits in Miniature (1931) and Queen Victoria (1921), and drafts of essays, notes, and correspondence. RLIN record # TCRC98-A26 Language English. Access Open for research Administrative Information Acquisition Purchases, 1960-1970 (R919, R1452, R2848, R3849, R3948, R4152, R5174) Processed by Chelsea S. Jones, 1998 Repository: Harry Ransom Humanities Research Center, University of Texas at Austin Strachey, Lytton, 1880-1932 Biographical Sketch Giles Lytton Strachey was born in 1880, the eleventh of thirteen children, to General Sir Richard Strachey and his wife Jane Grant. Though he spent some years at boarding schools, including Abbotsholme and Leamington College, he received much of his education at home. His mother enjoyed strong interests in literature and politics and Strachey met many of the leading writers and thinkers of the day when they came to visit Lady Strachey. Strachey's secondary education was completed at University College in Liverpool where he studied Latin, Greek, mathematics, and English literature and history. It was at University College that he met and was influenced by Walter Raleigh, a professor of English literature and well known biographer. After failing to receive a scholarship to Oxford in 1899, Strachey decided to attend Cambridge where he developed many friendships which lasted the rest of his life. -
Biographies and Autobiographies of Historians, Edited by Doug Munro and John G
7 Intersecting and Contrasting Lives: G.M. Trevelyan and Lytton Strachey Alastair MacLachlan This essay is about history and biography in two senses. First, it examines two parallel and intersecting, but contrasting lives: that of George Macaulay Trevelyan (b. 1876), probably the most popular historian and political biographer of early twentieth-century England – a Fellow and in old age the Master of Trinity College, Cambridge, an independent scholar for 25 years and, for 12 years, Regius Professor of Modern History – and that of his slightly younger Trinity protégé, Giles Lytton Strachey (b. 1880), a would-be academic rejected by the academy, who set himself up as a critical essayist and a historical gadfly – the writer credited with the transformation of a moribund genre of pious memorialisation into a ‘new’ style of biography. Second, the essay explores their approaches to writing nineteenth-century history and biography, and it assesses their works as products of similar but changing times and places: Cambridge and London from about 1900 to the 1930s.1 1 I shall therefore ignore Trevelyan’s later writings (he died in 1962), and concentrate on the biographies written by Strachey (S) and Trevelyan (T), with a focus on their nineteenth-century studies. 137 CLIO'S LIVES ‘Read no history’, advised Disraeli, ‘nothing but biography, for that is life without theory’. But ‘life without theory’ can be intellectually emaciated, and a comparative biography may have the advantage of kneading into the subject theoretical muscle sometimes absent in single lives, highlighting the points where the two lives intersected and what was common and what distinctive about them. -
Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell
Copyrights sought (Albert) Basil (Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell) Filson Young (Alexander) Forbes Hendry (Alexander) Frederick Whyte (Alfred Hubert) Roy Fedden (Alfred) Alistair Cooke (Alfred) Guy Garrod (Alfred) James Hawkey (Archibald) Berkeley Milne (Archibald) David Stirling (Archibald) Havergal Downes-Shaw (Arthur) Berriedale Keith (Arthur) Beverley Baxter (Arthur) Cecil Tyrrell Beck (Arthur) Clive Morrison-Bell (Arthur) Hugh (Elsdale) Molson (Arthur) Mervyn Stockwood (Arthur) Paul Boissier, Harrow Heraldry Committee & Harrow School (Arthur) Trevor Dawson (Arwyn) Lynn Ungoed-Thomas (Basil Arthur) John Peto (Basil) Kingsley Martin (Basil) Kingsley Martin (Basil) Kingsley Martin & New Statesman (Borlasse Elward) Wyndham Childs (Cecil Frederick) Nevil Macready (Cecil George) Graham Hayman (Charles Edward) Howard Vincent (Charles Henry) Collins Baker (Charles) Alexander Harris (Charles) Cyril Clarke (Charles) Edgar Wood (Charles) Edward Troup (Charles) Frederick (Howard) Gough (Charles) Michael Duff (Charles) Philip Fothergill (Charles) Philip Fothergill, Liberal National Organisation, N-E Warwickshire Liberal Association & Rt Hon Charles Albert McCurdy (Charles) Vernon (Oldfield) Bartlett (Charles) Vernon (Oldfield) Bartlett & World Review of Reviews (Claude) Nigel (Byam) Davies (Claude) Nigel (Byam) Davies (Colin) Mark Patrick (Crwfurd) Wilfrid Griffin Eady (Cyril) Berkeley Ormerod (Cyril) Desmond Keeling (Cyril) George Toogood (Cyril) Kenneth Bird (David) Euan Wallace (Davies) Evan Bedford (Denis Duncan) -
The Posthumanistic Theater of the Bloomsbury Group
Maine State Library Digital Maine Academic Research and Dissertations Maine State Library Special Collections 2019 In the Mouth of the Woolf: The Posthumanistic Theater of the Bloomsbury Group Christina A. Barber IDSVA Follow this and additional works at: https://digitalmaine.com/academic Recommended Citation Barber, Christina A., "In the Mouth of the Woolf: The Posthumanistic Theater of the Bloomsbury Group" (2019). Academic Research and Dissertations. 29. https://digitalmaine.com/academic/29 This Text is brought to you for free and open access by the Maine State Library Special Collections at Digital Maine. It has been accepted for inclusion in Academic Research and Dissertations by an authorized administrator of Digital Maine. For more information, please contact [email protected]. IN THE MOUTH OF THE WOOLF: THE POSTHUMANISTIC THEATER OF THE BLOOMSBURY GROUP Christina Anne Barber Submitted to the faculty of The Institute for Doctoral Studies in the Visual Arts in partial fulfillment of the requirements for the degree Doctor of Philosophy August, 2019 ii Accepted by the faculty at the Institute for Doctoral Studies in the Visual Arts in partial fulfillment of the degree of Doctor of Philosophy. COMMITTEE MEMBERS Committee Chair: Simonetta Moro, PhD Director of School & Vice President for Academic Affairs Institute for Doctoral Studies in the Visual Arts Committee Member: George Smith, PhD Founder & President Institute for Doctoral Studies in the Visual Arts Committee Member: Conny Bogaard, PhD Executive Director Western Kansas Community Foundation iii © 2019 Christina Anne Barber ALL RIGHTS RESERVED iv Mother of Romans, joy of gods and men, Venus, life-giver, who under planet and star visits the ship-clad sea, the grain-clothed land always, for through you all that’s born and breathes is gotten, created, brought forth to see the sun, Lady, the storms and clouds of heaven shun you, You and your advent; Earth, sweet magic-maker, sends up her flowers for you, broad Ocean smiles, and peace glows in the light that fills the sky. -
Alexander Cowan Wilson 1866-1955
Alexander Cowan Wilson 1866-1955 his finances and his causes By STEPHEN WILSON FRIENDS HISTORICAL SOCIETY FRIENDS HOUSE, EUSTON ROAD, LONDON NWi 2BJ 1974 This paper was delivered as a Presidential Address to the Friends Historical Society at a meeting held at Friends House on 2 November 1973. Friends Historical Society is grateful for a special contribution which has enabled the paper to be published. Supplement No. 35 to the Journal of the Friends Historical Society © Friends Historical Society 1974 Obtainable from Friends Book Centre, Friends House, Euston Road, London NWi 2BJ, and Friends Book Store, 302 Arch Street, Philadelphia, Pa 19106, USA PRINTED IN GREAT BRITAIN BY HEADLEY BROTHERS LTD IO9 KINGSWAY LONDON WC2B 6PX AND ASHFORD KENT s-.. - , ^Wff^m^:^:ty-is V --*;• '< •*••«^< >v3?'V '- . •. 7 •*,.!, J^J .1 v^-.'--•• . i" ^.;;^ •• . ^ ;->@^^?f^-.!C1::- & ALEXANDER C. WILSON (1866-1055) aged about 55 ALEXANDER COWAN WILSON 1866-1955: HIS FINANCES AND HIS CAUSES. 1! initial explanation should be given for selecting my subject—some account of the life of my father, to whom A I shall refer as ACW, and his wife EJW. Primarily it is a subject with which I had an intimate acquaintance over a period of fifty years, and which therefore has involved a minimum of original research. But apart from this it may I think be useful to record a few of the circumstances in which he grew up two and three generations ago, and to mention some of those concerns and interests which he and various of his contemporaries regarded as important, which frequently interlocked with Quaker traditions and activities, and which collectively formed part of the dissenting and radical streams of thought and outlook which influence society. -
Journal of Arts & Humanities
Journal of Arts & Humanities Volume 06, Issue 11, 2017, 09-19 Article Received: 25-10-2017 Accepted: 09-11-2017 Available Online: 10-11-2017 ISSN: 2167-9045 (Print), 2167-9053 (Online) DOI: http://dx.doi.org/10.18533/journal.v6i10.1292 Lytton Strachey, A Rebellious Man of Peculiarity: A Review of Holroyd’s Lytton Strachey: The New Biography Qinchao Xu1, Junhao Li2 ABSTRACT Lytton Strachey: The New Biography is an important biography by Michael Holroyd, portraying the extraordinary life of Lytton Strachey, who is also a biographer, in detail. Based on reading the text of Lytton Strachey: The New Biography, this paper analyzes Lytton Strachey’s most distinct character - rebel combined with the social background and the theory of “the New Biography” in three aspects. First, Strachey’s rebellious character in his daily life is analyzed. His beating falsetto, ironic tone and ambiguous silence make him mysterious; his unique dressing style makes him different in the Victorian Age when people tended to wear similar clothes with others in dark suits; and at this time people were all optimistic because of their powerful country while Strachey was always surrounded by a mysterious pessimistic air. Second, Strachey’s view of love is analyzed. He had a strong tendency of homosexual and most of his lovers in his life were males. While, in the Victorian Age, homosexual was illegal. Under the pressure of morality and law, Strachey still followed his heart and fell in love with his boys. His life interprets what love really is — his love is a kind of humanistic love, rather than simple lust. -
Science, Scientific Intellectuals and British Culture in the Early Atomic Age, 1945-1956: a Case Study of George Orwell, Jacob Bronowski, J.G
Science, Scientific Intellectuals and British Culture in The Early Atomic Age, 1945-1956: A Case Study of George Orwell, Jacob Bronowski, J.G. Crowther and P.M.S. Blackett Ralph John Desmarais A Dissertation Submitted In Fulfilment Of The Requirements For The Degree Of Doctor Of Philosophy Imperial College London Centre For The History Of Science, Technology And Medicine 2 Abstract This dissertation proposes a revised understanding of the place of science in British literary and political culture during the early atomic era. It builds on recent scholarship that discards the cultural pessimism and alleged ‘two-cultures’ dichotomy which underlay earlier histories. Countering influential narratives centred on a beleaguered radical scientific Left in decline, this account instead recovers an early postwar Britain whose intellectual milieu was politically heterogeneous and culturally vibrant. It argues for different and unrecognised currents of science and society that informed the debates of the atomic age, most of which remain unknown to historians. Following a contextual overview of British scientific intellectuals active in mid-century, this dissertation then considers four individuals and episodes in greater detail. The first shows how science and scientific intellectuals were intimately bound up with George Orwell’s Nineteen Eighty Four (1949). Contrary to interpretations portraying Orwell as hostile to science, Orwell in fact came to side with the views of the scientific rig h t through his active wartime interest in scientists’ doctrinal disputes; this interest, in turn, contributed to his depiction of Ingsoc, the novel’s central fictional ideology. Jacob Bronowski’s remarkable transition from pre-war academic mathematician and Modernist poet to a leading postwar BBC media don is then traced. -
And Frida Laski)
Hull History Centre: Papers of Harold Laski (and Frida Laski) U DLA Papers of Harold Laski 1910-1969 (and Frida Laski) Biographical background: Harold Joseph Laski was born in Manchester in 1893, the second son of Nathan Laski and his wife Sarah Frankenstein. His father was a cotton shipping merchant, a leader of the Jewish community and a Liberal. Harold Laski was educated at Manchester Grammar School and studied eugenics under Karl Pearson at University College for six months in 1911. He met Frida Kerry, a lecturer in eugenics, and they married in that year, just as he began an undergraduate degree in history at Oxford University. Frida Laski lectured in Glasgow and she and Harold Laski were destined to have a distance marriage in its early stages. In 1914 Laski was awarded a first class honours degree and the Beit memorial prize. He worked for a while with George Lansbury on the Daily Herald. When the war broke out he failed his medical and in 1916, the year his daughter Diana was born, he was appointed lecturer in modern history at McGill University, Montreal. In 1916 he joined the staff of Harvard University and there associated with Oliver Wendell Holmes and Felix Frankfurter, both of whom went on to be appointed to the Supreme Court. He was friendly with Franklin Delano Roosevelt and there is a letter in the collection from this former United States president. In 1919 Laski was savagely attacked for his sympathy with the Boston police strikers and he turned his back on an American academic career, taking a post at the London School of Economics in 1920. -
Epistolary Topographies in Carrington's Letters
Rethinking the private hypothesis: Epistolary topographies in Carrington’s letters Maria Tamboukou, Centre for Narrative Research, University of East London. Abstract: In this paper I look into the letters of Dora Carrington, a British artist who lived and worked in the first half on the 20th century in the UK. I am particularly interested in her life-long interest in decorating private spaces and making delightful illustrations of them in her letters. Carrington’s long-life interest in turning lived spaces into works of art went hand in hand with her overall disillusionment with her paintings. The paper discusses the problem of why a young woman artist in the peripheries of the Bloomsbury group had difficulties in devoting herself to her art. This problem I argue has to be considered within what drawing on Foucault I have called the private hypothesis, the long held argument that the private has been socially constructed and experienced as ’a space’ for women. My argument is that for Carrington as for many of her contemporaries it was not the access to the public but the negotiation of solitude and privacy that emerges as a problem. Carrington’s love and passion for private spaces and her epistolary topographies are expressions of spatial technologies of the female self: an artistic intervention in reclaiming solitude and privacy and in reinventing herself. Lying in bed I’ve come to a great many conclusions: one is I shall paint all the wood work in my room pale-yellow-green, only so pale, it will be the colour of the calyx of a primrose and on the walls I shall frame, in pale yellow wood frames, my new pictures of birds that Margaret Waley sent me yesterday.1 In February 1927, this is how Dora Carrington (1893-1932), a British artist in the peripheries of the Bloomsbury group,2 was visualizing her bedroom in a letter to her friend Gerald Brenan. -
His Fable, Right Or Left: Orwell, Animal Farm and the Politics of Critical Reception.” Critical Insights: Animal Farm
“His Fable, Right or Left: Orwell, Animal Farm and the Politics of Critical Reception.” Critical Insights: Animal Farm. Ed. Thomas Horan. Salem Press, 2018. 3-17. His Fable, Right or Left: Orwell, Animal Farm, and the Politics of Critical Reception Erik Jaccard University of Washington In “My Country Right or Left,” George Orwell attempts to synthesize two contradictory aspects of his political belief system. On the one hand, he was by this time fully committed to the international socialist cause, and more specifically to the development of English socialism in Britain. On the other, the beginning of the Second World War had led Orwell to question the value and function of his patriotism for an England he loved, but which he considered “the most class-ridden country under the sun” (Essays 303). Orwell ultimately fused this contradiction by deciding that it was only in supporting the British war effort—and thus British victory—that conditions for the emergence of socialism could ever emerge. This position allowed him, at least for a time, to fuse conventionally rightist and leftists frameworks into a unified whole: patriotically supporting the war enabled the survival of the nation and the possibility of a socialist future, while leftist critique of British capitalism hastened the breakdown of exploitative class relations, and thus worked toward that same future. Unpacking this contradiction and the historical conditions that shaped it is central to understanding the history of critical debate about Animal Farm. Orwell wrote “My Country Right or Left” in 1940, as the German blitzkrieg was racing unchecked across Western Europe and the Battle of Britain raged above English cities. -
His Fable, Right Or Left: Orwell, Animal Farm, and the Politics of Critical Reception Erik Jaccard
His Fable, Right or Left: Orwell, Animal Farm, and the Politics of Critical Reception Erik Jaccard In “My Country Right or Left,” George Orwell attempts to synthesize two contradictory aspects of his political belief system. On the one hand, he was by this time fully committed to the international socialist cause, and more specifically to the development of English socialism in Britain. On the other, the beginning of the Second World War had led Orwell to question the value and function of his patriotism for an England he loved, but which he considered “the most class- ridden country under the sun” (Essays 303). Orwell ultimately fused this contradiction by deciding that it was only in supporting the British war effort—and thus British victory—that conditions for the emergence of socialism could ever emerge. This position allowed him, at least for a time, to fuse conventionally rightist and leftist frameworks into a unified whole: patriotically supporting the war enabled the survival of the nation and the possibility of a socialist future, while leftist critique of British capitalism hastened the breakdown of exploitative class relations, and thus worked toward that same future. Unpacking this contradiction and the historical conditions that shaped it is central to understanding the history of critical debate about Animal Farm. Orwell wrote “My Country Right or Left” in 1940, as the German blitzkrieg was racing unchecked across Western Europe and the Battle of Britain raged above English cities.This situation directly informed Orwell’s position: adopt a traditionally conservative patriotic stance so as to keep a traditionally leftist hope for socialism alive.