Webzine Janv 12
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Introduction: the Royal Character in the Public Imagination 1
Notes Introduction: The Royal Character in the Public Imagination 1. I use the words “royal” and “monarch” (and their variants, “royalty,” “monarchy,” “monarchical,” etc.) interchangeably. By the late eigh- teenth century both terms in common usage referred equally to kings and to those who ruled (queens, regents). “Royal” also referred, and still does, to near relatives of the monarch, as in “royal family,” and I use it in this sense also. 2. Austen’s conservatism is famously unstable. Feminist critics espe- cially have suggested that a feminist subtext undercuts or at least tempers the conservative trajectories of her novels. In Equivocal Beings, Claudia Johnson provides a comprehensive discussion of the conservative reading of Emma as well as its implicit feminist critique (192–96). 3. Unlike Pride and Prejudice, in which she was revising an earlier draft, Austen wrote Mansfield Park, Emma, and Persuasion after 1810. She began writing Mansfield Park in February 1811, the same month in which the Regency began (Sturrock 30; see also Tomalin 223–24). 4. Clara Tuite suggests that Mansfield Park can be read as “a provincial deflection of the wider national issues of responsible hereditary gov- ernment” (Romantic Austen 132). 5. The phrase “Queen Caroline affair” historically refers to the events of 1820 and 1821, when the uncrowned King attempted to divorce his wife by Act of Parliament. Although Caroline was technically Queen, supporters of the new King used a variety of means, some political, some rhetorical, to contest her legitimacy. Similarities as well as an evident continuity between this episode and the Prince’s first attempt to obtain a divorce, some fifteen years earlier, have often led scholars to refer to their marital disputes before, during, and after the Regency as the Queen Caroline affair. -
Descendants of Anthony Wilson
Descendants of Anthony Wilson 1-Anthony Wilson [6412] Anthony married someone. They had one son: Henry. 2-Henry Wilson [6410], son of Anthony Wilson [6412], was born in 1615. Henry married Dorothy Forest [6411] [MRIN: 2557]. They had two children: Anthony and John. 3-Anthony Wilson [6413] 3-John Wilson [6408] was buried on 19 Jun 1675 in Grasmere. John married Elizabeth [6409] [MRIN: 2555]. They had five children: Ellinor, Margaret, Elizabeth, Anthony and Dorothy. 4-Ellinor Wilson [6414] Ellinor married Isaac Haughton [6415] [MRIN: 2559], son of Wilfrid Haughton [13320] and Unknown. 4-Margaret Wilson [6416] 4-Elizabeth Wilson [6417] Elizabeth married John Hutchinson [6418] [MRIN: 2560]. 4-Anthony Wilson [6406]1 died on 21 Apr 1755 and was buried in Colthouse. Anthony married Dorothy Benson [6407]1 [MRIN: 808], daughter of George Benson [11484] and Margaret Braithwaite [11485], on 8 May 1702 in Colthouse. Dorothy was born on 17 Feb 1678 in Stang End and died on 23 May 1755 aged 77. They had six children: Elizabeth, John, George, Anthony, Isaac and Dorothy. 5-Elizabeth Wilson [6428] was born on 6 Apr 1703 and died on 9 Feb 1781 aged 77. Elizabeth married Reginald Holme [6429] [MRIN: 2566], son of Jacob Holme [34811] and Unknown, on 28 Feb 1742. Reginald was born on 12 Apr 1694 in Tarnefoot, Kendal and died on 18 Jun 1772 in Newcastle aged 78. They had one daughter: Elizabeth. 6-Elizabeth Holme [6430] was born on 3 Jan 1742 and died on 27 Nov 1792 in Newcastle aged 50. Elizabeth married Anthony Clapham [34812] [MRIN: 10442], son of Rev. -
Performance of the Self in the Theatre of the Elite the King's Theatre, 1760
Performance of the self in the theatre of the elite The King’s Theatre, 1760–1789: The opera house as a political and social nexus for women. Joanna Jarvis A thesis submitted in partial fulfilment of the requirements of Birmingham City University for the degree of Doctor of Philosophy Faculty of Arts, Design and Media This work is licensed under CC BY-NC-ND 4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/?ref=chooser-v1 October 2019 Volumes 1 & 2 0 1 Abstract This research takes as its starting point the King’s Theatre in London, known as the Opera House, between 1760 and 1789. It examines the elite women subscribers who were on display and their approach to self-presentation in this social and political nexus. It makes a close examination of four women who sat in the audience at that time, as exemplars of the various experiences and approaches to attending the opera. Recent research has examined the performative offerings at the Opera House, the constitution of the audience and the troubled management of the theatre in that period. What is missing, is an examination of the power of the visual in confirming and maintaining status. As a group the women presented a united front as members of the ruling class, but as individuals they were under observation, as much from their peers as others in the audience and the visual dynamic of this display has not been analysed before. The research uses a combination of methodological approaches from a range of disciplines, including history, psychology and phenomenology, in order to extrapolate a sense of the experience for these women. -
Lowell Libson
LOWELL LIBSON LTD 2 014 • LOWELL LIBSON LTD · 2014 New York: January 25 – February 1 Annual exhibition at Mitchell-Innes & Nash: British Art: Recent Acquisitions & Thomas Gainsborough: The Landscape of Refinement london: february 17 – february 28 Thomas Gainsborough: The Landscape of Refinement Maastricht: March 14 – 23 TEFAF: The European Fine Art Fair London: July 4 – July 11 Master Drawings & Sculpture Week London Art Week London: October 16 – october 19 Frieze Masters LOWELL LIBSON LTD 2 014 • LOWELL LIBSON LTD CONTENTS 3 Clifford Street · Londonw1s 2lf William John Bankes 8 Telephone: +44 (0)20 7734 8686 Fax: +44 (0)20 7734 9997 James Barry 12 Email: [email protected] Louis-Gabriel Blanchet 15 Website: www.lowell-libson.com The gallery is open by appointment, Monday to Friday Francis Cotes 20 The entrance is in Old Burlington Street Alexander Cozens 24 Lowell Libson John Robert Cozens 26 [email protected] Arthur Devis 34 Deborah Greenhalgh [email protected] John Flaxman 39 Jonny Yarker [email protected] Lucius Gahagan 46 Daniel Gardner 50 Hugh Douglas Hamilton 52 Victor-Marie Hugo 58 Sir Thomas Lawrence 60 Edward Lear 68 William Marlow 72 Samuel Palmer 76 Published by Lowell Libson Limited 2014 Sir Joshua Reynolds 78 Text and publication © Lowell Libson Limited All rights reserved Thomas Rowlandson 82 isbn 978 0 9563930 7 4 Cover: a sheet of 18th-century Italian Thomas Stothard 82 paste paper (collection: Lowell Libson) Frontispiece: Francis Cotes RA 1726–1770 Joseph Mallord William Turner 89 Detail from Mary Colebrooke, later Lady Aubrey, 1766 Benjamin West 102 Photography by Rodney Todd White & Son Ltd Designed and typeset in Dante by Dalrymple Joseph Wright of Derby 105 Colour reproduction by Altaimage Printed in Belgium by Albe De Coker Johan Zoffany 112 our annual catalogue relies entirely on the works we have in hand and it is this serendipity that gives each of these volumes an individual character. -
Politica E Commedia Al Femminile
UNIVERSITÀ DEGLI STUDI DI PISA Dipartimento di Filologia, Letteratura e Linguistica Dottorato di Ricerca in Discipline Umanistiche Tesi di dottorato POLITICA E COMMEDIA AL FEMMINILE IN INGHILTERRA TRA IMPERO E RIVOLUZIONE FRANCESE TRA 1780 E 1800 Relatrici: Chiar.ma Prof.ssa Carla Dente Chiar.ma Prof.ssa Roberta Ferrari Dottoranda: Laura Russo 0 INDICE Introduzione……………………………………………………………………p. 4 Parte I: METODI E CONTESTI 1. Coordinate Teoriche…………………………………………………..…p.14 2. Teatro, Politica e Società………………………………………………………p. 27 2.1. I luoghi del teatro e il pubblico… ……………………….……..p. 27 2.2. Rapporti col potere e con la legge: la Censura………………..p. 40 2.3. Il teatro e la Rivoluzione francese…………………….………...p. 48 2.4. Teatro e Impero……………………………………………………p. 59 Appendice I……………………………………………………………….p. 73 Appendice II………………………………………………………………p. 75 Appendice III………………………………………………………...……p. 77 3. Metodologie di Analisi…………………………………………………..p. 78 3.1. L’Oggetto di studio: la commedia tardo georgiana al femminile……………………………………………………….p. 78 3.1.1. La Commedia………………………………………p. 78 3.1.2. Le Commediografe…………………………….…...p. 86 3.2. Il momento analitico: scelte, metodi e fonti…………….……p. 91 Parte II: LE COMMEDIE 4. Le cose stanno così……………………………………………………p.102 4.1. Il testo…………………………………………………………….p.104 4.1.1. Il tema e le fonti dell’opera………………………...p.104 4.1.2. Gli spazi………………………………………..…p.112 1 4.1.3. Correzioni e revisioni del testo…………………..…p.119 4.2. Immagine pubblica e giudizio a posteriori……………p.131 5. La Russia in Turchia: politica e poetica di una signora perbene…………………………………………………….…p.137 5.1. Il contesto storico: la crisi di Oczakow………………p.139 5.2. Il testo………………………………………………….…p.148 5.2.1. -
Speculative Development and the Origins and History of East India Company Settlement in Cavendish Square and Harley Street
Speculative development and the origins and history of East India Company settlement in Cavendish Square and Harley Street As London grew north and west in the eighteenth century, wealth settled on the new-built streets of the Cavendish-Harley (later Portland, now Howard de Walden) estate. This paper describes how, why and where individuals enriched through the East India Company came to ground in this part of London. The cases of Francis Shepheard, scion of an important company family, Governor Robert Adams, in flight from Tellicherry, his nephew Robert Orme, the historian of India, General Richard Smith, a notorious ‘Nabob’, and a few others elucidate the market-based origins and accidental then deliberate consolidation of this settlement and stand for many more East India Company names about whom at this point less is known. KEYWORDS speculative housing, East India Company, Cavendish Square, Harley Street, nabob, The transfer to London of wealth derived from commerce in India based in the activities of the East India Company was great and ramifying. But its points of landing and consequences are difficult to pin down. Many individual stories have been told and the impact of investment on British country houses in particular has been widely investigated, with a major project focusing on where and how wealth from India was spent in Britain recently completed.1 It is well known that as London’s West End grew northwards into the parish of St Marylebone in the eighteenth century the area was in significant measure populated by those with repatriated wealth from the Caribbean and India, and West Indian connections have now been mapped and quantified.2 That Harley Street and its immediate area in the West End had come by the early nineteenth century to be particularly associated with ‘nabobs’ returned well-heeled from India is also readily discovered. -
Transatlantic Nationalisms and Parallel Performances: Afterlife Texts of the Revolutionary Era
Transatlantic Nationalisms and Parallel Performances: Afterlife Texts of the Revolutionary Era by David Vinson A dissertation submitted to the Graduate Faculty of Auburn University in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Auburn, Alabama December 14, 2019 Keywords: afterlife, transatlantic, American Revolution, performance, nationalism, cultural studies Copyright 2019 by David Vinson Approved by Paula R. Backscheider, Chair, Eminent Scholar, English Hilary E. Wyss, Professor of English Diana Eidson, Assistant Professor of English Erich Nunn, Associate Professor of English Abstract This dissertation traces the rise to public prominence of Major John André, J. Hector St. John de Crèvecoeur, and Mary Robinson during the American Revolution, and it examines the ways in which they each inspire an afterlife legacy that takes on public dimensions in Britain and America well into the twenty-first century. My argument is that André, Crèvecoeur, and Robinson—in life, and during their extraordinary afterlives—are used in Britain and America for restorative purposes. Their public personas and works (literary and extraliterary) inspired the transatlantic publics of Britain and America, and they did so at a crucial time in the evolving identities of both nations. Afterlife analysis facilitates an understanding of how their personas and works are used in response to the varied crises brought on not only by the American Revolution, but by subsequent historical moments that have exposed deep uncertainties regarding national identity, good citizenry, male and female propriety, and sensibility. By tracing their afterlives as that which are informed by their wartime utility, I am able to identify patterns (as well as notable deviations) in terms of how, why, and by whom their personas and works are appropriated, reimagined, and remade. -
(1846–1920). Russian Jeweller, of French Descent. He Achieved Fame
Fabricius ab Aquapendente, Hieronymus (Geronimo Fabrizi) (1533–1619). Italian physician, born at Aquapendente, near Orvieto. He studied medicine under *Fallopio at Padua and succeeded F him as professor of surgery and anatomy 1562– 1613. He became actively involved in building Fabergé, Peter Carl (1846–1920). Russian jeweller, the university’s magnificent anatomical theatre, of French descent. He achieved fame by the ingenuity which is preserved today. He acquired fame as a and extravagance of the jewelled objects (especially practising physician and surgeon, and made extensive Easter eggs) he devised for the Russian nobility and contributions to many fields of physiology and the tsar in an age of ostentatious extravagance which medicine, through his energetic skills in dissection ended on the outbreak of World War I. He died in and experimentation. He wrote works on surgery, Switzerland. discussing treatments for different sorts of wounds, and a major series of embryological studies, illustrated Fabius, Laurent (1946– ). French socialist politician. by detailed engravings. His work on the formation of He was Deputy 1978–81, 1986– , Minister for the foetus was especially important for its discussion Industry and Research 1983–84, Premier of France of the provisions made by nature for the necessities 1984–86, Minister of Economics 2000–02 and of the foetus during its intra-uterine life. The medical Foreign Minister 2012–16, and President of the theory he offered to explain the development of eggs Constitutional Council 2016– . and foetuses, however, was in the tradition of *Galen. Fabricius is best remembered for his detailed studies Fabius Maximus Verrocosus Cunctator, Quintus of the valves of the veins. -
“Florizel and Perdita Affair, 1779-80”
Please do not remove this page “Florizel and Perdita Affair, 1779-80” Ledoux, Ellen Malenas https://scholarship.libraries.rutgers.edu/discovery/delivery/01RUT_INST:ResearchRepository/12643396530004646?l#13643528080004646 Ledoux, E. M. (2013). “Florizel and Perdita Affair, 1779-80.” BRANCH: Britain, Representation and Nineteenth-Century History. https://doi.org/10.7282/T34T6N7W This work is protected by copyright. You are free to use this resource, with proper attribution, for research and educational purposes. Other uses, such as reproduction or publication, may require the permission of the copyright holder. Downloaded On 2021/09/29 00:48:36 -0400 Ellen Malenas Ledoux, Florizel and Perdita... http://www.branchcollective.org/?ps_articles=ellen-malenas-ledoux-florizel-and-perdita-affair-1779-80 Ellen Malenas Ledoux, “Florizel and Perdita Affair, 1779-80” On 3 December 1779, Drury Lane staged David Garrick’s Florizel and Perdita (1756), an adaptation of Shakespeare’s The Winter’s Tale. Before the curtain rose, little did actress Mary Robinson (who played Perdita) or the Prince of Wales (who attended the performance) know that this night would have a lasting and profound impact on their private lives and public reputations. Florizel and Perdita was a command performance, so not only were George III and Queen Charlotte present, the 17-year-old Prince (later George IV) occupied his reserved box located in close proximity to the stage. So close, in fact, that when Robinson began to speak her lines, she could hear the Prince’s “flattering remarks,” and he could see how she “blushed with gratitude” when she heard them (The Memoirs 102). By his own account, the impetuous Prince had given way to “strong and lively passions” by the next day, declaring Robinson to be “the greatest and most perfect beauty of her sex” (Anson Papers, Prince to Mary Hamilton, letter 74. -
Copyright by Kevin Jordan Bourque 2012
Copyright by Kevin Jordan Bourque 2012 The Dissertation Committee for Kevin Jordan Bourque certifies that this is the approved version of the following dissertation: Blind Items: Anonymity, Notoriety, and the Making of Eighteenth-Century Celebrity Committee: Janine Barchas, Co-Supervisor Lisa L. Moore, Co-Supervisor Lance Bertelsen David Brewer Elizabeth A. Hedrick Blind Items: Anonymity, Notoriety, and the Making of Eighteenth-Century Celebrity by Kevin Jordan Bourque, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2012 “Talent is not what Uncle Buck and I deal in, Miss Van Allen,” I said, lightly resting my hand on Buck’s clenched fist. “We deal in myths. At any given moment the world requires one full-bodied blonde Aphrodite (Jean Harlow), one dark siren of flawless beauty (Hedy Lamarr), one powerful inarticulate brute of a man (John Wayne), one smooth debonair charmer (Melvyn Douglas), one world-weary corrupt lover past his prime (Humphrey Bogart), one eternal good-sex woman-wife (Myrna Loy), one wide-eyed chicken boy (Lon McCallister), one gentle girl singer (Susanna Foster), one winning stud (Clark Gable), one losing stud outside the law (James Cagney), and so on. Olympus supports many gods and goddesses and they are truly eternal, since whenever one fades or falls another promptly takes his place, for the race requires that the pantheon be always filled... And so, like priestesses, despite all personal hardship, we must constantly test and analyze the young men and women of America in order to find the glittering few who are immortal, who are the old, the permanent gods of our race reborn.” – Gore Vidal, Myra Breckinridge (1968) Acknowledgments My time working on and thinking about this project has been spent within a coterie of exceptionally generous, brilliant and nurturing people. -
Female Architectural Patronage in Eighteenth-Century Britain
Maids, Wives and Widows: Female Architectural Patronage in Eighteenth-Century Britain Amy Lynn Boyington This dissertation is submitted for the degree of Doctor of Philosophy Corpus Christi College, University of Cambridge Department of Architecture August 2017 Abstract Maids, Wives and Widows: Female Architectural Patronage in Eighteenth- Century Britain Amy Lynn Boyington This thesis explores the extent to which elite women of the eighteenth century commissioned architectural works and the extent to which the type and scale of their projects was dictated by their marital status. Traditionally, architectural historians have advocated that eighteenth-century architecture was purely the pursuit of men. Women, of course, were not absent during this period, but their involvement with architecture has been largely obscured and largely overlooked. This doctoral research has redressed this oversight through the scrutinising of known sources and the unearthing of new archival material. This thesis begins with an exploration of the legal and financial statuses of elite women, as encapsulated by the eighteenth-century marriage settlement. This encompasses brides’ portions or dowries, wives’ annuities or ‘pin-money’, widows’ dower or jointure, and provisions made for daughters and younger children. Following this, the thesis is divided into three main sections which each look at the ways in which women, depending upon their marital status, could engage in architecture. The first of these sections discusses unmarried women, where the patronage of the following patroness is examined: Anne Robinson; Lady Isabella Finch; Lady Elizabeth Hastings; Sophia Baddeley; George Anne Bellamy and Teresa Cornelys. The second section explores the patronage of married women, namely Jemima Yorke, Marchioness Grey; Amabel Hume-Campbell, Lady Polwarth; Mary Robinson, Baroness Grantham; Sarah Churchill, Duchess of Marlborough; Frances Boscawen; Elizabeth Herbert, Countess of Pembroke and Montgomery; Henrietta Knight, Baroness Luxborough and Lady Sarah Bunbury. -
(P)Oszukiwanie Tożsamości: Cztery Studia O Angielskim Oświeceniu
COLLEGIUM CIVITAS Paweł T. Dobrowolski (P)oszukiwanie tożsamości: cztery studia o angielskim Oświeceniu Warszawa 2015 COLLEGIUM CIVITAS Publikacja finansowana ze środków własnych Collegium Civitas. Redakcja: Marek Gawron Korekta: Magdalena Kopacz Opracowanie typograficzne i skład: Marek W. Gawron – Collegium Civitas Projekt okładki: Aleksandra Jaworowska, studio lionpath, [email protected] Na okładce wykorzystano: • fragmenty obrazów: Pietro Longhi, Il Ridotto, ok. 1740, olej, Accademia Carrara, Bergamo, Włochy, domena publiczna, http://www.wikiart.org/en/pietro-longhi/the-ridotto Joshua Reynolds, David Garrick between Comedy and Tragedy, 1761, olej, Waddesdon, The Rothschild Collection (Rothschild Family Trust), WikiArt: http://www.wikiart.org/en/joshua-reynolds/david- garrick-between-tragedy-and-comedy-1761 Joshua Reynolds, Lady Bampfylde, ok. 1776, olej, Tate Britain w Londynie, domena publiczna, http://com mons.wikimedia.org/wiki/File:Sir_Joshua_Reynolds_-_Lady_Bampfylde_-_Google_Art_Project.jpg. Louise Élisabeth Vigée Le Brun, Marie Antoinette of Austria, 1783, olej, domena publiczna, http://commo ns.wikimedia.org/wiki/File:Marie-Antoinette_par_Elisabeth_Vig%C3%A9e-Lebrun_-_1783.jpg • fotografię autorstwa Marka W. Gawrona Zdjęcie autora: Marek W. Gawron Recenzenci: prof. dr hab. Tadeusz Cegielski, Uniwersytet Warszawski prof. Richard Butterwick-Pawlikowski, Ph.D., Kolegium Europejskie Natolin Niniejsza monografia stanowi dorobek naukowy Collegium Civitas. ISBN 978-83-61067-03-0 e-book Niniejsza publikacja została wydana na licencji Creative Commons Uznanie autorstwa-Na tych samych warunkach 3.0 Unported (CC BY-SA 3.0) Wydawca: Collegium Civitas Press Pałac Kultury i Nauki, XI piętro, p. 1105/1106 00-901 Warszawa, plac Defilad 1 tel. 22 656 71 96 e-mail: [email protected] http://www.civitas.edu.pl Spis treści Wprowadzenie ……………………………………………………………………………………….