Ottoline Morrell
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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. -
Lady Ottoline Morrell Papers (1896-1938) (Add MS 88886) Table of Contents
British Library: Western Manuscripts Lady Ottoline Morrell Papers (1896-1938) (Add MS 88886) Table of Contents Lady Ottoline Morrell Papers (1896–1938) Key Details........................................................................................................................................ 1 Arrangement..................................................................................................................................... 1 Provenance........................................................................................................................................ 1 Add MS 88886/1/1–3 Add MS 88886/1 Letters.Add MS 88886/1/1–3. Lady Ottoline Morrell Papers. Vols. i–iii. Letters of Lady....................................................................................................... 2 Add MS 88886/2/1–32 Add MS 88886/2 Diaries. (1905–1938)............................................................ 4 Add MS 88886/3/1–15 Add MS 88886/3 Notebooks. (1896–1937)...................................................... 20 Add MS 88886/4/1–41 Add MS 88886/4. Journals. (1901–1937)......................................................... 29 Add MS 88886/5/1–3 Add MS 88886/5 Visitors' Books. Add MS 88886/5/1–3. Lady Ottoline Morrell Papers. Vols. xcii–xciv. .......................................................................................................... 50 Add MS 88886/6/1–20 Add MS 88886/6 Transcriptions. (1907–1997)................................................. 52 Key Details Collection Area British Library: -
2017 Season 2
1 2017 SEASON 2 Eugene Onegin, 2016 Absolutely everything was perfection. You have a winning formula Audience member, 2016 1 2 SEMELE George Frideric Handel LE NOZZE DI FIGARO Wolfgang Amadeus Mozart PELLÉAS ET MÉLISANDE Claude Debussy IL TURCO IN ITALIA Gioachino Rossini SILVER BIRCH Roxanna Panufnik Idomeneo, 2016 Garsington OPERA at WORMSLEY 3 2017 promises to be a groundbreaking season in the 28 year history of Cohen, making his Garsington debut, and directed by Annilese Miskimmon, Garsington Opera. Artistic Director of Norwegian National Opera, who we welcome back nine years after her Il re pastore at Garsington Manor. We will be expanding to four opera productions for the very first time and we will now have two resident orchestras as the Philharmonia Orchestra joins us for Our fourth production will be a revival from 2011 of Rossini’s popular comedy, Pelléas et Mélisande. Il turco in Italia. We are delighted to welcome back David Parry, who brings his conducting expertise to his 13th production for us, and director Martin Duncan Our own highly praised Garsington Opera Orchestra will not only perform Le who returns for his 6th season. nozze di Figaro, Il turco in Italia and Semele, but will also perform the world premiere of Roxanna Panufnik’s Silver Birch at the conclusion of the season. To cap the season off we are very proud to present a brand new work commissioned by Garsington from composer Roxanna Panufnik, to be directed Pelléas et Mélisande, Debussy’s only opera and one of the seminal works by our Creative Director of Learning & Participation, Karen Gillingham, and I of the 20th century, will be conducted by Jac van Steen, who brought such will conduct. -
Reason and Values in Bloomsbury Fiction
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. REASON AND VALUES m BLOOMS BJRY FICTION A thesis presented in partial fulfilment of the requirements for t he degree of Master of Arts in English at Massey University. Diane Wendy Wills 1970 "From these primary qualities, Reasonabl eness and a Sense of' Values, may spring a host of secondaries: a tast e for truth and beauty, tol erance, intellectual honesty, fastidiousness, a sense of humour, good manners, curiosity, a dislike of vulgarity, brutality, and over-emphasis, freedom f'rom superstition and prudery, a fearless acceptance of the good things of life, a desire for complete sel.1' expression and for a liberal education, a contempt for utilitarian ism and philistinism, in two ords • sweetness and light. " { Clive Bell. ) iii, PREPACE When I f'irat began looking at the fiction of the Bloomsbury Group I had 11ttle idea of hat my final argum :t would be. Ne, .,, I find my• aelt measuring the values implicit 1n the novel against t h·· l. ,Jl' sfe of Bloom.sbury a.a erated by outside co tators am. by me;i1)Jl·--= •)f Bloan bury itaelf, and ree.ttirm1ng not on13 th indep dence of mind which indiv- idual m ber retained but th ftwlty jU.UJ?J111C11ts ct oh m outsider he.v b guilty• Thi the 1a to be emaustiv cover- age ot Bloomsbul7 ideas in fiction. -
Holmi Postájából Móritz Mátyás: a Tisztes Hátrány • 1070 Bán Zsófia: Egyben (Balassa Péterrôl) • 1071 Radnóti Sándor: Balassa Péter Halálára (1947–2003) • 1073
Szerkeszti: Réz Pál (fôszerkesztô), Radnóti Sándor (bírálat), Várady Szabolcs (vers), Závada Pál (széppróza), Fodor Géza, Szalai Júlia Szerkesztôbizottság: Bodor Ádám, Dávidházi Péter, Domokos Mátyás, Göncz Árpád, Kocsis Zoltán, Lator László, Ludassy Mária, Rakovszky Zsuzsa, Vásárhelyi Júlia. Tördelôszerkesztô: Környei Anikó. A szöveget gondozta: Zsarnay Erzsébet TARTALOM Lôcsei Péter: „Kedves Fôtisztelendô Úr” (Weöres Sándor levelei Székely Lászlóhoz) • 955 Falcsik Mária: Egy utazás képei • 985 Alkaioszi • 986 Kôrizs Imre: Karácsonyi ódi • 987 Non omnia moriar • 988 Az élet (már megint • 990 Térey János: A gyermek • 990 Göncz Árpád: A veszélyes és életet adó szó • 992 Katherine Mansfield leveleibôl (I) (Mesterházi Mónika válogatásában, fordításában és jegyzeteivel) • 996 Gombár Csaba: Leonard Woolfról • 1019 Leonard Woolf: Újrakezdés (Vallasek Júlia fordítása) • 1022 Szabó T. Anna: Az erô • 1036 Fehér • 1037 Totem • 1038 Csengery Kristóf: Köd, bot, kutya, kiáltás • 1039 Fogmûtét után • 1040 Egy megrendelés története • 1041 Belsô kalandok • 1041 Halasi Zoltán: Anód-katód • 1042 Mi négyen • 1043 954 • Tartalom FIGYELÔ Nagy András: Délvidéki aranytalanság (Gion Nándor: Aranyat talált) • 1044 Csûrös Miklós: „(A nehezén túl vagyunk? A neheze hátravan?)” (Szilágyi István: Hollóidô) • 1047 Kálmán C. György: Árnyképek (Kántor Péter: Lóstaféta) • 1055 Ferencz Gyôzô–Bodor Béla: Két bírálat egy könyvrôl (Nádasdy Ádám: A rend, amit csinálok) • 1059 Fogarassy Miklós: „Ami fölfénylett épp odabent...” (Bodor Béla: Ragtime a Vérnôszô Barommal) • 1066 A Holmi postájából Móritz Mátyás: A tisztes hátrány • 1070 Bán Zsófia: Egyben (Balassa Péterrôl) • 1071 Radnóti Sándor: Balassa Péter halálára (1947–2003) • 1073 Megjelenik havonta. Felelôs kiadó: Réz Pál. Vörösmarty Társaság Levélcím: HOLMI c/o Réz Pál, 1137 Budapest, Jászai Mari tér 4/A Terjeszti a Nemzeti Hírlapkereskedelmi Rt. -
GARSINGTON OPERA to MOVE to WORMSLEY ESTATE, HOME of the GETTY FAMILY, in 2011 Submitted By: Clare Adams Publicity Thursday, 29 April 2010
GARSINGTON OPERA TO MOVE TO WORMSLEY ESTATE, HOME OF THE GETTY FAMILY, IN 2011 Submitted by: Clare Adams Publicity Thursday, 29 April 2010 The Directors of Garsington Opera (http://www.garsingtonopera.org) are pleased to announce that Wormsley Estate, the home of the Getty family, is the preferred site for Garsington Opera with effect from the 2011 season. Garsington Opera, founded by the late Leonard Ingrams and his wife Rosalind in 1989, has established an enviable reputation over the last twenty-one years for promoting opera of the highest professional quality in an outdoor setting for a short summer season. Wormsley Estate is set within a magnificent historic landscape in the Chiltern Hills, in an Area of Outstanding Natural Beauty. An elegant pavilion auditorium will be created, to be assembled annually, sited close to an attractive collection of flinted buildings, not far from Wormsley House, and nestling in the beautiful deer park. After twenty-one years at Garsington Manor, Garsington Opera has been seeking a new location over the last two years and has reached agreement with Mark Getty to hold the festival at the Wormsley Estate from the summer of 2011. Garsington Opera has now started consultations with the local community, relevant authorities and other interested parties and shall be applying for planning consent. As well as being the setting of the famous cricket ground established by Sir Paul Getty, Wormsley enjoys an impressive two acre 18th century walled garden, a short drive away from the opera pavilion. The estate straddles the Oxfordshire / Buckinghamshire border. It is located close to the M40, is less than fifteen miles from Garsington Manor, and under an hour from central London. -
La Dama Que Se Transformó En Zorro
PERIFÉRICA HOJA DE PROMOCIÓN PARA LIBREROS LA OBRA ESTARÁ EN LIBRERÍAS EL 14 DE ABRIL Una mujer que se convierte en un zorro: se trata de un terrible revés de la fortuna, pero de una extraña belleza. Pero el verdadero tema de esta fascinante novela es qué sucederá luego. Y no deberíamos dejarnos engañar por el título, pues hay más de una transformación en ella. David Garnett LA DAMA QUE SE TRANSFORMÓ EN ZORRO COLECCIÓN «LA RGO RECORRIDO » TRADUCCIÓN DE LAURA SALAS Nº DE PÁGINAS: 128 PVP INCLUIDO IVA : 15,75 € ISBN: 978-84-92865-91-8 Silvia, la protagonista de esta novela tan singular como sabiamente alejada de la cursilería, se casa con el terrateniente Richard Tebrick, tras un breve noviazgo, y después de la luna de miel se instalan en la hermosa finca de Rylands, en el condado de Oxfordshire; la casa de los Tebrick es la única mansión en kilómetros a la redonda. Pocos meses después, una tarde, salen a pasear por el bosquecillo de la colina cercana. Aún se comportan como enamorados: van a todas partes juntos y pasean de la mano. Ese día se oye a lo lejos una jauría de perros y, a continuación, la trompa de los cazadores; así que Richard acelera el paso hasta llegar a la linde del bosque, para no perderse el espectáculo. Desde allí dispondrán de una buena panorámica si los zorros aparecen. Su esposa se queda atrás, y él, tomándola de la mano, casi la arrastra. Antes de que alcancen la linde, ella da un violento tirón acompañado de un alarido y, de inmediato, él vuelve la cabeza… Las historias de transformaciones son una manera de dotar de sentido al mundo, de ver las conexiones que el materialismo de nuestra era pasa por alto, y que pertenecen a un universo ordenado no sólo por la razón, sino también por la imaginación, un universo en el que el cambio es la única constante. -
Conservation Cases Processed by the Gardens Trust 19.11.2020 Response By
CONSERVATION CASES PROCESSED BY THE GARDENS TRUST 19.11.2020 This is a list of all the conservation consultations that The Gardens Trust has logged as receiving over the past week, consisting mainly, but not entirely, of planning applications. Cases in England are prefixed by ‘E’ and cases in Wales with ‘W’. When assessing this list to see which cases CGTs may wish to engage with, it should be remembered that the GT will only be looking at a very small minority. SITE COUNTY SENT BY REFERENCE GT REF DATE GR PROPOSAL RESPONSE RECEIVED AD BY E ENGLAND Northwoods House Avon South P20/22078/LB E20/1148 16/11/2020 N PLANNING APPLICATION External works 07/11/2020 Gloucestershi https://developments.so to install an electric vehicle charging re DC uthglos.gov.uk/online- point. Northwoods House, Old applications/ Gloucester Road, Winterbourne, South Gloucestershire BS36 1RS. MISCELLANEOUS Tyringham Buckinghams Milton 20/02790/FUL E20/1155 16/11/2020 II* PLANNING APPLICATION Erection of 07/12/2020 hire Keynes www.milton- Orangery on south-west elevation. The keynes.gov.uk/publicacce Dower House, 18 Garden Lane, ss Tyringham, Newport Pagnell MK16 9ED. BUILDING ALTERATION Bulstrode Park Buckinghams South Bucks PL/20/3741/HB E20/1175 19/11/2020 II* PLANNING APPLICATION Listed Building 10/12/2020 hire DC https://pa.chilternandso Consent for: Emergency window repairs to replace/refurbish missing glass, uthbucks.gov.uk/online- frames, and ironmongery and applications/ subsequent damage to windows due to vandalism and weather damage. Soft Strip of modern floor finishes, sanitaryware, plasterboard partitions to enable drying out of historic fabric. -
Gilbert Cannan (1884–1955) Mary Cannan (1868–1950) Artists Who Visited: Mark Gertler, Dora Carrington the Windmill, Rays Hill, Cholesbury HP5 2UJ
Gilbert Cannan (1884–1955) Mary Cannan (1868–1950) Artists who visited: Mark Gertler, Dora Carrington The Windmill, Rays Hill, Cholesbury HP5 2UJ The artists Cannan was a novelist and dramatist. He married Mary (a former actress) in 1910 after she was divorced from her previous husband, the author J.M. Barrie, because of her affair with Cannan. The Cannans moved in an artistic and intellectual circle and many of their writer and artist friends came to stay at the windmill or rented homes in the nearby villages. These included Mark Gertler, Dora Carrington, Lytton Strachey, D.H. Lawrence, Katherine Mansfield, Compton Mackenzie and John Drinkwater. Gilbert Cannan produced a lot of work during his time at the windmill and some of the other visitors referred to either the countryside or people they had met there in some of their work. Mark Gertler painted several paintings during his many visits, one of which, The Merry-Go- Round, is probably his most famous work while another is his painting of the windmill itself, called Gilbert Cannan and his Mill. The house The Grade II windmill is located down a track off Rays Hill, Cholesbury, a small hilltop village approximately 6 km north-west of Chesham and 5km south of Tring in the Chiltern Hills (AONB). There have been windmills on the site since the 17th century, but the current building was constructed in 1883 and an attached grain store was later added. The miller lived in the adjacent mill house until the mill ceased operation in 1912. The property was occupied by the Cannans from 1913 to 1916. -
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A Bloomsbury Chronology 1866 Roger Fry born 1877 Desmond Maccarthy born 1879 E.M. Forster born Vanessa Stephen born 1880 Lytton Strachey born Thoby Stephen born Saxon Sydney-Turner born Leonard Woolf born 1881 Clive Bell born 1882 Virginia Stephen born Mary Warre-Cornish born 1883 J.M. Keynes born Adrian Stephen born 1885 Duncan Grant born Roger Fry enters King's College, Cambridge 1888 Roger Fry obtains a First Class honours in natural sciences and decides to study painting xx A Bloomsbury Chronology 1892 Roger Fry studies painting in Paris David Garnett born 1893 Dora Carrington born 1894 Roger Fry gives university extension lectures at Cambridge mainly on Italian art Desmond Maccarthy enters Trinity College, Cambridge 1895 Death of Mrs Leslie Stephen Virginia Stephen's first breakdown 1896 Roger Fry and Helen Coombe married 1897 E.M. Forster enters King's College, Cambridge Desmond MacCarthy leaves Trinity College Virginia Stephen attends Greek and history classes at King's College, London 1899 Roger Fry: Giovanni Bellini Clive Bell, Thoby Stephen, Lytton Strachey, Saxon Sydney-Turner, Leonard Woolf all enter Trinity College, Cambridge The Midnight Society - a 'reading society' - founded at Trinity by Bell, Sydney-Turner, Stephen, and Woolf 1900 Roger Fry gives university extension lectures on art at Cambridge 1go1 Roger Fry becomes art critic for the Athenaeum Vanessa Stephen enters the Royal Academy Schools E.M. Forster leaves Cambridge, travels in Italy and Greece, begins A Room with a View 1902 Duncan Grant attends the Westminster Art School Leonard Woolf, Saxon Sydney-Turner, and Lytton Strachey elected to 'The A Bloomsbury Chronology XXI Apostles' (older members include Roger Fry, Desmond MacCarthy, E.M. -
This Work Has Been Submitted to NECTAR, the Northampton Electronic Collection of Theses and Research
This work has been submitted to NECTAR, the Northampton Electronic Collection of Theses and Research. Conference or Workshop Item Title: Katherine Mansfield and T.S. Eliot Creator: Wilson, J. M. Example citation: Wilson, J. M. (2015) Katherine Mansfield and T.S. Eliot. Paper presented to: Katherine Mansfield and the 'Blooms Berries', Newberry Library, Chicago, USA, 2830 May 2015. Version: Presented version Official URL: http://www.katherinemansfieldsociety.org/chicagoconference 2015/ NECTARhttp://nectar.northampton.ac.uk/7579/ Abstract: “Katherine Mansfield and T.S. Eliot” Katherine Mansfield and T. S. Eliot had a friendly yet fraught relationship in which an initial mutual admiration turned into wariness. Their literary acquaintance began with the Bloomsbury Circle, and Mansfield’s enthusiasm for The Love Song of Alfred J. Prufrock which she read out at Garsington Manor in June 1917, saying: ‘that’s what I want modern poetry to be’, and ‘it is after all, a short story’. Later she saw his poetry as ‘unspeakably dreary’, while he formed the view that she was ‘a thick skinned toady’, and ‘a dangerous WOMAN’. Eliot’s brief comments on Mansfield’s story ‘Bliss’ give some insight into his views of her work. This paper, however, aims to examine his modernism as a possible influence on on her artistic practice (evident in allusions to ’Preludes’, Prufrock and ‘Rhapsody on a Winter’s Night’), and the possible impact of his criticism and theories of art on her thinking (for example, her belief in the impersonality of the artist). Finally it will consider how the relationship has been taken up as a subject for fiction by New Zealand writer and critic, C.K. -
Préface De Un Homme Au Zoo De David Garnett Par François Gallix, Professeur À L'université De Paris IV
Préface de Un homme au zoo de David Garnett par François Gallix, professeur à l'Université de Paris IV Un homme au zoo, trad. Betty Colin, Christian Bourgois, 1996 illustrations R. A. Garnett (Rachel "Ray" Garnett était la première épouse de David Garnett), 1ère éditions en 1927 "N'essaie jamais d'écrire, mais surtout, ne fais jamais rien qui puisse avoir le moindre rapport avec le monde de l'édition, ni avec celui du commerce du livre ! " (Never be a Bookseller, 1929.) Jamais conseil de parents ne fut moins suivi que celui donné à David Garnett, et l'on ne peut que s'en réjouir ! A lui seul, en effet, David Garnett pourrait servir à illustrer une définition de ce qu'est une grande dynastie littéraire totalement immergée, sur plusieurs générations, dans tous les aspects du livre : contacts avec les auteurs, création littéraire, critique, traduction, édition, illustration, vente. C'est ainsi que, dès son plus jeune âge, David fut littéralement assimilé au monde des écrivains qui fréquentaient la maison familiale du Surrey, "The Cearne". A cinq ans, il apprenait avec Joseph Conrad à faire naviguer sur la pelouse un baquet à linge surmonté d'un drap ; à huit ans, John Galsworthy lui donnait le surnom totémique d'"Élan coureur". A neuf ans, David apprenait à reconnaître les nids d'oiseaux et à imiter le chant des engoulevents avec W.H. Hudson, tandis qu'Edward Thomas l'emmenait à la découverte des restaurants végétariens du voisinage. On ne sait trop par où commencer : son arrière-grand-père, le révérend Richard Garnett, linguiste et philologue, fut conservateur adjoint à la Bibliothèque Nationale de Great Russell Street à Londres (British Museum) et un grand chercheur.