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Folk Song in Cumbria: a Distinctive Regional
FOLK SONG IN CUMBRIA: A DISTINCTIVE REGIONAL REPERTOIRE? A dissertation submitted in partial fulfilment of the degree of Doctor of Philosophy by Susan Margaret Allan, MA (Lancaster), BEd (London) University of Lancaster, November 2016 ABSTRACT One of the lacunae of traditional music scholarship in England has been the lack of systematic study of folk song and its performance in discrete geographical areas. This thesis endeavours to address this gap in knowledge for one region through a study of Cumbrian folk song and its performance over the past two hundred years. Although primarily a social history of popular culture, with some elements of ethnography and a little musicology, it is also a participant-observer study from the personal perspective of one who has performed and collected Cumbrian folk songs for some forty years. The principal task has been to research and present the folk songs known to have been published or performed in Cumbria since circa 1900, designated as the Cumbrian Folk Song Corpus: a body of 515 songs from 1010 different sources, including manuscripts, print, recordings and broadcasts. The thesis begins with the history of the best-known Cumbrian folk song, ‘D’Ye Ken John Peel’ from its date of composition around 1830 through to the late twentieth century. From this narrative the main themes of the thesis are drawn out: the problem of defining ‘folk song’, given its eclectic nature; the role of the various collectors, mediators and performers of folk songs over the years, including myself; the range of different contexts in which the songs have been performed, and by whom; the vexed questions of ‘authenticity’ and ‘invented tradition’, and the extent to which this repertoire is a distinctive regional one. -
Summer 2007 Large, Amiable Englishman Who Amused the World by DAVID MCDONOUGH
The quarterly journal of The Wodehouse Society Volume 28 Number 2 Summer 2007 Large, Amiable Englishman Who Amused the World BY DAVID MCDONOUGH ecently I read that doing crossword puzzles helps to was “sires,” and the answer was “begets.” In Right Ho, R ward off dementia. It’s probably too late for me (I Jeeves (aka Brinkley Manor, 1934), Gussie Fink-Nottle started writing this on my calculator), but I’ve been giving interrogates G. G. Simmons, the prizewinner for Scripture it a shot. Armed with several good erasers, a thesaurus, knowledge at the Market Snodsbury Grammar School and my wife no more than a phone call away, I’ve been presentations. Gussie, fortified by a liberal dose of liquor- doing okay. laced orange juice, is suspicious of Master Simmons’s bona I’ve discovered that some of Wodehouse’s observations fides. on the genre are still in vogue. Although the Egyptian sun god (Ra) rarely rears its sunny head, the flightless “. and how are we to know that this has Australian bird (emu) is still a staple of the old downs and all been open and above board? Let me test you, acrosses. In fact, if you know a few internet terms and G. G. Simmons. Who was What’s-His-Name—the the names of one hockey player (Orr) and one baseball chap who begat Thingummy? Can you answer me player (Ott), you are in pretty good shape to get started. that, Simmons?” I still haven’t come across George Mulliner’s favorite clue, “Sir, no, sir.” though: “a hyphenated word of nine letters, ending in k Gussie turned to the bearded bloke. -
John Lowe Family Circle
THE ANCESTORS OF THE JOHN LOWE FAMILY CIRCLE AND THEIR DESCENDANTS FITCHBURG PRINTED BY THE SENTINEL PRINTING COMPANY 1901 INTRODUCTION. Previous to the year 1891 our family had held a pic nic on the Fourth of July for twenty years or more, but the Fourth of July, 1890, it was suggested· that we form what vvas named " The John Lowe Family Circle." The record of the action taken at that time is as follows: FITCHBURG, July 5, 1890. For the better promotion and preservation of our family interests, together with a view to holding an annual gathering, we, the sons and daughters of John Lowe, believing that these ends will be better accom plished hy an organization, hereby subscribe to the fol lowing, viz.: The organization shall be called the "JOHN LO¥lE :FAMILY," and the original officers shall be: President, Waldo. Secretary, Ellen. Treasurer, "I..,ulu." Committee of Research, Edna, Herbert .. and David; and the above officers are expected to submit a constitu- tion and by-laws to a gathering to be held the coming winter. Arthur H. Lo\\re, Albert N. Lowe, Annie P. Lowe, Emma P. Lowe, Mary V. Lowe, Ira A. Lowe, Herbert G. Lowe, Annie S. Lowe, 4 I ntroducti'on. • Waldo H. Lowe, J. E. Putnam, Mary L. Lowe, L. W. Merriam, Orin M. Lowe, Ellen M. L. Merriam, Florence Webber Lowe, David Lowe, Lewis M. Lowe, Harriet L. Lowe, " Lulu " W. Lowe. Samuel H. Lowe, George R. Lowe, John A. Lowe, Mary E. Lowe, Marian A·. Lowe, Frank E. Lowe, Ezra J. Riggs, Edna Lowe Putnam, Ida L. -
Vol. 3, Spring 2001
The University of Iowa School of ArtNEWSLETTER &History Volume 3 Spring/Summer 2001 Art Greetings Warm greetings from the School of Art and Adams, who taught contemporary African Art History! After one of the coldest and art with us this spring will be joining us from harshest winters on record here we as an assistant professor of art history this enjoyed a magnificent spring (although we fall. Over the next few weeks we expect Dorothy are all keeping an eye on the river which to add a faculty member in graphic design is getting higher every day). As the and several visitors in art and art history Johnson, spring semester draws to a close we are for the next academic year. looking forward to the M.F.A. show in the Director Museum of Art and are still enjoying the Growth & Development faculty show at the Museum which is one The School continues to grow every year. of the largest and most diverse we have The numbers of our faculty members seen. This year, thanks to the generosity increase as we try to keep up with ever- of the College, the Vice President for growing enrollments at the undergraduate Research and the University Foundation, and graduate levels. This year we have we are going to have a catalogue of the well over 700 undergraduate majors and faculty exhibit in full color. over 200 graduate students. In addition, we serve thousands of non-majors, espe- Farewells cially in our General Education classes in This is also the time of year for farewells. -
In Commemoration of Hector Munro, 'Saki' Transcript
The grinning shadow that sat at the feast: In commemoration of Hector Munro, 'Saki' Transcript Date: Tuesday, 14 November 2006 - 12:00AM The Grinning Shadow that sat at the Feast: an appreciation of the life and work of Hector Munro 'Saki' Professor Tim Connell Hector Munro was a man of many parts, and although he died relatively young, he lived through a time of considerable change, had a number of quite separate careers and a very broad range of interests. He was also a competent linguist who spoke Russian, German and French. Today is the 90th anniversary of his death in action on the Somme, and I would like to review his importance not only as a writer but also as a figure in his own time. Early years to c.1902 Like so many Victorians, he was born into a family with a long record of colonial service, and it is quite confusing to see how many Hector Munros there are with a military or colonial background. Our Hector’s most famous ancestor is commemorated in a well-known piece at the Victoria and Albert Museum. Tippoo's Tiger shows a man being eaten by a mechanical tiger and the machine emits both roaring and groaning sounds. 1 Hector's grandfather was an Admiral, and his father was in the Burma Police. The family was hit by tragedy when Hector's mother was killed in a bizarre accident involving a runaway cow. It is curious that strange events involving animals should form such a common feature of Hector's writing 2 but this may also derive from his upbringing in the Devonshire countryside and a home that was dominated by the two strangest creatures of all - Aunt Augusta and Aunt Tom. -
Long, Long Ago / by Clara C. Lenroot
Library of Congress Long, long ago / by Clara C. Lenroot Clara C. Lenroot Long, Long Ago by Mrs. Clara C lough . Lenroot Badger-Printing-Co. Appleton, Wisconsin PRINTED IN U. S. A. 1929 To my dear sister Bertha, who shares most of these memories with me, they are affectionately dedicated. THE LITTLE GIRL I USED TO BE The little girl I used to be Has come to-day to visit me. She wears her Sunday dress again — Merino, trimmed with gay delaine; Bare neck and shoulders, bare arms, too, Short sleeves caught up with knots of blue; Cunning black shoes, and stockings white, And ruffled pantelettes in sight. Her hair, ‘round Mother's finger curled, Looks “natural” for all the world! The little girl I used to be! So wistfully she looks at me! O, poignant is my heart's regret That ever I have failed her! yet, Something of her has come with me Along the years that used to be! I pray that when ‘tis time to go Away from all the life we know To the new life, where, free from sin, As little children we begin, This little girl I used to be Will still be here to go with me! —C. C. L. 1 LONG, LONG AGO Tell me the tales that to me were so dear, Long, long ago; long, long ago. Sing me the songs I delighted to hear, Long, long ago, long ago. F. H. Bayley HUDSON Long, long ago / by Clara C. Lenroot http://www.loc.gov/resource/lhbum.09423 Library of Congress In the year 1861 there lived in a little backwoods town of Wisconsin a family with which this narrative has much to do. -
Sylvia Lynd's Collaborative Reading and Reviewing - the Collaborative Work of an Interwar Middlewoman
‘So now tell me what you think!’: Sylvia Lynd's collaborative reading and reviewing - the collaborative work of an interwar middlewoman Article Accepted Version Wilson, N. (2019) ‘So now tell me what you think!’: Sylvia Lynd's collaborative reading and reviewing - the collaborative work of an interwar middlewoman. Literature & History, 28 (1). pp. 49-65. ISSN 0306-1973 doi: https://doi.org/10.1177/0306197319829362 Available at http://centaur.reading.ac.uk/73208/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1177/0306197319829362 Publisher: SAGE All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Dr Nicola Wilson, English Literature, University of Reading. [email protected] This is the Green Open Access version of this article, the author final version after peer review corrections, in my own formatting (i.e. before editing and typesetting by the publisher). Required for REF. It has been accepted for publication as part of a special issue co-edited by Alex Peat and Claire Battershill on ‘Modernism and Collaboration’ for the journal Literature and History. 1 Nicola Wilson ‘So now tell me what you think!’: Sylvia Lynd's collaborative reading and reviewing and the work of an interwar middlewoman In a chapter on ‘Rose Macaulay: And Others’ in his Reminiscences of Affection (1968), publisher Victor Gollancz recalls Friday night gatherings at Robert and Sylvia Lynds’. -
<^ the Schreiber Times
< ^ The Schreiber Times Vol. XXVIII Paul D. Schreiber High School Wednesday, September 30, 1987 ZANETTI TAKES CHARGE Board Names Guidance Head as Acting Principal by Dave Weintraub When Dr. Frank Banta, Schreiber's principal for eight years, departed at the end (rf the last school year for a different job, he left some large shoes to fill. The school board and Superintendent Dr. William Heebink set out on a search for a new principal over the summer. Many applicants were reviewed, but no one was picked. The board and Dr. Heebink decided to extend the search through the 1987-88 school year. To fill the void Dr. Banta had left, they asked John Zanetti, Chairman of the Guidance Department, to serve as acting principal. He accepted, and was given a ten-month contract, which began in September. Most people who know Mr. Zanetti know him as a soft- spoken and amiable man. He has been in the Port Washington school system for many years, and he had humble beginnings. He started work at Salem School as a physical education teacher in 1958. He stayed there for six years and during that time in- troduced wrestling and lacrosse to the high school. He became the first coach of those teams. After Salem, he taught physical educa- tion at Schreiber for two years. He became a guidance counselor in 1967. He was appointed guidance chairman in 1980. He has now moved to the top of Schreiber's administrative lad- der. Has his transition been smooth? "I have an ulcer," he jokes. "Actually, I think I've ad- justed better than I thought I would. -
Glenn Tilbrook 2013
GLENN TILBROOK Mention Glenn Tilbrook and most people may immediately think of Squeeze. After all, with his writing partner Chris Difford, Tilbrook was responsible for Top Ten hits all around the world such as “Tempted”, “Hourglass”, “Cool For Cats” and “Up The Junction”. Ever since their first EP in 1977, Squeeze has delighted audiences with their brand of honky-tonk new wave and pithy lyricism, while their stock in the music world has seen the likes of Jools Hol- land, Paul Carrack and Elvis Costello all contribute to their work. However, since an acrimonious split in 1998 Squeeze has been on the backburner. Although you might forgive him for resting on his laurels after 13 albums and countless tours all over the world, Tilbrook has continued to write and perform with the same enthusiasm that he brought to Squeeze’s earliest recordings. With his two solo albums, “The Incomplete Glenn Tilbrook” and “Transatlantic Ping-Pong”, he proved he’s lost none of the joie-de-vivre that became Squeeze’s trademark. For 2009’s album “Pandemonium Ensues”, he injected some fresh faces by recruiting new band The Fluffers and some prestigious guests in the shape of Johnny Depp and Vanessa Paradis. This has been complemented by a conversational live show that is delightfully shambling in its approach – Tilbrook loves blurring the bound- ary between crowd and performer by performing requests and even taking his audience for walkabouts to set up impromptu gigs! Although a Squeeze reunion had always looked unlikely, Tilbrook and Difford’s paths slowly began to cross with more frequency, leading to a series of low-key gigs together in 2007. -
ENGLISH OPINIONS on the FRENCH REVOLUTION by W. T. WAGONER Presented to the Faculty of the Graduate School of the University Of
ENGLISH OPINIONS ON THE FRENCH REVOLUTION By W. T. WAGONER Presented to the Faculty of the Graduate School of The University of Texas at Arlington in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS IN HISTORY THE UNIVERSITY OF TEXAS AT ARLINGTON May 2009 Copyright © by W.T. Wagoner 2008 All Rights Reserved ACKNOWLEDGEMENTS I would like to thank the University of Texas at Arlington for employing the faculty and providing the facilities that made my education such a memorable experience. I would like to give a special note of appreciation to the professors of my committee, Dr. Reinhardt, Dr. Cawthon and Dr.Narrett who have shown extraordinary patience and kindness in helping me find my voice and confidence during this process. I appreciate my family and friends who tolerated both my mood swings and my forgetfulness as I thought about events hundreds of years ago. I would like to thank my mother. You encouraged me that there was more to life than flooring. To my wife, Rae, I want to thank you for loving me and keeping me centered. Finally, to my daughter Miranda, you are the reason I have undertaken this journey. December 20, 2008 iii ABSTRACT ENGLISH WORDS ON THE FRENCH REVOLUTION W.T. WAGONER, M.A. The University of Texas at Arlington, 2008 Supervising Professor: Steven Reinhardt Just as the French Revolution changed the French political landscape, it also affected other European countries such as England. Both pro-revolutionaries and anti-revolutionaries argued in the public forums the merits of the events in France. -
The Art of Fiction and the Art of War: Henry James, H. G. Wells, and Ford Madox Ford
<http://nbn-resolving.de/urn:nbn:de:bsz:21-opus-49437> | <https://doi.org/10.25623/conn001.1-wiesenfarth-1> Connotations Vol. l.1 (1991) The Art of Fiction and the Art of War: Henry James, H. G. Wells, and Ford Madox Ford JOSEPH WIESENFARTI-1 The house of fiction has . a number of possible windaws. At each of them stands a figure ... with a field-glass, which [insures] to the person making use of it an impression distinct from every other. -Henry James Almost a year after the war broke out between the Allied Forces and the Central Powers in August 1914, a battle was fought between Henry James and H. G. Wells on the literary front. These two instances of hostility, although vastly different in their significance, are nevertheless not unrelated. France, for instance, was the object of attack in both the military and literary campaigns. For Kaiser Wilhelm II, France was the cultural capital of Europe which, in its pride, looked down upon Germany; for H. G. Wells, France threatened England because Henry James-American scion of Balzac, Flaubert, and de Maupas- sant-sought to disseminate a foreign aesthetic in preference to the indigenous one espoused by Wells himself. So just as the German emperor sought to conquer and humiliate France, the British novelist sought to conquer and humiliate Henry James, who, along with Joseph Conrad, a Pole; Stephen Crane, an American; and Ford Madox Ford, an Anglo-German, formed for Wells "a ring of foreign conspirators" (Seymour 14) who were plotting to overthrow the English novel. -
John Buchan's Amicable Anti-Modernism
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository@Nottingham 1 John Buchan’s Amicable Anti-Modernism [published in The Journal of Modern Literature , 35.2 (Winter, 2012): 64-82] Nathan Waddell University of Birmingham, UK This article considers the novelist John Buchan’s changing responses to literary modernism in the inter- war period. It argues that although Buchan has generally been taken as a straightforward opponent of modernist writing, careful study of his oeuvre discloses a more complex scenario in which an antagonism to certain modernist “excesses” is mixed with a qualified attraction to particular modernist innovations. The article’s central assumption is that a key part of Buchan’s worth to the New Modernist Studies lies in his querying—in novelistic as well as in essayistic forms—of the vocabularies now used to elaborate such literary-historical oppositions as high vs. low, for instance, or old vs. new. The article breaks new ground by moving beyond familiar Buchan texts—e.g. The Thirty-Nine Steps (1915)—into the less appreciated territory of his novel Huntingtower (1922), his literary criticism and his cultural commentaries. Keywords: John Buchan / modernism / middlebrow / inter-war / Huntingtower The study of inter-war writing has in recent years produced a number of reinterpretations of previously marginalized figures. Margery Allingham, Elizabeth Bowen, Warwick Deeping, Stella Gibbons, Walter Greenwood, Rosamund Lehmann, Rose Macaulay, Somerset Maugham, Nancy Mitford, J. B. Priestley, Dodie Smith, Gordon Stowell, Elizabeth Taylor, Angela Thirkell, Sylvia Townsend Warner, Dornford Yates—all these and more have been given attention by critics (e.g., Ardis, Grover, Humble) looking to salvage the historical and cultural validity of such writers in the face of the predominance bestowed upon high and late modernism by the mid-twentieth-century New Criticism.