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Keynes and the Ethics of Socialism Edward W
THE QUARTERLY JOURNAL OF AUSTRIAN ECONOMICS VOLUME 22 | No. 2 | 139–180 | SUMMER 2019 WWW.QJAE.ORG Keynes and the Ethics of Socialism Edward W. Fuller* JEL Classification: B22, B24, E12, P20 Abstract: This paper examines John Maynard Keynes’s ethical theory and how it relates to his politico-economic thought. Keynes’s ethical theory represents an attack on all general rules. Since capitalism is a rule-based social system, Keynes’s ethical theory is incompatible with capitalism. And since socialism rejects the general rules of private property, the Keynesian ethical theory is consistent with socialism. The unexplored evidence presented here confirms Keynes advocated a consistent form of non-Marxist socialism from no later than 1907 until his death in 1946. However, Keynes’s ethical theory is flawed because it is based on his defective logical theory of probability. Consequently, Keynes’s ethical theory is not a viable ethical justification for socialism. INTRODUCTION ohn Maynard Keynes (1883–1946) was the most influential Jeconomist of the twentieth century. However, ethics and prob- ability were Keynes’s primary intellectual interests for the first seventeen years of his academic career. In fact, his early ideas on ethics and probability inspired and suffused his politico-economic theory. His biographer, Robert Skidelsky, agrees: “His theories of politics and economics were expressions of his beliefs about ethics * Edward W. Fuller ([email protected]), MBA, is a graduate of the Leavey School of Business. Quart J Austrian Econ (2019) 22.2:139–180 https://qjae.scholasticahq.com/ 139 Creative Commons doi.org/10.35297/qjae.010010 BY-NC-ND 4.0 License 140 Quart J Austrian Econ (2019) 22.2:139–180 and probability” (1991, 104). -
Journal of the Short Story in English, 50 | Spring 2008 Beyond the Boundaries of Language: Music in Virginia Woolf’S “The String Quar
Journal of the Short Story in English Les Cahiers de la nouvelle 50 | Spring 2008 Special issue: Virginia Woolf Beyond the boundaries of language: music in Virginia Woolf’s “The String Quartet” Émilie Crapoulet Édition électronique URL : http://journals.openedition.org/jsse/690 ISSN : 1969-6108 Éditeur Presses universitaires de Rennes Édition imprimée Date de publication : 1 juin 2008 ISSN : 0294-04442 Référence électronique Émilie Crapoulet, « Beyond the boundaries of language: music in Virginia Woolf’s “The String Quartet” », Journal of the Short Story in English [En ligne], 50 | Spring 2008, mis en ligne le 01 juin 2011, consulté le 03 décembre 2020. URL : http://journals.openedition.org/jsse/690 Ce document a été généré automatiquement le 3 décembre 2020. © All rights reserved Beyond the boundaries of language: music in Virginia Woolf’s “The String Quar... 1 Beyond the boundaries of language: music in Virginia Woolf’s “The String Quartet” Émilie Crapoulet “its [sic] music I want; to stimulate & suggest” (Woolf 1978a: 320) 1 From an author who felt that “the only thing in this world is music - music and books and one or two pictures” (1975: 41), and who, in her earliest years, humorously toyed with the idea of founding a colony “where there shall be no marrying - unless you happen to fall in love with a symphony of Beethoven” (1975: 41-42), it is hardly surprising that music was an art which directly inspired Virginia Woolf’s own literary compositions, playing a central role in her work as a writer. Woolf’s early technical proficiency,1 -
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. -
The Cambridge Introduction to Virginia Woolf for Students of Modern Literature, the Works of Virginia Woolf Are Essential Reading
This page intentionally left blank The Cambridge Introduction to Virginia Woolf For students of modern literature, the works of Virginia Woolf are essential reading. In her novels, short stories, essays, polemical pamphlets and in her private letters she explored, questioned and refashioned everything about modern life: cinema, sexuality, shopping, education, feminism, politics and war. Her elegant and startlingly original sentences became a model of modernist prose. This is a clear and informative introduction to Woolf’s life, works, and cultural and critical contexts, explaining the importance of the Bloomsbury group in the development of her work. It covers the major works in detail, including To the Lighthouse, Mrs Dalloway, The Waves and the key short stories. As well as providing students with the essential information needed to study Woolf, Jane Goldman suggests further reading to allow students to find their way through the most important critical works. All students of Woolf will find this a useful and illuminating overview of the field. JANE GOLDMAN is Senior Lecturer in English and American Literature at the University of Dundee. Cambridge Introductions to Literature This series is designed to introduce students to key topics and authors. Accessible and lively, these introductions will also appeal to readers who want to broaden their understanding of the books and authors they enjoy. Ideal for students, teachers, and lecturers Concise, yet packed with essential information Key suggestions for further reading Titles in this series: Bulson The Cambridge Introduction to James Joyce Cooper The Cambridge Introduction to T. S. Eliot Dillon The Cambridge Introduction to Early English Theatre Goldman The Cambridge Introduction to Virginia Woolf Holdeman The Cambridge Introduction to W. -
Virginia Woolf & String Quartets Concert
Virginia Woolf & String Quartets Robinson College Chapel Cambridge 3 November 2016, 7.45pm Kreutzer Quartet Peter Sheppard Skærved – Violin Mihailo Trandafilovski – Violin Clifton Harrison – Viola Neil Heyde – Cello Kindly supported by PREFACE Welcome to the third concert of ‘Virginia Woolf & Music’. The project explores the role of music in Woolf’s life and afterlives: it includes new commissions, world premieres and little-known music by women composers. Outreach activities and educational resources have been central to the project since it began in 2015. Concerts on Woolf and Bloomsbury continue throughout 2016- 17. For further details see: http://virginiawoolfmusic.wp.st-andrews.ac.uk Woolf (1882-1941) was a knowledgeable, almost daily, listener to ‘classical’ music, fascinated by the cultural practice of music and by the relationships between music and writing. Towards the end of her life she famously remarked, ‘I always think of my books as music before I write them’. Her writing continues to inspire composers who have set her words or responded more obliquely to her work. This concert takes its cue from Woolf’s extraordinary experimental short fiction, ‘The String Quartet’ (1921). The work explores the pleasures and frustrations of ‘capturing’ music in language. Juxtaposing the banal remarks that frame the performance with the exuberant flights of fancy that unfold during the playing, Woolf’s work celebrates music’s capacity to stimulate memories and associations. And it celebrates too music’s own ‘weaving’ into a formal ‘pattern’ and ‘consummation’. On 7 March 1920, Woolf attended a concert that included a Schubert quintet ‘to take notes for my story’. -
Archetypal Figures in Mrs Dalloway
Modern Language Society ARCHETYPAL FIGURES IN "MRS DALLOWAY" Author(s): Jacqueline E. M. Latham Source: Neuphilologische Mitteilungen, Vol. 71, No. 3 (1970), pp. 480-488 Published by: Modern Language Society Stable URL: https://www.jstor.org/stable/43342569 Accessed: 28-10-2019 13:19 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Modern Language Society is collaborating with JSTOR to digitize, preserve and extend access to Neuphilologische Mitteilungen This content downloaded from 143.107.3.152 on Mon, 28 Oct 2019 13:19:53 UTC All use subject to https://about.jstor.org/terms 480 ARCHETYPAL FIGURES IN MRS D ALLOW AY Although Septimus Smith's recurring visions in Mrs Dalloway are clearly significant, no one has identified the elements of which they are composed. Two important image clusters frequently reappear; the first is centred on the figure of a man isolated and suffering: "His body was macerated until only the nerve fibres were left. It was spread like a veil upon a rock. He lay very high, on the back of the world."1 The second image has as its centre a drowned sailor and suggests that pain has given way to peace. -
Virginia Woolf's Short Fiction: a Study of Its Relation
VIRGINIA WOOLF'S SHORT FICTION: A STUDY OF ITS RELATION TO THE STORY GENRE; AND AN EXPLICATION OF THE KNOWN STORY CANON by David Roger Tallentire B.Sc, The University of British Columbia, 1963 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts in the Department of English We accept this thesis as conforming to the required standard. THE UNIVERSITY OF BRITISH COLUMBIA April, 1968 In presenting this thesis in partial fulfilment of the requirement for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada Date /&, /?6S ii ABSTRACT The short stories of Virginia Woolf have never re• ceived serious scrutiny, critics determinedly maintaining that the novels contain the heart of the matter and that the sto• ries are merely preparatory exercises. Mrs. Woolf, however, provides sufficient evidence that she was "on the track of real discoveries" in the stories, an opinion supported by her Bloomsbury mentors Roger Fry and Lytton Strachey. A careful analysis of her twenty-one known stories suggests that they are indeed important (not merely peripheral to the novels and criticism) and are successful in developing specific techniques and themes germane to her total canon. -
The Critical and Artistic Reception of Beethoven's
THE CRITICAL AND ARTISTIC RECEPTION OF BEETHOVEN’S STRING QUARTET IN C♯ MINOR, OP. 131 Megan Ross A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2019 Approved by: Mark Evan Bonds Tim Carter Annegret Fauser Aaron Harcus Mark Katz ©2019 Megan Ross ALL RIGHTS RESERVED ii ABSTRACT Megan Ross: The Critical and Artistic Reception of Beethoven’s String Quartet in C♯-Minor, Op. 131 (Under the direction of Mark Evan Bonds) Long viewed as the unfortunate products of a deaf composer, Ludwig van Beethoven’s “late” works are now widely regarded as the pinnacle of his oeuvre. While the reception of this music is often studied from the perspective of multiple works, my dissertation offers a different perspective by examining in detail the critical and artistic reception of a single late work, the String Quartet in C♯ minor, Op. 131. Critics have generally agreed that the string quartets best exemplify the composer’s late style, and that of these, Op. 131 stands out as the paradigmatic late quartet. I argue that this is because Op. 131 exhibits the greatest concentration of features typically associated with the late style. It is formally unconventional, with seven movements of grotesquely different proportions, to be played continuously, without a pause, as if to insist on the unity of the whole. It conspicuously avoids a sonata-form movement until its finale, opening instead with an extended fugue; the sonata-form finale, in turn, quotes from the fugue, again reinforcing the notion of formal wholeness. -
From 1914 to 1931, Many of Those Previously Active in Liberal Politics Defected to Labour
tHE fLIGHt fROm tHE LIbERAL PARTY LIbERALS WHO JOINED LAbOuR, 1914–1931 From 1914 to 1931, many of those previously active in Liberal politics defected to Labour. Why did so many Liberals switch their political allegiance (‘almost like changing one’s religion’, as one Liberal MP observed) and abandon their party, which had been in office, or coalition government, from 1906 to 1922, to enlist with the fledgling Labour Party? And how far, if at all, did their presence influence Labour’s development during a key period of political realignment in British politics? Professor John Shepherd examines the history. 24 Journal of Liberal History 67 Summer 2010 tHE fLIGHt fROm tHE LIbERAL PARTY LIbERALS WHO JOINED LAbOuR, 1914–1931 n 13 December 1923 advice of the Fabian Sidney Webb, for Glasgow Bridgeton (1910– the former Liberal who had inundated MacDonald 22), who joined Labour in 1924, imperialist, Secre- with written guidance about tak- ‘changing one’s political party tary of State for War ing office.4 is almost like changing one’s and Lord Chan- The announcement of the new religion’. As he also shrewdly Ocellor, Lord Haldane, wrote his administration, which included observed, the process of conver- daily letter as usual from Lon- ex-Liberals and Conservatives sion en masse was a rare event.8 don to his ninety-nine-year-old alongside figures from the trade Nonetheless, he was now witness- mother, Mary, in Scotland about union and labour movement, ing a mass movement of this kind his negotiations with Ramsay attracted considerable attention in the world of twentieth-century MacDonald. -
Empire, Financial Capitalism and the Economist, 1843
UNIVERSITY OF CALIFORNIA Los Angeles Imprinting Modern Liberalism: Empire, Financial Capitalism and the Economist, 1843- 1938 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Alexander Joshua Zevin 2013 © Copyright by Alexander Joshua Zevin 2013 ABSTRACT OF THE DISSERTATION Imprinting Modern Liberalism: Empire, Financial Capitalism and the Economist, 1843- 1938 by Alexander Joshua Zevin Doctor of Philosophy in History University of California, Los Angeles, 2013 Professor Perry Anderson, Co-Chair Professor Lynn Hunt, Co-Chair My dissertation brings a new approach to studies of liberalism and empire by examining their treatment in a publication with a crucial yet overlooked stake in both, the Economist. Founded in London in 1843, its mission statement was tailored to the needs of the Anti-Corn Law League, then seeking to convert the City of London to Free Trade. Its own fortunes have been tied to this center of the British and world economies ever since. As such the Economist was soon required reading not only for bankers and merchants but also ministers and diplomats – with markets trying to price political sentiment, and everyone eager to understand market sentiment, especially in evaluating those parts of empire where the possible profits seemed great but reliable information was scarce. For this reason it provides unique and compelling answers to a set of questions about ii liberalism at home and abroad. What, I ask, are the continuities and tensions between the liberal policies the Economist has advocated in Britain and its meticulous reports on the risks and returns of investing in and managing Britain’s formal and informal empires? That question has structured my research project in two ways. -
Film Music and Film Genre
Film Music and Film Genre Mark Brownrigg A thesis submitted for the degree of Doctor of Philosophy University of Stirling April 2003 FILM MUSIC AND FILM GENRE CONTENTS Page Abstract Acknowledgments 11 Chapter One: IntroductionIntroduction, Literature Review and Methodology 1 LiteratureFilm Review Music and Genre 3 MethodologyGenre and Film Music 15 10 Chapter Two: Film Music: Form and Function TheIntroduction Link with Romanticism 22 24 The Silent Film and Beyond 26 FilmTheConclusion Function Music of Film Form Music 3733 29 Chapter Three: IntroductionFilm Music and Film Genre 38 FilmProblems and of Genre Classification Theory 4341 FilmAltman Music and Genre and GenreTheory 4945 ConclusionOpening Titles and Generic Location 61 52 Chapter Four: IntroductionMusic and the Western 62 The Western and American Identity: the Influence of Aaron Copland 63 Folk Music, Religious Music and Popular Song 66 The SingingWest Cowboy, the Guitar and other Instruments 73 Evocative of the "Indian""Westering" Music 7977 CavalryNative and American Civil War WesternsMusic 84 86 PastoralDown andMexico Family Westerns Way 89 90 Chapter Four contd.: The Spaghetti Western 95 "Revisionist" Westerns 99 The "Post - Western" 103 "Modern-Day" Westerns 107 Impact on Films in other Genres 110 Conclusion 111 Chapter Five: Music and the Horror Film Introduction 112 Tonality/Atonality 115 An Assault on Pitch 118 Regular Use of Discord 119 Fragmentation 121 Chromaticism 122 The A voidance of Melody 123 Tessitura in extremis and Unorthodox Playing Techniques 124 Pedal Point -
The String Quartet”
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenEdition Journal of the Short Story in English Les Cahiers de la nouvelle 50 | Spring 2008 Special issue: Virginia Woolf Beyond the boundaries of language: music in Virginia Woolf’s “The String Quartet” Émilie Crapoulet Édition électronique URL : http://journals.openedition.org/jsse/690 ISSN : 1969-6108 Éditeur Presses universitaires d'Angers Édition imprimée Date de publication : 1 juin 2008 ISSN : 0294-04442 Référence électronique Émilie Crapoulet, « Beyond the boundaries of language: music in Virginia Woolf’s “The String Quartet” », Journal of the Short Story in English [En ligne], 50 | Spring 2008, mis en ligne le 01 juin 2011, consulté le 01 mai 2019. URL : http://journals.openedition.org/jsse/690 Ce document a été généré automatiquement le 1 mai 2019. © All rights reserved Beyond the boundaries of language: music in Virginia Woolf’s “The String Quar... 1 Beyond the boundaries of language: music in Virginia Woolf’s “The String Quartet” Émilie Crapoulet “its [sic] music I want; to stimulate & suggest” (Woolf 1978a: 320) 1 From an author who felt that “the only thing in this world is music - music and books and one or two pictures” (1975: 41), and who, in her earliest years, humorously toyed with the idea of founding a colony “where there shall be no marrying - unless you happen to fall in love with a symphony of Beethoven” (1975: 41-42), it is hardly surprising that music was an art which directly inspired Virginia Woolf’s own literary compositions, playing a central role in her work as a writer.