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Who Put Kurtz on the Congo? Harry White, Irving L
Who Put Kurtz on the Congo? Harry White, Irving L. Finston Conradiana, Volume 42, Number 1-2, Spring/Summer 2010, pp. 81-92 (Article) Published by Texas Tech University Press DOI: https://doi.org/10.1353/cnd.2010.0010 For additional information about this article https://muse.jhu.edu/article/452495 Access provided at 9 Oct 2019 05:10 GMT from USP-Universidade de São Paulo Who Put Kurtz on the Congo? HARRYWHITEANDIRVINGL.FINSTON Our article included in this issue, “The Two River Narratives in ‘Heart of Darkness,’” showed that Joseph Conrad imagined Kurtz’s Inner Station to be located on the Kasai River and not on the Congo as has been gener- ally assumed. We now ask how one of the most important, influential, and widely read and studied works of modern fiction has been so con- sistently and unquestioningly misread for so long on such a basic level. In what follows we show that something akin to a cover-up was initi- ated by the author regarding the location and direction of Charlie Mar- low’s voyage. We will then reveal the primary source for many of the current interpretations and misinterpretations of “Heart of Darkness” by showing how one very influential scholar was the first to place Kurtz’s station on the wrong river. Nowhere in any of his writings did Conrad report that Marlow’s venture into the heart of darkness followed his own voyage from Stan- ley Pool to Stanley Falls. Nowhere in “Heart of Darkness” does it say that Marlow voyages up the Congo to find Kurtz. -
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. -
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. -
The New Age Under Orage
THE NEW AGE UNDER ORAGE CHAPTERS IN ENGLISH CULTURAL HISTORY by WALLACE MARTIN MANCHESTER UNIVERSITY PRESS BARNES & NOBLE, INC., NEW YORK Frontispiece A. R. ORAGE © 1967 Wallace Martin All rights reserved MANCHESTER UNIVERSITY PRESS 316-324 Oxford Road, Manchester 13, England U.S.A. BARNES & NOBLE, INC. 105 Fifth Avenue, New York, N.Y. 10003 Printed in Great Britain by Butler & Tanner Ltd, Frome and London This digital edition has been produced by the Modernist Journals Project with the permission of Wallace T. Martin, granted on 28 July 1999. Users may download and reproduce any of these pages, provided that proper credit is given the author and the Project. FOR MY PARENTS CONTENTS PART ONE. ORIGINS Page I. Introduction: The New Age and its Contemporaries 1 II. The Purchase of The New Age 17 III. Orage’s Editorial Methods 32 PART TWO. ‘THE NEW AGE’, 1908-1910: LITERARY REALISM AND THE SOCIAL REVOLUTION IV. The ‘New Drama’ 61 V. The Realistic Novel 81 VI. The Rejection of Realism 108 PART THREE. 1911-1914: NEW DIRECTIONS VII. Contributors and Contents 120 VIII. The Cultural Awakening 128 IX. The Origins of Imagism 145 X. Other Movements 182 PART FOUR. 1915-1918: THE SEARCH FOR VALUES XI. Guild Socialism 193 XII. A Conservative Philosophy 212 XIII. Orage’s Literary Criticism 235 PART FIVE. 1919-1922: SOCIAL CREDIT AND MYSTICISM XIV. The Economic Crisis 266 XV. Orage’s Religious Quest 284 Appendix: Contributors to The New Age 295 Index 297 vii LIST OF ILLUSTRATIONS A. R. Orage Frontispiece 1 * Tom Titt: Mr G. Bernard Shaw 25 2 * Tom Titt: Mr G. -
Wolverhampton City Council OPEN INFORMATION ITEM
Agenda Item No: 14 Wolverhampton City Council OPEN INFORMATION ITEM Committee / Panel PLANNING COMMITTEE Date 31-OCT-2006 Originating Service Group(s) REGENERATION AND ENVIRONMENT Contact Officer(s)/ STEPHEN ALEXANDER (Head of Development Control) Telephone Number(s) (01902) 555610 Title/Subject Matter APPLICATIONS DETERMINED UNDER OFFICER DELEGATION, WITHDRAWN, ETC. The attached Schedule comprises planning and other application that have been determined by authorised officers under delegated powers given by Committee, those applications that have been determined following previous resolutions of Planning Committee, or have been withdrawn by the applicant, or determined in other ways, as details. Each application is accompanied by the name of the planning officer dealing with it in case you need to contact them. The Case Officers and their telephone numbers are Wolverhampton (01902): Major applications Minor/Other Applications Stephen Alexander 555610 (Head of DC) Alan Murphy 555623 (Acting Assistant Head of DC) Ian Holiday 555630 (Senior Planning Officer) Alan Gough 555648 (Senior Planning Officer - Commercial) Mizzy Marshall 551133 Martyn Gregory 551125 (Planning Officer) (Senior Planning Officer - Residential) Ken Harrop (Planning Officer) 555649 Ragbir Sahota (Planning Officer) 555616 Mark Elliot (Planning Officer) 555632 Jenny Davies (Planning Officer) 555608 Tracey Homfray (Planning Officer) 555641 Mindy Cheema (Planning Officer) 551360 Rob Hussey (Planning Officer) 551130 Nussarat Malik (Planning Officer) 551132 Philip Walker (Planning -
Ships and Sailors in Early Twentieth-Century Maritime Fiction
In the Wake of Conrad: Ships and Sailors in Early Twentieth-Century Maritime Fiction Alexandra Caroline Phillips BA (Hons) Cardiff University, MA King’s College, London A Thesis Submitted for the Degree of Doctor of Philosophy Cardiff University 30 March 2015 1 Table of Contents Abstract 3 Acknowledgements 4 Introduction - Contexts and Tradition 5 The Transition from Sail to Steam 6 The Maritime Fiction Tradition 12 The Changing Nature of the Sea Story in the Twentieth Century 19 PART ONE Chapter 1 - Re-Reading Conrad and Maritime Fiction: A Critical Review 23 The Early Critical Reception of Conrad’s Maritime Texts 24 Achievement and Decline: Re-evaluations of Conrad 28 Seaman and Author: Psychological and Biographical Approaches 30 Maritime Author / Political Novelist 37 New Readings of Conrad and the Maritime Fiction Tradition 41 Chapter 2 - Sail Versus Steam in the Novels of Joseph Conrad Introduction: Assessing Conrad in the Era of Steam 51 Seamanship and the Sailing Ship: The Nigger of the ‘Narcissus’ 54 Lord Jim, Steam Power, and the Lost Art of Seamanship 63 Chance: The Captain’s Wife and the Crisis in Sail 73 Looking back from Steam to Sail in The Shadow-Line 82 Romance: The Joseph Conrad / Ford Madox Ford Collaboration 90 2 PART TWO Chapter 3 - A Return to the Past: Maritime Adventures and Pirate Tales Introduction: The Making of Myths 101 The Seduction of Silver: Defoe, Stevenson and the Tradition of Pirate Adventures 102 Sir Arthur Conan Doyle and the Tales of Captain Sharkey 111 Pirates and Petticoats in F. Tennyson Jesse’s -
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’. -
Mapping Topographies in the Anglo and German Narratives of Joseph Conrad, Anna Seghers, James Joyce, and Uwe Johnson
MAPPING TOPOGRAPHIES IN THE ANGLO AND GERMAN NARRATIVES OF JOSEPH CONRAD, ANNA SEGHERS, JAMES JOYCE, AND UWE JOHNSON DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Kristy Rickards Boney, M.A. ***** The Ohio State University 2006 Dissertation Committee: Approved by: Professor Helen Fehervary, Advisor Professor John Davidson Professor Jessica Prinz Advisor Graduate Program in Professor Alexander Stephan Germanic Languages and Literatures Copyright by Kristy Rickards Boney 2006 ABSTRACT While the “space” of modernism is traditionally associated with the metropolis, this approach leaves unaddressed a significant body of work that stresses non-urban settings. Rather than simply assuming these spaces to be the opposite of the modern city, my project rejects the empty term space and instead examines topographies, literally meaning the writing of place. Less an examination of passive settings, the study of topography in modernism explores the action of creating spaces—either real or fictional which intersect with a variety of cultural, social, historical, and often political reverberations. The combination of charged elements coalesce and form a strong visual, corporeal, and sensory-filled topography that becomes integral to understanding not only the text and its importance beyond literary studies. My study pairs four modernists—two writing in German and two in English: Joseph Conrad and Anna Seghers and James Joyce and Uwe Johnson. All writers, having experienced displacement through exile, used topographies in their narratives to illustrate not only their understanding of history and humanity, but they also wrote narratives which concerned a larger global ii community. -
Sir Henry Newbolt 1862-1938 ©Wiltshire OPC Project/Linda
Sir Henry Newbolt 1862-1938 Sir Henry Newbolt was born In Bilston, Staffordshire on 6th June 1862, the son of Rev. Henry Francis & Emily Newbolt. He was just four years old when his father died. At the age of 10 Henry was sent to a boarding school in Lincolnshire, from where he won a scholarship to Clifton College. He later went to Corpus Christi College, Oxford and began a legal career, practising at the Chancery Bar from 1887 to 1889. He was a lawyer, novelist, and playwright and wrote many poems. His most famous work was Vitai Lampada. He was employed by the Government during WWI to serve on the War Propaganda Bureau to encourage the public to support the war. He subsequently became Controller of Telecommunications at the Foreign Office. His poems about the war include "The War Films", printed on the leader page of The Times on 14 October 1916, which seeks to temper the shock effect on cinema audiences of footage of the Battle of the Somme. He also wrote a paper in 1921 for the government, which established the foundation for modern English studies and professionalised the forms of teaching English literature. Sir Henry Newbolt lived for many years at Netherhampton House with his wife Margaret. His granddaughter Jill Furse married Rex Whistler’s brother Laurence. He was knighted in 1915. Newbolt died at his home in Campden Hill, Kensington, London, on 19 April 1938, aged 75. A blue plaque there commemorates his residency. He is buried in the churchyard of St Mary's church on an island in the lake on the Orchardleigh Estate of the Duckworth family in Somerset. -
Front Matter
Cambridge University Press 978-0-521-82353-1 - Suspense Joseph Conrad Frontmatter More information THE CAMBRIDGE EDITION OF THE WORKS OF JOSEPH CONRAD © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-82353-1 - Suspense Joseph Conrad Frontmatter More information SUSPENSE © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-82353-1 - Suspense Joseph Conrad Frontmatter More information THE CAMBRIDGE EDITION OF THE WORKS OF JOSEPH CONRAD General Editors J. H. Stape and Allan H. Simmons St Mary’s University College, Twickenham, London Editorial Board Laurence Davies, University of Glasgow Alexandre Fachard, UniversitedeLausanne´ Jeremy Hawthorn, The Norwegian University of Science and Technology Owen Knowles, University of Hull Linda Bree, Cambridge University Press Textual Advisor Robert W. Trogdon, Institute for Bibliography and Editing Kent State University Founding Editors †Bruce Harkness Marion C. Michael Norman Sherry Chief Executive Editor (1985–2008) †S. W. Reid © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-82353-1 - Suspense Joseph Conrad Frontmatter More information JOSEPH CONRAD SUSPENSE edited by Gene M. Moore © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-82353-1 - Suspense Joseph Conrad Frontmatter More information cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sao˜ Paulo, Delhi, Tokyo, Mexico City Cambridge University Press The Edinburgh Building, Cambridge cb2 8ru,UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521823531 This, the Cambridge Edition text of Suspense, now correctly established from the original sources and first published in 2011 C the Estate of Joseph Conrad 2011. -
The Cambridge Edition of the Works of Joseph Conrad
Cambridge University Press 978-0-521-82407-1 - Joseph Conrad: Under Western Eyes Edited by Roger Osborne and Paul Eggert Frontmatter More information THE CAMBRIDGE EDITION OF THE WORKS OF JOSEPH CONRAD © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-82407-1 - Joseph Conrad: Under Western Eyes Edited by Roger Osborne and Paul Eggert Frontmatter More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-82407-1 - Joseph Conrad: Under Western Eyes Edited by Roger Osborne and Paul Eggert Frontmatter More information UNDER WESTERN EYES © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-82407-1 - Joseph Conrad: Under Western Eyes Edited by Roger Osborne and Paul Eggert Frontmatter More information THE CAMBRIDGE EDITION OF THE WORKS OF JOSEPH CONRAD General Editors J. H. Stape and Allan H. Simmons St Mary’s University College, Twickenham, London Editorial Board Laurence Davies, University of Glasgow Alexandre Fachard, UniversitedeLausanne´ Robert Hampson, Royal Holloway, University of London Jeremy Hawthorn, The Norwegian University of Science and Technology Owen Knowles, University of Hull Linda Bree, Cambridge University Press Textual Advisor Robert W. Trogdon, Institute for Bibliography and Editing Kent State University Founding Editors †Bruce Harkness Marion C. Michael Norman Sherry Chief Executive Editor (1985–2008) †S. W. Reid © in this web service Cambridge University