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Lyrical Ballads
LYRICAL BALLADS Also available from Routledge: A SHORT HISTORY OF ENGLISH LITERATURE Second Edition Harry Blamires ELEVEN BRITISH POETS* An Anthology Edited by Michael Schmidt WILLIAM WORDSWORTH Selected Poetry and Prose Edited by Jennifer Breen SHELLEY Selected Poetry and Prose Edited by Alasdair Macrae * Not available from Routledge in the USA Lyrical Ballads WORDSWORTH AND COLERIDGE The text of the 1798 edition with the additional 1800 poems and the Prefaces edited with introduction, notes and appendices by R.L.BRETT and A.R.JONES LONDON and NEW YORK First published as a University Paperback 1968 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” Second edition published 1991 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 Introduction and Notes © 1963, 1991 R.L.Brett and A.R.Jones All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data Wordsworth, William 1770–1850 Lyrical ballads: the text of the 1978 edition with the additional 1800 poems and the prefaces. -
Walter Scott and the Twentieth-Century Scottish Renaissance Movement
Studies in Scottish Literature Volume 35 | Issue 1 Article 5 2007 "A very curious emptiness": Walter Scott nda the Twentieth-Century Scottish Renaissance Movement Margery Palmer McCulloch University of Glasgow Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation McCulloch, Margery Palmer (2007) ""A very curious emptiness": Walter Scott nda the Twentieth-Century Scottish Renaissance Movement," Studies in Scottish Literature: Vol. 35: Iss. 1, 44–56. Available at: https://scholarcommons.sc.edu/ssl/vol35/iss1/5 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Margery Palmer McCulloch "A very curious emptiness": Walter Scott and the Twentieth-Century Scottish Renaissance Movement Edwin Muir's characterization in Scott and Scotland (1936) of "a very cu rious emptiness .... behind the wealth of his [Scott's] imagination'" and his re lated discussion of what he perceived as the post-Reformation and post-Union split between thought and feeling in Scottish writing have become fixed points in Scottish criticism despite attempts to dislodge them by those convinced of Muir's wrong-headedness.2 In this essay I want to take up more generally the question of twentieth-century interwar views of Walter Scott through a repre sentative selection of writers of the period, including Muir, and to suggest pos sible reasons for what was often a negative and almost always a perplexed re sponse to one of the giants of past Scottish literature. -
Women in the City Micol Hebron Chapman University, [email protected]
Chapman University Chapman University Digital Commons Art Faculty Articles and Research Art 1-2008 Women in the City Micol Hebron Chapman University, [email protected] Follow this and additional works at: http://digitalcommons.chapman.edu/art_articles Part of the Art and Design Commons, Other Feminist, Gender, and Sexuality Studies Commons, and the Women's Studies Commons Recommended Citation Hebron, Micol. “Women in the City”.Flash Art, 41, pp 90, January-February, 2008. Print. This Article is brought to you for free and open access by the Art at Chapman University Digital Commons. It has been accepted for inclusion in Art Faculty Articles and Research by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Women in the City Comments This article was originally published in Flash Art International, volume 41, in January-February 2008. Copyright Flash Art International This article is available at Chapman University Digital Commons: http://digitalcommons.chapman.edu/art_articles/45 group shows Women in the City S t\:'-: F RA:'-.CISCO in over 50 locations in the Los ments on um screens throughout Museum (which the Guerrilla Angeles region. Nobody walks in the city, presenting images of Girls have been quick to critique LA, but "Women in the City" desirable lu xury items and phrases for its disproportionate holdings of encourages the ear-flaneurs of Los that critique the politics of work by male artists). The four Angeles to put down their cell commodity culture. L{)uisc artists in "Women in the City," phones and lattcs and look for the Lawler's A movie will be shown renowned for their ground billboards, posters, LED screens without the pictures (1979) was re breaking exploration of gender and movie marquis that host the screened in it's original location stereotypes, the power of works in this eJ~;hibition. -
Jenny Holzer, Attempting to Evoke Thought in Society
Simple Truths By Elena, Raphaelle, Tamara and Zofia Introduction • A world without art would not only be dull, ideas and thoughts wouldn’t travel through society or provoke certain reactions on current events and public or private opinions. The intersection of arts and political activism are two fields defined by a shared focus of creating engagement that shifts boundaries, changes relationships and creates new paradigms. Many different artists denounce political issues in their artworks and aim to make large audiences more conscious of different political aspects. One particular artist that focuses on political art is Jenny Holzer, attempting to evoke thought in society. • Jenny Holzer is an American artist who focuses on differing perspectives on difficult political topics. Her work is primarily text-based, using mediums such as paper, billboards, and lights to display it in public spaces. • In order to make her art as accessible to the public, she intertwines aesthetic art with text to portray her political opinions from various points of view. The text strongly reinforces her message, while also leaving enough room for the work to be open to interpretation. Truisms, (1977– 79), among her best-known public works, is a series inspired by Holzer’s experience at Whitney Museum’s Independent Study Program. These form a series of statements, each one representing one individual’s ideology behind a political issue. When presented all together, the public is able to see multiple perspectives on multiple issues. Holzer’s goal in this was to create a less polarized and more tolerant view of our differing viewpoints, normally something that separates us and confines us to one way of thinking. -
The Ancient Mariner and Parody
Loyola University Chicago Loyola eCommons English: Faculty Publications and Other Works Faculty Publications 8-1999 ‘Supernatural, or at Least Romantic': the Ancient Mariner and Parody Steven Jones [email protected] Follow this and additional works at: https://ecommons.luc.edu/english_facpubs Part of the English Language and Literature Commons Recommended Citation Steven E. Jones, “‘Supernatural, or at Least Romantic': the Ancient Mariner and Parody," Romanticism on the Net, 15 (August 1999). This Article is brought to you for free and open access by the Faculty Publications at Loyola eCommons. It has been accepted for inclusion in English: Faculty Publications and Other Works by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. © Michael Eberle-Sinatra 1996-2006. 'Supernatural, or at Least Romantic': the Ancient Mariner and Parody | Érudit | Romanticism on the Net n15 1999 | 'Supernatural, or at Least Romantic': the Ancient Mariner and Parody [*] Steven E. Jones Loyola University Chicago 1 An ancient literary practice often aligned with satire, parody "comes of age as a major comic expression during the Romantic period," as Marilyn Gaull has observed, the same era that celebrated and became known for the literary virtues of sincerity, authenticity, and originality. [1] Significant recent anthologies of Romantic-period parodies make the sheer bulk and topical range of such imitative works available for readers and critics for the first time, providing ample evidence for the prominence of the form. [2] The weight of evidence in these collections should also put to rest the widespread assumption that parody is inevitably "comic" or gentler than satire, that it is essentially in good fun. -
Barbara Kruger Born 1945 in Newark, New Jersey
This document was updated February 26, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Barbara Kruger Born 1945 in Newark, New Jersey. Lives and works in Los Angeles and New York. EDUCATION 1966 Art and Design, Parsons School of Design, New York 1965 Syracuse University, Syracuse, New York SELECTED SOLO EXHIBITIONS 2021-2023 Barbara Kruger: Thinking of You, I Mean Me, I Mean You, Art Institute of Chicago [itinerary: Los Angeles County Museum of Art; The Museum of Modern Art, New York] [forthcoming] [catalogue forthcoming] 2019 Barbara Kruger: Forever, Amorepacific Museum of Art (APMA), Seoul [catalogue] Barbara Kruger - Kaiserringträgerin der Stadt Goslar, Mönchehaus Museum Goslar, Goslar, Germany 2018 Barbara Kruger: 1978, Mary Boone Gallery, New York 2017 Barbara Kruger: FOREVER, Sprüth Magers, Berlin Barbara Kruger: Gluttony, Museet for Religiøs Kunst, Lemvig, Denmark Barbara Kruger: Public Service Announcements, Wexner Center for the Arts, Columbus, Ohio 2016 Barbara Kruger: Empatía, Metro Bellas Artes, Mexico City In the Tower: Barbara Kruger, National Gallery of Art, Washington, DC 2015 Barbara Kruger: Early Works, Skarstedt Gallery, London 2014 Barbara Kruger, Modern Art Oxford, England [catalogue] 2013 Barbara Kruger: Believe and Doubt, Kunsthaus Bregenz, Austria [catalogue] 2012-2014 Barbara Kruger: Belief + Doubt, Hirshhorn Museum and Sculpture Garden, Washington, DC 2012 Barbara Kruger: Questions, Arbeiterkammer Wien, Vienna 2011 Edition 46 - Barbara Kruger, Pinakothek -
Wedel Art Collective Launch Face Masks Designed by Leading Artists
Wedel Art Collective launch face masks designed by leading artists: Jenny Holzer, Rashid Johnson, Barbara Kruger, Raymond Pettibon, Lorna Simpson and Rosemarie Trockel Left to right, face masks designed by: Rosemarie Trockel; Jenny Holzer; Lorna Simpson; Barbara Kruger; Raymond Pettibon and Rashid Johnson. Courtesy Wedel Art Collective. Wedel Art Collective have collaborated with six international leading artists to produce a set of unique artist-designed face masks, all proceeds from which will be donated to international relief efforts and artist support for those affected by COVID-19. Launching exclusively on MATCHESFASHION from 24 August the project draws upon the power of contemporary art to encourage more people to wear face masks to protect, and support. Each of the participating artists are internationally celebrated for their work addressing some of the most important social and political issues of our times. Through the inspiration of these artists’ work, the limited-edition face masks reflect the artists’ passionate and urgent response to the pandemic, highlighting the need for community action. Artists include: Jenny Holzer (b. 1950, Ohio, USA); Rashid Johnson (b. 1977, Chicago, USA); Barbara Kruger (b. 1975, New Jersey, USA); Raymond Pettibon (b. 1957, Arizona, USA); Lorna Simpson (b. 1960, New York, USA); and Rosemarie Trockel (b. 1952, Schwerte, Germany). Jenny Holzer's face mask taps into the necessity of mask-wearing, reading “You – Me”. “I like to think of my work as useful,” Holzer says “That is a recurrent impulse, when something happens in the world, if I have an idea that be properly responsive… Not necessarily a cure or a solution but at least an offering.” Raymond Pettibon's mask design features Vavoom, a figure inspired by Felix the Cat that he has drawn since the mid-1980s. -
Key: * Organized by the Wexner Center + New Work Commissions/Residencies ♦ Catalogue Published by WCA ● Gallery Guide
1 Wexner Center for the Arts Exhibition History Key: * Organized by the Wexner Center + New Work Commissions/Residencies ♦ Catalogue published by WCA ● Gallery Guide ●LaToya Ruby Frazier: The Last Cruze February 1 – August 16, 2020 (END DATE TO BE MODIFIED DUE TO COVID-19) *+●Sadie Benning: Pain Thing February 1 – August 16, 2020 (END DATE TO BE MODIFIED DUE TO COVID-19) *+●Stanya Kahn: No Go Backs January 22 – August 16, 2020 (END DATE TO BE MODIFIED DUE TO COVID-19) *+●HERE: Ann Hamilton, Jenny Holzer, Maya Lin September 21 – December 29, 2019 *+●Barbara Hammer: In This Body (F/V Residency Award) June 1 – August 11, 2019 *Cecilia Vicuña: Lo Precario/The Precarious June 1 – August 11, 2019 Jason Moran June 1 – August 11, 2019 *+●Alicia McCarthy: No Straight Lines February 2 – August 1, 2019 John Waters: Indecent Exposure February 2 – April 28, 2019 Peter Hujar: Speed of Life February 2 – April 28, 2019 *+♦Mickalene Thomas: I Can’t See You Without Me (Visual Arts Residency Award) September 14 –December 30, 2018 *● Inherent Structure May 19 – August 12, 2018 Richard Aldrich Zachary Armstrong Key: * Organized by the Wexner Center ♦ Catalogue published by WCA + New Work Commissions/Residencies ● Gallery Guide Updated July 2, 2020 2 Kevin Beasley Sam Moyer Sam Gilliam Angel Otero Channing Hansen Laura Owens Arturo Herrera Ruth Root Eric N. Mack Thomas Scheibitz Rebecca Morris Amy Sillman Carrie Moyer Stanley Whitney *+●Anita Witek: Clip February 3-May 6, 2018 *●William Kentridge: The Refusal of Time February 3-April 15, 2018 All of Everything: Todd Oldham Fashion February 3-April 15, 2018 Cindy Sherman: Imitation of Life September 16-December 31, 2017 *+●Gray Matters May 20, 2017–July 30 2017 Tauba Auerbach Cristina Iglesias Erin Shirreff Carol Bove Jennie C. -
Comparison of Social Criticism in the Works of Barbara Kruger and Jenny Holzer Master’S Diploma Thesis
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Bc. Katarína Belejová Comparison of Social Criticism in the Works of Barbara Kruger and Jenny Holzer Master’s Diploma Thesis Supervisor: doc. PhDr. Tomáš Pospíšil, Dr. 2013 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Bc. Katarína Belejová Acknowledgement I would like to thank my supervisor, doc. PhDr. Tomáš Pospíšil, Dr., for his encouragement, patience and inspirational remarks. I would also like to thank my family for their support. Table of Contents Introduction .................................................................................................................... 5 1. Postmodern Art, Conceptual Art and Social Criticism .............................................. 7 1.1 Social Criticism as a Part of Postmodernity ..................................................................... 7 1.2 Postmodernism, Conceptual Art and Promotion of a Thought .................................. 9 1.2. Importance of Subversion and Parody ........................................................................... 12 1.3 Conceptual Art and Its Audience ...................................................................................... 16 2. American context ..................................................................................................... 21 2.1 The 1980s in the USA ......................................................................................................... -
(Surname in Parentheses) = Bride's Maiden Name * = Colored LI = Date
LAST FIRST Current AGE POB LAST FIRST Current AGE POB Date of NAME NAME Residence NAME NAME Residence Marriage BRIDE BRIDE GROOM GROOM Aaron Mildred Irvington, NJ 26 PA Calabrese Edward Newark, NJ 25 NJ 20 May 1940 Elizabeth Abel Catherine Triangle, VA 18 VA Allen James Triangle, VA 23 VA 16 Dec 1939 Virginia Monroe Abel Dorothy Quantico, VA 18 VA Gass Edward Quantico, VA 28 MA 2 Sep 1939 Louise Abrams Miriam Ventnor City, 21 NJ Fertick Albert Philadelphia, 22 PA 29 Jul 1940 Frances NJ Abraham PA Abramson Sylvia Flushing, LI, 34 NY Tush Joseph Flushing, LI, 32 NY 23 Feb 1940 NY Sanford NY Accardi Anna Queens Village, 26 NY DiMaria Frank Brooklyn, NY 36 ITA 10 Oct 1940 (Aloi) NY Acha Myrtle Pontiac, MI 24 MI Ferguson John Nesbit Detroit, MI 35 PA 8 Apr 1939 Violet Rita Achter Sylvia Philadelphia, 21 NY Cohen Albert Philadelphia, 24 PA 29 Jul 1940 Beatrice PA PA Acker Edna Mae Philadelphia, 22 PA Tranausky Edward Philadelphia, 23 PA 11 May 1940 PA Martin PA Ackoff Anne Nancy Philadelphia, 22 PA Wallen Albert David Philadelphia, 35 PA 30 Jul 1940 PA PA Acty Sarah Washington, 21 VA Jones Bernard Glendale, MD 23 MD *5 Jul 1940 Elizabeth DC Summerfield POB = Place of Birth (Surname in parentheses) = Bride’s Maiden Name * = Colored LI = Date License Issued LAST FIRST Current AGE POB LAST FIRST Current AGE POB Date of NAME NAME Residence NAME NAME Residence Marriage BRIDE BRIDE GROOM GROOM Adair Mildred Jacksonville, 24 LA Hanlon Jack Harrisville, PA 24 PA 6 Jul 1939 FL Adair Margaret Washington, 42 DC Lane Franklin Washington, 44 CA 14 Oct 1939 -
WHITNEY Education
WHITNEY Education Jenny Holzer: PROTECT PROTECT March 12 - May 31, 2009 Pre- and Post-Visit Materials for Teachers How can these materials be used? These materials provide a framework for preparing you and your students for a visit to the exhibition and offer suggestions for follow up classroom reflection and lessons. The discussions and activities introduce some of the exhibition’s key themes and concepts. I. About the Artist II. About the Exhibition III. Pre-Visit Activities IV. Post-Visit Activities V. Bibliography & Links What grade levels are these Pre- and Post-Visit materials intended for? These lessons and activities have been written for High School students. We encourage you to adapt and build upon them in order to meet your teaching objectives and students’ needs. Please note that a portion of the exhibition includes declassified and other sensitive government documents that reference war, detainees, torture, homicide, filial relationships, arms, and the oil trade. There is adult language in the exhibition. We recommend that you visit the museum in advance of bringing your students to prepare for questions that might arise from the exhibition's content. We are happy to send you an Educator pass so that you can preview the exhibition. Please email [email protected] if you would like to request one. At the Museum Guided Visits We invite you and your students to visit the Whitney. To schedule a guided tour, please visit www.whitney.org/education. If you are scheduled for a guided school group tour, your museum educator will contact you prior to your visit. -
(Inaudible) Set up for Jenny Holzer. Can You Hear Me?
Guggenheim Museum Archives Reel-to-Reel collection Jenny Holzer, 1990 PART 1 DIANE WALDMAN — (inaudible) set up for Jenny Holzer. Can you hear me? AUDIENCE Yes. DIANE WALDMAN Okay. Good evening. I’d like to welcome you to the Guggenheim Museum. I am Diane Waldman, curator of the Jenny Holzer exhibition. Before I introduce the artist, I would like to make a few brief comments on her work, and her background. It is now over a decade since Jenny Holzer began to communicate her messages on modern culture, in both indoor and outdoor spaces. Born in Ohio, Jenny studied painting as an undergraduate, and at graduate school at the Rhode Island School of Design. In 1977, she moved to New York, and began to work with language as her primary medium. The installation that you see at the Guggenheim was conceived especially for the space. It includes [00:01:00] (audio drops; inaudible) a series of red granite benches which you have seen on the main floor, and another series of white benches for what we call the High Gallery. Coinciding with this exhibition is another exhibition based on her series, the Laments, which I would urge you all to see, if you have not already done so, at the Dia Art Foundation. I would also like to point out that Jenny will be the first woman to represent the United States at next summer’s Venice Biennale, and that audiences there will have an opportunity to see yet another body of work. And now it gives me great pleasure to introduce the artist to you, Jenny Holzer.