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Toskana Kulturrouten
TOSKANA KULTURROUTEN Auf der Entdeckung großer Genies: die schöpferische Geisterkraft von Wissenschaftlern, historische Persönlichkeiten, Dichtern und Musikern toskana KULTURROUTEN Auf der Entdeckung großer Genies: die schöpferische Geisterkraft von Wissenschaftlern, historische Persönlichkeiten, Dichtern und Musikern Ein Reiseführer, der zum ersten Mal dazu einlädt, Dichter und Musiker, Wissen- schaftler und Ordensleute, Politiker und Revolutionäre sowie wichtige histori- sche Persönlichkeiten zu entdecken, die im Lauf der Jahrhunderte in der Toskana geboren wurden oder hier gelebt haben und hier ihre unauslöschlichen Spuren hinterlassen haben, um diese Region in der ganzen Welt berühmt zu machen. Dem Leben und Arbeiten dieser Genies folgend hat der Reisende Seite für Seite die Möglichkeit, durch ihre Erfindungen, ihre Worte und ihre Musik eine etwas andere Toskana zu entdecken, neue Wege, die ihn in Städte und Dörfer, an be- rühmte Orte und in versteckte Nischen entführen. Auch für ihre Bewohner selbst eine neue Form, um die Region wahrzunehmen und mehr über die Werke großer Persönlichkeiten der Geschichte zu erfahren, denen die Plätze und Straßen unse- res Landes gewidmet sind. Die Toskana ist ein Land, das seit jeher als Quelle der Inspiration für große Männer und Frauen fungiert: Über ihre Biografien und die Orte, an denen sie gelebt und gearbeitet haben, sowie mit Hilfe einer Vielzahl an Bildern und Darstellungen ent- decken wir mit diesem Reiseführer einen neuen Weg, um die wahre Seele dieser außerordentlichen Region zu verstehen -
The Armstrong Browning Library Newsletter God Is the Perfect Poet
The Armstrong Browning Library Newsletter God is the perfect poet. – Paracelsus by Robert Browning NUMBER 51 SPRING/SUMMER 2007 WACO, TEXAS Ann Miller to be Honored at ABL For more than half a century, the find inspiration. She wrote to her sister late Professor Ann Vardaman Miller of spending most of the summer there was connected to Baylor’s English in the “monastery like an eagle’s nest Department—first as a student (she . in the midst of mountains, rocks, earned a B.A. in 1949, serving as an precipices, waterfalls, drifts of snow, assistant to Dr. A. J. Armstrong, and a and magnificent chestnut forests.” master’s in 1951) and eventually as a Master Teacher of English herself. So Getting to Vallombrosa was not it is fitting that a former student has easy. First, the Brownings had to stepped forward to provide a tribute obtain permission for the visit from to the legendary Miller in Armstrong the Archbishop of Florence and the Browning Library, the location of her Abbot-General. Then, the trip itself first campus office. was arduous—it involved sitting in a wine basket while being dragged up the An anonymous donor has begun the cliffs by oxen. At the top, the scenery process of dedicating a stained glass was all the Brownings had dreamed window in the Cox Reception Hall, on of, but disappointment awaited Barrett the ground floor of the library, to Miller. Browning. The monks of the monastery The Vallombrosa Window in ABL’s Cox Reception The hall is already home to five windows, could not be persuaded to allow a woman Hall will be dedicated to the late Ann Miller, a Baylor professor and former student of Dr. -
Ethnicity, Lyricism, and John Berryman's Dream Songs
Imaginary Jews and True Confessions: Ethnicity, Lyricism, and John Berryman’s Dream Songs ANDREW GROSS . Jews, who have changed much in the course of history, are certainly no race, [but] the anti‐Semites in a way are a race, because they always use the same slogans, display the same attitudes, indeed almost look alike. —Max Horkheimer1 John Berryman’s “The Imaginary Jew,” published in the Kenyon Review of 1945, is in some ways a rather programmatic account of one man’s conversion from parlor anti‐ Semitism to a feeling of solidarity with Jews. The climax occurs when a bigot accuses the narrator of being Jewish in order to discredit him in an argument over Roosevelt’s foreign policy prior to the American entry into World War II. The accusation completely unnerves the narrator in ways he does not immediately understand, and he is shocked to see that it discredits him in the eyes of the crowd, which has assembled at Union Square to hear impromptu debates. Later, after leaving the scene of his embarrassment, he decides to lay claim to this mistaken, or imaginary, identity, and comes to the following conclusion about the nature of prejudice: “My persecutors were right: I was a Jew. The imaginary Jew I was was as real as the imaginary Jew hunted down, on other nights and days, in a real Jew. Every murderer strikes the mirror, the lash of the torturer falls on the mirror and cuts the real image, and the real and the imaginary blood flow down together.”2 The story garnered some attention when it appeared in 1945. -
John Lehmann's New Writing: the Duty to Be Tormented
John Lehmann’s New Writing: The Duty to Be Tormented Françoise Bort To cite this version: Françoise Bort. John Lehmann’s New Writing: The Duty to Be Tormented. Synergies Royaume Uni et Irlande, Synergies, 2011, The War in the Interwar, edited by Martyn Cornick, pp.63-73. halshs- 01097893 HAL Id: halshs-01097893 https://halshs.archives-ouvertes.fr/halshs-01097893 Submitted on 7 Jun 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License John Lehmann’s New Writing: the Duty to be Tormented Françoise Bort Université de Bourgogne Synergies Royaume-Uni Royaume-Uni Summary: John Lehmann’s magazine New Writing, launched in 1936, may be said to give literary historians a slow-motion image of the evolution of 63-73 pp. artistic consciousness in one of the most turbulent periods of the twentieth et century. Throughout the fourteen years of its existence, encompassing the Irlande Spanish Civil War and the Second World War, the magazine covers a neglected period of transition in the evolution of modernism. Through his editorial n° 4 policy and a susceptible interpretation of the Zeitgeist, Lehmann voices the particular torments of his generation, too young to have participated in - 2011 the First World War, but deeply affected by it. -
Cultural Heritage Of
® LIFE BIENNIAL BEYOND TOURISM® PUBBLICATION EVENTS 2014 - 2016 MEETING THE WORLD IN FLORENCE Centro Congressi al Duomo Life Beyond Tourism® Events Director | Direttore Carlotta Del Bianco Coordinator | Responsabile Michaela Žáčková Rossi Organizing Secretariat | Segreteria Organizzativa Stefania Macrì Eleonora Catalano Zdenka Skorunkova Dati Chika Arai Publication edited by | Pubblicazione a cura di Centro Congressi al Duomo: Life Beyond Tourism® Events With the collaboration of | Con la collaborazione di Centro Congressi al Duomo: Hotel Laurus al Duomo Hotel Pitti Palace al Ponte Vecchio Design and layout | Progetto grafico e impaginazione Corinna Del Bianco Maria Paz Soffia Contents | Contenuti Life Beyond Tourism® Events Abstracts texts have been sent to Life Beyond Tourism® Events by the Project Leaders of each conference and workshop – promoted by the Fondazione Romualdo Del Bianco® of Florence. I testi degli abstract di convegni e workshop – promossi dalla Fondazione Romualdo Del Bianco® – sono stati forniti a Life Beyond Tourism® Events dai Project Leader degli stessi eventi. Translation | Traduzione Eleonora Catalano Masso delle Fate Edizioni Via Cavalcanti 9/D - 50058 Signa (FI) ©Fondazione Romualdo Del Bianco® - Life Beyond Tourism® Masso delle Fate Edizioni ISBN LIFE BIENNIAL BEYOND TOURISM® PUBBLICATION EVENTS 2014 - 2016 Our ability to reach unity in diversity will be the perfect present for the test oF our civilization MAHATMA GANDHI Welcome to Florence! In order to offer the travellers support to their Florence, a personal and professional Florentine journey, the Centro Congressi al Duomo has established an event planning section called Life Beyond Tourism® city frozen in Events, which for years has been organizing in Florence international and intercultural events. -
Orwell's Painful Childhood
Orwell's painful childhood JEFFREY MEYERS RWELL was always extremely reticent about his personal affairs, so we know virtually nothing about how his O character was formed in his earliest years. He was born in 1903 in Motihari, situated on the bank of a lake in the state of Bihar, between Patna and Katmandu. His father was a sub-deputy agent in the Opium Department of the Indian Civil Service, and Orwell's family was part of that 'upper-middle class, which had its heyday in the eighties and nineties, with Kipling as its poet laureate, and was a sort of mound of wreckage left behind when the tide of Victorian prosperity receded'.1 Like Thackeray, Kipling, and Durrell, he spent his first years in India before he was sent to England at the age of four to begin school. Kipling's Something of Myself gives a lyrical description of a secure Indian childhood, protected by the gentleness and affection of bearer and ayah; and Fraser writes of Durrell that 'The Indian childhood, the heat, the colour, the Kiplingesque social atmosphere, deeply affected his childish imagination'.2 But both Thackeray and Kipling stress the wrenching trauma of leaving India at five years old. In The Newcombes, Thackeray writes : What a strange pathos seems to me to accompany all our Indian story! . The family must be broken up . In America it is from the breast of a poor slave that a child is taken; in India it is from the wife.3 Kipling's 'Baa Baa Black Sheep' describes his sudden and painful departure from servants and parents ('through no fault of their own, they had lost all their world'), and the horrors of an alien family that engulfs him with meanness and cruelty. -
Nineteenth-Century Perceptions of Robert Browning: the Poet Through His Own Eyes and Those of His Victorian Critics and Devoted Readers
NINETEENTH-CENTURY PERCEPTIONS OF ROBERT BROWNING: THE POET THROUGH HIS OWN EYES AND THOSE OF HIS VICTORIAN CRITICS AND DEVOTED READERS By KRISTI MARTIN A Thesis Submitted to the Graduate Faculty of WAKE FOREST UNIVERSITY in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the Department of English May 2010 Winston-Salem, North Carolina Approved By: Melissa Jenkins, Ph.D., Advisor ______________________________ Examining Committee: Eric Wilson, Ph.D., Chairman ______________________________ Jefferson Holdridge, Ph.D. ______________________________ Table of Contents Abstract…………………………………………………………………………………..iii Introduction………………………………………………………………………………1 Chapter One: The Good, the Bad, and the Fanatical: Browning and His Nineteenth- Century Reception……………………………………………………..…………5 Chapter Two: Going Where No Victorians Have Gone Before: The London Browning Society…………………………………………………………………………...29 Chapter Three: Being Robert Browning: The Autobiographical Poems of the Poet……52 Conclusion……………………………………………………………………………….81 Bibliography……………………………………………………………………………..85 ii Abstract Thesis under the direction of Melissa Jenkins, Ph.D., Professor of English. The London Browning Society has been addressed by scholars in modern biographies such as The Life of Robert Browning: A Critical Biography (1996) by Clyde De L. Ryals, and it was studied in a 1969 book by William S. Peterson titled Interrogating The Oracle: A History of the London Browning Society. However, this thesis goes further by approaching the Society as the equivalent of a modern day “fan” community, and by providing a close look at some of the Society’s published documents. The purpose of doing so is to form a picture of Browning’s reputation during his life and career based on the perceptions of the critics of the day, the Society members, and the thoughts he had on himself and his own works. -
Evelyn Waugh and FRIENDS
Evelyn Waugh AND FRIENDS JONKERS RARE BOOKS EVELYN WAUGH AND FRIENDS 3 JONKERS RARE BOOKS 4 C A T A L O G U E 7 4 Evelyn Waugh AND FRIENDS JONKERS RARE BOOKS MMXVII CATALOGUE 74 Offered for sale by Jonkers Rare Books 27 Hart Street Henley on Thames RG9 2AR 01491 576427 (within the UK) +44 1491 576427 (from overseas) email: [email protected] website: www.jonkers.co.uk Payment is accepted by cheque or bank transfer in either sterling or US dollars and all major credit cards. All items are unconditionally guaranteed to be authentic and as described. Any unsatisfactory item may be returned within ten days of receipt. All items in this catalogue may be ordered via our secure website. The website also lists over 2000 books, manuscripts and pieces of artwork from our stock, as well as a host of other information. Cover illustration: Mark Gerson’s photo of Evelyn Waugh in the garden at Combe Florey, taken in 1963 Frontispiece: An illustration by Waugh and Derek Hooper (both aged 13) for The Cynic (item 2), Waugh’s prep-school magazine. Pastedown: Waugh’s ‘modernist’ bookplate used in the 1920’s, from item 4. 2 Introduction There has been a more than sufficient amount written about the life and writings of Evelyn Waugh to render any further rehashing of biographical information unneccesary here. However, the scope of the catalogue inevitibly takes the form of a timeline in artifacts. It begins with the proofs of Waugh’s first literary output, aged 7 and his contributions to school and university pub- lications, through to his comprehensive catalogue of published work: non-fiction first followed by his triumphant first novel and the further successes which followed. -
EVELYN WAUGH NEWSLETTER and STUDIES Vol
EVELYN WAUGH NEWSLETTER AND STUDIES Vol EVELYN WAUGH NEWSLETTER AND STUDIES Vol. 33, No. 3 Winter 2003 Wights Errant: Suffixal Sound Symbolism in the Novels of Evelyn Waugh by Simon Whitechapel He who hesitates is lost. Particularly in the novels of Evelyn Waugh, where little serves to damn a character as readily as hesitation and uncertainty. In the prologue to Brideshead Revisited (1945), for example, Charles Ryder accompanies his C.O. on an inspection of the camp: ‘Look at that,’ said the commanding officer. ‘Fine impression that gives to the regiment taking over from us.’ ‘That’s bad,’ I said. ‘It’s a disgrace. See that everything there is burned before you leave camp.’ ‘Very good, sir. Sergeant-major, send over to the carrier-platoon and tell Captain Brown that the C.O. wants this ditch cleared up.’ I wondered whether the colonel would take this rebuff; so did he. He stood irresolutely prodding the muck in the ditch, then he turned on his heel and strode away.1 The C.O. is never named, perhaps because Waugh had already bestowed his favorite suffix of contempt on another character in the prologue, Hooper, who accordingly joins Beaver, Trimmer, Atwater, Dr Messinger, Mulcaster, Corker, Salter, Lord Copper, Peter Pastmaster, Box-Bender, Pennyfeather, and Ryder among what might be called Waugh’s wights errant. The last two characters, who are partly autobiographical, prove that Waugh did not spare himself: Paul Pennyfeather, the hero of Decline and Fall (1928), suffers misfortune after misfortune because he is too trusting and unassertive, and Charles Ryder, the narrator of Brideshead, though perhaps partly shielded by his patrician “y”, is still worthy of serious blame for his behavior. -
Welcome Pitcher & Flaccomio Picks for August
WELCOME During July the streets of Florence have been scorching and August promises more of the same. So stay inside the museums and churches, drink lots of water, and in the evening head out for dinner under the stars. With best summer wishes from SUZANNE, CORSO, BEI, LESLIE, VANNI, ANNA PIA, RAFFAELLA, AND MARISA. PITCHER & FLACCOMIO PICKS FOR AUGUST BEST EVENT FOR AUGUST: SUMMER SEASON OF PERFORMANCES AT THE BARGELLO Text by Mary Gray from The Florentine Magazine “Estate al Bargello returns: Plays, dance performances and concerts in museum courtyard. Estate al Bargello is the umbrella title for 21 shows staged by the theatre group Compagnia Lombardi- Tiezzi, the Florence Dance Festival and the Orchestra da Camera Fiorentina. Festival organizers are the Ministero dei beni e delle attività, the Bargello Museum, the Tuscan Region, and the City of Florence's Estate Fiorentina committee, with sponsorship by the Fondazione Cassa di Risparmio di Firenze and additional support from the Banca CR Firenze. Start times and ticket prices vary, and both the Orchestra da Camera Fiorentina (tel. 055.783374; [email protected]) and Florence Dance Festival (tel. 055.289276; [email protected]) have special offers available for those interested in attending multiple shows. View additional information and showtimes on the Compagnia Lombardi-Tiezzi, Florence Dance Festival, and Orchestra da Camera Fiorentina websites.” P&F RENTAL PICK FOR AUGUST: A HILLSIDE HOME WITH A POOL SURROUNDED BY OLIVE TREES The hillside home is surrounded by olive trees, 4 km from the town of Bagno a Ripoli and 6 km to Viale Europa in Florence, where supermarkets, banking, general shopping, dry cleaners, post office, etc. -
Insider's Florence
Insider’s Florence Explore the birthplace of the Renaissance November 8 - 15, 2014 Book Today! SmithsonianJourneys.org • 1.877.338.8687 Insider’s Florence Overview Florence is a wealth of Renaissance treasures, yet many of its riches elude all but the most experienced travelers. During this exclusive tour, Smithsonian Journey’s Resident Expert and popular art historian Elaine Ruffolo takes you behind the scenes to discover the city’s hidden gems. You’ll enjoy special access at some of Florence’s most celebrated sites during private after-hours visits and gain insight from local experts, curators, and museum directors. Learn about restoration issues with a conservator in the Uffizi’s lab, take tea with a principessa after a private viewing of her art collection, and meet with artisans practicing their ages-old art forms. During a special day in the countryside, you’ll also go behind the scenes to explore lovely villas and gardens once owned by members of the Medici family. Plus, enjoy time on your own to explore the city’s remarkable piazzas, restaurants, and other museums. This distinctive journey offers first time and returning visitors a chance to delve deeper into the arts and treasures of Florence. Smithsonian Expert Elaine Ruffolo November 8 - 15, 2014 For popular leader Elaine Ruffolo, Florence offers boundless opportunities to study and share the finest artistic achievements of the Renaissance. Having made her home in this splendid city, she serves as Resident Director for the Smithsonian’s popular Florence programs. She holds a Master’s degree in art history from Syracuse University and serves as a lecturer and field trip coordinator for the Syracuse University’s program in Italy. -
Passport to Bronzino: Art and Poetry in Renaissance Florence
passaporto per bronzino: arte e poesia nella firenze rinascimentale passport to bronzino: art and poetry in renaissance florence passaporto per bronzino: arte e poesia nella firenze rinascimentale passport to bronzino: art and poetry in renaissance florence passaporto per bronzino: arte e poesia nella firenze rinascimentale Il Bronzino è il pittore fiorentino per antonomasia e Palazzo Strozzi la sede perfetta per la prima mostra monografica dei suoi dipinti. Figlio di un macellaio, Agnolo di Cosimo, meglio conosciuto come il Bronzino, è uno dei maggiori artisti della storia della pittura italiana, attivo negli anni in cui Cosimo I de’ Medici governa Firenze. I dipinti del Bronzino ritrassero l’elegante corte medicea con una bellezza allo stesso tempo austera e naturalistica, con gelido e aristocratico splendore. Sofisticato pittore, Bronzino fu anche poeta. La sua opera e la sua poesia sono capaci di alternare registri espressivi: dall’aulico stile accademico del Petrarca a versi ironici e satirici come nel Piato, in cui descrive un viaggio immaginario e simbolico attraverso le viscere di un gigante o nella Cipolla, scherzoso ed erotico omaggio alla multiforme natura del carattere femminile. L’eredità del Bronzino viene raccolta da Alessandro Allori, attivo fino al 1607, quando il naturalismo di Caravaggio segna l’inizio di una nuova era in pittura. Tutta l’arte è contemporanea al momento della sua creazione, e sebbene la ‘maniera moderna’ di Bronzino fosse recepita dalle generazioni più giovani come antiquata, a noi appare fresca e contemporanea. James M. Bradburne passport to bronzino: art and poetry in renaissance florence Bronzino is the quintessential Florentine painter, and Palazzo Strozzi the perfect setting for the first ever monographic exhibition of his paintings.