DOCSLIB.ORG

A Sheffield Hallam University Thesis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Sheffield Hallam University Thesis Discourses recognizing aesthetic innovation in cinema : Bonnie and Clyde : A case study. SCOTT, Walter P.J. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20337/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/20337/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University Author: U). P. TT . Title/Thesis Number: ^ R.ECOQM'Zf(OC| 'i,:' 1 Kj NJ6V ATVOfO ilO C lN £ftM - fcofOM I £ “o' CL>/rD £ , H Degree: p ^ / £ ) C f i s e s t 1 / 0 y Year: ^ 0 0 4 Copyright Declaration Consultation for Research or Private study for Non Commercial Purposes I recognise that the copyright in this thesis belongs to the author. I undertake not to publish either the whole or any part of it, or make a copy of the whole or any substantial part of it, without the consent of the author. I recognise that making quotations from unpublished works under 'fair dealing for criticism or review' is not permissible. Consultation for Research or Private study for Commercial Purposes I recognise that the copyright in this thesis belongs to the author. I undertake not to publish either the whole or any part of it, or make a copy of the whole or any part of it, without the consent of the author. I recognise that making quotations from unpublished works under 'fair dealing for criticism or review' is not permissible. Readers consulting this thesis are required to complete the details below and sign to show they recognise the copyright declaration. Date Name and Institution /Organisation Signature (in block letters) ProQuest Number: 10700983 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10700983 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Discourses recognizing aesthetic innovation in cinema -Bonnie and Clyde, a case study Walter Paul Jason Scott A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy October 2004 1 Contents and structure Abstract Chapter 1: What is innovation? What is aestheticization? Introduction P i Aims and Objectives P 2 Cinematic innovation? pp 3-17 Aestheticization in cinema pp 18-58 Conclusions: Recognizing Aesthetic Innovation pp 59-60 Chapter 2: Analysing reviews of Bonnie and Clyde Introduction to case study on Bonnie and Clyde p 61 Content Analysis of reviews of Bonnie and Clyde pp 62-96 Discourse Analysis - what is discourse analysis? pp 97-106 Discourse Analysis of selected reviews Bonnie and Clyde pp 107-138 Conclusions of the Discourse Analysis of Reviews pp 139-170 Chapter 3: Dialogues and contestation The ‘Crowther Controversy’ p 171 Discourse Analysis of traces of public receptions pp 172-189 Discourse Analysis of responses and dialogues pp 190-213 Crowther Crusade interventions pp 214-231 Chapter 4: Aesthetic analysis of Bonnie and Clyde Aesthetic analysis of Bonnie and Clyde pp 232-275 Chapter 5: Retrospective references to Bonnie and Clyde and its influence Retrospective characterisations ofBonnie and Clyde pp 276-320 The Influence of Bonnie and Clyde on other filmmakers’ practices pp 321-346 Chapter 6: Conclusions Recognition of aestheticization innovation in Bonnie and Clyde pp 347-354 Bibliography pp 355-369 Filmography pp 370-374 Appendix: Copies of analysed reviews Discourses recognizing aesthetic innovation in cinema - Bonnie and Clyde, a case study W. P. Jason Scott Submitted for Ph.D. Film Studies The Abstract Within this thesis I primarily explore the notion of aesthetic innovation in the cinema. Whilst I initially intended to develop two case studies, considering films associated with two cinematic trends - the Hollywood Renaissance and Dogme 95 -the finished thesis concentrates on Bonnie and Clyde , which exemplifies the first of these. The focus entails an elaboration of the concept of innovation, adopted from economic approaches, in terms of the implications of the concept for how innovation should be analysed. In particular, this informs my focus upon the articulation of recognition of innovation, and hence discourses of innovation. In investigating the recognition of innovation in Bonnie and Clyde , I provide a detailed critical reception study, analysing the contemporary and retrospective reviews and critical accounts of the film. I develop the functional and systemic linguistic analysis of M.A.K. Halliday to underpin a workable discourse analysis approach to the contemporary reviews. I also consider the wider reception of the film, particularly in relation to the dialogues around the reviews of the film by Bosley Crowther in the New York Times. Thus, I consider the significance of the contestation around the film - in terms of its evaluation, classification and description. I consider this 'event' of the widespread contestation around the film, and the turnaround by several noted critics, and contrast the conclusions of my analysis of the event with the conventional narrativization of it. In order to consider the aesthetic characteristics of the film, I provide definitions of cinema aesthetics, adapting the notions of aesthetic norm, function and value from Jan Mukarovsky. I also develop these in relation to the concept of aestheticization, which I relate to Bonnie and Clyde and other films of the Hollywood Renaissance. The thesis constitutes an original elucidation of the notion of innovation, and an innovative application of discourse analysis to reception study. Chapter 1: What is innovation? What is aestheticization? Introduction This thesis explores the concept of aesthetic innovation in cinema, focussing attention on a single case study, Bonnie and Clyde (1967). This film was selected as being an exemplary instance of aesthetic innovation, which provides a paradigmatic case study for investigating innovation. The exemplary status of Bonnie and Clyde results from the status of the film in conventional film history, in relation to the historical tendency variously called New Hollywood or the Hollywood Renaissance. Alongside a handful of other films, most notably The Graduate (1967) and Easy Rider (1969), Bonnie and Clyde provides a cliched example of a film exemplifying the Hollywood Renaissance, and in this case is widely characterised as initiating this trend. Bonnie and Clyde, particularly given its commercial success, corresponds to the emergence of a new, younger, cine- literate and educated audience; it marks shifts in cultural values commonly identified with the Sixties social revolution(s); and it also signals Hollywood’s adoption of stylistic and narrative techniques from the flourishing art house cinema sector, in a bid to exploit the commercial success of more ‘offbeat’ product. However, Bonnie and Clyde was not immediately successful at the box-office, and the initial critical reception of the film was contested. Only after several years did the film gain more widespread acceptance, and with the diminishing of the controversy that heralded its theatrical release it gradually gained canonical status. Bonnie and Clyde can be conceived as indicative of a wider aesthetic development or innovation in relation to its significance to the Hollywood Renaissance. In addition, from the time of its contemporary critical reception the film was specifically identified with a distinctive treatment of violence, retrospectively identified as an innovation in relation to the aestheticized depiction of violence. The initial chapter of this thesis develops two key notions that will underpin the remainder of the thesis, and particularly the case study on Bonnie and Clyde. In order to address aesthetic innovation in cinema I will elaborate the concepts of innovation and cinema aesthetics respectively. These sections will provide a conceptual framework for considering aesthetic innovation in Bonnie and Clyde , and particularly for analysing aestheticization in the film. Hence, I will consider how innovation is constituted, as well as the methodological implications of this, in respect of how innovation can be studied. In addition I will develop the concept of cinema aesthetics, initially drawing upon a wider theorisation of aesthetics and culminating in a specific theorisation of aestheticization in cinema. This chapter, then, provides the theoretical framework for the specific case study of Bonnie and Clyde , and will inform the choice of the object of study and the methodology for the subsequent chapters. My thesis title emphasises not only aesthetic innovation, in Bonnie and Clyde , but also the discourses of recognition of aesthetic imiovation. I will explain this discursive focus, and how this
Load more

Recommended publications
  • Haiirlfphtpr Hpralji for a Dinah ) Manchester — a City of Village Charm Ntaln- a Risk 30 Cents >D the Saturday, Nov
    lostt: n.) (In (CC) <^Ns >ldfa- fendt. Ovaf' » ' An K>IV8S world. nvtta* »ii. (90 n Plc- :tantly leen- HaiirlfpHtPr HpralJi for a Dinah ) Manchester — A City of Village Charm ntaln- a risk 30 Cents >d the Saturday, Nov. 14.1987 y with n. W ill O 'Q ill ytallar lapra- Y> dfl* Tiny ‘FIRST STEF BY ORTEGA i in an tty by , John Contras I Evil' ito an f Den- criticize 1971. peace plan 1/ WASHINGTON (AP) — Nicara­ guan President Daniel Ortega on Friday laid out a detailed plan for reaching a cease-fire in three weeks with the Contras fighting his leftist government and a mediator agreed to carry the proposal to the U.S.-backed rebels. Ortega, indicating flexibility, called his plan “ a proposal, not an ultimatum." Contra leaders, react­ ing to news reports in Miami, criticized the plan and termed it "a proposal for anorderly surrender.” Ortega's 11-point plan was re­ ceived by Nicaraguan Cardinal Miguel Obando y Bravo, who agreed to act as a mediator between the two sides. The prelate planned to convey Ortega’s offer to the Contras and seek a response, opening cease-fire negotiations. The plan calls for a cease-fire to begin on Dec. 5 and for rebel troops inside Nicaragua to move to one of three cease-fire zones. The rebels would lay down their arms on Jan. 5 before independent observers, and then be granted amnesty. The plan specifies that Contras in the field are not to get any military supplies during the cease-fire, but would allow food, clothing and medical care to be provided them by a neutral international agency.
    [Show full text]
  • The Handmaiden and Colonial Korea, an Interview with Dr. Kelly Jeong Transcript
    Episode 8: The Handmaiden and Colonial Korea, An Interview with Dr. Kelly Jeong Transcript Stephanie [00:00:00] Hello, I'm Steph. Melissa [00:00:01] And I'm Mel. Stephanie [00:00:02] And this is East Asia for All, a podcast about East Asian pop culture and media. Melissa [00:00:07] If you're listening right now, you, like us, probably also have an addiction to East Asian films, cartoons, memes, music and much, much more. Stephanie [00:00:17] Between the two of us, we've lived on and off in China, Taiwan, and Japan since 2007. Melissa [00:00:22] We also both have PhDs in Chinese history, and we're both working as professors in the Midwest. Stephanie [00:00:28] I'm at St. Olaf College in the Departments of History and Asian Studies. Melissa [00:00:31] And I teach history at St. Mary's University of Minnesota. Stephanie [00:00:35] So we're taking our love for East Asia, our experiences there, and the knowledge we've gained in the ivory tower and making it available beyond our classroom walls. Melissa [00:00:47] Today's episode is about The Handmaiden, a 2016 film by South Korean director Park Chan-wook. Stephanie [00:00:54] ...of Oldboy fame. If you keep up with Park's filmography. Melissa [00:00:57] The Handmaiden has a really interesting lineage. It's an adaptation of Sarah Waters' 2002 novel Fingers Smith. Stephanie [00:01:04] Waters' novel is set in Victorian-era Britain and it's sort of a crime story, historical mystery and lesbian romance.
    [Show full text]
  • Selected Filmography of Digital Culture and New Media Art
    Dejan Grba SELECTED FILMOGRAPHY OF DIGITAL CULTURE AND NEW MEDIA ART This filmography comprises feature films, documentaries, TV shows, series and reports about digital culture and new media art. The selected feature films reflect the informatization of society, economy and politics in various ways, primarily on the conceptual and narrative plan. Feature films that directly thematize the digital paradigm can be found in the Film Lists section. Each entry is referenced with basic filmographic data: director’s name, title and production year, and production details are available online at IMDB, FilmWeb, FindAnyFilm, Metacritic etc. The coloured titles are links. Feature films Fritz Lang, Metropolis, 1926. Fritz Lang, M, 1931. William Cameron Menzies, Things to Come, 1936. Fritz Lang, The Thousand Eyes of Dr. Mabuse, 1960. Sidney Lumet, Fail-Safe, 1964. James B. Harris, The Bedford Incident, 1965. Jean-Luc Godard, Alphaville, 1965. Joseph Sargent, Colossus: The Forbin Project, 1970. Henri Verneuil, Le serpent, 1973. Alan J. Pakula, The Parallax View, 1974. Francis Ford Coppola, The Conversation, 1974. Sidney Pollack, The Three Days of Condor, 1975. George P. Cosmatos, The Cassandra Crossing, 1976. Sidney Lumet, Network, 1976. Robert Aldrich, Twilight's Last Gleaming, 1977. Michael Crichton, Coma, 1978. Brian De Palma, Blow Out, 1981. Steven Lisberger, Tron, 1982. Godfrey Reggio, Koyaanisqatsi, 1983. John Badham, WarGames, 1983. Roger Donaldson, No Way Out, 1987. F. Gary Gray, The Negotiator, 1988. John McTiernan, Die Hard, 1988. Phil Alden Robinson, Sneakers, 1992. Andrew Davis, The Fugitive, 1993. David Fincher, The Game, 1997. David Cronenberg, eXistenZ, 1999. Frank Oz, The Score, 2001. Tony Scott, Spy Game, 2001.
    [Show full text]
  • Cultural Production in Transnational Culture: an Analysis of Cultural Creators in the Korean Wave
    International Journal of Communication 15(2021), 1810–1835 1932–8036/20210005 Cultural Production in Transnational Culture: An Analysis of Cultural Creators in the Korean Wave DAL YONG JIN1 Simon Fraser University, Canada By employing cultural production approaches in conjunction with the global cultural economy, this article attempts to determine the primary characteristics of the rapid growth of local cultural industries and the global penetration of Korean cultural content. It documents major creators and their products that are received in many countries to identify who they are and what the major cultural products are. It also investigates power relations between cultural creators and the surrounding sociocultural and political milieu, discussing how cultural creators develop local popular culture toward the global cultural markets. I found that cultural creators emphasize the importance of cultural identity to appeal to global audiences as well as local audiences instead of emphasizing solely hybridization. Keywords: cultural production, Hallyu, cultural creators, transnational culture Since the early 2010s, the Korean Wave (Hallyu in Korean) has become globally popular, and media scholars (Han, 2017; T. J. Yoon & Kang, 2017) have paid attention to the recent growth of Hallyu in many parts of the world. Although the influence of Western culture has continued in the Korean cultural market as well as elsewhere, local cultural industries have expanded the exportation of their popular culture to several regions in both the Global South and the Global North. Social media have especially played a major role in disseminating Korean culture (Huang, 2017; Jin & Yoon, 2016), and Korean popular culture is arguably reaching almost every corner of the world.
    [Show full text]
  • October 11, 2011 (XXIII:7) Arthur Penn, BONNIE and CLYDE (1967, 112 Min)
    October 11, 2011 (XXIII:7) Arthur Penn, BONNIE AND CLYDE (1967, 112 min) Directed by Arthur Penn Writing credits David Newman & Robert Benton and Robert Towne (uncredited) Produced by Warren Beatty Original Music by Charles Strouse Cinematography by Burnett Guffey Film Editing by Dede Allen Art Direction by Dean Tavoularis Costume Design by Theadora Van Runkle Earl Scruggs....composer: Foggy Mountain Breakdown Alan Hawkshaw....musician: "The Ballad of Bonnie and Clyde" Warren Beatty...Clyde Barrow Faye Dunaway...Bonnie Parker Michael J. Pollard...C.W. Moss Gene Hackman...Buck Barrow Estelle Parsons...Blanche Denver Pyle...Frank Hamer DAVID NEWMAN (February 4, 1937, New York City, New York Dub Taylor...Ivan Moss – June 27, 2003, New York City, New York) has 18 writing Evans Evans...Velma Davis credits: 2000 Takedown, 1997 “Michael Jackson: His Story on Gene Wilder...Eugene Grizzard Film - Volume II”, 1985 Santa Claus, 1984 Sheena: Queen of the Jungle, 1983 Superman II, 1982 Still of the Night, 1982 Jinxed!, Oscars for Best Actress in a Supporting Role (Estelle 1980 Superman II, 1978 Superman, 1975 “Superman”, 1972 Bad Parsons)and Best Cinematography (Burnett Guffey). Selected for Company, 1972 Oh! Calcutta!, 1972 What's Up, Doc?, 1970 National Film Registry – 1992 There Was a Crooked Man..., and 1967 Bonnie and Clyde. BONNIE PARKER (October 1, 1910-May 23, 1934). ROBERT BENTON (September 28, 1932, Waxahachie, Texas – ) won Best Writing Oscars for Places in the Heart (1984) and (March 24, 1909-May 23-1934). Kramer v. Kramer (1979); he also
    [Show full text]
  • Program 2017 Mensa AG
    Mensa AG 2017 TUESDAY, JULY 4 5:00 P.M. - 9:00 P.M. Pre-registrant package pickup for AG and Colloquium incl badge and program book WEDNESDAY, JULY 5 7:00 A.M. - 9:00 P.M. Pre-registrant package pickup AG & Colloquium 10:00 A.M. - 9:00 P.M. Walk in package pickup and changes 8:00 A.M. (REGENCY BALLROOM 1 & 2) COLLOQUIUM 2017 — THE HEALTH CARE OF CATASTROPHES: INNOVATION DRIVEN BY DISASTER Catastrophes — from hurricanes to mass shootings to epidemics — present the medical community with care challenges as complex and traumatic as the disasters themselves. Sponsored by the Mensa Education & Research Foundation, this Colloquium will address these health care challenges from the perspective of emerging technology and innovation, as well as evolving policy questions. 12:00 P.M. (ATLANTIC BALLROOM 1) REVOLT OF THE DEPLORABLES: THE INSIDE STORY OF THE GREATEST POLITICAL UPSET IN U.S. HISTORY STEVEN ALLEN The 2016 presidential campaign pitted one of the best-credentialed candidates ever to seek the presidency against a shoot-from-the-lip billionaire whose followers considered themselves part of a worldwide populist movement. The outcome was the greatest upset in U.S. political history. What happened? In this presentation, based on his forthcoming book Revolt of the Deplorables, Dr. Steven J. Allen tells the inside story of a grassroots rebellion that changed the course of America and the world. Allen has been called a “digital revolutionary” (the National Journal) and “the Tea Party’s editor in chief” (The Daily Beast/Newsweek). He served as press secretary to Sen.
    [Show full text]
  • A Man Called Ove Sweden Hannes Holm
    A MAN CALLED OVE SWEDEN HANNES HOLM A Man Called Ove tells the familiar story of the Priding himself on his reliability, Ove feels compelled to curmudgeonly old man whose grumpy life is brightened stop killing himself to address each interruption. by forces beyond his control. These forces take the guise Keep in mind that the black humor in this situation of a much younger person who provides a sense of doesn’t arise from any mockery of Ove’s pain over missing purpose for the old hero. A film like this rises or falls his spouse. That is presented as real, understandable pain. not only with its central performance, but also with its Instead, the humor comes from Ove’s stubbornness as ability to engage the viewer’s emotions in a credible, a creature of habit. Perpetually enforcing neighborhood honest fashion. Movies like this tend to get dismissed rules nobody cares about nor adheres to, Ove can’t as “manipulative” because audience sympathy for the resist the opportunity to scold those who violate them. protagonist is at least partially elicited by flashbacks to Yet, for all his crabbiness, there’s a level of selflessness a litany of tragic or unfair past events. But all movies inherent in Ove’s character, a trait he finds infuriating are manipulative by default; the effectiveness of that yet he begrudgingly accepts. His wife, Sonja, played as manipulation is the more valid measurement to inspect. a young woman in the flashbacks by Ida Engvoll, sees On that scale, A Man Called Ove is a morbidly funny and this in the younger version of Ove (Filip Berg), and the moving success.
    [Show full text]
  • Friday 24 February to Sunday 12 March
    Friday 24 February to Sunday 12 March borderlinesfilmfestival.org @borderlines #borderlines2017 2 / 3 Programmers’ Picks Central Box Office 01432 340555 / #borderlines2017 / www.borderlinesfilmfestival.org FILM PROGRAMMERS DAVID SIN & JONNY COURTNEY PUT A DOZEN FILMS IN THE SPOTLIGHT FENCES p21 GRADUATION p23 THE HANDMAIDEN p24 THE HEADLESS WOMAN p26 Towering performances from Denzel Washington The moral dilemmas faced by a small town Sarah Waters’ novel Fingersmith sumptuously A road accident triggers an inscrutable chain and Viola Davis in Washington’s adaptation doctor surgically reveal in miniature the layers transposed to 1930s Korea and an intriguing of events in Lucrecia Martel’s exceptional and of August Wilson’s Pulitzer prize-winning play. of corruption that persist in Romanian society. game of seduction and betrayal. subversive psychological thriller. I AM NOT YOUR NEGRO p28 JACKIE p30 JULIETA p31 LADY MACBETH p33 From James Baldwin’s final novel, director This remarkable study of Jackie Kennedy after Almodóvar at his best in this colourful and British period drama from a dark 19th century Raoul Peck creates a stunning meditation the JFK assassination by Chilean director Pablo intense exploration of the interior lives Russian novella about a passionate young on what it means to be Black in America. Larrain stars Oscar contender Natalie Portman. of women, from three Alice Munro stories. woman trapped in a loveless marriage. MANCHESTER BY THE SEA p36 MOONLIGHT p38 THE SALESMAN p45 TONI ERDMANN p50 Deceptively low-key, Casey Affleck is janitor The coming-to-age of a young gay black man Drama takes the centre, onstage and off, in Sidesplittingly funny and achingly sad, this tale Lee, thrust back into his home town, to face up in present day Miami is a “nuclear-fission- the latest from Iranian director, Asghar Farhadi won Maren Ade Best Director at the European to new responsibilities and a traumatic past.
    [Show full text]
  • Selected Filmography in Digital Culture and Digital Art
    Dejan Grba | Selected Filmography in Digital Art and Culture Dejan Grba Selected Filmography in Digital Culture and Digital Art This filmography comprises feature films, documentaries, TV shows, series and reports about digital culture and digital art. The selected feature films reflect the informatization of society, economy and politics in various ways, primarily on the conceptual and narrative level. Feature films that directly thematize the digital paradigm can be found in the Film Lists section. Each entry is referenced with basic filmographic data: director’s name, title and production year, and production details are available online at IMDB, FilmWeb, FindAnyFilm, Allrovi, Metacritic etc. The coloured titles are links. Feature Films Fritz Lang, Metropolis, 1926. Fritz Lang, M, 1931. William Cameron Menzies, Things to Come, 1936. Fritz Lang, The Thousand Eyes of Dr. Mabuse, 1960. Sidney Lumet, Fail-Safe, 1964. James B. Harris, The Bedford Incident, 1965. Jean-Luc Godard, Alphaville, 1965. Henri Verneuil, Le serpent, 1973. Alan J. Pakula, The Parallax View, 1974. Francis Ford Coppola, The Conversation, 1974. Sidney Pollack, The Three Days of Condor, 1975. George P. Cosmatos, The Cassandra Crossing, 1976. Sidney Lumet, Network, 1976. Robert Aldrich, Twilight's Last Gleaming, 1977. Michael Crichton, Coma, 1978. Brian De Palma, Blow Out, 1981. Steven Lisberger, Tron, 1982. Godfrey Reggio, Koyaanisqatsi, 1983. John Badham, WarGames, 1983. Roger Donaldson, No Way Out, 1987. F. Gary Gray, The Negotiator, 1988. Dejan Grba | +381 62 207 749 | [email protected] | http://dejangrba.dyndns.org Dejan Grba | Selected Filmography in Digital Art and Culture John McTiernan, Die Hard, 1988. Phil Alden Robinson, Sneakers, 1992.
    [Show full text]
  • Kebra Nagast
    TheQueenofShebaand HerOnlySonMenyelek (KëbraNagast) translatedby SirE.A.WallisBudge InparenthesesPublications EthiopianSeries Cambridge,Ontario2000 Preface ThisvolumecontainsacompleteEnglishtranslationofthe famousEthiopianwork,“TheKëbraNagast,”i.e.the“Gloryof theKings[ofEthiopia].”Thisworkhasbeenheldinpeculiar honourinAbyssiniaforseveralcenturies,andthroughoutthat countryithasbeen,andstillis,veneratedbythepeopleas containingthefinalproofoftheirdescentfromtheHebrew Patriarchs,andofthekinshipoftheirkingsoftheSolomonic linewithChrist,theSonofGod.Theimportanceofthebook, bothforthekingsandthepeopleofAbyssinia,isclearlyshown bytheletterthatKingJohnofEthiopiawrotetothelateLord GranvilleinAugust,1872.Thekingsays:“Thereisabook called’KiveraNegust’whichcontainstheLawofthewholeof Ethiopia,andthenamesoftheShûms[i.e.Chiefs],and Churches,andProvincesareinthisbook.IÊprayyoufindout whohasgotthisbook,andsendittome,forinmycountrymy peoplewillnotobeymyorderswithoutit.”Thefirstsummary ofthecontentsofthe KëbraNagast waspublishedbyBruceas farbackas1813,butlittleinterestwasrousedbyhissomewhat baldprécis.And,inspiteofthelaboursofPrætorius,Bezold, andHuguesleRoux,thecontentsoftheworkarestill practicallyunknowntothegeneralreaderinEngland.Itis hopedthatthetranslationgiveninthefollowingpageswillbe ii Preface ofusetothosewhohavenotthetimeoropportunityfor perusingtheEthiopicoriginal. TheKëbraNagast isagreatstorehouseoflegendsand traditions,somehistoricalandsomeofapurelyfolk-lore character,derivedfromtheOldTestamentandthelater Rabbinicwritings,andfromEgyptian(bothpaganand
    [Show full text]
  • Newno175.Pdf (11.75Mb)
    m-STOI^-CiE- 0VE\;liyES-JI^M-7^;^^ "^f^^^' COif^DUCTED-BY WHICH BS I^!COI\PO^XED e^^umiBiut^0m^m SATURDAY, APRIL 6, 1872 satisfaction and unwillingness to gratify her. THE WICKED WOODS OF She exacted from him a hundred little marks TOBEREEVIL. of homage, such as May had never looked BY THB AUTHOR OF ** HESTER'S HISTORY.'* for, nor thought of. He became so busy with her, and so tormented by her, that he soon found he had very little time to CHAPTER XXIX. PAUL S TROUBLES BEGIN. attend to his business. He became curiously DAYS passed, and Katherine had domes­ changed in a short space of time, his temper ticated herself thoroughly at Monasterlea. alternating between bursts of anger at him­ She had taken possession of all the best self and her, indulged in generally during things in the house with the most charming the hours of his absence from her side, and goodwill. The prettiest and most com­ unreasoning fits of mirth, which almost in­ fortable furniture had been carried into her variably took possession of him whilst in room, and she had the warmest seat at the her presence, and left bitterness of heart fire and at the table. The little red couch and exhaustion of body when they passed under the black archway in the parlour, away. Avhich was covered with Miss Martha's Meanwhile May stood aside patiently, knitting, and cushioned with pillows stuffed not wondering that the brilliant beauty with down off Miss Martha's own geese, should be found more amusing and attrac­ she had at once made quite her own.
    [Show full text]
  • HOARDERS Master
    VA Foundation for the Humanities | HOARDERS_Master NATHAN: Major funding for BackStory is provided by an anonymous donor, the National Endowment for the Humanities, the Joseph and Robert Cornell Memorial Foundation, and the Arthur Vining Davis Foundations. [MUSIC PLAYING] ED: From the Virginia Foundation for the Humanities, this is BackStory. JOANNE: Welcome to BackStory, the show that explains the history behind today's headlines. I'm Joanne Freeman. NATHAN: I'm Nathan Connolly. ED: And I'm Ed Ayers. JOANNE: OK, so Nathan, Ed, I want to introduce you to a historical character who I'm particularly fond of. ED: I'll look forward to meeting him or her. JOANNE: He's a little quirky but really interesting. Picture this. It's Washington, DC. It's 1802. A man named William Plumer has just been elected to the Senate from New Hampshire, so the capitol is his base. Now imagine-- Plumer's a guy. He's kind of tall. He's kind of thin. He's not really a flashy dresser. In that sense, he's kind of New England-ish. So Plumer moves to the capitol at a time of pretty intense political divisions. His party, the Federalist, had just been booted out of power by Thomas Jefferson's Republican Party. ED: So I guess not everything has changed in Washington since 1802, huh? JOANNE: No, definitely not. So he arrives in Washington, and he's grouchy. He already feels like he's an outsider and everything that he loves might be crashing to ruin. [MUSIC PLAYING] So, early in his term, Plumer is wandering around the halls of the capitol, and he stumbles across a lumber room and peeks inside.
    [Show full text]