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A Dangerous Summer
theHemingway newsletter Publication of The Hemingway Society | No. 73 | 2021 As the Pandemic Ends Yet the Wyoming/Montana Conference Remains Postponed Until Lynda M. Zwinger, editor 2022 the Hemingway Society of the Arizona Quarterly, as well as acquisitions editors Programs a Second Straight Aurora Bell (the University of Summer of Online Webinars.… South Carolina Press), James Only This Time They’re W. Long (LSU Press), and additional special guests. Designed to Confront the Friday, July 16, 1 p.m. Uncomfortable Questions. That’s EST: Teaching The Sun Also Rises, moderated by Juliet Why We’re Calling It: Conway We’ll kick off the literary discussions with a panel on Two classic posters from Hemingway’s teaching The Sun Also Rises, moderated dangerous summer suggest the spirit of ours: by recent University of Edinburgh A Dangerous the courage, skill, and grace necessary to Ph.D. alumna Juliet Conway, who has a confront the bull. (Courtesy: eBay) great piece on the novel in the current Summer Hemingway Review. Dig deep into n one of the most powerful passages has voted to offer a series of webinars four Hemingway’s Lost Generation classic. in his account of the 1959 bullfighting Fridays in a row in July and August. While Whether you’re preparing to teach it rivalry between matadors Antonio last summer’s Houseguest Hemingway or just want to revisit it with fellow IOrdóñez and Luis Miguel Dominguín, programming was a resounding success, aficionados, this session will review the Ernest Hemingway describes returning to organizers don’t want simply to repeat last publication history, reception, and major Pamplona and rediscovering the bravery year’s model. -
'A True Magic Chamber': the Public Face of the Modernist Bookshop
‘A True Magic Chamber’: The Public Face of the Modernist Bookshop Andrew Thacker Modernist Cultures 11.3 (2016): 429–451 DOI: 10.3366/mod.2016.0149 © Edinburgh University Press www.euppublishing.com/loi/mod Abstract This article explores the role of bookshops in the construction of a public for modernism and analyses a number of bookshops committed to promoting modernist culture, such as those run by Sylvia Beach (Shakespeare and Company), Adrienne Monnier (La Maison des Amis des Livres), and Frances Steloff (Gotham Book Mart). It also considers how the bookshop is a fulcrum between commerce and culture, a key issue for contemporary modernist studies, and discusses aspects of bookshop culture that seem to operate ‘beyond’ the market. One example is that of We Moderns, a catalogue issued by the Gotham Book Mart in 1940 and which represents a fascinating example of the print culture of the modernist bookshop. Drawing upon the work of Mark Morrisson and Lawrence Rainey, the article also evaluates the position of the bookshop within debates around modernism and the public sphere. The Business of the Magic Chamber A member of the public strolling through Paris in the early 1920s who drifts onto the Left Bank in search of culture, might find themselves in the triangle of small streets between the grander avenues of Boulevard St. Michel and the Boulevard St. Germain in the 6th Arrondissement. These are the streets around the Sorbonne and, as such, there are many bookshops servicing the university. Thinking it might be fun to buy a book, a modern or contemporary book, they stroll up Rue de l'Odéon, across from the National Theatre, spying a likely looking bookshop and decide to enter. -
Dial M for Marianne: the Dial’S Refusals of ‘Work in Progress’
GENETIC JOYCE STUDIES – Issue 15 (Spring 2015) Dial M for Marianne: The Dial’s Refusals of ‘Work in Progress’ Ronan Crowley University of Passau Joyce was extremely anxious to introduce his heroine to readers in the United States. Aiming high, I sent her off to the Dial, hoping its editor, Marianne Moore, would find her attractive. I was glad to get word that the Dial had accepted the work, but it turned out that this was a mistake. It had come in when Miss Moore was away, and she was reluctant to publish it. The Dial didn’t back out altogether. I was told, however, that the text would have to be considerably cut down to meet the requirements of the magazine. Now Joyce might have considered the possibility of expanding a work of his, but never, of course, of whittling it down. On the other hand, I couldn’t blame the Dial for its prudence in dealing with a piece so full of rivers that they might have been overflooded at 152 West Thirteenth Street. I was sorry about ‘A.L.P.’s’ failure to make the Dial. Joyce, who was still in Belgium, was not surprised. ‘Why did you not bet with me?’ he wrote. ‘I should have won something.’ He added that he regretted the loss of a ‘strategical position’. Joyce always looked upon his Finnegans Wake as a kind of battle.1 In this characteristically muddled account, Sylvia Beach provides the canonical version of ‘Work in Progress’s’ rejection by the Dial. Implicit in her reference to rivers and the witty image of the flooded Greenwich Village office, explicit in the inclusion of its title is Beach’s conviction that at issue was the ‘Anna Livia Plurabelle’ section (I.8) of the Wake. -
The Maternal Body of James Joyce's Ulysses: the Subversive Molly Bloom
Lawrence University Lux Lawrence University Honors Projects 5-29-2019 The aM ternal Body of James Joyce's Ulysses: The Subversive Molly Bloom Arthur Moore Lawrence University Follow this and additional works at: https://lux.lawrence.edu/luhp Part of the Literature in English, British Isles Commons © Copyright is owned by the author of this document. Recommended Citation Moore, Arthur, "The aM ternal Body of James Joyce's Ulysses: The ubS versive Molly Bloom" (2019). Lawrence University Honors Projects. 138. https://lux.lawrence.edu/luhp/138 This Honors Project is brought to you for free and open access by Lux. It has been accepted for inclusion in Lawrence University Honors Projects by an authorized administrator of Lux. For more information, please contact [email protected]. THE MATERNAL BODY OF JAMES JOYCE’S ULYSSES: The Subversive Molly Bloom By Arthur Jacqueline Moore Submitted for Honors in Independent Study Spring 2019 I hereby reaffirm the Lawrence University Honor Code. Table of Contents Acknowledgements Introduction ................................................................................................................ 1 One: The Embodiment of the Maternal Character..................................................... 6 To Construct a Body within an Understanding of Male Dublin ................................................. 7 A Feminist Critical Interrogation of the Vital Fiction of Paternity ........................................... 16 Constructing the Maternal Body in Mary Dedalus and Molly Bloom ..................................... -
University of Victoria Special Collections Freund, Gisèle SC043
University of Victoria Special Collections Freund, Gisèle SC043 Title Gisèle Freund fonds Dates 1963-1966 Extent 11 cm of textual records 161 photographs Biographical Sketch Gisèle Freund was a photographer and writer who lived in Paris, France. Freund collaborated on the book "James Joyce in Paris: His Final Years" with V.B. Carleton (Verna). Scope and Content The fonds consists mainly of manuscript, correspondence, and photographs relating to the book "James Joyce in Paris: His Final Years". Included are a typescript "On Photographing Joyce" with holo. notes; Freund's photographs with a typescript list of those not included in the book; Carleton's typescript and her typescript translation of the preface; a dummy copy for the book; galley proofs; a paste up of the title page; and a few photos and sample text. Also included are: a newspaper account of the book in “Le Figaro”; a holograph preface written by Simone de Beauvoir; release letters from people included in the book, among them Henry Miller. Finding Aids File list available. Title Source Title based on the contents of the fonds. Freund, Gisèle 1997-039 Materials related to "James Joyce in Paris: His Final Years by Gisèle Freund and V.B. Carleton with a Preface by Simone de Beauvoir PR6019/O9Z5333/1965 Box 1 1.1 Private correspondence 1963-1965 relating to James Joyce in Paris, plus Freund's tss of her Joyce Homage Lecture, 1966. item #31 1.2 GF's First Notes of Text. item #2 tss. text of book item #3 tsc. GF's "On Photographing Joyce" item #4 tsc, corr. -
Salons by Robin Imhof
Salons by Robin Imhof Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Mabel Dodge Luhan Reprinted from http://www.glbtq.com (above) established a colorful salon in her Fifth Avenue Apartment in No one has disputed the significant contribution of women in the cultural history of New York City. salons, but what is often overlooked in mainstream publications on the topic is that Photograph by Carl van many of these salon hostesses and attendees were lesbian, bisexual, or gay. Vechten, April 12, 1934. Library of Congress Prints and Photographs Eighteenth- and Nineteenth-Century Parisian Salons Division. The tradition of literary gatherings began in Renaissance France and Italy, but it was in eighteenth-century Paris that the salon gained prominence for lively intellectual conversation in the fields of arts and letters. The hostesses of these events were typically women of some distinction, whether by title or personal wealth. The meetings were often referred to by the day of the week on which they were held. Topics of conversation ranged from (but were not limited to) matters of literary and social taste and, increasingly, political issues. Salon conversation was characterized by a blend of wit and oral brilliance. A notable salon hostess of eighteenth-century Paris was Madeleine de Scudéry. Famous for her "Saturdays of Sappho," she recreated salon society in her novels. What is striking about these assemblies is that they were presided over by women, a rare example of female control in a literary realm. During the nineteenth century, Paris salons became showcases for musicians such as Chopin and Liszt. -
Pierrot Lunaire
Words and Music Liverpool Music Symposium 3 Words and Music edited by John Williamson LIVERPOOL UNIVERSITY PRESS First published 2005 by LIVERPOOL UNIVERSITY PRESS 4 Cambridge Street, Liverpool L69 7ZU Copyright © Liverpool University Press 2005 All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior written permission of the publishers. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data applied for 14 13 12 11 10 09 08 07 06 05 10 9 8 7 6 5 4 3 2 1 ISBN 0-85323-619-4 cased Every effort has been made to contact copyright holders and the publishers will be pleased to be informed of any errors or omissions for correction in future editions. Edited and typeset by Frances Hackeson Freelance Publishing Services, Brinscall, Lancs Printed in Great Britain by MPG Books, Bodmin, Cornwall Contents Notes on Contributors vii Introduction John Williamson 1 1 Mimesis, Gesture, and Parody in Musical Word-Setting Derek B. Scott 10 2 Rhetoric and Music: The Influence of a Linguistic Art Jasmin Cameron 28 3 Eminem: Difficult Dialogics David Clarke 73 4 Artistry, Expediency or Irrelevance? English Choral Translators and their Work Judith Blezzard 103 5 Pyramids, Symbols, and Butterflies: ‘Nacht’ from Pierrot Lunaire John Williamson 125 6 Music and Text in Schoenberg’s A Survivor from Warsaw Bhesham Sharma 150 7 Rethinking the Relationship Between Words and Music for the Twentieth Century: The Strange Case of Erik Satie Robert Orledge 161 vi 8 ‘Breaking up is hard to do’: Issues of Coherence and Fragmentation in post-1950 Vocal Music James Wishart 190 9 Writing for Your Supper – Creative Work and the Contexts of Popular Songwriting Mike Jones 219 Index 251 Notes on Contributors Derek Scott is Professor of Music at the University of Salford. -
Let Me Take You Down to the Very Beginning, Which Is Always a Very
GENETIC JOYCE STUDIES – Issue 12 (Spring 2012) Before King Roderick Became Publican in Chapelizod The origins of the origins of Finnegans Wake Robbert-Jan Henkes Let me take you down to before the beginning of what would become, in the end, Finnegans Wake, that dark and wordheavy raincloud, and how it grew from an unlikely drop of water vapour. To the very conception and the first shaky words of that living nightmare. What Rose and O’Hanlon call ‘the Ulysses-Finnegans Wake interface,’ and which Joyce refers to in the final Wake as ‘the beginning of all thisorder’ (FW 540.19) 1922. Ulysses was shining Greekflagblue in the window of Shakespeare and Company, Sylvia Beach’s bookshop with lending library in the Rue de l’Odéon in Paris. I say was shining, because now a sign “Ulysses by James Joyce is sold out” is shining, pasted on Greekflagblueandwhite graph paper in her window. [In: James Joyce’s Letters to Sylvia Beach, ed. Banta & Silverman, Plantin 1987, p.106] All 750 copies of the first edition are gone. After seven years of toils and troubles, trials and tribulations, it was finally published, the novel that would be voted Novel of the Twentieth Century. Joyce calculated that the book, weighing 1550 grams and astrono- mically priced at 150 francs, was written at 21 addresses and that it had taken him 20.000 hours of work. Readers and critics agree that this is the limit, or even shockingly sur- 1 passing any limit, whether it is of speeding, indecency, incomprehensibility or sheer volume. -
Ulysses’ | Mercerspace.Com
The woman who gave us ‘Ulysses’ | MercerSpace.com http://www.mercerspace.com/commentary/the-woman-w... The woman who gave us ‘Ulysses’ By: Mercerspace April 2, 2015 Pia De Jong at the Firestone Library with the original metal sign from Sylvia Beach’s book store, Shakespeare and Company. March 14 is Pi Day in most of the world, but in Princeton it is most visibly Albert Einstein Day. It’s his birthday, and this year of the Super-Pi — 3.14.15 — the streets are filled with kids wearing frizzy white wigs, smoking toy pipes and trying to win the Einstein lookalike contest. My friend does not care so much for all these cute little mini-Einsteins. “You know,” she says to me, “March 14 is also the birthday of Sylvia Beach. She was one of Princeton’s most important residents. But no one celebrates her, even though she grew up here. All her life she was overshadowed by great men. And even after she’s dead, exactly the same thing still happens.” Beach and Einstein, two revolutionaries of the 20th century. He was a man of numbers, she was a woman of words. In old photographs Einstein scribbles formulas on a blackboard; Beach reads from behind her desk. Einstein talks with Bohr, Ehrenfest and Lorentz; Beach talks to Hemingway, Fitzgerald and of course to James Joyce, wearing his trademark eye patch. Sylvia was 14 when her father, pastor of the Presbyterian Church and a friend of Woodrow Wilson, took the family to Paris in 1902. She immediately fell in love with the City of Light. -
France En Vacances, by Amit Pieter 11 Peaceful Paris, by Natalie Hideg 12 Les Bals Des Pompiers, by Tenday O
Spire The Beacon on the Seine July/August 2014 The American Church in Paris ACP Spire, July / August 2014 In this issue Thoughts from the Rev. Dr. Scott Herr 3 Vacation Bible School, by Allison Wheeler 4 InSpired, by Rev. Michelle Wahila 5 Painting with the Spirit, review by Rev. Scott Herr 6 Success: Run to Jerusalem, by Megan Staley The present persecuted Church, by Rev. Dan Haugh 7 Wedding goodbye, by Ilinca Mreana 8 Working weddings, by Rev. Kit Schooley 9 Summer in Paris Summer listings, by Karen Albrecht 10 France en vacances, by Amit Pieter 11 Peaceful Paris, by Natalie Hideg 12 Les bals des pompiers, by Tenday O. Chirawu 13 Who put that Bible in my hotel room? by Amit Pieter 14 Summer walking tours, by Rebecca Brite 14 200th anniversary Stratford-on-Odéon, by Rebecca Brite 15 ACP history, by Alison Benney 16 Paris libéré, by Lisa Previtt 18 Paris Home Companion, by Tim Holm 19 Care & feeding of ACP receptionists, by Alison Benney 20 Summer Music Notes, by Fred Gramann Back from over the wall 21 Heartfelt music from Hartford 23 Broadway comes to ACP 25 International music festival at ACP 25 Youth choirs concert, by Ellen Kountz 27 Still Point, Fete de la Musique 27 Movie Discussion Group 28 ACP missions Greetings from Tanzania, by JoAnn Neal 30 Rafiki village, Uganda, by Patti Lafarge 33 Following our Destiny, by Destiny E. Ryales 33 July/August calendar 34 On the cover: Photo by Fred Gramann The American Church in Paris 2 ACP Spire, July / Augustwww.acparis.org 2014 65 quai d’Orsay, 75007 Paris +331.40.62.05.00 Thoughts from The Rev. -
Anglophone Literary Development in 1920'S Paris
Anglophone literary development in 1920’s Paris Adrien Pernelet To cite this version: Adrien Pernelet. Anglophone literary development in 1920’s Paris. Education. 2019. hal-02351043 HAL Id: hal-02351043 https://hal-univ-fcomte.archives-ouvertes.fr/hal-02351043 Submitted on 6 Nov 2019 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 Mémoire présenté pour l'obtention du Grade de MASTER “Métiers de l’Enseignement, de l’Éducation et de la Formation” Mention 2nd degré – ANGLAIS sur le thème Anglophone literary development in 1920's Paris HALVERSON, Krista. A History of the Rag & Bone Shop of the Heart. Paris: Shakespeare and Company, 2016, p.371. Projet présenté par Adrien PERNELET Directrice : Mme Jennifer MURRAY (UFR SLHS, ESPE de Franche-Comté) Assesseur : Mme Isabelle SICARD (UFR SLHS, ESPE de Franche-Comté) Année universitaire 2018 – 2019 Acknowledgments: I am grateful to Mrs Jennifer MURRAY for her patience and constructive guidance that helped me carrying out this project. I am also grateful to my parents for having supported my studies to their own extent. I would like to thank Emilie MARGUET for always being there for me and for believing in my work and believing in me. -
Bricktop and Sylvia Beach in Interwar Paris. (Under the Direction of Dr
ABSTRACT BILLHEIMER, SARAH GRACE. Champagne and Shakespeare: Bricktop and Sylvia Beach in Interwar Paris. (Under the direction of Dr. Katherine Mellen Charron.) The names “Bricktop” and “Sylvia Beach” appear sprinkled throughout histories of the expatriate experience of Paris in the 1920s and ‘30s. Bricktop’s nightclubs on the Right Bank of the Seine River, and Shakespeare and Company, Sylvia Beach’s bookshop on the river’s Left Bank, served as two of the most popular gathering places for Paris’s native and foreign residents. Sylvia Beach is well-represented in scholarly studies of the Lost Generation of writers, artists, and intellectuals, and was the subject of a lengthy biography, but Bricktop has received less serious attention. This thesis compares and contrasts her life with that of her contemporary Sylvia Beach, in an attempt to establish Bricktop as Beach’s equal in the position of hostess to the City of Light’s illustrious expatriates. Relying on archival sources, each woman’s own published account of her life in Paris, the published letters and remembrances of fellow expatriates, and related secondary sources, this study thus also challenges the simplistic divisions that have crept into our common conceptions of interwar Paris. Literary memoirs like Ernest Hemingway’s A Moveable Feast, or even scholarly treatments such as William A. Shack’s chronicle Harlem in Montmartre: A Paris Jazz Story Between the Great Wars, have contributed to a stratified portrait of Paris’s expatriate community, often separated according to gender, race, class, profession, and location. While such distinctions certainly did exist, examining the lives and careers of Bricktop and Sylvia Beach reveals a fascinating, and more complicated network of social and commercial connections among the various sets of international celebrities in Paris than we have usually acknowledged.