Dylan Thomas's expressive, highly imaginative re-creation of forms and language intimately portrays his inner self and his time, earning him renown as one of the "great individualists of modern art." In this contemplative, focused study of poems, stories and other works by Thomas, including Portrait of the Artist as a Young Dog and Under Milk Wood, Barbara Hardy emphasizes his creative achievements and high intelligence, analyzing his regional identity; response to other writers, especially James Joyce; modernist style; subject matter; use of language; and themes of art and the natural world. Thomas, a Welsh writer, never a nationalist, put into his writing a subtle response to regional landscape, particular people and places, and social context, including the 1930s depression, rural poverty, and war. His poetry and prose are passionate, sensuous, and artistically self-aware. The poetry is especially congenial in its imaginative celebration of greenness--literal, metaphorical, and political. To adapt the words of Charles Lamb, the poet is in "love with this green earth." Hardy describes Thomas as a resourceful "language-changer" who, like Shakespeare, Dickens, Hopkins, and Joyce, transforms the English language. Through writing so uniquely inventive that it alters the reader's perception of language, Thomas left us with works that are as fresh and relevant to today's world as they were at their debut.
This first full length study of Quakers Charity and Thomas Rotch, early New England settlers to northeast Ohio (1811–1824) explores their role in the transformation of the frontier environment from wilderness to a prosperous market town. The book utilizes a wide selection of archival sources to provide insights into early community building in Ohio. The letters of Charity Rotch suggest that Quaker women forged particular sorts of relationships that encouraged their interconnections and interdependence. Women also recognized the significance of gender in their lives as they defined themselves collectively as women. The vocabulary and the cultural grammar that women used to reinforce kinship ties were crucial to building and maintain their faith communities over extended geographic distances. This book will be of interest to scholars of early Ohio economic history and development, Quaker history and settlement in Ohio, gender, and the household in 19th century American history.
For over a hundred years, the journal of the Irish poet Thomas Moore (1779-1852) was thought to have been destroyed. In 1967 the manuscript was found in the archives of the Longman Publishing House in London. This edition, to be published in six volumes, reveals the essential Moore and introduces the reader to the daily, personal record of Moore's life from 1818 to 1847. The journal begins as an accurate rendering of the author's daily life and ends as a tragic reflection of a failing memory and a deteriorating mind.
The author offers close readings of Thomas Hardy's poetry and novels, regarding these as expressive forms of everyday and professional acts of the imagination. Hardy is placed in the long tradition of writers who subject is not art but imagination and whose most interesting aesthetic introspectionÆs, like those of Jane Austen and George Eliot, are oblique or sub-textual. So what the reader follows here is Hardy's imagining of imagination in his elegies and nature poems and in his major characters from Gabriel Oak to Tess and Jude.The themes and forms examined by Barbara Hardy include narrative, conversation, gossip, memory, gender, poetry of place and imaginative thresholds. Altogether the study is a lucid and accessible introduction, which locates Hardy's place in the tradition of English literature.
Thomas Welles (ca. 1590-1660), son of Robert and Alice Welles, was born in Stourton, Whichford, Warwickshire, England, and died in Wethersfield, Connecticut. He married (1) Alice Tomes (b. before 1593), daughter of John Tomes and Ellen (Gunne) Phelps, 1615 in Long Marston, Gloucestershire. She was born in Long Marston, and died before 1646 in Hartford, Connecticut. They had eight children. He married (2) Elizabeth (Deming) Foote (ca. 1595-1683) ca. 1646. She was the widow of Nathaniel Foote and the sister of John Deming. She had seven children from her previous marriage.
Thomas Welles (ca. 1590-1660), son of Robert and Alice Welles, was born in Stourton, Whichford, Warwickshire, England, and died in Wethersfield, Connecticut. He married (1) Alice Tomes (b. before 1593), daughter of John Tomes and Ellen (Gunne) Phelps, 1615 in Long Marston, Gloucestershire. She was born in Long Marston, and died before 1646 in Hartford, Connecticut. They had eight children. He married (2) Elizabeth (Deming) Foote (ca. 1595-1683) ca. 1646. She was the widow of Nathaniel Foote and the sister of John Deming. She had seven children from her previous marriage.
Thomas Welles (ca. 1590-1660), son of Robert and Alice Welles, was born in Stourton, Whichford, Warwickshire, England, and died in Wethersfield, Connecticut. He married (1) Alice Tomes (b. before 1593), daughter of John Tomes and Ellen (Gunne) Phelps, 1615 in Long Marston, Gloucestershire. She was born in Long Marston, and died before 1646 in Hartford, Connecticut. They had eight children. He married (2) Elizabeth (Deming) Foote (ca. 1595-1683) ca. 1646. She was the widow of Nathaniel Foote and the sister of John Deming. She had seven children from her previous marriage.
The granddaughter of southern sharecroppers who migrated to Seattle in the mid 1940s, renowned artist Barbara Earl Thomas expresses in her art a dual heritage, translating southern roots and culture into a Northwestern landscape. STORM WATCH is a radiant book, offering a richly satisfying combination of luminous images and the written word. It includes a color sequence of more than 20 of Thomas's powerful paintings. 28 illustrations. 20 in color.
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