This newly revised study examines thematic elements in Christina Rossettis poetry in order to celebrate and explain an important, undervalued writer and her remarkable artistic quest to achieve an original voice. Critics rightly applaud Rossettis metrical craftsmanship and song-like lyrical phrasings, but over-attention to formal felicities can impede proper interpretation of content. Through detailed readings of selected poems, this book demonstrates that Rossettis rigorously controlled use of language and innovative symbolism combine to create radical, hidden inter-textual levels of meaning beyond those attainable via biographical decoding, making her a singular bridge between Romanticism and Modernism. From earliest secular interactions with Romantic and Tractarian thought, through Goblin Market (1862) and The Princes Progress (1866), Rossettis verse resists straightforward interpretation by subtly interrogating and subverting the patriarchal traditions of writing that it simultaneously extends: love lyric, fairy tale, quest myth, and sonnet. Persuasively constructing a case for the inability of male-ordained poetics to cope with the expression of active female identity, Monna Innominata (1881) deconstructs lyric tradition, casting together medieval, renaissance, Romantic and Victorian ideologies. This groundbreaking sonnet cycle disturbs poetic conventions and forms the most concentrated, sustained demonstration of the struggle to articulate the female self to be found in Rossettis oeuvre, perhaps in literary history. The painful sense of irresolution and despair pervading Monna Innominata sheds important light upon Christina Rossettis exclusive production of devotional literature during her final years.
Paul Hullahs poems are unlike any others today. They are not only very good but very direct and moving. And they possess a shapeliness and clarity that other poets today might envy. Their beauty is as enigmatic as it is straightforward. JOHN BAYLEY Fine poems, some with an enchantment that touches me deeply. IRIS MURDOCH Why isnt Paul Hullahs verse better known? He often deals with poignantly transient erotic relationships, within a European tradition that goes back to the troubadours. He does so with modesty and wry humour... His rhythms suggest on one hand rock lyrics, on the other the virtuoso technical versatility of Romantic and post-Romantic nineteenth century writers. But his conversational personality is very much his own. I think that only a very stuffy or bigoted proponent of some other kind of poetry could resist that candid, rueful, singing personality. ANGUS CALDER [Hullah] seems softer than he once did. Maybe even fragile He now exercises that honesty in his poems, but with considerable skill, and surprising tenderness. SHIRLEY MANSON
Throughout the long nineteenth-century the sounds of liberty resonated across the Anglophone world. Focusing on radicals and reformers committed to the struggle for a better future, this book explores the role of music in the transmission of political culture over time and distance. Following in the footsteps of relentlessly travelling activists – women and men - it brings to light the importance of music making in the lived experience of politics. It shows how music encouraged, unified, divided, consoled, reminded, inspired and, at times, oppressed. The book examines iconic songs; the sound of music as radicals and reformers were marching, electioneering, celebrating, commemorating as well as striking, rioting and rebelling; and it listens within the walls of a range of associations where it was a part of a way of life, inspiring, nurturing, though at times restrictive. It provides an opportunity to hear history as it happened.
French Music in Britain 1830–1914 investigates the presence, reception and influence of French art music in Britain between 1830 (roughly the arrival of ‘grand opera’ and opéra comique in London) and the outbreak of the First World War. Five chronologically ordered chapters investigate key questions such as: * Where and to whom was French music performed in Britain in the nineteenth century? * How was this music received, especially by journal and newspaper critics and other arbiters of taste? * What characteristics and qualities did British audiences associate with French music? * Was the presence and reception of French music in any way influenced by Franco-British political relations, or other aspects of cultural transfer and exchange? * Were British composers influenced by their French contemporaries to any extent and, if so, in what ways? Placed within the wider social and cultural context of Britain’s most ambiguous and beguiling international relationship, this volume demonstrates how French music became an increasingly significant part of the British musician’s repertory and influenced many composers. This is an important resource for musicologists specialising in Nineteenth-Century Music, Music History and European Music. It is also relevant for scholars and researchers of French Studies and Cultural Studies.
Still None the Wiser is the final instalment of a memoir sub-titled A Mid-Century Passage, 1932 1967. Part travel, part biographical memoir, part history. It is as much a social and political record of the closing period of colonial West Africa as an account of the quirks and foibles of the British (and other) expatriates at the end of Empire. In 1954 the author aged 22, thwarted in love in London, joined an often eccentric group of expatriates who ran the oldest colonial Bank in West Africa. In Ghana and in Nigeria he experienced the passing of an era. Eric Robson the TV presenter wrote of None the Wiser and its sequel set against an historical background of Britain at war and mislaying an Empire (he) gives us a fascinating glimpse of a lost world. This final part of that memoir ends as Harold MacMillans Winds of Change blow the white man out of Africa. The setting is a long-gone Africa which at its passing was known to few. In earlier centuries of European contact the West African Coast became The White Mans Grave, when the author arrived it had become The White Mans Headache. As the author rightly says, this book is not for the faint-hearted or the nervously disposed. It is probably unsuitable for vegetarians and political correctness remained an unknown concept when many of the incidents he describes occurred. It took many years in the writing and perusing of old notes and diaries, names had to be changed not so much to protect the innocent (who as always are few in number) as much as to avoid offending the survivors among that fast dwindling band of those who were once known as Old Coasters. It perhaps describes a more honest world than we live in today.
In the 1940s and '50s, Richard Dyer-Bennet (1913-1991) was among the best known and most respected folk singers in America. Paul O. Jenkins tells, for the first time, the story of Dyer-Bennet, often referred to as the "Twentieth-Century Minstrel." Dyer-Bennet's approach to singing sounded almost foreign to many American listeners. The folk artist followed a musical tradition in danger of dying out. The Swede Sven Scholander was the last European proponent of minstrelsy and served as Dyer-Bennet's inspiration after the young singer traveled to Stockholm to meet him one year before Scholander's death. Dyer-Bennet's achievements were many. Nine years after his meeting with Scholander, he became the first solo performer of his kind to appear in Carnegie Hall. This book argues Dyer-Bennet helped pave the way for the folk boom of the mid-1950s and early 1960s, finding his influence in the work of Joan Baez, Judy Collins, and many others. It also posits strong evidence that Dyer-Bennet would certainly be much better known today had his career not been interrupted midstream by the anticommunist, Red-scare blacklist and its ban on his performances. .
Frontcover -- Contents -- List of Illustrations -- Plate Section 1 -- Plate Section 2 -- Plate Section 3 -- Preface -- Acknowledgements -- List of Abbreviations -- List of Cathedral Organists -- 1 Origins -- 2 A Fortuitous and Friendly Proposal -- 3 A Numerous Appearance of Gentry -- 4 'The Musick of my Admiration Handel' -- 5 The Gentlemen and the Players -- 6 Avoiding Shipwreck -- 7 Prima voce -- 8 Favourites and Flops -- 9 Sacred and Profane -- 10 Froissart -- 11 The Unreasonable Man -- 12 The Dream -- 13 Beyond these Voices -- 14 An Essentially English Institution -- 15 The Elgar Festivals -- 16 Dona nobis pacem -- 17 Recovery -- 18 Association -- 19 A New Epoch -- 20 Jubilee -- 21 Theme with Variations -- 22 Houses of the Mind -- 23 'A Gold-Plated Orchestra' -- 24 A New Millennium -- 25 Reorganisation -- 26 An Invitation to the Palace -- Appendix: Three Choirs Festival Timeline -- Select Bibliography -- Index
Few writers have had a greater impact upon British society than Charles Dickens. His stories, and, in particular, his many memorable characters, highlighted the life of the forgotten poor and disadvantaged within society at a time when Britain was the leading economic and political power in the world. Dickens’ portrayal of the poor, such as Oliver Twist daring to ask for more food in the parish workhouse, and Bob Cratchit struggling to provide for his family at Christmas, roused much sympathy and an understanding of the poor and the conditions in which they lived. This led to many people founding orphanages, establishing schools to educate the underprivileged, or to set up hospitals for those who could not afford medical treatment – one such was Great Ormond Street Children’s Hospital where one of its wards was named after the great writer. Little wonder, then, that his legacy can be found across the UK. From the buildings where he lived, the inns and hotels he frequented, the streets and towns which formed the backdrop to his novels and short stories, to the places where he gave readings or performed his own amateur dramatic productions to raise funds for his philanthropic causes. Dickensian memorabilia also abound, including his original manuscripts to his famous works and letters to his wife. Many of these have been woven in a single volume which transports the reader magically through stories and images into the Dickensian world of Victorian Britain.
What makes a city an economic, political, and cultural center? In The Places Where Men Pray Together, Paul Wheatley draws on two decades of astonishingly wide-ranging research to demonstrate that Islamic cities are defined by function rather than form—by what they do rather than what they are. Focusing on the roles of cities during the first four centuries of Islamic expansion, Wheatley explores interconnected cultural, historical, economic, political, and religious factors to provide the clearest and most extensively documented portrait of early Islamic urban centers available to date. Building on the tenth-century geographer al-Maqdisi's writings on urban centers of the Islamic world, buttressed by extensive comparative material from roadbooks, topographies, histories, adab literatures, and gazetteers of the time, Wheatley identifies the main functions of different Islamic urban centers. Chapters on each of the thirteen centers that al-Maqdisi identified, ranging from the Atlantic to the Indus and from the Caspian to the Sudan, form the heart of this book. In each case Wheatley shows how specific agglomeration and accessibility factors combined to make every city functionally distinct as a creator of effective space. He also demonstrates that, far from revolutionizing every aspect of life in these cities, the adoption of Islam often affected the development of these cities less than previously existing local traditions. The Places Where Men Pray Together is a monumental work that will speak to scholars and readers across a broad variety of disciplines, from historians, anthropologists, and sociologists to religious historians, archaeologists, and geographers.
James I "the Conqueror", king of Arago-Catalonia, conquered Mediterranean Spain from Islam during fifty crusading years (1225-1276). From his many surrender treaties, only two survive in their interlinear bilingual originals, both presented here. Each reflects the fragmentation of post-Almohad Islam, the warrior heroes of Islam carving recalcitrant principalities out of the confusion, the hard-fought local negotiations and the confrontation between two radically opposed mentalities. The full meaning of these battered and deteriorated bits of parchment emerges only from minute reconstruction of the Arabic and Latinate texts and especially from ever-widening circles of changing contexts in each world, an historical kaleidoscope. Many surprises here await students of medieval Europe, the Islamic West, Spain, the Crusades, diplomacy, Mudejars/Moriscos, and cultural conflict and interchange.
Frontcover -- Contents -- List of Figures -- Preface and Acknowledgements -- Chronology of Newman's Life and Works -- Abbreviations -- 1 Ernest Newman and the Challenge of Critical Biography -- PART I The Freethought Years -- 2 Formation of a Critical Sensibility: The 1880s and 1890s -- 3 Social, Literary and Musical Criticism: 1893-1897 -- 4 A Rationalist Manifesto: Pseudo-Philosophy at the end of the Nineteenth Century, 1897 -- 5 Music History and the Comparative Method: Gluck and the Opera, 1895 -- PART II The Mainstream Years -- 6 From Manchester to Moscow: Essays on Music, 1900-1920 -- 7 'The World of Music': Essays in the Sunday Times, 1920-1958 -- 8 Biographical and Musicological Tensions: The Man Liszt, 1934 -- 9 Sceptical and Transforming: Books on Wagner, 1899-1959 -- 10 Conclusion: Ernest Newman Remembered -- Appendix: Newman's Freethought Lectures, 1894-1896 -- Bibliography -- Index
This newly revised study examines thematic elements in Christina Rossettis poetry in order to celebrate and explain an important, undervalued writer and her remarkable artistic quest to achieve an original voice. Critics rightly applaud Rossettis metrical craftsmanship and song-like lyrical phrasings, but over-attention to formal felicities can impede proper interpretation of content. Through detailed readings of selected poems, this book demonstrates that Rossettis rigorously controlled use of language and innovative symbolism combine to create radical, hidden inter-textual levels of meaning beyond those attainable via biographical decoding, making her a singular bridge between Romanticism and Modernism. From earliest secular interactions with Romantic and Tractarian thought, through Goblin Market (1862) and The Princes Progress (1866), Rossettis verse resists straightforward interpretation by subtly interrogating and subverting the patriarchal traditions of writing that it simultaneously extends: love lyric, fairy tale, quest myth, and sonnet. Persuasively constructing a case for the inability of male-ordained poetics to cope with the expression of active female identity, Monna Innominata (1881) deconstructs lyric tradition, casting together medieval, renaissance, Romantic and Victorian ideologies. This groundbreaking sonnet cycle disturbs poetic conventions and forms the most concentrated, sustained demonstration of the struggle to articulate the female self to be found in Rossettis oeuvre, perhaps in literary history. The painful sense of irresolution and despair pervading Monna Innominata sheds important light upon Christina Rossettis exclusive production of devotional literature during her final years.
This book focuses on worship in the letters of Paul in an effort to shed some light upon this key theme and bring the various dimensions of its significance into the foreground of Pauline studies.
Two times govern Paul's thought world: the death and resurrection of Jesus, marking the origin of the believer's life; and Christ's return or parousia, culminating God's purposes with this world. Between these two times Paul is concerned about how believers behave-how they walk. J. Paul Sampley provides a guidebook for all who want to understand Paul's thought world, his moral reasoning, and the resources for deliberation that Paul considers available to believers.
The St. Paul Center for Biblical Theology and Dr. Scott Hahn present the eleventh annual edition of Letter & Spirit with the theme "Our Beloved Brother Paul." The articles, while academic in nature, are easily accessible to the average reader and can be read with great profit, both spiritually and in coming to learn the truths of the Catholic faith more deeply.
A one-man think tank, Paul Goodman wrote more than 30 books, most of them before his decade of fame as a social critic in the 1960s. Goodman in those earlier days thought of himself mostly as an old-fashioned man of letters, and to do justice to his wide-ranging interests and growing activism, this compendium provides excerpts that span his entire career, from the bestselling Growing Up Absurd to landmark books on anarchism, community planning, education, poetics, and psychotherapy. Goodman's fiction and poetry are represented by The Empire City, a comic novel; prize-winning short stories; and poems that once led America's most respected poetry reviewer, Hayden Carruth, to exclaim, "Not one dull page. It's almost unbelievable.
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