Eminent literary and scientific men of Italy, Spain, and Portugal ...

By J. Montgomery, Mrs. Shelley and others.

A new classical dictionary of Greek and Roman biography, mythology, and geography, partly based upon the Dictionary of Greek and Roman biography and mythology.

"Chronological tables of Greek and Roman history, civil and literary, from the first Olympiad, B.C. 776, to the fall of the Western Empire, A.D. 476. With tables of Greek and Roman measures, weights, and money. Ed. by William Smith ... ": p. [957]-1039.

Literary recreations,

The art of biography [printed in the "National review, April 1914]"--Some remarks on Ruskin's style.--The art of indexing.--Fifty years of a literary magazine [written for Jubilee number of the Cornhill (Jan. 1910)]--Literature and modern journalism.--Words and the war.--A study in superlatives.--The poetry of a painter.--The second thoughts of poets.

Literary Coteries and the Making of Modern Print Culture, 1740-1790 /

Literary Coteries and the Making of Modern Print Culture, 1740-1790 offers the first study of manuscript-producing coteries as an integral element of eighteenth-century Britain’s literary culture. As a corrective to literary histories assuming that the dominance of print meant the demise of a vital scribal culture, the book profiles four interrelated and influential coteries, focusing on each group’s deployment of traditional scribal practices, on key individuals who served as bridges between networks, and on the aesthetic and cultural work performed by the group. Literary Coteries also explores points of intersection between coteries and the print trade, whether in the form of individuals who straddled the two cultures; publishing events in which the two media regimes collaborated or came into conflict; literary conventions adapted from manuscript practice to serve the ends of print; or simply poetry hand-copied from magazines. Together, these instances demonstrate how scribal modes shaped modern literary production.

The best books: a reader's guide and literary reference book, being a contribution towards systematic bibliography,

Parts 1, 2, 4 and 5 issued with cover-titles only. Title-pages, with original date, were issued for all volumes with part 6.

The mermaid series of Elizabethan and Jacobean dramatists (1887-1909): a literary and critical history

The Mermaid Series (1887-1909) edited by Havelock Ellis was a major watershed in appreciation of Elizabethan and Jacobean drama. Before it appeared plays were available to general readers in scattered anthologies, large expensive collected editions or in expurgated selections which included only the more lyrical speeches and memorable scenes. Criticism of the drama followed suit; the majority of critics concentrated on the sections which appealed to the romantic and sentimental tastes of nineteenthcentury readers. The two men who conceived the Mermaid Series, John Addington Symonds and Havelock Ellis, approached the drama differently from their contemporaries; Symonds studied a play as a whole work of art and Ellis concentrated on its view of life. Both were unsatisfied with the "select beauties", fragmented approach and wanted readers to have the best plays in their entirety easily available in handy, inexpensive editions. Symonds's awareness of the drama as theatre was combined with a historical perspective allowing him to judge the drama in relation to its own time. He made a lasting but hitherto underestimated contribution to study of Beaumont and Fletcher, Dekker, Marlowe, and Ford. Ellis's work on the drama is overshadowed today by his studies of sex but his concentration on ideas and appreciation of unconventional behaviour enabled him to formulate new views on Ford, Middleton and Chapman. The two other major editors to work on the series, A. C. Swinburne and Arthur Symons had more conventional nineteenth-century approaches. Both were impressionistic critics who were most attracted to the l~nguage of the drama. Swinburne, however, occasionally transcended his fragmented approach and offered significant interpretations of Tourneur, Massinger; 'The .Changeling, Heywood. Symons's range was more limited but his form of impressionism was valuable for its concentration on the aesthetic experience at the heart of a work of art. His most important contributions were the study of Middleton and Massinger. Besides these four major critics numerous lesser writers worked on the series. Their editorial work was valuable and some, notably Ernest Rhys, c. H. Herford and Thomas Dickinson offered criticism of enduring importance. In my first chapter I consider the general availability of texts of the Elizabethan and Jacobean drama in the nineteenth century, the general attitudes towards the drama, and the critical approaches of each of the editors. The subsequent chapters are organized around the volumes of the series. I consider the climate of opinion in which each appeared, assess its critical and editorial contribution and evaluate the work of the other Mermaid editors on the dramatist included in the volume. My study shows that the concept of the Mermaid Series and the work of its editors helped to revolutionize study of the Elizabethan and Jacobean dramatists by providing good texts and by pointing the way to our present view of the plays as whole works of art.

Biography of a Road : Past and Present of the Siberian Doroga Lena

Peer reviewed

Audience at Robin Morgan's reading at the Woman's Literary Salon

Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

Woman whispers to friend at the Woman's Literary Salon

Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

The Essay as Art Form

Beginning with Montaigne’s essayistic dictum Que sais je? — ‘What do I know?’ — this PhD thesis examines the literary history, formal qualities, and theoretical underpinnings of the personal essay to both investigate and to practice its relevance as an approach to writing about art. The thesis proposes the essay as intrinsically linked to research, critical writing, and art making; it is a literary method that embodies the real experience of attempting to answer a question. The essay is a processual and reflexive mode of enquiry: a form that conveys not just the essayist’s thought, but the sense and texture of its movement as it attempts to understand its object. It is often invoked, across disciplines, in reference to the possibility of a more liberal sense of creative practice — one that conceptually and stylistically privileges collage, fragmentation, hybridity, chance, open-endedness, and the meander. Within this question of the essay as form, the thesis contains two distinct and parallel strands of analysis — subject matter and essay writing as research. At the core of the study lie two close-readings: Ana Mendieta’s Labyrinth of Venus (1982) and Le Couvent de la Tourette (1959) by Le Corbusier and Iannis Xenakis. In each case, the writing draws, in its tone and texture, on a range of literary influences, weaving together different voices, discussions, and approaches to enquiry. The practice of essay writing is presented alongside, part and party to, research: a method of interrogation that embraces risk and uncertainty, and simultaneously enacts its own findings as a critical-creative mode of study-via-form, and form-via-study. The thesis is presented as a book-length essay, in which the art in question is equal and intimately connected to the writing used to address it. Method and form are designed to respond to the oft-cited challenge of the essay as fundamentally unmethodical, ranging, and diverse. Research, critical study, writerly description, and storytelling are combined to elucidate and expose each other based not on surface continuity, but on a deep interconnection among ideas that, through language, cohere and become related — imbued with an affinity for one another. The consummate product is the argument, as it works across genres, disciplines, descriptive and critical models, to challenge the narrative structure and language used within contemporary writing about art.

Music teacher biography and its impact on teaching practice

This paper describes research carried out as part of a wider doctoral study on ‘the biography of music teachers, their understanding of musicality and the implications for secondary music education’. Music teachers will come from a range of diverse backgrounds, though research data would suggest that most seem to have been educated as ‘classical’ music performers which will have an affect on what they perceive to be central competencies in the development of young musicians. In turn, this will determine, to some extent, what is taught and learned in the secondary music classroom. This study explores the impact of the biography of secondary music teachers as they seek to develop the musicianship of their pupils and present the activities in which the young people will be expected to participate. A mixed methods approach has been taken, including surveys, observation and interviews. Surveys amongst a sample of experienced and trainee teachers have produced a range of quantitative data on respondents’ experience of and values related to music education; whilst qualitative data in the form of lesson observation notes and transcription of semi-structured interviews have been the result of working with a small sub-set of participants. The outcomes of study have suggested a clear link between biography and classroom practice but that there are also other potential tensions which arise, such as in the subject knowledge development of practitioners as they move from musician to teacher. Implications for a variety of stakeholders in secondary music education include a consideration of the development of subject knowledge together with potential review of national and local education policy, the nature of undergraduate music study and the ‘shape’ of initial teacher training in England.

Historia de la dirección escénica en España: Miguel Narros

The year 2013 saw the passing of Miguel Narros, one of the most outstanding men of theatre of recent decades, and a creator to whom we remain in debt today. His extensive legacy deserves a special place in our memory and stands as a subject of study of the keenest interest, in view of the increasing amount of research being done on the discipline of stage direction. The objective of the thesis being presented is to provide an overview of Narros’ work, so as to draw conclusions related to the situation of theatre in Spain throughout the second half of the twentieth century and in the early twenty-first century and to elucidate the director’s poetic conception and a theory of his stage practice. The thesis has focused on the director’s biography —in which work and personal life are closely intertwined—, the artistic and technical credits and dates of his stage productions, the compiling and summarising of a number of reviews in the press, the classification and discussion of the different historical and literary periods dealt with by the director, as well as the poetics of his theatre (his points of reference, his conception as stage director —form and content— and his position on the elements that make up a stage production). Also attached is a selection of photographs of more than half of his stagings (in addition to some of the director himself) which are testimony to his creation and a reflection of a number of the characteristics of his theatre. The study —based on information from the written press, public and private archives (which provided everything from photographs to handbills) and a number of personal interviews, among other sources— reveals a professional whose work transformed, enriched and consolidated the Spanish stage. Indeed, Spanish theatre simply cannot be understood without taking into account Miguel Narros. Narros worked as an actor and immersed himself in the teachings of the figures that populated the theatre world of the mid-twentieth century, such as Jardiel Poncela, Elvira Noriega, José María Rodero, Carmen Seco and, above all, Luis Escobar...