- Author :
- Publisher :
- Release Date : 1835
- Genre: Great Britain
- Pages :
- ISBN 10 : WISC:89012389615
The London Literary Gazette and Journal of Belles Lettres Arts Sciences Etc Book Description :
This is a comprehensive collection devoted to the work of Sir Walter Scott, drawing on the innovative research and scholarship which have revitalised the study of the whole range of his exceptionally diverse writing in recent years.
The Miracle of Analogy is the first of a two-volume reconceptualization of photography. It argues that photography originates in what is seen, rather than in the human eye or the camera lens, and that it is the world's primary way of revealing itself to us. Neither an index, representation, nor copy, as conventional studies would have it, the photographic image is an analogy. This principle obtains at every level of its being: a photograph analogizes its referent, the negative from which it is generated, every other print that is struck from that negative, and all of its digital "offspring." Photography is also unstoppably developmental, both at the level of the individual image and of medium. The photograph moves through time, in search of other "kin," some of which may be visual, but others of which may be literary, architectural, philosophical, or literary. Finally, photography develops with us, and in response to us. It assumes historically legible forms, but when we divest them of their saving power, as we always seem to do, it goes elsewhere. The present volume focuses on the nineteenth century and some of its contemporary progeny. It begins with the camera obscura, which morphed into chemical photography and lives on in digital form, and ends with Walter Benjamin. Key figures discussed along the way include Nicéphore Niépce, Louis Daguerre, William Fox-Talbot, Jeff Wall, and Joan Fontcuberta.
Traditionally, kings and rulers were featured on stamps and money, the titled and affluent commissioned busts and portraits, and criminals and missing persons appeared on wanted posters. British writers of the eighteenth and nineteenth centuries, however, reworked ideas about portraiture to promote the value and agendas of the ordinary middle classes. According to Kamilla Elliott, our current practices of "picture identification" (driver’s licenses, passports, and so on) are rooted in these late eighteenth- and early nineteenth-century debates. Portraiture and British Gothic Fiction examines ways writers such as Horace Walpole, Ann Radcliffe, Mary Shelley, and C. R. Maturin as well as artists, historians, politicians, and periodical authors dealt with changes in how social identities were understood and valued in British cultureâ€”specifically, who was represented by portraits and how they were represented as they vied for social power. Elliott investigates multiple aspects of picture identification: its politics, epistemologies, semiotics, and aesthetics, and the desires and phobias that it produces. Her extensive research not only covers Gothic literature’s best-known and most studied texts but also engages with more than 100 Gothic works in total, expanding knowledge of first-wave Gothic fiction as well as opening new windows into familiar work.
This parallel text edition of Felicia Hemans’s important dramatic poem presents the 1823 publication alongside a transcription of the original manuscript, offering a unique glimpse at her compositional process. Situated in medieval Spain, in the heat of Moorish-Christian conflicts, this complex political tragedy is both a rich historical narrative and a commentary by the poet on her own post-Napoleonic world. The Broadview edition also includes selections of related poetry, excerpts from source texts, and contemporary reviews.
The story of global cooperation between nations and peoples is a tale of dreamers goading us to find common cause in remedying humanity’s worst problems. But international institutions have also provided a tool for the powers that be to advance their own interests and stamp their imprint on the world. Mark Mazower’s Governing the World tells the epic story of that inevitable and irresolvable tension—the unstable and often surprising alchemy between ideas and power. From the beginning, the willingness of national leaders to cooperate has been spurred by crisis: the book opens in 1815, amid the rubble of the Napoleonic Empire, as the Concert of Europe was assembled with an avowed mission to prevent any single power from dominating the continent and to stamp out revolutionary agitation before it could lead to war. But if the Concert was a response to Napoleon, internationalism was a response to the Concert, and as courts and monarchs disintegrated they were replaced by revolutionaries and bureaucrats. 19th century internationalists included bomb-throwing anarchists and the secret policemen who fought them, Marxist revolutionaries and respectable free marketeers. But they all embraced nationalism, the age’s most powerful transformative political creed, and assumed that nationalism and internationalism would go hand in hand. The wars of the twentieth century saw the birth of institutions that enshrined many of those ideals in durable structures of authority, most notably the League of Nations in World War I and the United Nations after World War II. Throughout this history, we see that international institutions are only as strong as the great powers of the moment allow them to be. The League was intended to prop up the British empire. With Washington taking over world leadership from Whitehall, the United Nations became a useful extension of American power. But as Mazower shows us, from the late 1960s on, America lost control over the dialogue and the rise of th
The history of Bullanabee and Clinkataboo was advertised in the contemporary press as representing England and Ireland, the work being an allegorical and anti-Catholic discussion of the "Roman Catholic question" - cf. The London Literary Gazette and Journal of Belles Lettres, Arts, Sciences, etc. for the year 1829, p. 24.
William Jerdan was a pivotal figure in the history of English literature, spanning the Georgian and Victorian eras. For 34 years, he was the editor of the first weekly review of literature - the London Literary Gazette - where he wrote most of the journal's critical reviews, which made or marred literary success in this period of exceptional growth in book production and rise in readership. Jerdan's convivial character and central place in English literary life caused him to be personally acquainted with almost all the creative and influential figures of his day. He was raised in the Scottish Borders where he met Robert Burns and Walter Scott. Later, Byron, Wordsworth, Hans Christian Andersen, Charles Dickens, and many other luminaries played a part in his life. He was a founder member of the Royal Society of Literature and of the Garrick Club, a maverick member of the Literary Fund, and an honorary Fraserian. This first biography also discusses William Jerdan's own fiction and poetry, revealing several works not previously attributed to him. Many aspects of his colorful professional and private life are explored, including the scandalous relationship with his protegee, the famous poet L.E.L., for which he was lampooned in the satirical press. His conflicted life led him from the heights of literary and social celebrity through the Bankruptcy Court and into penury. His life at the center of literary London mirrored the violent swings in the country's political and financial affairs - events which provide the background to this extensive and revealing biography.
A study of the discovery by Sir William Jones of the relationship of Sanskrit to the languages of Europe and Iran--the concept of the Indo-European language family.
"Bibliographic references to works pertaining to the taxonomy of Coleoptera published between 1758 and 1900 in the non-periodical literature are listed. Each reference includes the full name of the author, the year or range of years of the publication, the title in full, the publisher and place of publication, the pagination with the number of plates, and the size of the work. This information is followed by the date of publication found in the work itself, the dates found from external sources, and the libraries consulted for the work. Overall, more than 990 works published by 622 primary authors are listed. For each of these authors, a biographic notice (if information was available) is given along with the references consulted"--[p. 1].