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Journal articles on the topic 'George'

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Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

O'Neill, Dan. "George Georges (1920–2002)." Queensland Review 14, no. 01 (January 2007): 21–22. http://dx.doi.org/10.1017/s1321816600005869.

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2

Hammer, Gerd. "Georg Simmel, Stefan George und der Erste Weltkrieg." Philosophica: International Journal for the History of Philosophy 27, no. 53 (2019): 79–89. http://dx.doi.org/10.5840/philosophica201927537.

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Initially, the Great War was received euphorically by many writers and philosophers, including Max Weber, Martin Buber and Max Scheler along with Georg Simmel. For Simmel, the war was synonimous with a greater pace of life, a form of dealing with / overcoming the levelling of society caused by the worshipping of money (´Mammonismus`). This exaltation of the war on the part of intellectuals was not common to all – the harsh criticisms of Simmel´s enthusiasm for the war on the part of Georg Lucácz and Ernst Bloch are well-known. Regarding Stefan George, in 1901 Simmel had written: ´His art has been known since its beginning for the wish to act exclusively like an art (...) the fundamental change is complete: that on the contrary, all content is merely the means for forming values that are purely aesthetics.` Therefore, in the aesthetic of Stefan George, Simmel acknowledges the reason that George will reject the war – contrary to many members of George´s circle (George-Kreis) and has its expression in the poem ´The War`, first published in 1917. This contribution seeks to demonstrate the philosophical and aesthetical reasons for enthusiasm for the war and its rejection by Simmel and George, attitudes that are not able to be explained by the opposition to militarism/pacifism that is normally deployed to distinguish between supporters and critics of the war.

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3

Kim, Sergey. "Notule sur une mystérieuse église byzantine de Kaouvi." Scrinium 12, no. 1 (November 17, 2016): 361–67. http://dx.doi.org/10.1163/18177565-00121p22.

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The note offers a corrected reading of a Georgian colophon in Iviron, georg. 69, that R. P. Blake published in 1932. It is demonstrated that George the Athonite, its author, did not mention a Byzantine church of Kaouvi, as Blake had read. Several literary parallels from other texts connected to George are provided.

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4

KIRA, Masahiro. "Dr. George Cotsarelis." Nishi Nihon Hifuka 72, no. 1 (2010): 81–82. http://dx.doi.org/10.2336/nishinihonhifu.72.81.

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5

Jauksz, Marcin. "George Eliot, George Henry Lewes i mechanizmy literackiego oddziaływania." Forum Poetyki, no. 7 (March 6, 2017): 18–31. http://dx.doi.org/10.14746/fp.2017.7.26757.

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Celem artykułu jest analiza wybranych wątków przemian w obrębie poetyki dziewiętnastowiecznej powieści, do których dochodzi pod wpływem rozwoju psychologii i innych nauk społecznych. Przypadek intelektualnej interakcji między George Eliot a Georgem Henrym Lewesem, partnerów tak w życiu, jak i w zainteresowaniach literackich, pozwala zaobserwować jak bliskie były ambicje realistycznych pisarzy oraz badaczy życia społecznego w zakresie odkrywania mechanizmów ludzkiej psychiki. Sceny z życia duchownych oraz Miasteczko Middlemarch, czytane z perspektywy Virginii Woolf, pełne sa przykładów na to, w jaki sposób studia Lewesa wpłynęły na literackie projekty Eliot.

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6

Baldwin, Thomas. "Cambridge Philosophers V." Philosophy 71, no. 276 (April 1996): 275–85. http://dx.doi.org/10.1017/s0031819100041486.

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Moore much disliked the names ‘George Edward’ which his parents had bestowed upon him. Hence he was always known just as ‘Moore’ in his professional life, although at home there seems to have been a profusion of names—in his Commonplace Book he writes1: ‘I used to be called “Jumbo’, and used to be called “Tommy”; & also “Georgie”, & am still called by my brothers and sisters “George”; by Dorothy & others I am called “Bill”…‘

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7

Schäfer, Thomas. "Wortmusik - Tonmusik." Die Musikforschung 47, no. 3 (September 22, 2021): 252–73. http://dx.doi.org/10.52412/mf.1994.h3.1120.

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Der Beitrag versucht, sowohl Arnold Schönbergs als auch Stefan Georges Verhältnis zu Richard Wagner zu beleuchten. Dabei werden anhand von Schönergs <George-Liedern> op. 15 zweifacher Hinsicht produktive Rezeptionshaltungen beschrieben. Georges <buch der hängenden gärten> und Schönbergs Liederzyklus werden in diesem Kontext als Allusionen auf Wagners Musikdrama <Tristan und Isolde> gelesen. (Schäfer, Thomas)

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8

Shea, Patrick H. "Science and Survival: Exploring the Papers of Georg and Max Bredig." Chemistry International 45, no. 4 (October 1, 2023): 6–13. http://dx.doi.org/10.1515/ci-2023-0402.

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Abstract Following the death of his parents, George Bredig inherited a large steamer trunk inconspicuously tucked away in the basement of his boyhood home in Oak Ridge, Tennessee. The trunk was old, and upon opening it, a strong musty smell emerged from within. As he reviewed the contents of the trunk, he discovered an assortment of unpublished letters, original photographs, rare pamphlets and small scientific artifacts. His father Max and grandfather Georg were both gifted physical chemists and it did not take long for George to realize that these papers documented their scientific careers in the years preceding their flight from Nazi Germany.

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9

Wolner, Edward W. "George Bellows, Georg Simmel, and Modernizing New York." American Art 29, no. 1 (March 2015): 106–21. http://dx.doi.org/10.1086/681650.

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10

Goerlitz, Guido. "Visage et ornement. Remarques sur une préhistoire de la visagéité photographique dans la modernité allemande chez Simmel et George." Envisager, no. 8 (August 10, 2011): 103–19. http://dx.doi.org/10.7202/1005542ar.

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Partant de l’importance que revêt la question du visage et du gros plan dans le medium cinématographique, et de sa théorisation dans la modernité allemande de la République de Weimar chez Walter Benjamin, Bela Balazs et Siegfried Kracauer, cet article jette un regard rétrospectif sur cette question en tentant de décrire l’enracinement de la nouvelle poétique de la surface photographique dans des questions herméneutiques abordées au tournant du siècle par Georg Simmel et Stefan George. Simmel a conceptualisé la signification esthétique du visage comme un agencement centralisateur, contre le dispositif de la photographie. Le poète George donne en revanche un premier exemple d’une pratique intermédiale réunissant écriture et photographie.

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11

Rogers, Bob. "George." English in Education 22, no. 1 (March 1988): 101–2. http://dx.doi.org/10.1111/j.1754-8845.1988.tb00267.x.

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12

Rosen., Michael. "George." English in Education 22, no. 3 (September 1988): 39. http://dx.doi.org/10.1111/j.1754-8845.1988.tb00287.x.

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13

Carlson, Gabrielle A., and Farheen Fahim. "“George”." Journal of Affective Disorders 51, no. 2 (November 1998): 195–98. http://dx.doi.org/10.1016/s0165-0327(98)00181-5.

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14

Robison, Lee. "George." Dialogue: A Journal of Mormon Thought 28, no. 4 (December 1, 1995): 90. http://dx.doi.org/10.2307/45226144.

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15

MAHAWATTE, ROYCE. "GEORGE MURRAY SMITH TO GEORGE ELIOT." Notes and Queries 46, no. 1 (March 1, 1999): 50—b—51. http://dx.doi.org/10.1093/nq/46-1-50b.

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16

MAHAWATTE, ROYCE. "GEORGE MURRAY SMITH TO GEORGE ELIOT." Notes and Queries 46, no. 1 (1999): 50—b—51. http://dx.doi.org/10.1093/nq/46.1.50-b.

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17

Văidean, Vlad. "George Enescu – Piano Works by Raluca Știrbăț." Musicology Today: Journal of the National University of Music Bucharest XIV, no. 53 (June 14, 2024): 57–67. http://dx.doi.org/10.69608/mt.53.05.

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18

Reeve, William C. "Büchner's Woyzeck on the English-Canadian Stage." Theatre Research in Canada 8, no. 2 (September 1987): 169–81. http://dx.doi.org/10.3138/tric.8.2.169.

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This article examines the various English-Canadian productions and adaptations of Georg Büchner's incomplete drama Woyzeck , beginning with George Luscombe's North-American premiere in 1963 and ending with Will H. Rockett's recent version (April 1987). In addition an attempt is made to put these stagings into the broader context of the European theatre.

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19

Johnson, Chris. "George F. Walker Directs George F. Walker." Theatre Research in Canada 9, no. 2 (January 1988): 157–72. http://dx.doi.org/10.3138/tric.9.2.157.

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This article is based on the observation of rehearsals for the 1987 Factory Theatre production of George F. Walker's Zastrozzi: The Master of Discipline, directed by Walker. Walker's casting choices and rehearsal techniques are examined to delineate his 'language of the stage' as a complement to the language of his script, and to determine his current interpretation of the play.

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20

Maier, Pauline, George Washington, W. W. Abbot, Philander D. Chase, Dorothy Twohig, Donald Jackson, John E. Ferling, and Paul K. Longmore. "Good Show: George Washington Plays George Washington." Reviews in American History 17, no. 2 (June 1989): 187. http://dx.doi.org/10.2307/2702917.

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21

Adams, Aileen K., and B. Hofestädt. "Georg Händel (1622–97): The Barber-Surgeon Father of George Frideric Handel (1685–1759)." Journal of Medical Biography 13, no. 3 (August 2005): 142–49. http://dx.doi.org/10.1177/096777200501300308.

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George Frideric Handel was born in Halle (Saale) in Germany. After initial musical education in Germany and Italy, he came to London as a young man and spent the rest of his life in England. Until recently, little has been written of his early life in either the English or the German literature, and it is not widely known that he was the son of Georg Händel, a barber-surgeon of repute. When his father's name is mentioned, it is usually to claim that he actively discouraged his son's musical education. Georg Händel lived in a turbulent time; he became an eminent surgeon who served as valet and barber to the Courts of Saxony and Brandenburg, as well as a distinguished citizen of Halle. In describing his surgical duties, we show how these differed from those of barbers in England and France at that time. Barbers in Germany were less controlled, freer to practise as they pleased, and Händel himself had important duties in public health and forensic medicine. George Frideric was the first son of the second marriage, born when his father was 63 years of age. We aim also to dispel the notion that Händel's influence on his son's career was as obstructive as has been claimed, but rather that he was a responsible father with his children's interests at heart. This is shown in the success achieved by all his children, most of whom followed their father into medicine, while George Frideric became the most famous of them all, being regarded by posterity as one of the greatest composers.

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22

Malcolmson, Cristina, Stanley Stewart, Eugene D. Hill, Joanna Martindale, and Elizabeth Cook. "George Herbert." Yearbook of English Studies 20 (1990): 260. http://dx.doi.org/10.2307/3507563.

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23

Holloway, Robin, and Howard Pollack. "Glorious George." Musical Times 149, no. 1902 (April 1, 2008): 112. http://dx.doi.org/10.2307/25434527.

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24

Gool, Rustum Y. "George David." Medical Journal of Australia 162, no. 2 (January 1995): 102. http://dx.doi.org/10.5694/j.1326-5377.1995.tb138447.x.

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25

George, François. "François George." Raison présente 89, no. 1 (1989): 43–44. http://dx.doi.org/10.3406/raipr.1989.2739.

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26

GÓMEZ PARRA, Elena. "George Herbert." Hikma 6, no. 6 (October 1, 2007): 22. http://dx.doi.org/10.21071/hikma.v6i6.6671.

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27

Chesterton, G. K. "George MacDonald." Chesterton Review 17, no. 3 (1991): 287–91. http://dx.doi.org/10.5840/chesterton1991173/491.

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28

Chesterton, G. K. "George MacDonald." Chesterton Review 27, no. 1 (2001): 3–7. http://dx.doi.org/10.5840/chesterton2001271/274.

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29

Quinlan, Michael. "George Bull." Chesterton Review 27, no. 1 (2001): 167–70. http://dx.doi.org/10.5840/chesterton2001271/296.

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30

MacDonald, George, and C. S. Lewis. "George MacDonald." Chesterton Review 34, no. 1 (2008): 355–58. http://dx.doi.org/10.5840/chesterton2008341/2133.

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31

MacDonald, George. "George MacDonald." Chesterton Review 35, no. 1 (2009): 288–89. http://dx.doi.org/10.5840/chesterton2009351/247.

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32

Francella, F., and Steven E. Davis. "George Kelly." Journal of Cognitive Psychotherapy 11, no. 4 (January 1997): 303–6. http://dx.doi.org/10.1891/0889-8391.11.4.303.

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33

Campos, Christophe, and Simone Vierne. "George Sand." Modern Language Review 80, no. 2 (April 1985): 467. http://dx.doi.org/10.2307/3728722.

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34

Eigner, Edwin M., Rosemary Ashton, Sally Shuttleworth, and William Myers. "George Eliot." Modern Language Review 82, no. 4 (October 1987): 932. http://dx.doi.org/10.2307/3729073.

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35

Sawicka, Alicja. "George Steiner." Dialogue and Universalism 19, no. 3 (2009): 325–37. http://dx.doi.org/10.5840/du2009193/571.

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36

Notarianni, Philip F., and Helen Papanikolas. "Emily--George." Journal of American History 75, no. 2 (September 1988): 650. http://dx.doi.org/10.2307/1887962.

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37

Bayer, Roberta. "George Grant." International Philosophical Quarterly 48, no. 4 (2008): 542–44. http://dx.doi.org/10.5840/ipq200848470.

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38

Sprigge, T. L. S., and John Lachs. "George Santayana." Philosophical Quarterly 40, no. 158 (January 1990): 119. http://dx.doi.org/10.2307/2219976.

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39

Boyd, S., and T. Hardcastle. "George Dimopoulos." South African Medical Journal 111, no. 4 (March 31, 2021): 284. http://dx.doi.org/10.7196/samj.2021.v111i4.15599.

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40

Taz, Humaira. "George Crabtree." MRS Bulletin 44, no. 06 (June 2019): 509. http://dx.doi.org/10.1557/mrs.2019.144.

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41

Lawler, Diego. "George Santayana." Philosophers' Magazine, no. 53 (2011): 101–2. http://dx.doi.org/10.5840/tpm20115382.

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42

Michelsen, John M. "George Santayana." Overheard in Seville: Bulletin of the Santayana Society 11, no. 11 (1993): 30–40. http://dx.doi.org/10.5840/199311114.

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43

Sutton, Dorothy. "Gorgeous George." Hudson Review 52, no. 2 (1999): 281. http://dx.doi.org/10.2307/3853420.

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44

Pontani, Mauro, and Jason L. Speyer. "George Leitmann." Journal of Optimization Theory and Applications 191, no. 2-3 (October 31, 2021): 391–92. http://dx.doi.org/10.1007/s10957-021-01946-4.

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45

Andrews, Benny, and George Andrews. "George Andrews." Art Journal 53, no. 1 (1994): 22. http://dx.doi.org/10.2307/777522.

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46

Raphael, Judith, and George Cohen. "George Cohen." Art Journal 53, no. 1 (1994): 31. http://dx.doi.org/10.2307/777526.

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47

Berlind, Robert, and George McNeil. "George McNeil." Art Journal 53, no. 1 (1994): 55. http://dx.doi.org/10.2307/777536.

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48

Terezis, Christos. "George Pachymeres." Philosophical Inquiry 20, no. 1 (1998): 111–18. http://dx.doi.org/10.5840/philinquiry1998201/29.

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49

Naylor, John F., and Jonathan Schneer. "George Lansbury." American Historical Review 97, no. 1 (February 1992): 209. http://dx.doi.org/10.2307/2164614.

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50

Lúing, Seán O. "George Thomson." Classics Ireland 3 (1996): 141. http://dx.doi.org/10.2307/25528296.

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