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Relevant bibliographies by topics / Hugo Williams

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Academic literature on the topic 'Hugo Williams'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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Journal articles on the topic "Hugo Williams"

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Mariani, Paul. "Remembering William Carlos Williams: Hugo Rodríguez Alcalá (1917–2007)." William Carlos Williams Review 31, no. 1 (2014): 1–14. http://dx.doi.org/10.1353/wcw.2014.0001.

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Matos, Xênia Amaral. "Bodies that Desire: The Melodramatic Construction of the Female Protagonists of The Glass Menagerie and A Streetcar Named Desire, by Tennessee Williams." Em Tese 21, no. 1 (September 13, 2015): 130. http://dx.doi.org/10.17851/1982-0739.21.1.130-149.

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<p>O melodrama desenvolveu-se na França durante o século dezoito e é majoritariamente caracterizado por abordar relações amorosas e familiares através de uma abordagem emotiva. O melodrama influenciou diversos autores como Charles Dickens, Victor Hugo e Tennessee Williams. Tennessee Williams é um dramaturgo norte-americano famoso pela peça<em> A Streetcar Named Desire</em>. Suas peças exploram o emocionalismo, os conflitos amorosos, a decadência econômica e os problemas familiares. Este trabalho apresenta uma análise da construção melodramática das protagonistas femininas Amanda e Laura Wingfield (<em>The Glass Menagerie</em>) e Blanche DuBois (<em>A Streetcar Named Desire</em>). Discute também como o melodrama auxilia a construir o desfecho trágico dessas personagens.</p>

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Grafe, Adrian. "The Poetic Voice And The Voice Of Popular Music In Poems By Philip Larkin, Hugo Williams And Paul Muldoon." Sillages critiques, no. 7 (April 1, 2005): 141–54. http://dx.doi.org/10.4000/sillagescritiques.1150.

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HEALY, DAVID. "Child and Adolescent Clinical Psychopharmacology. Wayne Hugo Green. Williams & Wilkins, 298 pp. ISBN 0-683-03767-6 (pbk). £33." Human Psychopharmacology: Clinical and Experimental 12, no. 2 (March 1997): 168. http://dx.doi.org/10.1002/(sici)1099-1077(199703/04)12:2<168::aid-hup870>3.0.co;2-b.

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Sabourin, Lise. "Victor Hugo, William Shakespeare." Studi Francesi, no. 189 (LXIII | III) (December 1, 2019): 589. http://dx.doi.org/10.4000/studifrancesi.21436.

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Saylor, Eric. "Dramatic Applications of Folksong in Vaughan Williams's Operas Hugh the Drover and Sir John in Love." Journal of the Royal Musical Association 134, no. 1 (2009): 37–83. http://dx.doi.org/10.1080/14716930902756844.

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Although Ralph Vaughan Williams's operas Hugh the Drover (1924) and Sir John in Love (1929) both prominently feature English folk and traditional tunes, the dramatic ends such music serves differ significantly between the two works. This article compares the ways in which Vaughan Williams uses folk music in both operas, with the larger aim of providing a more nuanced perspective on the changing musical and dramatic potential the composer saw for indigenous English music within the context of opera.77

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Sharma, Sanjay, and Jonathan Wong. "Book Review Age-Related Macular Degeneration: A Comprehensive Textbook Edited by D. Virgil Alfaro III, Peter E. Liggett, William F. Mieler, Hugo Quiroz-Mercado, Rama D. Jager, and Yasuo Tano. 364 pp., illustrated. Philadelphia, Lippincott Williams & Wilkins, 2006. $159. 0-7817-3899-7." New England Journal of Medicine 355, no. 14 (October 5, 2006): 1507–8. http://dx.doi.org/10.1056/nejmbkrev39704.

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Knoll, Manuel. "Nietzsche’s Jewish Problem and Great Politics: The Continued Research Interest in his Political Thought." Nietzsche-Studien 47, no. 1 (November 1, 2018): 473–87. http://dx.doi.org/10.1515/nietzstu-2018-0024.

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Abstract After presenting an overview of the research on Nietzsche’s political thought, this article discusses Robert C. Holub’s book Nietzsche’s Jewish Problem (2016). While Holub talks about Nietzsche’s “eugenic calculations”, he does not mention his notion of a “great politics”, which aims at breeding superior humans. This notion is central for Hugo Drochon’s Nietzsche’s Great Politics (2016) and Gary Shapiro’s Nietzsche’s Earth. Great Events, Great Politics (2016), which are critically examined in the article. Shapiro’s “postmodern” interpretation of Nietzsche’s thought neglects Zarathustra’s crucial statement that “The Übermensch is the meaning of the earth”. Drochon uses Bernard Williams’s four criteria to define what a “coherent politics” is. Drochon’s arguments that Nietzsche is indeed a political thinker are persuasive. However, William’s criteria are not sufficient and need to be amended.

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Denning, Peter J. "An interview with William Hugh Murray." Communications of the ACM 62, no. 3 (February 21, 2019): 28–30. http://dx.doi.org/10.1145/3306614.

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Yoo, Baekyun. "Wystan Hugh Auden and William Butler Yeats." Yeats Journal of Korea 42 (December 30, 2013): 197–214. http://dx.doi.org/10.14354/yjk.2013.42.197.

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Dissertations / Theses on the topic "Hugo Williams"

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Pugh, Christopher. "The late twentieth-century British father poem : searching for the male self." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391065.

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Rock, J. "The life and work of Hugh William Williams [1773-1829], set within a Scottish context." Thesis, University of Edinburgh, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.661327.

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This Thesis considers the life and work of Hugh William Williams [1773-1829]. The work is divided into two main sections; the Thesis itself and a fully illustrated, chronological Catalogue of all the works by the artist in public collections. This includes a Catalogue of all known prints by and after the artist. In this Thesis, the artist's life and career have been examined in detail. The Introduction is followed by a Short Biography of the Artist with a Chronology of known events. The Introduction is followed by the Review of the Literature. Chapter 1 is devoted to the artist's biography. This is divided into sub-sections as follows: 1:1 The Early Years, 1773-1804; 1:2 Education and Training, 1782-1800; 1:3 Acting and Scene Painting, 1790-1800; 1:4 Teaching and Pupils, 1793-1820; 1.5 Exhibitions, 1807-1829; 1:6 The Grand Tour, 1816-1818; 1:7 The National Monument 1819-1829; and 1:8 the Final Years and Aftermath, 1829-1866. Chapter 2 considers Hugh Williams at work. After a preliminary discussion of the difficulties in discussing the work, this is considered under the headings 2:3 Watercolours; 2:4 Drawings and 2:5 Oils. The section on watercolours looks at methods and criticism of the artist's colouring before going on to examine the work under the headings Early Watercolours, 1792-1800; Transitional, 1800-1816; the Grand Tour, 1816-1818; and Exhibition Watercolours, 1818-1829. Reference is made to the Catalogue and to a large group of examples seen in collections in Britain and abroad. Chapter 3 looks at Williams as a printmaker and publisher of prints, considering all the publishing projects with which he was involved. Chapter 4 deals with Hugh Williams' place in the watercolour tradition in Scotland. His precursors, Paul Sandby, Margaret Adam and Jacob More are dealt with in detail. Chapter 5 considers the artist's reputation and influence, specifically at the relationship between Williams and J.M.W. Turner, which is examined in detail. Finally, a Select Bibliography lists all known references to Hugh Williams in published sources and related manuscript material.

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Peyrache-Leborgne, Dominique. "Poétique du sublime romantique (Diderot, Schiller, Wordsworth, Shelley, Hugo, Michelet)." Paris 3, 1993. http://www.theses.fr/1994PA030003.

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Aux dix-huitieme et au dix-neuvieme siecles, le sublime s'est progressivement constitue comme une tradition esthetique et philosophique, en france, en angleterre et en allemagne, autour de grands textes theoriques et poetiques, notamment ceux de diderot, schiller, wordsworth, shelley, hugo et michelet. Du sublime du crime au concept d'humanite ideale, le sublime chez diderot et schiller sous-tend un humanisme conquerant. Avec le romantisme, il devient plus paradoxal en se definissant surtout par son contraire, l'humble et le grotesque. Le sublime devient aussi une experience visionnaire et poetique fondee sur une dialectique entre nature et esprit, monde sensible et transcendance, histoire et mythe. La modernite du sublime, sa valeur d'actualite, vient de cette fonction d'inauguration, de "tabula rasa" poetique, que lui ont assignee les romantiques
During the eighteenth, then the nineteenth centuries, the sublime became an aesthetic and philosophical tradition, in english, french and german literature, particularly in the theoretical and poetical works of diderot, schiller, wordsworth, hugo and michelet. With diderot and schiller, the sublime is not only linked to the burkian "delight", it underlies a concept of ideal humanity. With the romanticism, the sublime becomes more paradoxical, being defined by its contrary - the grotesque, the humble, in hugo and wordsworth - or by a visionary experience (in hugo, shelley, michelet) based upon a dialectic between nature and spirit, sensible universe and transcendance, history and myth

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Rock, Joseph. "The life and work of Hugh William Williams (1773-1829) set within a Scottish context : with a catalogue of works in public collections and a catalogue of all known prints by and after the artist." Thesis, University of Edinburgh, 1997. http://hdl.handle.net/1842/30694.

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Lehmann-Muriithi, Kolja [Verfasser], and Hugo [Akademischer Betreuer] Schmale. "Einige philosophische Grundlagen der Humanistischen Psychologie von Carl Rogers unter besonderer Berücksichtigung der Phänomenologie Edmund Husserls und des Kritischen Personalismus William Sterns / Kolja Lehmann-Muriithi. Betreuer: Hugo Schmale." Hamburg : Staats- und Universitätsbibliothek Hamburg, 2015. http://d-nb.info/1065805543/34.

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Wesseler, Fedora. "Dramaturgies du Sublime entre théâtre et opéra (1890 – 1939) : présence et métamorphose d’un concept dans l’écriture théâtrale de Romain Rolland, Richard Beer-Hofmann, William Butler Yeats et Hugo von Hofmannsthal." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040194.

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Au début du XXe siècle, la scène européenne est marquée par une recherche de nouvelles formes d’expression théâtrale, qui coïncide avec un refus du matérialisme. Le Sublime comme conscience de la dignité humaine, tel qu’il fut défini par Schiller, prend de l’importance : rempart face au changement perpétuel qui caractérise la condition humaine, le Sublime devient solidaire d’une conscience de l’Histoire et confère à l’homme une part infime d’éternité. Les efforts de W. B. Yeats pour fonder une communauté irlandaise à l’Abbey Theatre, de Max Reinhardt et de Hugo v. Hofmannsthal pour donner naissance au Festival de Salzbourg, mais aussi le projet de Romain Rolland d’un « Théâtre du Peuple », ou encore le théâtre de Richard Beer-Hofmann qui vise à réunir les individus par la mémoire d’un passé commun, manifestent la mission attribuée au théâtre. Les quatre auteurs donnent une réponse aux forces destructrices de leur temps en créant un théâtre de la dignité humaine où l’héroïsme sublime subit une métamorphose grâce à une nouvelle valeur : la compassion. L’imagination qui la rend possible devient essentielle à la dramaturgie du Sublime. Étudié en tant que principe philosophique et dramaturgique, le Sublime révèle alors sa filiation avec l’opéra et le mélodrame. Leurs interférences, déjà présentes chez Schiller, témoignent de la volonté d’élever les spectateurs au-dessus du quotidien grâce à une dramaturgie visionnaire fondée sur l’aspiration à une réalité supérieur
European drama at the beginning of the 20th century was in search of new forms of artistic expression. In this context which coincides with the rejection of materialism, the Sublime as consciousness of human dignity gained in importance. A bulwark against the perpetual and inevitable succession of human life, the Sublime as defined by Schiller more than a century earlier attained equality with the awareness of History, lending to humankind an element of eternity. The efforts of W.B. Yeats to restore a sense of Irish community at the Abbey Theatre, those of Max Reinhardt and Hugo von Hofmannsthal who created the Salzburg Festival, but also Romain Rolland’s project of a « People’s Theatre » as well as Richard Beer-Hofmann’s plays which integrated the memory of the past, all reveal the reconciliatory function newly conferred on drama. These four authors found an answer to the destructive forces of their time by creating a drama of human dignity in which sublime heroism shifts through compassion. Its source, imagination, plays an essential role in the dramaturgy of the Sublime. The examination of the Sublime as a philosophical and dramatic principle elucidates its relationship to both opera and melodrama. The overlapping of genres can already be noticed in Schiller’s plays and proves the intention of raising the audience above the daily round, thanks to a visionary dramaturgy, based on the longing for a higher reality

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Correa, Tito G. "Dutch progenitors of higher education at Harvard : puritan origins of North America's first university." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648659.

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Jean, Daniel. "La scène utopique : le théâtre des poètes modernistes W.B. Yeats, T.S. Eliot et W.H. Auden." Paris 4, 2006. http://www.theses.fr/2006PA040075.

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Les trois poètes majeurs de l’ère moderne en Angleterre, W. B. Yeats, T. S Eliot et W. H. Auden, au delà de leur identité poétique propre ont en commun d’avoir consacré une partie significative de leur carrière au théâtre. Leurs contributions à l’art dramatique ont fait l’objet de nombreuses études au moment de leur gloire, mais caractérisées par l’inscription de leur parcours dans le genre contestable de théâtre en vers (« verse drama »). Une telle approche nie la spécificité moderniste de leur réflexion et de leur pratique du théâtre, en particulier en négligeant l’importance des problématiques européennes d’un théâtre utopique, que l’on trouve à la fois chez Wagner et Mallarmé. L’objet de cette thèse est d’intégrer la dimension utopique à une relecture des œuvres de ces poètes, qu’elles soient explicitement destinées à la scène, ou qu‘elles contiennent une théâtralité latente, avec comme horizon une redéfinition de leur place dans l’histoire du théâtre britannique
The three major English-speaking poets of the modern age, W. B. Yeats, T. S. Eliot and W. H. Auden have all devoted a significant part of their careers to the theatre. There were many studies of their contributions to drama at the time of their success, but the concept of “verse drama”, which was coined to characterize them, has proved of doubtful value. It denies the specifically modernist nature of their reflection and a approach to the theatre, particularly by underestimating the importance of the European theories of drama as utopia, such as Wagner’s and Mallarmé’s. The aim of the present thesis is to offer a new reading of the dramatic works of these poets, whether they were explicitly intended for the stage or they are implicitly dramatic in form and content, taking into account their utopian dimension and attempting to redefine their place in the history of British drama

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Palomo, Berjaga Vanessa. "Josep Maria de Sagarra, traductor de "Macbeth": anàlisi i comparació amb l'original de Shakespeare i amb les traduccions franceses, castellanes i catalanes precedents." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/393969.

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Aquesta tesi doctoral estudia la traducció de "Macbeth" (1959) que va fer Josep Maria de Sagarra. Les aportacions principals són les següents: 1) esbrinar les influències en la traducció de Sagarra de traductors francesos, castellans i catalans precedents (François-Victor Hugo, Maurice Maeterlinck, Magí Morera i Galícia, Luis Astrana Marín, Cebrià Montoliu, Diego Ruiz i Cèsar August Jordana) tot evidenciant les relacions nacionals i transnacionals que s’estableixen entre ells; 2) indicar quins són els trets característics del text de Sagarra comparant la seva traducció amb l’original de Shakespeare, tenint en compte tant les crítiques positives com negatives que han rebut les seves traduccions de les obres del dramaturg anglès; 3) determinar les aportacions de Sagarra respecte a les traduccions catalanes anteriors de "Macbeth"; 4) analitzar les similituds i diferències entre els tres estadis del text de Sagarra (manuscrit, edició de bibliòfil i edició d’Alpha); 5) determinar, gràcies a la troballa dels manuscrits, les dates de les traduccions de Shakespeare que va fer Sagarra; i 6) proposar i aplicar un model de classificació per estudiar les similituds i diferències entre un text literari i la seva traducció i entre diferents traduccions literàries del mateix text.

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Valère, Marie. "Poésie et spirituel : les notions de symbole et de rythme dans les pensées poétiques de Claudel, Yeats et Hofmannsthal." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040125.

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Claudel, Yeats et Hofmannsthal définissent la création poétique comme une pratique spirituelle. Tous trois écrivent, autour de l’année 1900, des textes théoriques donnant pour procédés fondamentaux de l’écriture poétique le symbole et le rythme. L’étude des notions de vision et de symbole dans leur système de pensée spirituelle révèle le fait que cette expérience de la vision, qui se définit en grande partie comme une vision symbolique du monde terrestre, constitue à leurs yeux la source de la création poétique. L’œuvre poétique est ainsi conçue comme le fruit de la vision symbolique et comme un moyen de la faire partager au récepteur. Les pratiques poétiques du symbole et du rythme chez Yeats, de la métaphore et de l’ïambe chez Claudel, de l’image et du rythme chez Hofmannsthal, acquièrent ainsi un sens d’ordre spirituel. L’étude de la conception du langage propre à chacun des auteurs et l’examen détaillé de quelques textes – tirés de La Mort et le Fou, La Mort du Titien, Électre, de La Cantate à trois voix, Tête d’Or, et de Cathleen ni Houlihan et Le Seuil du palais du roi – permet de déterminer les modalités de l’application pratique de leurs principes théoriques d’écriture poétique
Claudel, Yeats and Hofmannsthal define poetical creation as a spiritual practice. Around year 1900, the three of them wrote theoretical texts in which they pointed out the use of symbol and rhythm as fundamental procedures to poetical writing. The study of notions such as vision and symbol in their system of poetical thinking reveals that the very experience of vision, which largely defines itself as a symbolic vision of the earthly world, is the source of poetical creation. The poetical work is therefore thought as both the fruit of a symbolic vision and a means of sharing with the reader. The poetical practices of symbol and rhythm in Yeats, of metaphore and iambus in Claudel, of image and rhythm in Hofmannsthal thus acquire a meaning within the spiritual range. The study of each of these authors’ particular language conception, together with a detailed examination of some texts from Der Tor und der Tod, Der Tod des Tizian, Elektra, La Cantate à trois voix, Tête d’Or, Cathleen ni Houlihan and The King’s Threshold, allow us to bring out links between their theoretical principles and their poetical writing

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Books on the topic "Hugo Williams"

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Donaghy, Michael. Michael Donaghy, Andrew Motion, Hugo Williams. London, England: Penguin, 1997.

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A history that includes the self: Essays on the poetry of Stefan George, Hugo von Hofmannsthal, William Carlos Williams, and Wallace Stevens. New York: Garland Pub., 1988.

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William Benton Museum of Art., ed. Harold Hugo, 1910-1985, museum patron. Storrs: William Benton Museum of Art, 1989.

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Mallet, Nicole. Victor Hugo: Bibliographie commentée de William Shakespeare (critique 1864-1995). Paris: Lettres modernes Minard, 1999.

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Pinsker, Sanford. Three Pacific northwest poets: William Stafford, Richard Hugo, and David Wagoner. Boston, Mass: Twayne Publishers, 1987.

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Sheldon, George F. Hugh Williamson: Physician, patriot, and founding father. Amherst, N.Y: Humanity Books, 2009.

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Friday, William C. (William Clyde), ed. Hugh Williamson: Physician, patriot, and founding father. Amherst, N.Y: Humanity Books, 2010.

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Sheldon, George F. Hugh Williamson: Physician, patriot, and founding father. Amherst, N.Y: Humanity Books, 2009.

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John Rylands University Library of Manchester. Methodist Archives and Research Centre. Catalogue of the Hugh Bourne and William Clowes papers. [Manchester]: [John Rylands University Library], 1993.

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Ball, Howard. Of power and right: Hugo Black, William O. Douglas, and America's constitutional revolution. New York: Oxford University Press, 1992.

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Book chapters on the topic "Hugo Williams"

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Schäfer, Christian. "Hugo, Victor: William Shakespeare." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3983-1.

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Murdin, Paul. "Williamson, Hugh." In Biographical Encyclopedia of Astronomers, 2343–44. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4419-9917-7_9404.

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Milnes, Tim, and Nicolas Tredell. "Introduction: The ‘Huge and Mighty Forms’ of The Prelude." In William Wordsworth, 1–6. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-04712-0_1.

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Hamm, Henning. "William Howard Hailey and Hugh Edward Hailey." In Pantheon of Dermatology, 415–18. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-33224-1_71.

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Hamm, Henning. "William Howard Hailey (1898–1967) Hugh Edward Hailey (1909–1963)." In Pantheon der Dermatologie, 387–91. Berlin, Heidelberg: Springer Berlin Heidelberg, 2008. http://dx.doi.org/10.1007/978-3-540-34093-5_67.

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Hülk, Walburga. "Bewegung, Mythologie der Moderne." In Bewegungsszenarien der Moderne, 41–54. Heidelberg, Germany: Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-3.

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Paul Valéryʼs remark »Nouvelle mythologie / les formes en mouvement / connaître c’est former« (1894) states the argument of the present article. Its intention is to highlight the importance of movement in modern arts and research studies. It observes the fascination which movement held for artists and scientists who were trying to comprehend the dynamics of physical and mental processes in creative work and to find appropriate forms for volatility and complexity in traditional and recent arts and media. The focal point of this article are the works of Charles Baudelaire, Hippolyte Taine and the futurist avantgarde, especially Umberto Boccioni, as well as physiological studies on the effects of huge cities, crowds, sports, acceleration, and aeroplanes (Angelo Mosso, William James). In this context, Valéry’s poems, essays and notes appear as a crossover project and Valéry himself as a protagonist of the intense dialogue between the arts, media and sciences concerningmovement as physical and mental phenomenon and stylistic challenge.

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Jeffares, A. Norman. "The Collected Edition of the Works of W. B. Yeats (London: Macmillan): vol. VI: Prefaces and Introductions: Uncollected Prefaces and Introductions by Yeats to Works by Other Authors and to Anthologies Edited by Yeats, edited by William H. O’Donnell (1988) xxxi + 370 pp.; vol. VII: Letters to the New Island: A New Edition, edited by George Bornstein and Hugh Witemeyer (1989) xxi + 200 PP." In Yeats and Women, 351–55. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-11928-8_20.

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Manning, Jane. "RODERICK WILLIAMS (b. 1965)A Coat (2008)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 230–31. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0071.

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This chapter highlights Roderick Williams’s A Coat (2008). Williams is a baritone of innate musicality and enviable technique, as consistent as he is versatile. Tailor-made for his own voice, the piece spans a wide range in pitch and dynamic and teems with subtle colours and detailed nuances which evoke comparison with Hugo Wolf, especially in the refinement of the word-setting. His ear for balance is particularly acute—he doubtless has experience of songs with over-heavy piano parts, where the singer must struggle to communicate a text. An intriguing, flexibly atonal idiom is eminently approachable. Williams does not shy away from rhythmic complexity, but embellishes vocal lines within a steady pulse, giving a feeling of natural musical flow and almost improvised freedom, yet the overall structure is disciplined and concise.

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"HUGH KENNER, review, 'Poetry', June 1958." In William Carlos Williams, 326–30. Routledge, 2013. http://dx.doi.org/10.4324/9781315005966-113.

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"HUGH KEN NER, review, 'Poetry', May 1959." In William Carlos Williams, 332–35. Routledge, 2013. http://dx.doi.org/10.4324/9781315005966-115.

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Conference papers on the topic "Hugo Williams"

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Camiz, Alessandro, Marika Griffo, Seda Baydur, and Emilia Valletta. "The chain tower in Kyrenia’s harbour, Cyprus." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11459.

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In the Middle Ages a chain suspended between two towers defended the entrance of Kyrenia’s little harbour, like the chain across the Golden Horn in Constantinople. William de Oldenburg, who visited Cyprus in 1211 during the reign of King Hugh I, referred to Kyrenia as “a small town well-fortified, which has a castle with walls and towers”. He perceived the chain tower as part of Kyrenia’s fortification system in that time. The Byzantines had already fortified the city, but in the thirteenth century, during the Longobard war, before the siege of the city, Frederick II’s party, under the direction of Captain Philippo Genardo, improved the defences of the city. The chain tower is still visible today in the north side of the old Kyrenia harbour. It consists of an 8,15 m diameter cylindrical tower and a 1,5 m diameter pillar on top of it. The tower was supporting a chain attached on the other side to another structure. The fortifications on the north side terminated against the harbour in a square tower or bastion holding the chain to be raised and lowered by means of a windlass. The paper includes the digital photogrammetric survey of the chain tower using a structure from motion software, the historical research and the comparison with other coeval harbour defence constructions of the eastern Mediterranean.

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