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Relevant bibliographies by topics / Russell, George William/works

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Academic literature on the topic 'Russell, George William/works'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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Journal articles on the topic "Russell, George William/works"

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COHEN, BRIGID. "Diasporic Dialogues in Mid-Century New York: Stefan Wolpe, George Russell, Hannah Arendt, and the Historiography of Displacement." Journal of the Society for American Music 6, no. 2 (May 2012): 143–73. http://dx.doi.org/10.1017/s1752196312000028.

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AbstractThis article explores mid-century New York intellectual scenes mediated by the avant-garde émigré composer Stefan Wolpe (1902–72), with special emphasis on Wolpe's interactions with jazz composer George Russell (1923–2009) and political philosopher Hannah Arendt (1906–75). Cross-disciplinary communities set the stage for these encounters: Wolpe and Russell met in the post-bop circles that clustered in Gil Evans's basement apartment, while Wolpe encountered Arendt at the Eighth Street Artists’ Club, the hotbed of Abstract Expressionism. Wolpe's exchanges with Arendt and Russell, long unacknowledged, may initially seem unrelated. Yet each figure shared a series of “cosmopolitan” commitments. They valued artistic communities as spaces for salutary acts of cultural boundary crossing, and they tended to see forms of self-representation in the arts as a way to respond to the dehumanizing political disasters of the century. Wolpe and Arendt focused on questions of human plurality in the wake of their forced displacements as German-Jewish émigrés, whereas Russell confronted dilemmas of difference as an African American migrant from southern Ohio in New York. Bringing together interpretive readings of music with interview- and archive-based research, this article works toward a historiography of aesthetic modernism that recognizes migration as formative rather than incidental to its community bonds, ethical aspirations, and creative projects.

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Davis, Edward B. "Physics, Philosophy, and Theology: A Common Quest for Understanding. Robert John Russell , William R. Stoeger , George V. Coyne." Isis 81, no. 2 (June 1990): 396–97. http://dx.doi.org/10.1086/355446.

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Hammond, Joseph. "William S. Bucklin and George P. Bartle: Accomplished Artists of Phalanx, New Jersey." New Jersey Studies: An Interdisciplinary Journal 7, no. 2 (July 22, 2021): 188–200. http://dx.doi.org/10.14713/njs.v7i2.256.

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This narrative describes the lives and artistic careers of William Savery Bucklin (1851–1928) and George Parker Bartle (1853–1918), both of Phalanx, a hamlet in Colts Neck, Monmouth County, New Jersey. Three of the works illustrated come from the art collection of the Monmouth County Park System. They acquired them because the paintings depict woodland scenes on the opposite side of the Swimming River Reservoir from their Thompson Park campus, the back areas of which still retain this wooded character.

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Kaplan, Deborah. "Representing the Nation: Restoration Comedies on the Early Twentieth-Century London Stage." Theatre Survey 36, no. 2 (November 1995): 37–61. http://dx.doi.org/10.1017/s0040557400001198.

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The first third of the twentieth century was the most important period in the performance history of Restoration comedies—with the exception of the years 1660–1710, when they were originally written and performed. Sixteen of the plays were presented in early twentieth-century London, six in at least two different productions. Post-Carolean works by William Congreve, George Farquhar, and John Vanbrugh held the stage through the war years, but, beginning in 1920, earlier comedies by John Dryden, William Wycherley, and George Villiers entered the repertoire of performed plays. This represents a limited selection of Restoration playwrights and plays, to be sure, but this relatively small cluster of productions takes on large significance when we situate it in the context of the comedies' entire performance careers.

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HUTCHISON, ANTHONY. "Representative Man: John Brown and the Politics of Redemption in Russell Banks's Cloudsplitter." Journal of American Studies 41, no. 1 (April 2006): 67–82. http://dx.doi.org/10.1017/s0021875806002751.

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Aside from William Faulkner it is difficult to think of a white twentieth-century American writer who has negotiated the issue of race in as sustained, unflinching and intelligent a fashion as Russell Banks. Whilst the impulse to produce novels on the grand scale shows little sign of diminishing, authors opting to place race at the very centre of their great American fictions remain relatively rare. With a couple of notable exceptions, most of the major works produced by white American authors over the past decade – whether by elder statesmen such as Updike, DeLillo or Pynchon or younger writers such as Jonathan Franzen and David Foster Wallace – appear to quarantine the topic.

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Heckenberg, Kerry. "Conflicting Visions: The Life and Art of William George Wilson, Anglo-Australian Gentleman Painter." Queensland Review 13, no. 1 (January 2006): 1–21. http://dx.doi.org/10.1017/s1321816600004244.

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Research for this paper was prompted by the appearance of a group of nine small landscape paintings of the Darling Downs area of Queensland, displayed in the Seeing the Collection exhibition at the University Art Museum (UAM), University of Queensland from 10 July 2004 until 23 January 2005. Relatively new to the collection (they were purchased in 2002), they are charming, small works, and are of interest principally because they are late-colonial depictions of an area that was of great significance in the history of Queensland.

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Craik, Alex D. D. "The hydrostatical works of George Sinclair ( c .1630–1696): their neglect and criticism." Notes and Records: the Royal Society Journal of the History of Science 72, no. 3 (April 11, 2018): 239–73. http://dx.doi.org/10.1098/rsnr.2017.0044.

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The Scottish natural philosopher George Sinclair (or Sinclar) ( c .1630–1696) was one of the earliest British writers on hydrostatics. He visited London in 1662, when he met Sir Robert Moray and Robert Boyle and left a manuscript treatise at the Royal Society. Receipt of this work was never recorded by the Society, and Sinclair felt that he had been dealt with unfairly. A Latin version, Ars nova et magna gravitatis et levitatis , was published in 1669, followed by his Hydrostaticks in 1672. All Sinclair's works were vituperatively and pseudonymously criticized by James Gregory and William Sanders in The Great and New Art of Weighing Vanity of 1672. Here, Sinclair's life is summarized, and his disputes with the Royal Society and with Gregory and Sanders are examined. It is argued that, despite his other limitations, Sinclair's knowledge of hydrostatics was considerable, and that the criticisms made against him were exaggerated. Yet his work was subsequently neglected. Sinclair's treatment sheds light both on academic rivalries and on the procedures of the early Royal Society.

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Wojciechowski, Paweł. "Symbolic and philosophical similarities between Jan Kasprowicz’s and Janis Rainis’ poetry." Świat i Słowo 35, no. 2 (November 26, 2020): 213–24. http://dx.doi.org/10.5604/01.3001.0014.5473.

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The text Symbolic and philosophical similarities between Jan Kasprowicz’s and Janis Rainis’ poetry presents the figure of Kasprowicz – a great Polish modernist, and Rainis – a Latvian poet and playwright, a man of the theater, author of numerous works for children and a recognized translator of the works of William Shakespeare, Friedrich Schiller, Johann Wolfgang von Goethe, George Gordon Byron, and Aleksander Pushkin. The analysis is directed toward the lyrical work of the Latvian and the Polish poet, emphasizing its symptomatic symbolism and philosophical influences (Blaise Pascal, Arthur Schopenhauer, Friedrich Nietzsche, Henri Bergson) present in the phenomena of nature and love.

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Rothermel, Holly. "Images of the sun: Warren De la Rue, George Biddell Airy and celestial photography." British Journal for the History of Science 26, no. 2 (June 1993): 137–69. http://dx.doi.org/10.1017/s0007087400030739.

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By the early years of the twentieth century, astronomers regarded photography as one of the most valuable tools at their disposal, a technique which not only provided an accurate and reliable representation of astronomical phenomena, but also radically changed the role of the astronomical observer. Herbert Hall Turner, professor of astronomy at Oxford, wrote in 1905: ‘The wonderful exactness of the photographic record may perhaps best be characterised by saying that it has revealed the deficiencies of all our other astronomical apparatus – object-glasses and prisms, clocks, even the observer himself.’ H. C. Russell, government astronomer in Sydney, suggested that photography might in the future make the observer redundant: ‘In many cases the observer must stand aside while the sensitive photographic plate takes his place and works with the power of which he is not capable… I feel sure that in a very few years the observer will be displaced altogether.’ Such visions were not uncommon at the time, emanating from the trust invested in the photographic process after the spectacular achievements of the late nineteenth century.

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Leighton, C. D. A. "William Law, Behmenism, and Counter Enlightenment." Harvard Theological Review 91, no. 3 (July 1998): 301–20. http://dx.doi.org/10.1017/s0017816000032156.

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The importance of William Law has never been in doubt. Scholars have regarded him as an extremely effective High Church apologist by virtue of his replies to Bishop Benjamin Hoadly on ecclesiology and eucharistic theology, and as an influential pastoral guide by virtue of the success of his Serious Call to a Devout and Holy Life. He is also considered the most notable post-Reformation English mystic by virtue of his later works, written under the influence of the early seventeenth-century Silesian theosophist, Jacob Bohme. This Behmenism, however, has served to reduce the admiration expressed for him. Even sympathetic contemporaries regarded Law's enthusiasm for Böhme as certainly eccentric, and perhaps even more objectionable than that. Retrospection did not blunt eighteenth-century disapproval. Dean (later Bishop) George Home, who was an ardent admirer and indeed disciple of the pre-Behmenist Law, lamented the descent of “one of the brightest stars in the firmament of the church…into the sink and complication of Paganism, Quakerism, and Socinianism, mixed up with chemistry and astrology by a possessed cobbler.” The writers of the Romantic era were far more disposed to acknowledge the value of that from which the eighteenth-century had recoiled as “enthusiasm.”

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Dissertations / Theses on the topic "Russell, George William/works"

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Kuch, P. R. "A critical edition of G.W. Russell (AE)'s writings on literature and art." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.384734.

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Xiao, Yu. "The representation of memory in the works of William Wordsworth and George Eliot." Thesis, University of Newcastle upon Tyne, 2011. http://hdl.handle.net/10443/2261.

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Studies of memory in the works of William Wordsworth and George Eliot have hitherto focussed mainly on individual recollective memory. By contrast, this study explores habit-memory in the work of both writers, on both an individual and a collective level. It proposes that for Wordsworth as well as for Eliot, habit-memory can enhance moral awareness and maintain the cohesion of a community. The thesis is divided into four chapters. The first discusses ‘The Old Cumberland Beggar’, Middlemarch and Daniel Deronda. Drawing on the idea of an ethics of memory in the work of the philosopher Avishai Margalit, I argue that the two writers regard habit cultivation as an important means of developing a sense of universal humanity in their characters as well as in their readers. The second chapter looks at the relationship between habit and duty through a discussion of ‘Ode to Duty’, Silas Marner and Romola. Wordsworth’s notion of duty, a universal law governing both the natural and the human world, is different from that of Eliot, which is identified with the habitual feelings of the body. Despite this difference, both believe that habit can help mould an individual into a duty-bound being. Chapter Three deals with the relationship between habit and guilt in Book X of The Prelude, Adam Bede and ‘Janet’s Repentance’. Rather than looking at guilt over a real transgression, it examines what Frances Ferguson terms ‘circumstantial memory’, the remorse that occurs when the unforeseen outcome of an action is interpreted as though it had been intentional. Wordsworth and Eliot differ in their view of the origin of wrongdoings and the pattern of recovery from guilt, but they both believe that this recovery can never be complete. The final chapter shifts from individual to collective habit-memory. Adopting a phenomenological approach to habit in discussing ‘Michael’ and The Mill on the Floss, I suggest that Maurice Merleau-Ponty’s theory can help us to understand Michael’s and Mr. Tulliver’s embodied relationships with their patrimonial land. I also draw on the theories of Pierre Bourdieu and Maurice Halbwachs to show that the habitual lives these characters lead and their attachments to their habitual states of being are collectively rooted. The chapter concludes by examining the two writers’ criticism of the intrusion into agrarian society of capitalism, which disrupts the transmission of collective memory from one generation to another.

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Hurrell, Sheila Louise. "The narrative print in the works of John William North (1842-1924), George John Pinwell (1842-1875) and Frederick Walker (1840-1875)." Thesis, University of Plymouth, 2009. http://hdl.handle.net/10026.1/813.

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The thesis explores the artistic production of three artists, John William North (1842-1924), George John Pinwell (1842-1875) and Frederick Walker (1840-1875). It is particularly concerned to look in detail at their wood engravings in connection with the 1860s periodical and Gift Book phenomenon which occurred a dozen years after the arrival of the Pre-Raphaelite artists in 1848 on the London art scene. The group awoke a regular critical response to Art in national newspapers, so that by the time that North, Pinwell and Walker were working in the graphic arena of wood engraving, they too fell under the scrutiny of critical observation which followed them particularly as they became artists. They were posthumously connected with Idyllism in a way that conflicts with their living reputation as realists and this thesis sets out to review their work and find explanations for this inconsistency. This thesis, in addition, provides as full a catalogue of the artists' illustration medium as can be assembled at this date. It contextualizes this catalogue with six chapters, beginning with an introduction that sets out the sources and reasons for their posthumous reputation as The Idyllists. Chapter 2 provides biographical and environmental information, followed by a chapter on the London wood engraving environment. Chapters 4 and 5 trace their work in magazines and then in books and finally, Chapter 6 uses the work they produced in Somerset as a focused examination of their differing responses to the same location. The thesis proposes that the graphic production of all three artists is no mere prelude to their work in watercolour and/or oils and needs to be examined in greater depth than has hitherto been the case.

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Horrell, Douglas. "The engaging line: E. Mervyn Taylor's prints on Maori subjects." Thesis, University of Canterbury. Art History, 2006. http://hdl.handle.net/10092/891.

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E. Mervyn Taylor (1906-1964) was a pakeha artist whose prints drew influence from Maori culture and motif. He was one of a small number of artists who developed interest in Maori culture during the 1940s and 1950s. He expanded interest into detailed study of Maori culture, and interaction with Maori, and produced a significant body of prints on this subject during his career. Taylor's prints were acclaimed during his lifetime, but in the decades after his death, his reputation faded to the extent that he became relatively obscure. This persisted until the late 1980s, when art historical reassessment of his work began. This thesis forms a part of this continued re-evaluation. It focuses on Taylor's prints on Maori subjects, an area not sufficiently scrutinised in an academic context. It aims to reach deeper understanding of his prints through historical analysis of the factors that influenced him to choose Maori, and their culture as subjects for his artwork. The thesis also examines why Taylor's reputation was so emphatically based on his New Zealand heritage, as well as the quality of his craftsmanship, his beliefs about which formed the foundation of his philosophy. Nationalist and regionalist notions also figured in his aesthetic ideals. His prints are also placed in relation to the modern debate over cultural appropriation in art. Greater recognition and understanding of Taylor's oeuvre may be achieved by establishing why he chose Maori subjects, and what specific features they contributed to the character of his work.

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Sorlin, Sandrine. "Des utopies linguistiques aux langues fantastiques : les cas de Orwell, Burgess, Hoban, et Golding." Lyon, Ecole normale supérieure, 2006. http://www.theses.fr/2006ENSF0032.

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Cette thèse s'intéresse aux utopies linguistiques théoriques et fictionnelles, depuis les "langues philosophiques" du XVIIe siècle jusqu'aux langues internationales du XXe siècle (elles-mêmes issues des projets de langues universelles du XIXè siècle), avant de s'attarder sur leurs avatars littéraires au XXe siècle. Quatre romans en particulier sont à l'étude : "Nineteen eighty-four" de George Orwell, "A clockwork orange" d'Anthony Burgess, "Riddley Walker" de Russell Hoban, et "The Inheritors" de William Golding. Ces oeuvres écrites dans un anglais altéré, modifié, déformé, sont analysés à la lumière des inventions utopistes de langue afin de déterminer s'il y a filiation, continuité ou rupture. Il est d'abord proposé une histoire des idées linguistiques afin de bien saisir les motivations, les buts et les enjeux des projets de langue artificielle chargée de décrire le monde de manière exacte et univoque, depuis le "caractère universel" de Francis Bacon jusqu'aux langages formels des logiciens au XXè siècle. L'analyse conduite montre que loin de rendre compte du monde de façon objective et neutre, les projets utopiques, lui imposent un modèle idéologique toujours déjà linguistique. Les romans du XXè siècle s'inscrivent alors en rupture par rapport à ce rêve d'une humanité réconciliée grâce à un langage unique et parfait. Ils présentent en effet des hommes qui ont perdu leurs repères, et le langage qui les traverse, qualifié de "fantastique", est obscur, parfois méconnaissable, jouant toutes ses "imperfections". Mais à travers les déformations qu'il subit, le langage parvient à se libérer du moule idéologique de l'oeuvre et à en sublimer le pessimisme, révélant toute sa puissance interne, génératrice d'être. Cette thèse met en évidence la capacité du langage à structurer ou à produire le monde, qu'il s'agisse du monde réel (les utopies linguistiques) ou du monde fictionnel (les langues fantastiques)
This dissertation deals with the theorical and fictional arificial languages, dating back to the 17th-century philosophical languages until the 20th-century international languages the latter arising from the universal language projects of the 19th century, before dwelling upon their 20th century literary avatars. Four novels in particular are under study : "Nineteen eighty-four" by George Orwell, "A clockwork orange" by Anthony Burgess, "Riddley Walker" by Russell Hoban, and "The inheritors" by William Golding. These books written in a distorted language are analysed in the light of those utopian languages to determine whether there is filiation, continuity or rupture. The work sarts with an overview of man's different conceptions of language to fully grasp the motivations goals and stakes of these projects of artificial language designed to describe the world accurately and unambiguously, from Francis Bacon's "universal character" to the logicians formal languages in the 20th century. The analysis carried out shows that far from giving an objective and neutral reading of the world, the utopian projects apply to it an ideological pattern which is always already linguistic. The novels of the 20th century break off with the dream of humanity reconciled by a unique and perfect language. Indeed, they present man at a loss in a nightmarish atmosphere and the English language used is "fantastic", obscure, sometimes unrecognizable, playing with what the projectors called its "imperfections". However, in and through the alteration undergone, language succeeds in setting itself free from the ideological mould of the story and in sublimating the pessimis, enhancing its inner, engendering power. This thesis brings out the capacity of language to structure or generate the world, be it the real world (the utopian language) or the fictional world (the "fantastic" language)

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Bradford, Matthew S. "An examination of works for wind band : Yorkshire ballad by James Barnes, La vigen de la macarena arranged by Charles Koff, Provenance by Robert W. Smith, Nessum dorma arranged by George Hattendorf, and Brighton beach march by William Latham." Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/344.

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Books on the topic "Russell, George William/works"

1

Eglinton, John. A memoir of AE: George William Russell. 2nd ed. San Rafael, CA: Coracle Press, 2008.

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Burris, Nancy Sue. The ancestry of George William Woods and Susanah Louise Russell: The journey from Mayflower to middle America. [U.S.A.]: N.S. Burris, 1995.

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Russell, George William. Collected Poems Of George William Russell. Dickens Press, 2007.

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O'Brien and KAIN. George Russell (The Irish writers series). Bucknell University Press, 2001.

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Curtis, George William. Collected Works of George William Curtis. BiblioBazaar, 2007.

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G, Aston W. Collected Works of William George Aston (Ganesha - Collected Works of Japanologists). Ganesha Publishing, 2001.

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Curtis, George William. Collected Works of George William Curtis (Large Print Edition). BiblioBazaar, 2007.

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(Editor), George William Russell, and Darwin Yarish (Editor), eds. The Man Who Was Ae: Memories and Recollections of George William Russell (Irish Literary Studies, 39). Barnes & Noble Imports, 1990.

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Shenstone, William, and George Gilfillan. Poetical Works of William Shenstone: With Life, Critical Dissertation and Explanatory Notes by George Gilfillan. Kessinger Publishing, 2006.

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Shenstone, William, and George Gilfillan. Poetical Works Of William Shenstone: With Life, Critical Dissertation And Explanatory Notes By George Gilfillan. Kessinger Publishing, LLC, 2007.

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Book chapters on the topic "Russell, George William/works"

1

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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"Æ (George William Russell)." In Woven Shades of Green, 129–43. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9781684481415-020.

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Russel, George. "Letters from the Revd George Russell." In The Works of Thomas Southerne, Vol. 2, edited by Robert Jordan and Harold Love. Oxford University Press, 1988. http://dx.doi.org/10.1093/oseo/instance.00024789.

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"'Pursuit of an Illusion: A Commentary on Bertrand Russell'." In Collected Works of George Grant. Toronto: University of Toronto Press, 2002. http://dx.doi.org/10.3138/9781442673069-009.

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"‘George Grant and Religion’ – A Conversation with William Christian." In Collected Works of George Grant. Toronto: University of Toronto Press, 2009. http://dx.doi.org/10.3138/9781442687677-048.

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"William Jerdan, from his introduction to ‘The Works of the Rev. George Herbert’, 1853." In George Herbert, 215–26. Routledge, 2013. http://dx.doi.org/10.4324/9781315004464-54.

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Preston, Katherine K. "“The Life of a Musician”." In George Frederick Bristow, 3–19. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043420.003.0002.

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Bristow’s first teacher was his father, William Richard Bristow; he later studied with George Macfarren, Ole Bull, and others. During the 1840s he performed professionally in theater orchestras (Park, National, and Olympic), joined the Philharmonic Society (1842), and soon began performing in the orchestra (1843). Important mentors included William Musgrif and George Loder. In the same decade he wrote songs, piano pieces, and chamber works, as well the Concert Overture (1845) and Sinfonia No. 1 (1847). By mid-decade he was thoroughly immersed in the thriving performance scene of the city: as an ensemble member, conductor, and solo violinist or pianist.

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Preston, Katherine K. "Fry, Willis, and Jullien." In George Frederick Bristow, 26–43. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043420.003.0004.

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In the 1850s Bristow was strongly influenced by William Henry Fry and Louis Jullien. Fry inspired Bristow with his 1853 challenge to American composers to create a nationalistic style; the visiting conductor Jullien both led an orchestra (which included Bristow) that was superior to any yet heard in America and overtly supported American composers by commissioning and performing their works, including Bristow’s Symphony No. 2. The activities of both mentors contributed to Bristow’s participation (1854) in the journalistic “musical battle of the century,” in which he accused the Philharmonic Society of not supporting American composers. Bristow continued to be busy as a performer.

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McInally, Tom. "The Humanist Scholar." In George Strachan of the Mearns, 29–39. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474466226.003.0004.

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Using the entries in the album amicorum and references to Strachan’s published works, this chapter illustrates the recognition he received as a humanist scholar of note while pursuing a career at the University of Paris. His persistence in seeking patronage gained him financial and academic support from Cardinal Maffeo Barberini (later Pope UrbanVIII) who was papal nuncio in Paris. Strachan acted as informer on British matters to Barberini after the cardinal’s return to Rome. Their relationship soured and financial support was withdrawn. Strachan could not remedy the change in material circumstances that this caused. His attempts to gain patronage from James VI and I in England (in which he was aided by his friend Thomas Dempster of Muiresk) and Henri IV of France failed and, at the age of forty, and almost on impulse after a conversation with the eastern traveller, William Lithgow of Lanark, he decided to travel to the Holy Land to learn eastern languages.

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Pearson, Richard. "The Times—Reviews of Carlyle’s French Revolution’—‘Duchess of Marlborough’s Private Correspondence Eros and Anteros, or Love’—‘A Diary relative to George IV. and Queen Caroline’— ‘Memoirs of Holt, the Irish Rebel’—‘The Poetical Works of Dr. Southey’—Article on Fielding." In The William Makepeace Thackeray Library, 48–58. Routledge, 2016. http://dx.doi.org/10.4324/9781315473215-6.

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