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

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Published: 4 June 2021
Last updated: 3 February 2022

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1

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

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2

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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3

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

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4

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

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5

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

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6

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

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7

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

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8

(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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9

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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10

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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11

Series, Michigan Historical Reprint. The life of William H. Seward with selections from his works, ed. by George E. Baker. Scholarly Publishing Office, University of Michigan Library, 2005.

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12

Knight, George Wilson. Byron and Shakespeare: G. Wilson Knight: Collected Works, Volume 11. Routledge, 2002.

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13

Preston, Katherine K. George Frederick Bristow. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043420.001.0001.

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George Frederick Bristow (1825-1898), a pillar of the nineteenth-century New York musical community, was educated, lived, and worked in New York for his entire life. A skilled performer (piano, organ, violin, conducting), he was a decades-long member of the Philharmonic Societies of New York and Brooklyn, and conducted the Harmonic Society, Mendelssohn Union, numerous church choirs, and pickup choral and instrumental ensembles organized for special events. He taught music privately and in the public school system. Bristow’s professional activities were those of a highly skilled urban journeyman musician--typical of many who worked in America during the period. Bristow was a steadfast and outspoken supporter of American composers throughout his career. This started in 1854 with his participation--along with William Henry Fry and editor Richard Storrs Willis--in a months-long journalistic battle that centered on the Philharmonic Society’s lack of support for American composers, an activity that has dominated his historical reputation. But he was also a prolific composer: of five symphonies, two oratorios, an opera, many secular and sacred choral pieces, chamber music, songs, and works for piano and organ. As a quiet and self-effacing individual, Bristow was not a self-promoter. But many of his contemporaries regarded him as a skilled performer, a generous colleague, and the most important American classical composer during much of the mid-century period.
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14

Three Renaissance Travel Plays: The Travels of Three English Brothers by John Day, William Rowley and George Wilkins; The Sea Voyage by John Fletcher and ... Brome (The Revels Plays Companion Library). Manchester University Press, 2000.

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15

Perry, Henry Ten Eyck. The Comic Spirit In Restoration Drama: Studies In The Comedy Of Etherege, Wycherley, Congreve, Vanbrugh And Farquhar. Kessinger Publishing, LLC, 2007.

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16

A supplemental apology for the believers in the Shakspeare papers: Being a reply to Mr. Malone's answer which was early announced, but never published : with a dedication to George Steevens and a postscript to T.J. Mathias. Oxford: Pergamon, 1985.

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17

Tobin, George. Captain Bligh's Second Chance: An Eyewitness Account of His Return to the South Seas by Lt. George Tobin. Naval Institute Press, 2007.

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18

Rivers, Isabel. Practical Works. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198269960.003.0010.

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Practical works were designed to enable readers to practise the Christian life. This chapter begins with comparative accounts of collections of sermons and prayers and their intended audiences. Some sermon collections were meant for family worship on Sunday evenings, such as those by the Congregationalists Isaac Watts and John Mason; John Wesley’s were for Methodist preachers and societies; George Burder’s were for poor villagers and Sunday schools. Prayer collections analysed are Elizabeth Rowe’s Devout Exercises and those by the Presbyterian Samuel Bourn, the Unitarian William Enfield, the Congregationalist Samuel Palmer, and the Church of England evangelical James Stonhouse. The chapter is largely devoted to case studies of three devotional handbooks, William Law’s A Serious Call to a Devout and Holy Life, Philip Doddridge’s The Rise and Progress of Religion in the Soul, and Henry Venn’s The Complete Duty of Man, with accounts of editions, adaptations, and readers’ responses.
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19

Murnaghan, Sheila, and Deborah H. Roberts. Classics in their Own Right. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199583478.003.0003.

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This chapter traces the reception of Nathaniel Hawthorne’s and Charles Kingsley’s mid-nineteenth-century myth collections for children (A Wonder-Book for Girls and Boys, Tanglewood Tales, and The Heroes) over a century-long period during which they dominated the field and came to be viewed as classics in their own right. It treats the general cultural impact of these works, their role as gift books, and their progressive transformation as they were republished in varying formats and with illustrations by an array of distinguished artists; it includes detailed analyses of selected illustrations by Frederick Church, Milo Winter, Arthur Rackham, Charles Kingsley, William Russell Flint, H. M. Brock, Joan Kiddell-Monroe, and Charles Keeping.
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20

McDonagh, Josephine. Literature in a Time of Migration. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192895752.001.0001.

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Literature in a Time of Migration rethinks British fiction in the light of new practices of human mobility that reshaped the nineteenth-century world. Building on the growing critical engagement with globalization in literary studies, it confronts the paradox that at a time at which transnational human movement occurred globally, on a scale before unknown, British fiction appears to turn inward to tell stories of local places, in which stability and rootedness are rewarded. On the contrary, Literature in a Time of Migration reveals how literary works, from the end of the Napoleonic Wars to the advent of the New Imperialism, were active components of a culture of colonization and emigration. Fictional texts, as print commodities, were enmeshed in technologies of transport and communication, and innovations in literary form were spurred by the conditions and consequences of human movement. Works by canonical writers (Scott, Charlotte Brontë, Dickens, and George Eliot), and other popular contemporaries (Mary Russell Mitford, John Galt, and Thomas Martin Wheeler), examine issues that overlap with an agenda set in public discussions of colonial emigration, which they also helped to shape. Debates concerning, for example, assisted emigration, ‘forced’ and ‘free’ migration, colonization, settlement, and the removal of native peoples, figure in complex ways in fictions. Read alongside writings by emigration theorists, practitioners, and enthusiasts, fictional texts reveal a sustained engagement with British migratory practices and their worldwide consequences. Literature in a Time of Migration is a timely reminder of the place and importance of migration within British cultural heritage.
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21

Hetherington, Paul, and Cassandra Atherton. Prose Poetry. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691180656.001.0001.

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This is the first book of its kind — an introduction to the history, development, and features of English-language prose poetry, an increasingly important and popular literary form that is still too little understood and appreciated. The book introduces prose poetry's key characteristics, charts its evolution from the nineteenth-century to the present, and discusses many historical and contemporary prose poems that both demonstrate their great diversity around the Anglophone world and show why they represent some of today's most inventive writing. A prose poem looks like prose but reads like poetry: it lacks the line breaks of other poetic forms but employs poetic techniques, such as internal rhyme, repetition, and compression. The book explains how this form opens new spaces for writers to create riveting works that reshape the resources of prose while redefining the poetic. Discussing prose poetry' s precursors, including William Wordsworth and Walt Whitman, and prose poets such as Charles Simic, Russell Edson, Lydia Davis, and Claudia Rankine, the book pays equal attention to male and female prose poets, documenting women's essential but frequently unacknowledged contributions to the genre. Revealing how prose poetry tests boundaries and challenges conventions to open up new imaginative vistas, this is an essential book for all readers, students, teachers, and writers of prose poetry.
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22

Zimmerman, Sarah. The Romantic Literary Lecture in Britain. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198833147.001.0001.

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Public lectures on poetry caught the popular imagination in Britain in the first two decades of the nineteenth century with the performances of John Thelwall, Samuel Taylor Coleridge, Thomas Campbell, and William Hazlitt. Lecturers aimed to shape auditors’ reading habits, burnish their critical profiles, and establish a literary canon, but auditors also wielded considerable influence, since their sustained approbation was necessary to a series’ success. A number of oral traditions fed the literary lecture’s development, but it emerged most vitally out of and against the radical speaking culture of the 1790s in which Thelwall and Coleridge had participated, and developed in anxious proximity to an expanding literary marketplace. These pressures informed lecturers’ critical arguments as they debated who should receive a literary education, what works they should read, and for what ends. As historical speaking performances, public lectures demand a methodological approach of their own, because lecturers communicated their arguments with words, physical gestures, facial expressions, and via self-presentation. An interdisciplinary scholarly consensus now recommends approaching these events by gathering as many surviving texts as possible from both parties and situating these performances in their specific times and places. Although women were disallowed from being public literary lecturers, female auditors performed significant cultural roles as patrons, and as hosts and guests at private gatherings that sometimes followed public lectures. Auditors including John Keats, Mary Russell Mitford, Lady Charlotte Bury, and Catherine Maria Fanshawe responded to lectures in conversation, poems, letters, and journal entries that should be considered creative works in their own right.
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23

Farr, James. The History of Political Thought as Disciplinary Genre. Edited by John S. Dryzek, Bonnie Honig, and Anne Phillips. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199548439.003.0012.

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This article examines the history of political thought between the mid-nineteenth and the later twentieth centuries. It contends that the history of political thought became a disciplinary genre within political science largely because of the works of Robert Blakely, William Dunning, and George Sabine. It contends that a methodological awakening in the later twentieth century brought the disciplinary genre to a close and initiated the latest article in the history of political thought.
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24

Burrow, Colin. The Reformation of the Household. Edited by James Simpson and Brian Cummings. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199212484.013.0025.

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One episode in Edmund Spenser’sFaerie Queeneshows a sudden transition of worlds which is paradigmatic of Protestant self-representation. From cannibalistic Catholics to pastoral piety, from a godless outdoors to the small-scale courtesies of the godly household, this shift implies that the act of violent religious Reformation abruptly gives rise to a cultural reformation that profoundly changes the scale and style of social organization. This article argues that Spenser’s Protestant mythology still shapes the understanding of households in the sixteenth century and that it is radically misleading. Royal and magnate households dominate the early part of the century, while representations of small-scale (and sometimes only incidentally Protestant) households richly populate the drama and narrative prose of its end. By focusing on the role played by non-royal households in writing by mid-century Catholics-George Cavendish’sLife and Death of Cardinal Wolseyand William Roper’sThe Lyfe of Sir Thomas Moore, Knighte--this article argues two things: that it is wrong to regard the royal household as the all-encompassing centre of early Tudor writing; and that is incorrect to suggest that the Protestant reformation aided the emergence of smaller-scale domestic institutions. In these mid-century works there is a counter-reformation representation of the household which had a powerful influence on later representations of the household—including even those of Protestants such as Spenser, George Gascoigne and Shakespeare.
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25

Walter, Tonio, and Edward Schramm, eds. Dichtung und Wahrheit – und Recht. Nomos Verlagsgesellschaft mbH & Co. KG, 2021. http://dx.doi.org/10.5771/9783845297057.

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Art and literature are seismographs: they sense changes. And often they are ahead of their time and anticipate new truths. This volume attempts to show the significance of such artistic advances in knowledge and perception for the study of law by means of examples. The articles by nine authors collected here range from an introduction to the thematic connection of poetry, truth and law to an analysis of works of William Shakespeare, Charles Reade, Alexander Vasilyevich Sukhovo-Kobylin, George Orwell, Peter Kurczek, Ingeborg Bachmann, an excerpt from the novel "Justizpalast" by Petra Morsbach and a study on the TV crime series „Tatort“.
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26

Rivers, Isabel. The Episcopalian Inheritance. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198269960.003.0006.

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This chapter begins by emphasizing the return to the theology of the Thirty-Nine Articles and Homilies by Methodists and Church of England evangelicals, notably John Wesley, George Whitefield, and Thomas Scott. Many Anglican writers of the second half of the seventeenth century were recommended by dissenters, such as Philip Doddridge and Edward Williams, as well as by Methodists and Church of England evangelicals. Works by the churchmen William Beveridge and Benjamin Jenks were edited, abridged, and widely read across denominations. A case study is devoted to the influence and editorial transformations of The Life of God in the Soul of Man by the Scottish episcopalian Henry Scougal.
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27

Rivers, Isabel. The Nonconformist Inheritance. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198269960.003.0005.

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This chapter analyses the editions, abridgements, and recommendations of texts by seventeenth-century nonconformists that were made by eighteenth-century dissenters, Methodists, and Church of England evangelicals. The nonconformist writers they chose include Joseph Alleine, Richard Baxter, John Flavel, John Owen, and John Bunyan. The editors and recommenders include Philip Doddridge, John Wesley, Edward Williams, Benjamin Fawcett, George Burder, John Newton, William Mason, and Thomas Scott. Detailed accounts are provided of the large number of Baxter’s works that were edited, notably A Call to the Unconverted and The Saints Everlasting Rest, and a case study is devoted to the many annotated editions of Bunyan’s Pilgrim’s Progress and the ways in which they were used. The editors took into account length, intelligibility, religious attitudes, and cost, and sometimes criticized their rivals’ versions on theological grounds.
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28

Eller, Jonathan R. The Wheel of Fortune. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036293.003.0041.

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This chapter focuses on Ray Bradbury's continued relationship with his mentors, offering advice to them while affecting the tone and diction of his apprentice years. In early 1952 William F. Nolan published The Ray Bradbury Review, a booklet documenting Bradbury's creative output as projected through the end of the year. The next year Nolan privately printed a supplemental Bradbury Index and also offered a detailed account of Bradbury's major works-in-progress as well as his media work. This chapter first considers Bradbury's mentorship of emerging and young writers such as Nolan, Charles Beaumont, and George Clayton Johnson during the early 1950s, interacting with them and giving them encouragement. It then discusses Bradbury's conscious efforts to repay the blessings he had received from his old friends and mentors a decade earlier, including Edmond Hamilton, Leigh Brackett, Hank Kuttner, and C. L. Moore.
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29

Siegel, Jonah. Material Inspirations. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198858003.001.0001.

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This book is a study of the relationship between matter and idea that shaped the nineteenth-century culture of art, and that in turn determined the course of still-current accounts of art’s nature and value. Drawing on recent scholarship on the history of art and its institutions, Material Inspirations places cultural developments such as the emergence of new sites for exhibition and the astonishing proliferation of printed reproductions alongside a wide range of texts including novels, poems, travel guidebooks, compendia of antiquities, and especially the great line of critical writing that emerged in the period. The study aims to vivify a dynamic era, too often seen as static and unchanging, by emphasizing the transformations taking place throughout the period in precisely those areas that have appeared to promise little more than repetition or continuity: collection, exhibition, and reproduction. The book culminates with the two great critics of the period, John Ruskin and Walter Pater, but it also includes close analysis of other prose writers, as well as poets and novelists ranging from William Blake to Robert Browning, George Eliot to Henry James. Significant developments addressed include the vogue for the representation of Old Masters in the first half of the century, ongoing innovations in the creation and diffusion of reproductions, and the emergence of the field of art history itself. At the heart of each of these the book identifies a material pressure shaping concepts, texts, and works of art.
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30

Skeel, Sharon. Catherine Littlefield. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190654542.001.0001.

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Born in Philadelphia in 1905, Catherine Littlefield first learns dancing from her mother, Caroline (called Mommie), who was an expert pianist, and from a local dancing master, C. Ellwood Carpenter. As a teenager, Catherine becomes a Ziegfeld dancer and takes lessons from Luigi Albertieri in New York. She returns home in 1925 to help Mommie teach at the Littlefield School (among her students is Zelda Fitzgerald) and stage dances for women’s musical clubs and opera companies. William Goldman hires Catherine to produce routines in commercial theaters throughout Philadelphia and becomes her boyfriend. Catherine, Mommie, and Catherine’s sister, Dorothie, travel to Paris so the sisters can study ballet with Lubov Egorova. They become friendly with George Balanchine in Paris and help him establish his first American school and company when he comes to the United States in 1933. Catherine marries wealthy Philadelphia attorney Philip Leidy and founds her Philadelphia Ballet Company in 1935. She choreographs—and her company presents—the first full-length, full-scale production of Sleeping Beauty in the United States as well as popular ballet Americana works such as Barn Dance and Terminal. Her company’s European tour in 1937 is the first ever by an American classical ballet troupe. Catherine loses some of her protégées to the newly formed Ballet Theatre and disbands her company after the United States enters World War II; she then choreographs Broadway musicals, Sonja Henie’s Hollywood Ice Revues, and Jimmy Durante’s NBC television show before dying in 1951 at age forty-six.
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