While Orator of the University of Cambridge, Anthony Bowen delivered one hundred and twenty-five Latin speeches at the Senate House in praise of a variety of distinguished people on the occasion of their receiving Honorary Degrees. Fifty-two are presented here, with facing translations. The fifty-first Orator in an unbroken sequence going back to 1521, Mr Bowen's speeches adapt themselves admirably to the challenge of speaking even of modern phenomena in the language and cadences as far as possible derived from antiquity; although words such as transistor (gen. transistoris, m.) may occasionally need to be invented. The subjects of the speeches include Nelson Mandela, Rowan Williams, Betty Boothroyd, Cleo Laine, Kiri Te Kanawa, Anthony Gormley, and a host of others including many distinguished international scientists.
In this book, Teodolinda Barolini explores the sources of Italian literary culture in the figures of its lyric poets and its three crowns: Dante, Petrarch, and Boccaccio. Barolini views the origins of Italian literary culture through four prisms: the ideological/philosophical, the intertextual/multicultural, the structural/formal, and the social.The essays in the first section treat the ideology of love and desire from the early lyric tradition to the Inferno and its antecedents in philosophy and theology. In the second, Barolini focuses on Dante as heir to both the Christian visionary and the classical pagan traditions (with emphasis on Vergil and Ovid). The essays in the third part analyze the narrative character of Dante's Vita nuova, Petrarch's lyric sequence, and Boccaccio's Decameron. Barolini also looks at the cultural implications of the editorial history of Dante's rime and at what sparso versus organico spells in the Italian imaginary. In the section on gender, she argues that the didactic texts intended for women's use and instruction, as explored by Guittone, Dante, and Boccaccio-but not by Petrarch-were more progressive than the courtly style for which the Italian tradition is celebrated.Moving from the lyric origins of the Divine Comedy in Dante and the Lyric Pastto Petrarch's regressive stance on gender in Notes toward a Gendered History of Italian Literature-and encompassing, among others, Giacomo da Lentini, Guido Cavalcanti, and Guittone d'Arezzo-these sixteen essays by one of our leading critics frame the literary culture of thirteenth-and fourteenth-century Italy in fresh, illuminating ways that will prove useful and instructive to students and scholars alike.
Other Indians came to see me and their reverence for this man sounded strange in our world, where we hide great and little things under the same veil of obvious comedy and half-serious depreciation. When we were making the cathedrals had we a like reverence for our great men? Every morning.
What a gorgeous undertaking it is to try to depict the soul of a man. A god-like hardship to render in words the utmost reach of thought and spiritual endeavor and the abyss of feelings, instincts, fears - the ghostly echoes in us of forgotten dangers or long disused power. Of necessity the enterprise is a failure.You might as well try to paint a wave and at the same time, its chemical constituents and its myriad animalculae.You think of your friend's chief characteristic, the most prominent and peculiar trait of his nature and before you have got it on the paper, you recognize that he might correct you and declare that the opposite and antagonistic quality had guided him again and again and in fact finally determined his life's course.Each one of us is made up of a myriad contradictories and no man has been able as yet to paint his own spirit in its entirety, let alone a stranger's, for we are all strangers one to another and lonely from the cradle to the grave, alone and forlorn.Yet when we look at this impossible task in another light, it comes within our compass.
Introduction 1. The Novel and the Nation 2. Cavaliers, Puritans, and Rogues: English Fiction from 1485 to 1700 3. Cross-Grained Crusoe: Defoe and the Contradictions of Englishness 4. Histories of Rebellion: From 1688 to 1793 5. The Novel of Suffering: Richardson, Fielding, and Goldsmith 6. The Benevolent Robber: From Fielding to the 1790s 7. Romanitic Toryism: Scott, Disraeli, and Others 8. Tory Daughters and the Politics of Marriage: Jane Austen, Charlotte Bronte, and Elizabeth Gaskell 9. 'Turn Again, Dick Whittington!': Dickens and the Fiction of the City 10. At Home and Abroad in Victorian and Edwardian Fiction: From iVanity Fair/i to iThe Secret Agent/i 11. Puritan and Provincial Englands: From Emily Bronte to D. H. Lawrence 12. From Forster to Orwell: The Novel of England's Destiny 13. From Kipling to Independence: Losing the Empire 14. Round Tables: Chivalry and the Twentieth-Century English Novel- Sequence 15. Inward Migrations: Multiculturalism, Anglicization, and Internal Exile Conclusion: On Englishness and the Twenty-First Century Novel
'Abbe Faujas has arrived!' The arrival of Abbe Faujas in the provincial town of Plassans has profound consequences for the community, and for the family of Francois Mouret in particular. Faujas and his mother come to lodge with Francois, his wife Marthe, and their three children, and Marthe quickly falls under the influence of the priest. Ambitious and unscrupulous, Faujas gradually infiltrates into all quarters of the town, intent on political as well as religious conquest. Intrigue, slander, and insinuation tear the townsfolk apart, creating suspicion and distrust, and driving the Mourets to ever more extreme actions. The fourth novel in Zola's Rougon-Macquart sequence, The Conquest of Plassans returns to the fictional Provencal town from which the family sprang in The Fortune of the Rougons. In one of the most psychological of his novels, Zola links small-town politics to the greater political and national dramas of the Second Empire. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
From the riddling aphorism by Walter Benjamin with which the book opens, Unfinished Music explores with subtle insight the uneasy relationship between the finished work and the elusive, provocative traces of the imponderable labors buried in its past. Carl Philipp Emanuel Bach is a central player here, and his presence is deeply felt in studies of Beethoven's late music. Music seductively unfinished is the topic of chapters on sketches by Beethoven, fragments by Mozart, and on two important sonatas that Schubert left resoundingly incomplete.
Charles Heavysege's chief and best-known work, the long-verse drama and tragedy Saul, was published in Montreal in 1857. It is a powerful presentation of the tormented soul caught in a world of order and universal degree.
Music is an art form whose medium is sound organized in time. Common elements of music are pitch (which governs melody and harmony)， rhythm (and its associated concepts tempo， meter， and articulation)， dynamics， and the sonic qualities of timbre and texture. The creation， performance， significance， and even the definition of music vary according to culture and social context. Music can be divided into genres and subgenres， although the dividing lines and relationships between music genres are often subtle， sometimes open to individual interpretation， and occasionally controversial. Within the arts"， music may be classified as a performing art， a fine art， and auditory art. To people in many cultures， music is inextricably intertwined into their way of life. Music is known to have many benefits for health， ranging from inducing relaxation and sleep to improving a depressed mood. Music also enhances cognitive function such as attention to task， communication， learning and memory. This new and important book gathers the latest research from around the globe in this dynamic field of study and highlights topics such as: rap music and its effect on sexual attitudes， music videos and risky driving， burnout and music use， music memory and the right hippocampus， and others."
The popular music industry has become completely interlinked with the film industry. The majority of mainstream films come with ready-attached songs that may or may not appear in the film but nevertheless will be used for publicity purposes and appear on a soundtrack album. In many cases, popular music in films has made for some of the most striking moments in films and the most dramatic aesthetic action in cinema, like Ben relaxing in the pool to Simon and Garfunkel's 'The Sound of Silence' in The Graduate (1967), and the potter's wheel sequence with the Righteous Brothers' 'Unchained Melody' in Ghost (1990). Yet, to date, there have only been patchy attempts to deal with popular music's relationship with film. Indeed, it is startling that there is so little written on subject that is so popular as a consumer item and thus has a significant cultural profile. Magical Musical Tour is the first sustained and focused survey to engage the intersection of the two on both an aesthetic and industrial level. The chapters are historically-inspired reviews, discussing many films and musicians, while others will be more concentrated and detailed case studies of single films. Including an accompanying website and a timeline giving a useful snapshot around which readers can orient the book, Kevin Donnelly explores the history of the intimate bond between film and music, from the upheaval that rock'n'roll caused in the mid-1950s to the more technical aspects regarding 'tracking' and 'scoring'.
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