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The life and works of James Miller, 1704-1744, with particular reference to the satiric content of his poetry and plays.
No full textPhDJames Miller was born the son of a Dorset rector in 1704. He
was himself ordained, but acquired no benefice until just before his
early death, probably because of a scathing portrayal of the Bishop
of London in one of his verse satires. At Oxford he wrote a vivacious
comedy of humours, set in the University. Its production in 1730
began his dramatic career, at a time when the number of London
theatres had just doubled, and new dramatic forms were being invented.
In 1731 his poem Harlequin-Horace, a witty inversion of
the Ars Poetica, attacked pantomime and opera, but also painted a
lively portrait of the entire theatrical world, in the tradition of
the Dunciad.
After collaborating in a translation of Moliere's works Miller
wrote two plays based on this author. Of all his dramatic works
these were the most successful with his contemporaries, and were
followed by a modernisation of Much Ado, and a ballad-opera adapted
from an afterpiece by Jean-Baptiste Rousseau, and rendered highly
topical. Miller made similar use of a recent French comedy showing
a Red Indian's reactions to civilisation, a satiric "fable" by Walsh
and Voltaire's Mahomet. A large quantity of original material was
incorporated into most of these, and this is generally satirical in
nature. The Indian is made to voice almost egalitarian sentiments.
An afterpiece, "The Camp Visitants", satirised military inaction
in the war, and was apparently banned. The manuscripts of the six
plays produced after the Licensing Act bear the examiner's deletions,
and illustrate the nature of the censorship at this time.
Miller's greatest strength is probably his flexible, vigorously
colloquial dialogue. His political satire is mostly contained in
the poetry, which attacks Walpole's administration with increasing
vehemence through the seventeen-thirties, until its fall. In 1740
two poems that used Pope in symbolic contrast to Walpole caused a
sensation. In both poetry and plays Miller is also a social satirist,
who lays unusually strong emphasis on false taste and the deterioration
of culture
Controguardia anteriore e recto della 1. carta di guardia di "Erbario farmaceutico c. 1730"
No full textErbario farmaceutico c. 1730
Sulla controguardia anteriore è incollata un\u27etichetta del "Regio Istituto di Padova" in cui sono ripetuti i numeri d\u27inventario del volume e la sua collocazione.
Sulla carta di guardia, in alto a sinistra, si legge una scritta a matita: "Anonimo", probabilmente di mano del prof. P.A. Saccardo.
Un\u27altra annotazione sulla medesima carta di guardia fa riferimento alla donazione del volume con la seguente frase: "All\u27Orto Botanico di Padova dona G.B. De Toni. Padova, 21 marzo 1902". Da questa scritta si evince che fu in possesso del botanico Giovan Battista De Toni (1858-1925).
In seguito fu ancora esaminato, come testimonia l\u27altra annotazione manoscritta di U. Ugolini: "Il presente volume è il I libro di questo erbario. A carta 21 si rimanda al II libro per l\u27indicazione delle virtù della salvia. Padova 9 aprile 1930. VIII U. Ugolini"
Ordonnance du roy, pour régler les différentes classes de ceux qui seront reçus à l'Hostel royal des Invalides . Du 3 décembre 1730
No full text[Acte royal. 1730-12-03. Versailles]Avec mode text
Las misiones interiores en España (1650-1730) : una aproximación a la comunicación en el Barroco
No full textThe author studies the popular missions in Spain from 1650 to 1730 focusing on two religious orders: Jesuits and Capucins. He pays attention to the dramatic and rhetorical features of popular preaching which are similar to the theater of the same period. In fact, all of them can be called «baroque» which means that missionaries, preachers or actors conceived the communication in the same way, trying to persuade and convert their audiences with surprise, arousing their emotions. This article reveals, also, the importance of discipline in the labour of religious orders that tried to spread a devout model of religious life to the wider population. This new practice was sustained by the congregations founded by the missionaries in the villages, that encouraged particular devotional practices and a new kind of religious motives which are typical of the Postridentine period.El autor estudia las misiones populares en España entre 1650 y 1730, centrando su atención en dos órdenes religiosas: jesuitas y capuchinos. Dedica su atención a los aspectos dramáticos y retóricos de la predicación popular, insistiendo en su parecido con el teatro de la misma época. De hecho, estos fenómenos pueden ser calificados como «barrocos», lo que significa que tanto los misioneros como los predicadores o actores concibieron la comunicación del mismo modo, tratando de persuadir y convertir a sus audiencias con la sorpresa o despertando sus emociones. Este artículo revela también la importancia de la disciplina en la labor de las órdenes religiosas, que trataron de difundir un modelo religioso devoto al conjunto de la sociedad. Esta nueva práctica fue promovida por las congregaciones fundadas por los misioneros en numerosas poblaciones, que promovieron unas prácticas devocionales muy concretas, así como una serie de nuevos motivos y cultos religiosos, todos ellos típicos del período postridentino
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Erbario farmaceutico c. 1730
No full textEtichette manoscritte sul dorso: "Erbario farmaceutico c.1730" e "Dono del prof. G.B. De Toni 1902".
"Il contenuto riflette l\u27intento di documentare con criteri scientifici un insieme di vegetali aventi importanza farmacologica più che officinale in senso lato, senza trascurare tuttavia "cultivar" straordinarie, come quelle flore pleno e alcune entità il cui uso ornamentale si stava diffondendo nei giardini e negli Orti Botanici".
Da "Herbarium", a cura di Luigino Curti, Signum c1993: https://galileodiscovery.unipd.it/discovery/fulldisplay?context=L&vid=39UPD_INST:VU1&search_scope=MyInst_and_CI&tab=Everything&docid=alma99000034327020604
Ruth Kelsor, 1730 8th Ave.
No full textRuth Kelsor, 1730 8th Ave., Nov. 11, 1937. Original sleeve reads: Ruth Kelsor, 1730 8th Ave., 11-11-37 Notan Studio proof.https://mds.marshall.edu/carl_photograph_collection/1151/thumbnail.jp
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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