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York, England 1736
No full textSelected features shown pictorially.
Relief shown pictorially.
Includes indexes .
From: Eboracum : or, The history and antiquities of the city of York, from its original to the present times. Together with the history of the cathedral church, and the lives of the archbishops of that see. Collected from authentick manuscripts, publick records, ancient chronicles, and modern historians/ By Francis Drake, 1736.
"P. 244" -- upper left. Gift of Michael M. Katzman.1:6,00
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
Thüringische Nachrichten von Gelehrten Sachen ; 1736 (1736)
Get PDFTHÜRINGISCHE NACHRICHTEN VON GELEHRTEN SACHEN ; 1736
Thüringische Nachrichten von Gelehrten Sachen (-)
Thüringische Nachrichten von Gelehrten Sachen ; 1736 (1736) (1)
Titelblatt (1)
Widmung (3)
Num. I. (7)
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Register (391)
Fotodokumentation (405
Originalhandschrift // von // Antonio Caldara // k.k. Vize-Hofkapellmeister // im Wien // Geb: 1670 + 1736 (manuscrit autographe)
No full textTitre uniforme : Caldara, Antonio (1671?-1736). Compositeur. [Sancio Pansa governatore dell'isola Barattaria. Come giammai potete averme]Ne contient que la scène 5 et le début de la scène 6 d'un acte non identifié. - Livret de Giovanni Claudio Pasquini. - 1re représentation : Vienne, Kleines Theater in der Burg, 27 janvier 1733. - Ms. autogr. authentifié par Aloys Fuchs à la couv.. - D'une autre main à la couv., note mentionnant la date de représentation et le nom du librettiste. - Rôles : Lauvindo (Ut 3), Lucinda (Ut 1), Alsisidora (Ut 3). - Instruments non spécifiés : Sol 2, Ut 3, Fa 4Présentation musicale : [Partition]Incipit : Fallo d'amor d'ogni pietade è degno (récitatif)Incipit : Come giammai potete averme (aria)Appartient à l’ensemble documentaire : RISM2Appartient à l’ensemble documentaire : RISMMssOpéras -- +* 1700......- 1799......+:18e siècle
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
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Rural life in English poetry of the mid-eighteenth century
Get PDFThis thesis examines several mid-eighteenth century poems, assessing their portrayal of rural life, its literary and historical significance, and the aesthetic and ideological issues it presents. An introductory essay on developments in rural poetry sets the scene for two extended essays. The first essay is a comparative reading of the subject of rural labour in three poems: James Thomson’s The Seasons (1726-44), Stephen Duck’s The Thresher’s Labour (1730, 1736) and Mary Collier’s The Woman’s Labour (1739). The viewpoints of a professional poet (Thomson), a farm labourer (Duck), and a working woman (Collier) are compared in relation to kinds of work all three address as well as to individual labouring subjects. The responses of the three poets to such related issues as folk traditions, forms of charity and other ‘compensations’, are also compared. Some surprising similarities as well as instructive differences are located; and an interesting picture of idealistic and realistic, male-oriented and female-oriented attitudes to labour and labour-related themes emerges
IX A 1 - Alte Stadtrechnungen (1735 - 1736)
No full textIX A 1 - ALTE STADTRECHNUNGEN (1735 - 1736)
IX A 1 - Alte Stadtrechnungen (1735 - 1736) ( -
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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