19 research outputs found
Political trajectories in the painting of P. Wyndham Lewis
Get PDFThis thesis presents an analysis of the political dimension to the paintings of Percy Wyndham Lewis (1882-1957).Through an exegesis of the discreet and latent "voices" in Lewis's paintings the ideological parameters of his thought world are disclosed. These imperatives are examined for their display of political predispositions, for values and attitudes, which reveal a loading towards specific socio-cultural standards. In so far as these standards can be identified with historically relevant political programmes they become manifestos for political actions. Or, at the very least, they can be seen to exist as critical and prescriptive social insights. Importantly, the focus of this examination and interpretation remains the visual image and its related texts. A key aspect of both the methodology and argument within this thesis, insists that the visual image is the bearer of meaning in both its subject matter and technique. Values are communicated not only in reference to the thing displayed, but, in the manner of the display. Hence, an analysis of the intellectual and formal strategies employed by Lewis in his painting becomes a central concern of the thesis. Finally, the thesis rounds on the actual nature of Lewis's politics as revealed in his approach to art. While it is accepted that the mediation from the political to the painted throws up many and substantial barriers, the thesis insists that a political reading of Lewis's creative work is not only appropriate but necessary. In offering just such a reading the author hopes to transcend the boundaries between the disciplines of Art History and Sociology
Poetics of the same: a philosophical poetic recourse into sameness
No full textPhDThis study endeavours to investigate the philosophical and poetological
dimensions, the philological origins, and significant philosophical-literary
representations of the Same. It also assesses sameness as a philosophical and
poetological modus operandi; that is to say, it analyzes the ways in which the
Same operates in different types of discourses both as an object of investigation
and as an agent of (poetic) thought. The concept of the Same or the operation of
sameness as the philosophical question par excellence will be considered in the
development of Continental philosophy and philosophical poetics from classical
antiquity to Postmodernism, and its transposition into poetry.
The elaboration of the issue of sameness encompasses any philosophical
inquiry which seeks to establish the essence of Being and make it susceptible to a
general, unifying principle: as a search for an underlying element; for a
metaphysical unity or universal, preceding division or difference and amounting
to the harmony in the Universe; or for a transcendental absolute totality.
Postulations of the pure conceptual difference are likewise examined as part of the
elaboration of sameness, and will be viewed as indispensable for revealing the
genuine plenitude of sameness.
Part One traces the inception of sameness as a concept of pure identity,
amounting to the harmony of the Universe by virtue of the operations of
belonging (Presocratics), participation (Plato), and emanation (Plotinus), anchored
in the relationships between the One and the many, between the Whole and its
parts, between the Original and the copy. Part Two inquires into the limits of
postulating sameness in terms of pure identity and points to two possible solutions
to this problem: a philosophical-aesthetic digression from sameness (Kant and
related aesthetic theories of the seventeenth and eighteenth centuries) and the
return to sameness as an absolute totality in Part Three (Schelling and Hegel).
Part Four investigates the re-postulation of sameness as pure Difference
(Nietzsche, Heidegger, Derrida), hence the entire re-organization of thought in
terms of the other. Part Five analyzes the transposition of sameness from
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philosophy into the poetic language of repetition, using Rilke’s Sonnets to
Orpheus as its prime poetic example.
It will be argued that the philosophical displacement of the Same from a
concept of identity into that of difference does not amount to an abandonment of
its plenitude, but rather points to the need for a precarious balance between
sameness and difference, the simultaneous quest for unity and the absolute
singularity of the other. This balance, it will be argued, must be sought for in
every genuine creation
The modernist angel: Art at the Limits of the Human in D. H. Lawrence, H. D. and Mina Loy
No full textPhDThe subject of this thesis is a figure that might provisionally be called the *modemist
angel'. Focusing on modernist literature, and more particularly on the work of D. H.
Lawrence, H. D. and Mina Loy, it aims to isolate from the many angels found in all periods
and all types of art a historically specific and intellectually coherent paradigm: an angel of
and for its modernist times. A figure of precisely this type could be said to exist in the
form of Walter Benjamin's 'angel of history'. Critics who address the question of the
modern angel in texts by Franz Kafka and Rainer Maria Rilke often do so in conjunction
with the problem posed by the angel of history. Beginning with a chapter on Benjamin,
this thesis nevertheless follows a different trajectory. Over five chapters, it explores a
modernist landscape formed not only by Lawrence, H. D. and Loy, but also by European
and American writers such as A. R. Orage, Allen Upward, Ezra Pound, Wallace Stevens,
Havelock Ellis, Edward Carpenter, Sigmund Freud and Friedrich Nietzsche. Although the
angel that emerges from this investigation might, in some respects, be said to anticipate
Benjamin's later version, this figure is also very different, standing for a project that is
distinctively, and recognisably, modernist in nature. He/she (the sex of the modernist
angel is often open to question) represents an attempt to reconcile the divine
responsibilities of the artist with the material and gendered conditions of being,
specifically of being human, in the modem world. This thesis looks again at the clash of
intellectual paradigms in the early-twentieth century - notably, the confrontation of the
Romantic view of art as a superhuman or sacred undertaking with the psychoanalytical or
evolutionary idea that all human endeavour is underpinned by sub-human motives - and
suggests the angel as a new and instructive figure through which to think the perilous
limits between the human and the divine in modernist literature
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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
'One equal music’: The royal college of music, its inception and the legacy of Sir George Grove 1883-1895
Get PDFThe establishment of the Royal College of Music (RCM) in 1883 represents the denouement of an eighteenth-century movement to found a conservatoire with a national remit in Britain. Whether motivated by the desire to rival Continental conservatoires to generate and develop an environment in which a worthy successor to Purcell could be nurtured or to create an indigenous musical workforce to obtain direct control of market forces, the RCM was seen as a panacea in the light of the demise of the experimental National Training School for Music (1876-1882) and the ineffectual Royal Academy of Music founded in 1822. The NTSM's financial concerns led Sir Henry Cole to approach the Royal Commission of 1851 for aid. In return for a meagre grant, the Commission insisted the NTSM remodel its management and constitution on pain of eviction from buildings on the Kensington Estate. Cole's approach to 1851 Commissionets precipitated the involvement of the Prince of Wales and other senior members of the Court that led directly to the establishment of the RCM in 1878.Attempts to institute the RCM as a quango to regulate the music profession alongside music education both at elementary school and university level were intended to provide ideal circumstances for inducing comprehensive treasury assistance where the NTSM failed. When this proved elusive, a contingency was provided by George Grove (first RCM Director from 1882) who, at the request of the Prince of Wales, imtiated a capital fund. The introduction of fee-paying students alongside scholars provided financial security that distanced the College & insolvency. Substantial growth in numbers during the first few years forced Grove and the Council to address the issue of a new building. Grove's appointment of an unrivalled professorial staff and the development of a rigorous curriculum, whose inspiration was to be found within the Continental traditions in France and Germany, had paid dividends. By 1894, the results of RCM's pedagogical methods were respected across Europe. The appointment of Grove's neighbour, Alexander Mackenzie, as Principal of the RAM heralded an environment for mutual co-operation between two rival institutions. The institution of local examinations under the Associated Board of the Royal Academy of Music and the Royal College of Music from 1889 marked the conclusion of further attempts to amalgamate the two institutions. The foundation of both the Associated Board was intended to provide a remedy to the shortage of suitably-qualified candidates entering for scholarships and to improve music tuition among school children as set out in the RCM's 1883 charter. The coalition created formidable opposition to Halle's proposal to establish a chartered Royal College of Music in Manchester (RMCM) in 1893 and Parliament's attempts to include music within the provision of the bill for the regulation and registration of teachers. The foundation of the Associated Board allowed Grove to begin implementing the RCM's remit to lead the music profession on both a national and imperial scale. The RCM's national and European reputation established by Grove was consolidated under the directorate of his successor, c. Hubert H. Parry, who confirmed the RCM's global reputation to which other, fledgling institutions, such as New York's Juilliard School of Music, came to aspke. Grove's initiatives, which began the process of emancipating composer and performer alike, went on to transform Britain's international musical reputation within a generation, the ramifications of which continue to affect us more than a century later
'You who were called the uncircumcision by the circumcision’ a study of Jewish attitudes toward the gentiles and ethnic reconciliation according to eph. 2.1-22
Get PDFThe present work is a study of the connections between Jewish attitudes toward the Gentiles and ethnic reconciliation according to Eph. 2. It begins by assessing previous scholarly tradition whose hermeneutical 'grid' has been derived from the philosophy of dialectics or the Protestant Reformation. The 'new perspective(s) on Paul', however, shifts our perspective back to first century Judaism and enables us to penetrate fully into the historical context of first century Jews and Judaism. We have taken pains to describe some of the relevant Jewish features and demonstrated them by focusing particularly on Eph. 2 and attempting to set it as fully as possible into its historical context. The uncontroversial a priori of Jewish context conceals many explosive issues: how much was our author influenced by Jewish ideas? Does he wish to speak about his Gentile addressees from a Jewish perspective? Does his status as a Jew also create for him a convenient 'pre-text' so that he could reiterate the perspective of other Jews about the Gentiles in his representation of it? These questions are addressed in this study. We have paid attention to the question of 'representation' or characterization and suggested that ethnography provides a way into the author's statements about the Gentiles: it aids die author to heighten the boundary between Jews and Gentiles and to underscore the negative valence which is attached to the Gentiles. The author's ethnographic statements enable us to show the way in which the language of 'powers' had become for our author a means of dividing human groups, establishing the differences between them and suggesting wherein their 'otherness' lies (Eph. 2.2). These statements and the negative verdict which the author passes on the Gentiles represent but a preamble to the author’s arduous effort to surmount the social distance between Jews and Gentiles. This is made most evident in his rhetoric of admission and conciliation in which he lays bare the fact that the Jews (himself included) were in no better position than the Gentiles who are 'sub-let' to the 'powers', although the idea of Israel’s status was never put in question (2.3). His aim is to evoke the need for the promptings of divine grace and love toward humankind (2.4-10). We also seek to show that Ephesians does not consist of a polemic against meritorious works. We have taken pains to demonstrate that the author of Ephesians has adopted a subtle approach in unraveling the exclusivistic Jewish attitudes toward the Gentiles. His characterization of the Gentiles reveals a distinctively Jewish perspective, and, more importantly, tells us much about the Jews (2.1 l-13a). We also show that the Gentiles were estranged by the Jews and that the estrangement can be best explained by die hypothesis that the Gentiles were perceived by die Jews through the 'grid' of covenantal ethnocentrism. The task of the author at this point is to exhibit his de-constructive strategy which provides a resolution to one of the thorniest issues regarding two ethnic groups: can Jew and Gentile, the two estranged human groups, be one {people of God)l And if so, howl We then go on to consider the way in which an exclusive, ethnic-oriented 'body politic of Israel' is transposed into an inclusive community-body. We pointed out that a major weakness with previous treatments of Ephesians has been a lack of appreciation for the close connections between die exclusive Jewish attitudes toward die Gentiles and the author's encomiastic statements about Christ (2.14-18). Previous scholarship has also been substantially hampered by its attempt to 'discover' a preformed material in Eph. 2.14-18, failing to recognise the discussion in Eph. 2.11-13 which sets the parameters for understanding Eph. 2.14-22. Rather than a 'parenthesis' or 'digression', which is tangential to the primary design of die author's argument, we suggested that Eph. 2.14-18 can be best read as an amplificatio through which the author has set in comparison with the magnanimity of Christ the Jewish attitudes toward the Gentiles (w. llb-12). What becomes immediately clear in his attempt to accentuate Christ's magnanimity toward humankind is that this attempt was prompted by the Jewish tendency to exclude. The author maximises the expedient, noble act of Christ who brings peace to an estranged humanity and surmounts the social distance between Jews and Gentiles, and whose death has in his perception provided a new framework, i.e. pax Christi within which mutual acceptance or 'the oneness of spirit' between Jews and Gentiles may then be filled out (v. 18; cf. 4.1-6). Such community- enhancing metaphors as 'one new man', 'one body' and 'one spirit' signalled the importance of and were introduced to put the exclusive Jewish 'body politic' and Jewish conception about humankind in question, but they never question the legitimacy of Israel as God's choice or replace Israel. Some vital implications of Christ's reconciling work for the Christian Gentiles and, not least, for their relation to Israel are considered in the penultimate chapter of this study. Two major topoi from ancient political theorists and from the Jewish Temple are introduced by the author to surmount the 'us- them' divisions, to forge the idea of sameness and to consolidate a close relationship of Gentiles with other members of an inclusivistic community. Although die author could readily suggest that Gentiles have become fellow-citizens with 'Israel' (2.19; cf. 2.12), he nevertheless refrained from making this suggestion. The fact is that the meaning of Israel had been hijacked, transcoded and turned into an etimically-based 'body politic' (). But with 'die holy ones' (2.19), the author can redefine the relationship of die Gentiles to die Israel of God afresh. We round off our present study by considering the implications which our present study may have for future research on Ephesians
Iowa History and Culture : A Bibliography of Materials Published Between 1952 and 1986, 1989
No full textThis bibliography was compiled by two reference librarians, Patricia Dawson and David Hudson with the goal of making it easier of tracking down material on Iowa history and culture. This supplements the Iowa History Reference Guide published in 1952 by William Petersen
Man in his native noblesse? : chivalry and the politics of the nobility in the tragedies of George Chapman
Get PDFIn this thesis I argue that the three plays under consideration - Bussy
D'Anbois, The Conspiracy and Tragedy of Charles Duke of Byron, and The
Revenge of Bussy D'Ambois - illustrate Chapman's concern with the role of
chivalry in England following the debacle of the Essex Rebel lion in 1601.
My contention is that, for Chapman, the Essex Rebellion exposed the
fragility and the inconsistencies of Elizabethan chivalry and the political
threat represented by its preoccupation with martial values.
I suggest that in his plays, Chapman sets out to deconstruct the myth
of chivalry by exposing it as a romantic concept which is used by the
martial nobility as a means of Emphasizing their political rights. The
values of chivalry - prowess, honour, loyalty, generosity, courtesy and
independence - are shown, by the plays, to be incompatible with the
political ambitions of the nobility. By associating themselves with this
mythical concept of chivalry, political figures cane to identify their
factions with the values of chivalry. Chapman, I argue, shows haw the myth
is established and then exposes it for what it is, by portraying his
characters as unable to live up to their expected mythical ideals.
Chivalry is stripped of its mythical trappings and exposed as militaristic,
aggressive and politically motivated.
The thesis is divided into five chapters. In the first, I consider
Chapman alongside the Tacitean historians who were connected with the Essex
circle in the 1590s and show how, in The Conspiracy and Tragedy of Charles
Duke of Byron, the dramatist transformed the providentialist narrative of
his source into a play with Tacitean connotations, emphasizing the
relationship between chivalry and constitutional political theory. In the
second chapter I consider Chapman's interest in chivalry and discuss
generally the romantic concept of Elizabethan chivalry and its relationship
with the political concerns of the nobility. In Chapters Three to Five I
discuss Chapman's portrayal of chivalry and its political impliications
