72 research outputs found
Reference to index of papers of Charles Butler, son of Gamaliel Butler, and his family.
No full textGamaliel Butler (1783-1852), an attorney of Kings Bench (admitted 1808), and his wife Sarah Paine (1787-1870) came to Tasmania in 1824, to settle business affairs after the death by drowning of Sarah's brother, Edward Paine, who had emigrated in 1820. The Butlers had left their six surviving children (three others had died in infancy) in London in the care of relatives and they joined their parents in the 1830s. Six more children were born in Tasmania. The eldest son, Edward Paine Butler (1811-1849) and another son Charles (1820-1909) also became lawyers and joined their father in partnership with R.W. Nutt. Butler also acquired extensive property. He died in 1852 at his Hobart home, Stowell House.
Charles Butler (1820-1909) came to Tasmania in 1835 at the age of fifteen and completed his education in Tasmania at Longford Hall School under William Gore Elliston for one year and then under W.H. Wilmot (d.1842) for another year. In 1838 he was articled to the solicitor Robert Pitcairn in Hobart and was admitted a lawyer of the Tasmanian Supreme Court in 1843 and after his brother Edward's death in 1849 became a partner with his father in Butler, Nutt and Butler. He was president of the Southern Law Society from its foundation in1888 until 1907. In 1847 he married Georgina Wilmot (1819?-1880), daughter of his old schoolmaster W.H. Wilmot and his wife Eliza (Best), and they had ten children: Kate Geogiana (1849-1929), Edward Henry (1851-1928), Lucy Madeleine (1852-), Charles William (1854-1937), Francis Leicester (called Leicester 1856-1385), Ida Mary (1858-1949), Leila Chalmers (1859-), May Maria (1861-), Herbert Maxwell (1863-• }, Montague Howard (1868-1895).
Charles William Butler (1854-1937) was educated at Hutchins School and gained an Associate of Arts, first class in 1871and was admitted a lawyer in 1877. He then took a trip to N.S.W and to England and later joined the law practice of his father, elder brother, Edward Henry (AA 1867, admitted 1872) and John McIntyre, Butler McIntyre and Butler. He was a keen cricketer and played for Australia. He was Chairman of the Board of Management of Hutchins School 1912 -1937. Charles William Butler married Beatrice Maria Travers in 1882 and they had seven children, including Geoffrey Travers (1890-1962) and Charles Travers (1887-1974) who followed their father in the law. Charles' younger brother Francis Leicester Butler gained an AA in 1872 and was awarded a Tasmanian Scholarship in 1874 and went to St. John's College Oxford to study law in 1875-8, but died when he went to London again in 1885.
- Private Deposit B
The Butler Family: account written by Ida Mary McAulay nee Butler, granddaughter of Gamaliel Butler
No full textAccount of the Butler Family written by Gamaliel Butlers granddaughter, Ida Mary McAulay. From the
Butler Family Papers - Private Deposit B
Portraits of Women
No full textGamaliel Bradford's "Portraits of Women" is a collection of biographical essays examining the characters and inner lives of various historical and literary female figures. Using a method he termed "psychography," Bradford focuses on analyzing the "souls" and psychological makeup of his subjects rather than merely recounting their actions. Portraits include figures such as Madame de Sévigné, Madame du Deffand, Eugénie de Guérin, and Margaret Fuller. The author delves into their intellects, emotional complexities, beliefs, and societal relationships. For instance, in the Eugénie de Guérin portrait, he analyzes her "morbid" and "abnormal" strain, focusing on "graves and death," contrasting this with Horace Greeley's "brutal Philistinism" comment on Margaret Fuller: that "A good husband and two or three bouncing babies would have emancipated her from a good deal of cant and nonsense." The work reveals the complex inner lives of these "exquisite souls" beyond the confines of being a "normal wife and mother."Gamaliel Bradford'un "Portraits of Women" (Kadın Portreleri) adlı eseri, çeşitli tarihi ve edebi kadın figürlerinin karakterlerini ve iç dünyalarını inceleyen biyografik denemelerden oluşmaktadır. Bradford, "psikografi" olarak adlandırdığı bir yöntem kullanarak, öznelerinin eylemlerinden ziyade onların "ruhlarını" ve psikolojik yapılarını analiz etmeye odaklanır. Kitapta, Madame de Sévigné, Madame du Deffand, Eugénie de Guérin ve Margaret Fuller gibi isimler yer almaktadır. Yazar, bu kadınların zekalarını, duygusal karmaşıklıklarını, inançlarını ve toplumsal normlarla olan ilişkilerini derinlemesine inceler. Örneğin, Eugénie de Guérin portresinde onun "mezarlar ve ölüm" üzerine "marazi" ("morbid") düşüncelerini analiz ederken, bu durumu Horace Greeley'in Margaret Fuller hakkındaki "iyi bir koca ve birkaç fırlama çocuk onu bir sürü zırvadan kurtarırdı" şeklindeki "zalimce" yorumuyla karşılaştırır. Eser, bu "seçkin ruhların" "normal bir eş ve anne" olmanın ötesindeki karmaşık iç yaşamlarını edebi bir dille ortaya koyar
Obituaries for Degraves, Butler, Seal, Walch, Kermode and Lempriere
No full textThe Society has been deprived by death of the following members during the year of 1852.
Peter Degraves, Esq.,Gamaliel Butler, Esq.,Charles Seal, Esq., Major James William Henry Walch, William Kermode, Esq.,T. J. Lempriere, Esq., A.C.G
Obituaries for Degraves, Butler, Seal, Walch, Kermode and Lempriere
No full textThe Society has been deprived by death of the following members during the year of 1852.Peter Degraves, Esq.,Gamaliel Butler, Esq.,Charles Seal, Esq., Major James William Henry Walch, William Kermode, Esq.,T. J. Lempriere, Esq., A.C.G
El pez de oro, de Gamaliel Churata, en la tradición de la literatura peruana
No full textThis article is a reflection on the little known work of Arturo Peralta who signed under the pseudonym Gamaliel Churata (Arequipa, 1897-Lima, 1969), including El Pez de Oro (1957). This work goes far beyond the ideology of the Orkopata movement, that was founded and led by the author and evident in the Boletín Titikaka (1926-30) where the objective was to study in depth the heterogeneity of the cultural elements in Peruvian literary tradition. Through avant-garde indigenism, Churuta delved deeper into the literary, cultural and philosophical tradition of the indigenous. Consequently, this work is unique in that era and is only comparable with that of José María Arguedas, as both so not attempt to represent the indigenous but rather to connect with their world and explore it. The works of Churuta are analysed in their literary, ideological and aesthetic contexts revising concepts such as the perspective on mixed races, the general vision and the linguistic project. Lastly, some of the elements of the universal Andean culture are discussed: myths, subjects of knowledge, and Andean concepts demonstrating that Churuta integrates these elements with western culture in such a way as to become a reference point in the Peruvian literary tradition.Este trabajo es una reflexión sobre la obra poco conocida de Arturo Peralta, que firmó su obra literaria de madurez como Gamaliel Churata (Arequipa, 1897-Lima, 1969), especialmente sobre El Pez de Oro (1957), una obra que va más allá de lo planteado por el movimiento Orkopata, fundado y dirigido por el autor, y cuyo órgano fue el Boletín Titikaka (1926-30), en el sentido de profundizar en la heterogeneidad de los materiales culturales que confluyen en la tradición literaria peruana. Churata, en efecto, desarrolló la preocupación de conectar con la tradición literaria, cultural y filosófica del indígena a partir del «indigenismo de vanguardia» de aquellos años, pero su proyecto de crear una nueva escritura y de reivindicar las raíces indígenas y el mundo del propio indígena constituye un esfuerzo insólito en la literatura de la época, sólo comparable al de José María Arguedas, pues ninguno de los dos pretende «representar» al indígena, sino conectar con su mundo y explorar en él. Se estudia el proyecto literario de Churata dentro de su contexto literario, ideológico y estético, y se revisan aspectos como la visión del mestizaje, la visión genérica y el proyecto lingüístico. Finalmente, se presentan de modo breve algunos de los elementos del universo cultural andino proyectados en la obra: los mitos, los sujetos del conocimiento, los conceptos andinos, lo que muestra que Churata integra estos elementos con los occidentales de modo que constituye un punto de referencia en la tradición literaria peruana
Civilización y barbarie en el pensamiento de Gamaliel Churata
No full textThis article analyses the oppositions between ‘civilisation’ and ‘barbarism’, and ‘nature’ and ‘culture’ in the Resurrección de los muertos of the peruvian writer Gamaliel Churata. The reflection on these dichotomics terms is central in the thought of author. This work demostrates how Churata realises its overcoming, using different discoursive strategies in a dialogue with the Western tradition thought. The author discutes the frontier that defines the wilderness and the civilised, and the criteria that marks the civilisation itself, such as writing, progress, ‘race’ and patriarchy. Furthermore, it shows how Churata resemantises the figure of the cannibal and the concept of anthropophagy, rhetoric constructions of the colonial discourse used in the context of conquest and colonisation of America to delegitimise the indigenous ontologies. Through a discourse that embrace an aesthetical, ontological, and political level, Churata try to destructuring dominant/dominated hierarchies
Mito y resistencia en la obra de Gamaliel Churata
No full textEl presente texto indaga cómo, en la obra del escritor peruano Gamaliel Churata (1897-1969), el mito se vuelve una forma de resistencia activa frente a las vejaciones y expoliaciones originadas en periodo colonial y todavía vigentes, bajo diferentes formas, en su contemporaneidad. En particular, se analizará la recodificación realizada por el autor de dos figuras simbólicas, el kharisiriy el Wawaku, reelaboración mítico-literaria del despotismo, de la "alteridad" en sus aspectos cambiantes. Figuras puestas en relación por Churata, en El pez de oro(1957), que se convierten en metáforas políticas frente a la injerencia de los procesos de colonización.This text investigates how, in the work of the Peruvian writer Gamaliel Churata (1897-1969), the myth becomes a form of active resistance against the vexations and spoliation originated in the colonial period and still in force, in different forms, in its contemporaneity. In particular, I will analyze the recoding done by the author of two symbolic figures, the kharisiriand the Wawaku, a mythical-literary reworking of despotism, of "alterity" in its changing aspects. These figures are related by Churata in El pez de oro(1957), and can be considered as political metaphors against the processes of colonization.Aquest text investiga com, a l'obra de l'escriptor peruà Gamaliel Churata (1897-1969), el mite es converteix en una forma de resistència activa davant les vexacions i espoliacions originades en període colonial i encara vigents, sota diferents formes, en la seva contemporaneïtat. En particular s'analitzarà la recodificació realitzada per l'autor de dues figures simbòliques, el kharisirii el Wawaku, reelaboració mític-literària del despotisme, de la "alteritat" en els seus aspectes canviants. Churata relaciona aquestes figures a El pez de oro (1957), convertides en metàfores polítiques davant la ingerència dels processos de colonització
Repensar lo humano: Aproximaciones post-dualistas a la obra de Gamaliel Churata
No full textIn the genealogy of a Latin American critical thought, the validity of the work of the Peruvian writer Gamaliel Churata (1897-1969) acquires a prophetic meaning with respect to the contemporary debate. Here it can be notice, in response to current biotechnological and ontoepistemological changes, the requirement to redefine the notion of human. The author’s work calls into question modern naturalism, claiming a symmetrical comparison with the indigenous Andean ontologies and challenging our dualistic certainties. This article starts from the reflection on the notion of humanity proposed by Gamaliel Churata, to show how the author manages to question the dualisms selfalterity, civilization-barbarism, nature-culture, human-non-human. Gamaliel Churata forces us to rethink the human future in defense of possible worlds by proposing, and this is the hypothesis, the idea that we have always been post-human. The demand for a “post” does not necessarily imply going beyond humanity, but to understand what has been omitted from the anthropocentric and ethnocentric vision of reality
"La pampa es una llaga sangrante" : intención discursiva, representación literaria e indigenismo en "El gamonal" (1927) de Gamaliel Churata
No full textEl presente artículo estudia "El gamonal" (1927) de Gamaliel Churata. Nuestro objetivo es indagar cuál es la intención discursiva que se propone este autor con la realización de este texto. Asimismo, queremos analizar la representación que se elabora sobre el indígena y el gamonal que nos presenta este cuento. Finalmente, establecer la relación entre este texto de Churata y el indigenismo.El present article estudia "El gamonal" (1927) de Gamaliel Churata. El nostre objectiu és escatir quina és la intenció discursiva que es proposa l'autor amb aquest text. Així mateix, volem analitzar la representació de l'indígena i el gamonal que ens presenta aquest conte. Finalment, ens proposem establir la relació entre aquest text de Churata i l'indigenisme.This article studies "El gamonal" (1927), by Gamaliel Churata. Our aim is to investigate the discursive intention that this author proposes with the realization of this text. We also want to analyze the representation that is elaborated on the indigenous and gamonal that this story presents to us. Finally, establish the relationship between this text of Churata and indigenism
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