7,636 research outputs found
Satire and parody in the fiction of Thomas Love Peacock and the early writings of William Makepeace Thackeray, 1815-1850
No full textThis thesis examines the works of Peacock and the early periodical
contributions of Thackeray in the light of recent twentieth-century critical
interpretations of satire. In particular, attention to Peacock's use of elements of
the Menippean sub-genre in his satirical fiction offers a reassessment of his place in
the literary tradition. While Thackeray's early writings demonstrate some
characteristics of Menippean satire, a review of his work from the broader
perspective of Bakhtin's exposition of carnival influences in serio-comic literature
provides a new understanding of the origins and uses of his narratorial devices.
A comparison of the work of the two authors, within the time
constraint of the first half of the nineteenth century, illustrates how
nineteenth-century publishing innovations shaped literary perception of satire.
Although the high status of the genre in the predominant culture of the previous
century was challenged by the growth of the reading public, satire found new
energy and modes of expression in the popular magazines of the period. In
addition, writers facing the increasing heterogeneity of new reading audiences,
were forced to reconsider their personal ideals of authorship and literature, while
renegotiating their position in the literary marketplace.
Organized in six chapters, the discussion opens with an account of
traditional interpretations of satire, and goes on to examine recent analyses of the
genre. The second chapter focuses on the relevance of these new interpretations
to the work of Peacock and Thackeray and the extent to which the use of
Menippean forms of satire enabled each to challenge the established opinions of
their period. Changes in concepts of reading and writing and innovations in modes
of publication form the substance of the third chapter and this is followed by an
analysis of the work of both writers, using Bakhtin's interpretation of the
Menippean sub-genre in the broader context of serio-comic discourse and the
carnival tradition, Chapter five is a comparative study of the attitudes of both
writers towards contemporary literature and the final section places their work in
the political context of the period.
Both Peacock and Thackeray made extensive use of elements of
Menippean satire in their fiction. The content of their work, however, and their
modes of writing were highly individual, to some extent shaped by the different
markets they supplied. Collectively, their writings illustrate two aspects of the
cultural watershed of the early nineteenth century, Peacock reflecting traditional
notions of authorship and Thackeray representing a new industry, regulated by the
commercial considerations of supply and demand. As satirists,each succeeded in
adapting the genre to satisfy both his own authorial integrity and the expectations
of his readers
“Crick”? “Crack”! Jeweled peacock stories
No full textThis paper discusses the challenges faced and the lessons learned in bringing forth mystory (Ulmer, 1989). The ‘Author’ a self identified native anthropologist having had an experience of the ‘peacock stories’ 3 years after her dissertation field work, finds herself caught in the third space. She returns home to the stories and chooses to use frames drawn from poststructural analytic approaches, hermeneutical phenomenology, and performance theories to make meaning of her experience via its performative representation (Denzin, 2003). She examines the metadiscursive practices (Briggs, 1993) in which she participates and explores how she constitutes and is constituted by the text (s) that is/are unstable. In addition, she puts sous rature the category ‘Author’, explores how it functions to limit/delimit the ‘bringing forth’ of mystory. What are the implications for (auto) ethnographic narratives?This article was originally published in the journal Research and Practice in Social Sciences.
The version of record is posted here with the permission of the author
Modern 20th c. marbled paper, Peacock drag pattern
No full textNone of the authoritative resources we are using for this database address this particular pattern. However, by combining the parts of other documented patterns according to Miura, this pattern would be considered an example of a Peacock Drag pattern.
The creator of this pattern is Don Guyot, a marbler based in the state of Washington.
The pattern appears to be created by first completing a Peacock pattern whose base is Turkish, most similarly like Miura's Peacock pattern (pg 117). Then a stylus would be drawn through the bath dragging and elongating the loops of the Peacock pattern.This sample is a flat sample from amongst a box of samples Guyot would have used to monitor his inventory and pattern types for his company, Colophon
Modern 20th c. marbled paper, Peacock drag pattern
No full textNone of the authoritative resources we are using for this database address this particular pattern. However, by combining the parts of other documented patterns according to Miura, this pattern would be considered an example of a Peacock Drag pattern.
The creator of this pattern is Don Guyot, a marbler based in the state of Washington.
The pattern appears to be created by first completing a Peacock pattern whose base is Turkish, most similarly like Miura's Peacock pattern (pg 117). Then a stylus would be drawn through the bath dragging and elongating the loops of the Peacock pattern.This sample is a flat sample from amongst a box of samples Guyot would have used to monitor his inventory and pattern types for his company, Colophon
Modern 20th c. marbled paper, Peacock drag pattern
No full textNone of the authoritative resources we are using for this database address this particular pattern. However, by combining the parts of other documented patterns according to Miura, this pattern would be considered an example of a Peacock Drag pattern.
The creator of this pattern is Don Guyot, a marbler based in the state of Washington.
The pattern appears to be created by first completing a Peacock pattern whose base is Turkish, most similarly like Miura's Peacock pattern (pg 117). Then a stylus would be drawn through the bath dragging and elongating the loops of the Peacock pattern.This sample is a flat sample from amongst a box of samples Guyot would have used to monitor his inventory and pattern types for his company, Colophon
Modern 20th c. marbled paper, Peacock drag pattern
No full textNone of the authoritative resources we are using for this database address this particular pattern. However, by combining the parts of other documented patterns according to Miura, this pattern would be considered an example of a Peacock Drag pattern.
The creator of this pattern is Don Guyot, a marbler based in the state of Washington.
The pattern appears to be created by first completing a Peacock pattern whose base is Turkish, most similarly like Miura's Peacock pattern (pg 117). Then a stylus would be drawn through the bath dragging and elongating the loops of the Peacock pattern.This sample is a flat sample from amongst a box of samples Guyot would have used to monitor his inventory and pattern types for his company, Colophon
Kerr nonlinear switching in silicon fibre-based microcylindrical resonators
No full textWe investigate the Kerr nonlinearity in a a-Si:H microcylindrical resonator fabricated from the silicon fibre platform. The large resonant wavelength shift observed for pulsed excitation is used to demonstrate ultrafast all-optical switching
Modern 20th c. marbled paper, Peacock drag pattern
No full textNone of the authoritative resources we are using for this database address this particular pattern. However, by combining the parts of other documented patterns according to Miura, this pattern would be considered an example of a Peacock Drag pattern.
The creator of this pattern is Don Guyot, a marbler based in the state of Washington.
The pattern appears to be created by first completing a Peacock pattern whose base is Turkish, most similarly like Miura's Peacock pattern (pg 117). Then a stylus would be drawn through the bath dragging and elongating the loops of the Peacock pattern.This sample is a flat sample from amongst a box of samples Guyot would have used to monitor his inventory and pattern types for his company, Colophon
Peacock Fables Number Three
No full textHere is another sixteen-page pamphlet with stiff-paper covers and a string-tied binding, following upon Peacock Fables Number One and Peacock Fables Number Two in 1964 and 1965. It presents Peacock Chan. Peacock Chan says that the peacock of whom he has heard, a peacock who publishes books and sets type, must be a myth, since he is not here. A mocking bird answers that that peacock lives across the sea and is both handsome and wise. Chan answers haughtily that his ancestors graced this Emperor's garden and that he must find what he wants here and now. The mocking bird answers that Values, Lord Chan, are where they are. The story is set in verse. There is an illustration of a peacock facing the title-page. It surprises me that this volume is not numbered, since the first two are numbered. Enclosed with the booklet is the original sales slip. The booklet cost $1.50!Edition of 350 (unnumbered)By Agnes H. Campbel
Peacock, E C, 423425
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/409990Surname: PEACOCK. Given Name(s) or Initials: E C. Military Service Number or Last Known Location: 423425. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 56737.225707
Item: [2016.0049.42260] "Peacock, E C, 423425
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