1,372,707 research outputs found
Clarissa Ralls with Violin ca. 1940
No full textPhotograph of Clarissa Ralls playing a violinhttps://digital.kenyon.edu/communitywithin/1129/thumbnail.jp
Richardson, Barbauld, and the construction of an early modern fan club
No full textMPhilMuch has been written about the life and long works of the eighteenth century epistolary novelist, Samuel Richardson, but the prospect of his position as the first celebrity novelist – responsible for courting his own fame as well as initiating his own fan club – has largely been ignored. The body of manuscripts housed at the National Art Library in the Victoria and Albert Museum in London provides the modern scholar with evidence of the skeletal beginnings of an early fan club. This thesis aims to show how these manuscripts were turned into a saleable commodity by the publisher and entrepreneur Richard Phillips, while under the guiding hand of another, slightly later, literary celebrity, Anna Laetitia Barbauld. In order to restore Richardson’s reputation amongst a new nineteenth century audience, Barbauld was required to construct her own idea of him as an eighteenth century celebrity author, and in doing so the insecurities of a self-professed, apparently diffident man, are revealed. Barbauld’s capacious, but heavily edited selection of letters is analyzed in this thesis, providing ample evidence that Richardson’s correspondents were more than just eager letter writers. By using Barbauld’s biography of Richardson this thesis aims to show how she manipulates the genre of life writing in her construction of him.
This thesis offers an alternative reading of how the Richardson manuscripts are viewed, redefining them as not simply a collection of letters, but as a collective entity, deliberately selected and archived as evidence of an early modern fan club, and its celebrity managing director
Clarissa Jane Drollinger Moore biography
No full textTranscript of an autobiography written by Clarissa Drollinger Moore of Payson, Utah, on March 18the 1881, and given to a granddaughter, the wife of Eugene Peterson of Payson, in 1931. Transcribed by Eugene Peterson and sent with a letter dated July 22, 1938, to Hugh F. O\u27Neil of the Utah Historical Survey at Ogden, Uta
Introduzione. Lettere su Clarissa.
No full textL’introduzione (pagine 47) al volume Lettere su Clarissa. Scrittura privata e romanzo nell’Epistolario di Samuel Richardson- che raccoglie una selezione e inedita traduzione delle lettere private del romanziere e stampatore del Settecento inglese-, oltre a fornire un’accurata ricostruzione della complessa vicenda editoriale che ha condotto a stabilire il canone dell’epistolario richardsoniano, inquadra il fenomeno della pratica linguistica del letter writing nel Settecento inglese attraverso il case study Richardson. Tale fenomeno viene inoltre contestualizzato nel quadro culturale che si ricollega alle trasformazioni della società civile nel Settecento inglese e alla temperie culturale dell’Illuminismo
Internal and external editors of Samuel Richardson's Clarissa
No full textSamuel Richardson's second novel, Clarissa: or, The History of a Young Lady, one of the longest novels in English, has appeared in dozens of significantly different editions, many of them abridgments. This study examines the means by which Richardson and later editors altered the text of Clarissa, primarily by working with three variables: its epistolary format, its length, and its explicit moral lessons.The first half of the study reviews relevant scholarly research and traces Richardson's uses of internal editors in his four editions of the novel. Richardson's omniscient editor, the most visible and conventional of the internal editors of ClarissR, operates both inside and outside the epistolary framework of the novel. Inside, the editorial voice adds identifying tags to letters and summarizes missing letters. Outside, the editor emphasizes moral elements of the novel by means of a preface and postscript, numerous footnotes, a list of principal characters, and a judgmental table of contents. Richardson expanded the role of this editor in each of his successive editions.Richardson's mastery of the epistolary format further appears in his use of all the major correspondents as internal editors. Jack Belford operates most visibly, assembling correspondence to and from Clarissa and Lovelace to vindicate Clarissa's memory and instruct possible readers. Belford's Conclusion serves a similar function to the nameless editor's preface and postscript. Richardson also gave Clarissa, Anna Howe, and Lovelace editorial tasks, including introducing and summarizing letters, footnoting, and altering letters before showing them to someone other than the intended recipient.Each major correspondent also has a unique individual editorial function.The study's second half analyzes and compares seven abridgments of Clarissa published between 1868 and 1971, concluding that all seven drastically change the novel (yet in differing fashions) despite their retention of its plot and epistolary format.All seven external editors alter Richardson's stated intentions. Four variables shape the comparison: stated editorial intent, omissions, alterations, and additions. An appendix lists the contents of all seven abridgments by individual letter.Thesis (Ph. D.)Department of Englis
ENTREVISTA COM CLARISSA JORDÃO
No full textA convidada desta entrevista, que inaugura uma nova seção na Revista X, é Clarissa Menezes Jordão. O tema da entrevista é naturalmente o Letramento Crítico (LC), uma vez que Clarissa foi uma das precursoras da perspectiva do LC no ensino de línguas estrangeiras no Brasil. Em um trabalho pioneiro realizado para a Secretaria de Estado da Educação do Paraná, em 2005, foi uma das autoras de um conjunto de materiais didáticos desenvolvidos para o ensino fundamental pautado no LC. Tal experiência é relatada no texto “Ensino de Inglês, Letramento Crítico e Cidadania: um triângulo amoroso bem-sucedido”, publicado em 2007. Foi também uma das idealizadoras e fundadoras da Revista X, em 2006, tendo organizado uma edição totalmente dedicada ao Letramento Crítico, em 2011.</jats:p
A Fine Toothed Comb
No full textThe publication includes: essays by Lubaina Himid, Lauren Elkin, author of Art Monsters: Unruly Bodies in Feminist Art, Flaneuse: Women Walk the City in Paris, New York, Tokyo, Venice and London, and Clarissa Corfe.
Edited by Beth Hughes. Designed by Pony Ltd, London.
A Fine Toothed Comb was an exhibition curated by Turner Prize-winning artist Lubaina Himid. Bringing together new commissions by Himid as well as artists Magda Stawarska, Rebecca Chesney and Tracy Hill, the exhibition focussed on unearthing hidden layers within the city of Manchester.
Through four unique installations spanning painting on found objects, multi-screen moving image, site-specific drawing and sound compositions, the artists’ work uncovered invisible geological, historical, environmental and political layers of the city. From hidden waterways and disappearing wildlife, to lost music and communities hidden in plain sight, A Fine Toothed Comb invited us to look closer at what surrounds us. This is the first time all four artists’ work was presented together, following many years of discussion and collaboration.
The publication includes: essays by Lubaina Himid, Lauren Elkin, author of Art Monsters: Unruly Bodies in Feminist Art, Flaneuse: Women Walk the City in Paris, New York, Tokyo, Venice and London, and Clarissa Corfe
Clarissa Mott letter to Charity Rotch, Norwalk, Connecticut, May 27
No full textClarissa Mott comments on the character of James Jackson, a vile man who has scandalized the character of Mrs. Belden and her two daughters, reporting that they were prostitutes. Jackson, addicted to profanities and gambling was on his way to Ohio after escaping the wrath of his neighbors in Connecticut. Although Mrs. Mott's husband was under no obligation to Thomas Rotch, she felt compelled to warn Charity to avoid Jackson if he arrived in the Kendal neighborhood. Mott warns that Jackson will take every opportunity to victimize women. 9" x 12.5" (20.2 by 32 cm
Clarissa against the critics: Text, author, and interpretive communities
No full textClarissa was very popular when it was published in 1747-48 but has been neglected until recently. Stanley Fish\u27s theory of interpretive communities, which attempts to account for the disciplined disagreement among readers\u27 values and expectations over time, place, and social groups, provides insight into the dynamics of the audience\u27s changing attitude toward the novel over the years. Popular, at first, for its sentiment and didacticism, Clarissa was neglected from the late-eighteenth century until the mid-twentieth century because these qualities were then associated with emotionalism and hypocrisy. The novel has had a rebirth of popularity among contemporary academics who use its complex and detailed descriptions of relationships and mental consciousness as examples for their literary and cultural studies
Clarissa in the Streets
No full textBrief article reflecting on the architectural legacy of Samuel Richardson's novel Clarissa (1748) in a now-demolished council estate in Hackney, London. This article was written as part of a special cluster of essays for The Rambling written by members of the 'Clarissa, in Lockdown, Together' reading group
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