443 research outputs found
Journals of a landscape painter in Albania, Illyria etc By Edward Lear author of "Journals of a Randscape painter in southern Calabria "etc etc Second edition London Richard Bentley Publisher in Ordinary to her Majesty MDCCCLII (1852)
No full textIntroduction: by Lear, EdwardDedication:Content description: Detailed contentsIllustration: 21 (Maps ,Views ,)Pagination: PP14+418PVolumes: 1Edition:2ndText Genre:Prose / JournalIllustration: 21 (χάρτες ,τοπία ,
Edward Lear Collection
No full textEdward Lear was an English artist, author, musician, and poet born in 1812. He has been dubbed by some the Father of Nonsense because of his use of literary nonsense throughout his work.
The Edward Lear collection includes manuscripts and letters. One of his better-known works, Book of Nonsense published in 1846, includes the poem, "There was an old man of Narkunder." A handwritten manuscript of this poem can be found in this collection. Letters to William Holman Hunt, Henry Richards Luard, and others are present. Several of the letters include ink sketches by Lear.
This collection was digitized as part of Project REVEAL (Read and View English & American Literature)
La (re)traduction, un art difficile. À propos du "Roi Lear des steppes"
No full textpeer reviewedThe writing of "Un Roi Lear des steppes" required a lot of preparation: Turgenev was interested in legal texts on donations, medical details concerning premonitory paralysis, as well as technical details relating to the construction of roofs. After presenting the theorical framework concerning self-translation and re-translation, we compare three French versions of the story, what we call the «semi-self-translation» of Turgenev (1872), a retransalation published in the «Bibliothèque de La Pléiade» (1986) and the last version made in Mons, published in 2018. We examine some translation’s choices (lexical, stylistic, even syntactic) by extracting details documented and collected by the author as well as some Russian cultural traits, since Turgenev wanted to «make his characters as Russian and as rustic as possible»
King Lear (1977)
No full text1. Cover page 2. Program [Attached] 3. Letter of Invitation [typescript] 4. Gregory, Michael. (1976, December 9). Lear casting. Pro Tem. 5. Morrissey, Jan. (Date Unknown) Thank you, Theatre Glendon. [Source Unknown] 6. Silberman, B.J.R. (1977, March 31) Glendon puts spirit into Shakespeare play. Excalibur. (2 copies) 7. Schwindt, Richard. (1977, February 24). Lineup for set and production personnel. Pro Tem. 8. Uzielli, Clare, in consultation with Charles W. Northcote. (1977, March 24). Lear extended as a result of illness. Pro Tem. 9. Augustine, Bob. (1977, March 17). Michael Gregory every inch a king. Pro Tem. 10. Rutherford, Jindra. (1976, February 11). "King Lear at Glendon College" News Release. [typescript] 11. Schwindt, Richard. (1977, February 10) Getting it from the horse's mouth. Pro Tem. 12. Unidentified Author. (1977, February 10) Bulletins. Pro Tem. 12. Michael Gregory's headshot as King Lear. [2 copies][Attached]Archival file for the Glendon College production of King Lear, produced and directed by Michael Gregory and Charles Northcote. The play was performed March 15 to 24, 1977
Edward Lear and the Liberarion of Young Readers Through Nonsense
No full textThe author examines the work of the English artist and poet Edward Lear, specifically his nonsense poetry, and considers how Lear uses nonsense as a means of exploring content that might otherwise be considered too socially or emotionally complex for children
The Owl and the Pussy-Cat went to sea In a beautiful pea-green boat [first line]
No full textsectionalpiano and voice5410(Published by permission of the Author and Mr. Bush)Johns Hopkins University, Levy Sheet Music Collection, Box
064, Item 075Words by Edward Lear, Esq. Music by Mrs. J. Worthington Bliss (Miss Lindsay).London Printed by Lamborn Cock & Co. 63, New Bond Street, W
The Owl and the Pussy-Cat went to sea In a beautiful pea-green boat [first line]
No full textsectionalpiano and voice5410(Published by permission of the Author and Mr. Bush)Johns Hopkins University, Levy Sheet Music Collection, Box
064, Item 075Words by Edward Lear, Esq. Music by Mrs. J. Worthington Bliss (Miss Lindsay).London Printed by Lamborn Cock & Co. 63, New Bond Street, W
An analysis on conflicts faced by main character King Lear in William Shakespeare's King Lear
No full textABSTRACT
There are three branches of literary works; they are poem, prose or fiction, and drama or play. Here, drama is selected as the object of analysis. Drama is a work which is written by the author to be shown on the stage. Drama has some elements, they are; plot, character, setting, conflict, theme, etc. From, those elements the researcher selects the conflict to be analyzed. Literary works will be interesting and lifelike if there are conflicts, because they are one of the elements to develop the plot. Meanwhile, conflict itself is an opposition or disagreement between or among character or forces that motivate the plot.
This study has two problems that will be discussed; (1) what kinds of conflicts faced by the main character King Lear, and (2) how the conflicts happened. Then the purposes of this study are to know the conflicts which were faced by the main character King Lear and to describe how the conflicts happened in the story of the play.
In analyzing the conflict of the play, the researcher uses literary criticism and structural approach or called objective approach as the research design, because conflict is one of intrinsic elements of literary work. Here, the data source is the text of the play entitled The Tragedy of King Lear written by William Shakespeare. Therefore, she not only has to read the play repeatedly, identify the main and minor character and the conflicts, and find out the relevant information from the internet to collect all the data needed. But also, she has to categorize and interpret all the data in analyzing.
As the result of study, there are two conflicts which are faced by the main character King Lear in King Lear play; they are internal and external conflicts. In internal conflict, there are psychological and emotional conflicts; in this case the main character King Lear faced conflicts with himself. While in external conflict, there are social and physical conflicts; here. King Lear had conflicts with other characters. Those conflicts happened chronologically from the first act until the end and the death of King Lear.
Finally, this research is, however, still far away from being perfect. Therefore, the researcher expects to the next researchers who conduct the analysis in the same field will be better, and suggests that this play can be analyze from- other aspects. It can be intrinsic such as; theme and plot, or other characters, and extrinsic such as; sociological aspect, psychological aspect, etc
King Lear : as palavras (mal)ditas
No full textIn this article, which is structured in four parts («the silence of language», «the language of madness», «the language of love» and «the language of silence») the following contrastive themes are analised: the author thereby attempts to interpret Shakespeare's play King Lear as a tragedy of language
Appropriations of Shakespeare’s King Lear in modern British drama: Edward Bond’s Lear (1971) and Howard Barker’s Seven Lears (1989)
No full textThe following article is an attempt at looking at the modern appropriations of Shakespeare’s King Lear’s story in two British plays: Edward Bond’s Lear (1971) and Howard Barker’s Seven Lears (1989). Both dates signify the first stage premieres of the plays in question: Bond’s play was first opened at the Royal Court Theatre, London and Barker’s play was opened October at Sheffield Crucible. Both plays explicitly relate to King Lear’s story by their titles and both are recognized as the best-known and most powerful dramatic reworkings of the Lear story. Although both playwrights place themselves within two disparate theatrical traditions: Rational Theatre (Bond) and The Theatre of Cruelty (Barker), they are noted for their political allusions. Yet the primary concern of the following article will be to see to what extent is the “myth” of Lear modified in two modern versions. To achieve this effect the author of the article will closely look at the spatial arrangement, time scheme, plot development, story line, character presentation and values, as well as some major themes. Also Lear as the main character will be shown in its various roles and relations: as a loving father, a king, a leader, a madman and a tragic figure
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