8,935 research outputs found
Levin Powell Johnson
No full textLevin Powell Johnson, a son of William H. Johnson, came with his parents and family from Alabama in the early 1850s. Levin P. moved to a homestead south of Bradenton and married the widow Mary Hays, then the couple moved to a grove along the Braden River. Levin owned several groves an amassed a huge herd of cattle. Levin died July 29, 1881 and was the first person buried in the Braden River cemetery
W. P. Thompson, receipt for a Negro, Levin Woolford, the property of William Woolford, October 23, 1864
No full textReceipt, autograph document signed, Somerset, October 23, 1864, W. P. Thompson, receipt for a Negro, Levin Woolford, the property of William Woolford [Somerset County]
The death of William Golding: authorship and creativity in darkness visible and the paper men
No full textIn the seventies and eighties William Golding was deeply responsive to the critical, anti-authorial ethos that followed the publication of Roland Barthes's "La mort de I'auteur" (1968). In Darkness Visible (1979) and The Paper Men (1984) he investigates means by which to reaffirm authorial presence. Working through paradox, he performs the authorial death in these novels, and establishes language’s inadequacy as a means of conveying absolute meaning, authorial "vision," truth or revelation. Having done so he nonetheless gestures towards the divine, towards the possibility of a vatic communication. In this manner the novels work upon principles of contradiction and collapse. What remains is a discourse of hope, promise, desire, without means of substantiating such optimism. Thus Golding might be said to have practiced a form of negative theology, and to have anticipated in this respect some recent trends in literary theory
John William Fries
No full textJohn William Fries (1846-1927) was the son of Francis Levin Fries and Lisetta Maria Fries nee Vogler. He married Agnes de Schweinitz
James H. Cathey Author of "Genesis of Lincoln"
No full textThis undated photograph showing James H. Cathey (1866-1929) is part of the William E. Bird Collection. On the back of the photograph is written “James H Cathey Senator from Jackson, Transylvania, Haywood, Swain. Author of ‘Genesis of Lincoln.’” William Ernest Bird (1890-1975) was born in the Qualla community of Jackson County, NC. Bird served Western Carolina University in various capacities during his long career. Bird’s roles at WCU included head of the English Department, Dean of Men, Acting President, and President. In 1963, he published The History of Western Carolina College: The Progress of an Idea. He was married to Myrtle Wells (1891-1983)
Roman Law, Commercial Law and Levin Goldschmidt’s Legacy
No full textIn 1897, a few months after Levin Goldschmidt’s death, Ercole Vidari, the chair of commercial law at the University of Pavia for 45 years (1863-1908), defined him “il principe dei commercialisti moderni di ogni paese”. Some years later, in 1904, William Mitchell, publishing in Cambridge his Essay on the Early History of the Law Merchant, wrote: “My debt to previous writers (...) and above all Goldschmidt - is evident in every page”. In 1935, Guido Astuti, destined to become one of the leading Italian legal historians until his death in 1980, in reviewing the passionate defense of Goldschmidt’s legacy written by his scholar Wilhelm Silberschmidt, defined Goldschmidt’s best known work - the Universalgeschichte des Handelsrechts (1891) -, a matchless model of legal-historical studies. In 1998, Albrecht Cordes, the chair of medieval and modern legal history at the University of Frankfurt am Main, writing about late medieval company law within the framework of the Henseatic League, had to admit that Goldschmidt’s “universalist” program was still influential. It is a matter of fact that Levin Goldschmidt’s work has been for the whole 20th century the unavoidable starting point of any research in commercial law history well beyond the boundaries of Germany. This seems to be true even today.
The aim of this paper is to analyze the role played by Levin Goldschmidt in the establishment of commercial law as an autonomous field of study and legislation, as well as the importance he gave to the history of commercial law, with a particular focus on his personal interpretation of the Roman law legacy
King Stephen's watch: A tale, founded on fact. By the author of the Heroic epistle to Sir William Chambers, Knt.
No full text13,[1]p. ; 8⁰.Verse.The author of the Heroic epistle to Sir William Chambers = William Mason.Reproduction of original from the Harvard University Houghton Library.English Short Title Catalog, ESTCN12426.Electronic data. Farmington Hills, Mich. : Thomson Gale, 2003. Page image (PNG). Digitized image of the microfilm version produced in Woodbridge, CT by Research Publications, 1982-2002 (later known as Primary Source Microfilm, an imprint of the Gale Group)
The yagé aesthetic of William Burroughs: the publication and development of his work 1953-1965
No full textPhDMy concern in this thesis is to show that a reconstruction of the publishing history of
the work of William Burroughs offers a new, critical perspective on his experiments
with psychoactive substances and their connection to his developing practice.
I begin with an exploration of the publication of The Yage Letters (1963) and Naked
Lunch (1959), and reveal how the complexities of their publishing histories shaped
their critical reception. I examine the legal defence of Naked Lunch as it developed
from the Big Table Post Office hearing through to the 1965 Boston trial and
demonstrate the degree to which censorship came to define the published text. The
legal defence of Naked Lunch, as it was incorporated into the Grove publication,
emphasised the issue of opiate addiction. The way in which Burroughs’ 1953 letters to
Allen Ginsberg were reworked as The Yage Letters did much to conceal the
significance of yagé for Burroughs’ later work. Together, these publishing histories
have obscured the relationship between his use of psychoactive substances and his
evolving aesthetic.
At the same time many of Burroughs’ most experimental - and important - works
appeared only in small, ephemeral magazines. His adoption of avant-garde strategies
such as collaboration and collage and his dedication to multimedia experimentation
with the non-chemical alteration of consciousness made conventional book
publication problematic or unsuitable. These experiments in aesthetic production, I
argue, are central to our understanding of Burroughs. His main published writings
must be re-evaluated as one element in this collage of multimedia activities.
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I argue that Burroughs’ experiences with yagé, mescaline and dimethyltryptamine
exerted an influence on his shift to experimentalism in the early 1960s, which sought
to replicate the experience of these altered states of consciousness. That this is so is
evident from a study of two collections of correspondence - Burroughs’ letters to
Ginsberg held at Columbia University Library and his letters to Brion Gysin in the
William S. Burroughs Papers held at the New York Public Library. My reading of
these letters forms an important component of my argument, working to reveal what
the conventional ‘published’ Burroughs serves to conceal.Arts and Humanities research Board.
Queen Mary University of London English Department
funding naked Lunch @ 50 conference in Pari
Apocalypticisim in the fiction of William S. Burroughs, J.G. Ballard, and Thomas Pynchon.
No full textApocalypse should not be thought of as merely a synonym for chaos or disaster or cataclysmic upheaval; more properly we should think of disclosure, unveiling and revelation. The exact status of literary apocalyptic is the subject of some debate, and in an attempt to help clarify matters an introductory historical survey examines both the formal characteristics of apocalypse and the various critical positions taken in regard to the genre's social influence. Texts considered in the chapter include the Revelation of John and Thomas Pynchon's short story Entropy (1959); theoretical works by Frank Kermode, John Barth, and Jean Baudrillard (amongst others) are also discussed. Chapter One traces the development of William S. Burroughs's apocalyptic sensibility through readings of his correspondence with Allen Ginsberg and the novel The Naked Lunch (1959); the latter's apocalyptic title referring to the "frozen moment when everyone sees what is on the end of every fork". Chapter Two considers Burroughs's experiments with the "cut-ups" and their application in a number of texts, most notably Nova Express (1964). Chapter Three is concerned with Burroughs's work in the 1970s and 80s, and specifically his concept of Here to Go, a theory of mutability presented as a transcendental antidote to the threat of nuclear annihilation (the author's alleged misogyny and the views of radical US feminists are also taken into account). Chapters Four and Five explore the apocalyptic fiction of J. G. Ballard; topics covered include Ballard's concept of inner space, his debt to Surrealism, and the coded landscapes of his more experimental texts; in particular the "condensed novels" which comprise The Atrocity Exhibition (1970). A concluding chapter returns to the work of Thomas Pynchon, offering a reading of Gravity's Rainbow (1973) which allows us to consider his treatment of such related themes as Paranoia, Holocaust, Apocalypse, and finally, Counterforce
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The twelve large colour prints of William Blake: a study on techniques, materials and context
No full textThe aim of this thesis is to study in entirety the group of large colour prints which William Blake made between 1795 and 1805. The series of prints represents the single most important and complete development of Blake’s skill as an innovative printmaker. Although they include some of Blake’s best-known images, they have not been studied before in their entirety or from the point of view of analysing the techniques and methods Blake had used. My study will show how Blake executed these truly impressive prints in terms of materials, method and motives. The first half of the thesis deals with the materialistic aspects of Blake’s colour printing. In chapter one tracing the controversial two-pull discussion to the root, I will make clear the focus points as well as revealing the early tradition of experimental criticism on Blake’s colour printing method. Focusing on two important critics, W. Graham Robertson and Ruthven Todd, and the periods they lived, I attempt to reveal the role they played in a wider context. Also I show how the tradition of Blake’s art was inherited directly through the Ancients to the Pre-Raphaelite Brotherhood, which leads to Robertson and Todd. In the second chapter I deal with the development of Blake’s colour printing experiments. It is obvious that the Twelve Large Colour Prints were produced as a result of Blake’s series of colour printing experiments, starting with monocolour simple prints, going through the illuminated books progressing with more colours and higher skills
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