44,193 research outputs found
Author Tom Keneally back stage at the Nimrod Theatre, Sydney, 1980 /
No full textTitle from acquisitions documentation.; Part of the collection: Robert McFarlane collection of photographs.; Inscriptions: "Author Tom Keneally back stage Nimrod Theatre 1980 Robert McFarlane"--In pencil on reverse.; Also available online at: http://nla.gov.au/nla.pic-vn6615438
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Emergent Contrast in Agent-Based Modeling of Language
No full textStaubs, Robert, and Joe Pater. 2015. Emergent contrast in agent-based modeling of language. In Short ’schrift for Alan Prince, compiled by Eric Baković. https://princeshortschrift.wordpress.com/squibs/staubs-pater
Author Tom Keneally and actor Justine Saunders backstage during the rehearsals of Bullie's House, Nimrod Theatre, Sydney, 1980 /
No full textTitle from acquisitions documentation.; Part of the collection: Robert McFarlane collection of photographs.; Inscriptions: "Author Tom Keneally + Actor Justine Saunders backstage Nimrod Theatre 1980 during rehearsal's 'Bulli'es House' Robert McFarlane"--In pencil on reverse.; Also available online at: http://nla.gov.au/nla.pic-vn6615450
Robert Sparks Walker diary, 1941
No full textDiary authored by Chattanooga author and naturalist, Robert Sparks Walker
Robert Sparks Walker diary, 1945
No full textDiary authored by Chattanooga author and naturalist, Robert Sparks Walker
Robert Sparks Walker diary, 1945
No full textDiary authored by Chattanooga author and naturalist, Robert Sparks Walker
Robert Sparks Walker diary, 1941
No full textDiary authored by Chattanooga author and naturalist, Robert Sparks Walker
The sixth sense : synaesthesia and British aestheticism, 1860-1900
No full text“The Sixth Sense: Synaesthesia and British Aestheticism 1860-1900” is an
interdisciplinary examination of the emergence of synaesthesia conceptually and
rhetorically within the ‘art for art’s sake’ movement in mid-to-late Victorian Britain.
Chapter One investigates Swinburne’s focal role as both theorist and literary spokesman
for the nascent British Aesthetic movement. I argue that Swinburne was the first to
practice what Pater meant by ‘aesthetic criticism’ and that synaesthesia played a decisive
role in ‘Aestheticising’ critical discourse.
Chapter Two examines Whistler’s varied motivations for using synaesthetic metaphor,
the way that synaesthesia informed his identity as an aesthete, and the way that critical
reactions to his work played a formative role in linking synaesthesia with Aestheticism in
the popular imagination of Victorian England.
Chapter Three explores Pater’s methods and style as an ‘aesthetic critic.’ Even more than
Swinburne, Pater blurred the distinction between criticism and creation. I use
‘synaesthesia’ to contextualise Pater’s theory of “Anders-streben” and to further
contribute to our understanding of his infamous musical paradigm as a linguistic ideal,
which governed his own approach to critical language.
Chapter Four considers Wilde’s decadent redevelopment of synaesthetic metaphor. I use
‘synaesthesia’ to locate Wilde’s style and theory of style within the context of decadence;
or, to put it another way, to locate decadence within the context of Wilde.
Each chapter examines the highly nuanced claim that art should exist for its own sake and
the ways in which artists in the mid-to-late Victorian period attempted to realise this
desire on theoretical and rhetorical levels
Robert Sparks Walker diary, 1953
No full textDiary authored by Chattanooga author and naturalist, Robert Sparks Walker
Robert Sparks Walker diary, 1951
No full textDiary authored by Chattanooga author and naturalist, Robert Sparks Walker
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