Donald Maurice
- Published in print:
- 2004
- Published Online:
- May 2008
- ISBN:
- 9780195156904
- eISBN:
- 9780199868339
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195156904.003.0001
- Subject:
- Music, History, Western
This introductory chapter highlights the special problems associated with this work including the inaccessibility of the manuscript for five decades, the incompleteness of the sketches, and the ...
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This introductory chapter highlights the special problems associated with this work including the inaccessibility of the manuscript for five decades, the incompleteness of the sketches, and the challenges of authenticity and legal issues faced by revisionists. It concludes with a summary of the book's chapters.Less
This introductory chapter highlights the special problems associated with this work including the inaccessibility of the manuscript for five decades, the incompleteness of the sketches, and the challenges of authenticity and legal issues faced by revisionists. It concludes with a summary of the book's chapters.
Simon Morrison
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195181678
- eISBN:
- 9780199870806
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195181678.003.0006
- Subject:
- Music, History, Western
This chapter focuses on Prokofiev's collaboration with Sergey Eisenstein on the cinematic masterworks Alexander Nevsky and Ivan the Terrible. Beyond documenting the genesis of these films from sketch ...
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This chapter focuses on Prokofiev's collaboration with Sergey Eisenstein on the cinematic masterworks Alexander Nevsky and Ivan the Terrible. Beyond documenting the genesis of these films from sketch to final edit, the chapter discusses the composer's work with Abram Room on Tonya, an innocuous cinematic melodrama that never reached the theaters. This unknown film was barred from release by the Committee on Cinema Affairs, as was Ivan the Terrible Part II.Less
This chapter focuses on Prokofiev's collaboration with Sergey Eisenstein on the cinematic masterworks Alexander Nevsky and Ivan the Terrible. Beyond documenting the genesis of these films from sketch to final edit, the chapter discusses the composer's work with Abram Room on Tonya, an innocuous cinematic melodrama that never reached the theaters. This unknown film was barred from release by the Committee on Cinema Affairs, as was Ivan the Terrible Part II.
NICHOLAS COOK
- Published in print:
- 2007
- Published Online:
- January 2012
- ISBN:
- 9780197264195
- eISBN:
- 9780191734540
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197264195.003.0006
- Subject:
- Psychology, Cognitive Psychology
This chapter discusses the inherent limits of all the imaginative models for music, from analyses to sketches to scores, and the gap that opens up between them and the real-time experience of the ...
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This chapter discusses the inherent limits of all the imaginative models for music, from analyses to sketches to scores, and the gap that opens up between them and the real-time experience of the composers, the performers, and the listeners. Drawing examples from the composer Roger Reynolds and from a recent piano project investigating the performance of contemporary piano music, this chapter argues that imaginative models of music are fully understood not as attempted comprehensive specifications, but as spurs or prompts that initiate improvisatory acts which bring the piece into a performable entity. Within this context, music constitutes a model of how people can work hand in hand towards a common goal yet maintain their autonomy. Music shows how individual imagination is consummated in social action.Less
This chapter discusses the inherent limits of all the imaginative models for music, from analyses to sketches to scores, and the gap that opens up between them and the real-time experience of the composers, the performers, and the listeners. Drawing examples from the composer Roger Reynolds and from a recent piano project investigating the performance of contemporary piano music, this chapter argues that imaginative models of music are fully understood not as attempted comprehensive specifications, but as spurs or prompts that initiate improvisatory acts which bring the piece into a performable entity. Within this context, music constitutes a model of how people can work hand in hand towards a common goal yet maintain their autonomy. Music shows how individual imagination is consummated in social action.
Anne Stott
- Published in print:
- 2004
- Published Online:
- January 2010
- ISBN:
- 9780199274888
- eISBN:
- 9780191714962
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199274888.003.0014
- Subject:
- History, British and Irish Modern History
This chapter deals with Hannah More's last years, a period of bereavement, increasing frailty, and reactionary politics. In response to the post-1815 radical publications, she published Cheap ...
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This chapter deals with Hannah More's last years, a period of bereavement, increasing frailty, and reactionary politics. In response to the post-1815 radical publications, she published Cheap Repository Tracts suited to the Present Times. Her Moral Sketches acquired mild notoriety because of its francophobic attack on British visitors to France. The Queen Caroline affair and Catholic emancipation reinforced her Toryism. She joined the Ultra Constitutional Association. She was suspicious of some of he new trends in Evangelicalism and came to distrust the millenarian preacher Edward Irving. Forced to leave Barley Wood because of the depredations of her servants, she died at Clifton in 1833.Less
This chapter deals with Hannah More's last years, a period of bereavement, increasing frailty, and reactionary politics. In response to the post-1815 radical publications, she published Cheap Repository Tracts suited to the Present Times. Her Moral Sketches acquired mild notoriety because of its francophobic attack on British visitors to France. The Queen Caroline affair and Catholic emancipation reinforced her Toryism. She joined the Ultra Constitutional Association. She was suspicious of some of he new trends in Evangelicalism and came to distrust the millenarian preacher Edward Irving. Forced to leave Barley Wood because of the depredations of her servants, she died at Clifton in 1833.
Harald Krebs
- Published in print:
- 1999
- Published Online:
- May 2008
- ISBN:
- 9780195116236
- eISBN:
- 9780199871308
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195116236.003.0005
- Subject:
- Music, Theory, Analysis, Composition
This chapter, based on research undertaken in numerous libraries and archives in Europe, gives examples of Schumann's intensive compositional work on metrical dissonance. There are occasions when ...
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This chapter, based on research undertaken in numerous libraries and archives in Europe, gives examples of Schumann's intensive compositional work on metrical dissonance. There are occasions when Schumann rendered originally consonant passages dissonant, usually by adding conflicting voices or adjusting the alignment of existing voices. He also frequently intensified or deintensified dissonances that were already present in his early versions, often by adding or eliminating dynamic accents. The chapter concludes with an investigation of possible reasons for such revisions: to clarify the form by intensifying the contrast between sections or by highlighting sectional boundaries; to create relationships between passages; or to create particular metrical processes.Less
This chapter, based on research undertaken in numerous libraries and archives in Europe, gives examples of Schumann's intensive compositional work on metrical dissonance. There are occasions when Schumann rendered originally consonant passages dissonant, usually by adding conflicting voices or adjusting the alignment of existing voices. He also frequently intensified or deintensified dissonances that were already present in his early versions, often by adding or eliminating dynamic accents. The chapter concludes with an investigation of possible reasons for such revisions: to clarify the form by intensifying the contrast between sections or by highlighting sectional boundaries; to create relationships between passages; or to create particular metrical processes.
William Kinderman
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195342369
- eISBN:
- 9780199851744
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195342369.001.0001
- Subject:
- Music, History, Western
The Thirty-three Variations on a Waltz by Diabelli, Op. 120, represent Beethoven's most extraordinary achievement in the art of variation-writing. In their originality and power of invention, they ...
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The Thirty-three Variations on a Waltz by Diabelli, Op. 120, represent Beethoven's most extraordinary achievement in the art of variation-writing. In their originality and power of invention, they stand beside other late Beethoven masterpieces such as the Ninth Symphony, the Missa Solemnis, and the last quartets. This study of the compositional history of the work includes the first extended investigation and reconstruction of the sketches and drafts, and reveals, contrary to earlier views of its chronology, that it was actually begun in 1819, then put aside, and completed in 1822–3. The author provides an analytical discussion of the complete work, and demonstrates how insights derived from a close study of the sketches can illuminate Beethoven's compositional ideas and attitudes and contribute substantially to a better understanding of this massive and complex set of variations. The book includes complete transcriptions of the two central documents in the genesis of the Diabelli variations: the reconstructed Wittgenstein Sketchbook and the Paris–Landsberg–Montauban Draft.Less
The Thirty-three Variations on a Waltz by Diabelli, Op. 120, represent Beethoven's most extraordinary achievement in the art of variation-writing. In their originality and power of invention, they stand beside other late Beethoven masterpieces such as the Ninth Symphony, the Missa Solemnis, and the last quartets. This study of the compositional history of the work includes the first extended investigation and reconstruction of the sketches and drafts, and reveals, contrary to earlier views of its chronology, that it was actually begun in 1819, then put aside, and completed in 1822–3. The author provides an analytical discussion of the complete work, and demonstrates how insights derived from a close study of the sketches can illuminate Beethoven's compositional ideas and attitudes and contribute substantially to a better understanding of this massive and complex set of variations. The book includes complete transcriptions of the two central documents in the genesis of the Diabelli variations: the reconstructed Wittgenstein Sketchbook and the Paris–Landsberg–Montauban Draft.
Jim Lovensheimer
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195377026
- eISBN:
- 9780199864560
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195377026.003.0005
- Subject:
- Music, Popular, History, American
After a preliminary discussion of race and World War II that draws from historian Micahel Bess’s work on the subject, this chapter demonstrates how Hammerstein repeatedly subdued South Pacific’s ...
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After a preliminary discussion of race and World War II that draws from historian Micahel Bess’s work on the subject, this chapter demonstrates how Hammerstein repeatedly subdued South Pacific’s criticism of prejudice throughout the creative process. Beginning with an examination of Nellie Forbush and what her background in 1930s prewar rural Arkansas would have been, the chapter moves on to reveal how Hammerstein retained her prejudice while making it increasingly less abrasive than it was in James A. Michener’s Tales of the South Pacific. Attention is then shifted to Joe Cable, whose grappling with prejudice provides the musical’s tragic subplot. Act 2, scene 4, the musical’s climactic scene, is analyzed in its many manifestations indicated by the numerous drafts and sketch studies for it found among Hammerstein’s papers. While some representations of race in the musical remain problematic—references to the Japanese enemy and the characterization of island women, for example—this chapter demonstrates Hammerstein’s ongoing commitment to racial equality and tolerance that anticipate the American civil rights movement.Less
After a preliminary discussion of race and World War II that draws from historian Micahel Bess’s work on the subject, this chapter demonstrates how Hammerstein repeatedly subdued South Pacific’s criticism of prejudice throughout the creative process. Beginning with an examination of Nellie Forbush and what her background in 1930s prewar rural Arkansas would have been, the chapter moves on to reveal how Hammerstein retained her prejudice while making it increasingly less abrasive than it was in James A. Michener’s Tales of the South Pacific. Attention is then shifted to Joe Cable, whose grappling with prejudice provides the musical’s tragic subplot. Act 2, scene 4, the musical’s climactic scene, is analyzed in its many manifestations indicated by the numerous drafts and sketch studies for it found among Hammerstein’s papers. While some representations of race in the musical remain problematic—references to the Japanese enemy and the characterization of island women, for example—this chapter demonstrates Hammerstein’s ongoing commitment to racial equality and tolerance that anticipate the American civil rights movement.
John A. Sloboda
- Published in print:
- 1986
- Published Online:
- January 2008
- ISBN:
- 9780198521280
- eISBN:
- 9780191706257
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198521280.003.0004
- Subject:
- Psychology, Cognitive Psychology
This chapter applies a ‘mental representation’ approach to understanding composition, and reviews four sources of evidence about the compositional process: sketches and notebooks; composers' own ...
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This chapter applies a ‘mental representation’ approach to understanding composition, and reviews four sources of evidence about the compositional process: sketches and notebooks; composers' own accounts of their compositional processes; live observation of composition — sometimes with ongoing commentary (verbal protocols) from the composer; and observation of improvisatory behaviour. Comparisons are made to observations of the improvizations of the reciters of epic poetry. The chapter ends with an extended analysis of a self-observed compositional session.Less
This chapter applies a ‘mental representation’ approach to understanding composition, and reviews four sources of evidence about the compositional process: sketches and notebooks; composers' own accounts of their compositional processes; live observation of composition — sometimes with ongoing commentary (verbal protocols) from the composer; and observation of improvisatory behaviour. Comparisons are made to observations of the improvizations of the reciters of epic poetry. The chapter ends with an extended analysis of a self-observed compositional session.
Rodolfo Saracci
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199239481
- eISBN:
- 9780191716973
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199239481.003.001
- Subject:
- Public Health and Epidemiology, Public Health, Epidemiology
This chapter provides a guide for the preparation of an 8 to 10 hour teaching module on the history of epidemiology within a Master's or PhD curriculum. The text can also be of help for preparing a ...
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This chapter provides a guide for the preparation of an 8 to 10 hour teaching module on the history of epidemiology within a Master's or PhD curriculum. The text can also be of help for preparing a one to two hour session within the epidemiology teaching for undergraduate medical students. In an annex, a historical sketch offers a broad framework and some illustrative material for the module, to be supplemented by the references, particularly those denoted as ‘key’, at the end of the chapter. The objective of the module is to focus and raise the motivation of students for an historical perspective on epidemiology, promoting a critical yet positive attitude to the discipline placed within the context of the wider development of science in society. At a time when all scientific activities have increasing (and increasingly recognized and debated) implications of economic, social and ethical nature, this historical perspective becomes more of a necessity than a curiosity.Less
This chapter provides a guide for the preparation of an 8 to 10 hour teaching module on the history of epidemiology within a Master's or PhD curriculum. The text can also be of help for preparing a one to two hour session within the epidemiology teaching for undergraduate medical students. In an annex, a historical sketch offers a broad framework and some illustrative material for the module, to be supplemented by the references, particularly those denoted as ‘key’, at the end of the chapter. The objective of the module is to focus and raise the motivation of students for an historical perspective on epidemiology, promoting a critical yet positive attitude to the discipline placed within the context of the wider development of science in society. At a time when all scientific activities have increasing (and increasingly recognized and debated) implications of economic, social and ethical nature, this historical perspective becomes more of a necessity than a curiosity.
Dominic McHugh
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199827305
- eISBN:
- 9780199950225
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199827305.003.0004
- Subject:
- Music, Popular, History, American
This chapter provides an introduction to the autograph musical sources for My Fair Lady, including Frederick Loewe’s melodic sketches and Alan Jay Lerner’s lyric sketches. It examines some of the ...
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This chapter provides an introduction to the autograph musical sources for My Fair Lady, including Frederick Loewe’s melodic sketches and Alan Jay Lerner’s lyric sketches. It examines some of the unused songs for the show, which were written but discarded long before rehearsals, as well as addressing the three cut musical numbers for the show in detail, proposing reasons why they were cut: “Say a Prayer for Me Tonight,” “Dress Ballet,” and “Come to the Ball.”Less
This chapter provides an introduction to the autograph musical sources for My Fair Lady, including Frederick Loewe’s melodic sketches and Alan Jay Lerner’s lyric sketches. It examines some of the unused songs for the show, which were written but discarded long before rehearsals, as well as addressing the three cut musical numbers for the show in detail, proposing reasons why they were cut: “Say a Prayer for Me Tonight,” “Dress Ballet,” and “Come to the Ball.”
Barbara Tversky and Masaki Suwa
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780195381634
- eISBN:
- 9780199870264
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195381634.003.0004
- Subject:
- Psychology, Cognitive Psychology
Sketches serve to externalize ideas, render fleeting ideas permanent, confer coherence on scattered concepts, and turn internal thoughts public. They can be created and recreated, examined and ...
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Sketches serve to externalize ideas, render fleeting ideas permanent, confer coherence on scattered concepts, and turn internal thoughts public. They can be created and recreated, examined and re-examined, configured and reconfigured, considered and reconsidered, for clarity and for creativity. The schematic vocabulary of sketches allows both expression and discovery of ideas. Sketching is integral to design, where vagueness encourages reinterpretation and discourages fixation. Using sketches to those ends requires constructive perception, a combination of a perceptual skill of reconfiguring and a cognitive skill of finding remote associations.Less
Sketches serve to externalize ideas, render fleeting ideas permanent, confer coherence on scattered concepts, and turn internal thoughts public. They can be created and recreated, examined and re-examined, configured and reconfigured, considered and reconsidered, for clarity and for creativity. The schematic vocabulary of sketches allows both expression and discovery of ideas. Sketching is integral to design, where vagueness encourages reinterpretation and discourages fixation. Using sketches to those ends requires constructive perception, a combination of a perceptual skill of reconfiguring and a cognitive skill of finding remote associations.
Uwe Wolfradt and David Trippett
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199695737
- eISBN:
- 9780191742286
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199695737.003.0006
- Subject:
- Psychology, Music Psychology, Developmental Psychology
This chapter presents a bibliography of Carl Stumpf's publications on philosophy (epistemology, philosophy of music, mathematics); psychology (theoretical psychology, studies in the psychology of ...
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This chapter presents a bibliography of Carl Stumpf's publications on philosophy (epistemology, philosophy of music, mathematics); psychology (theoretical psychology, studies in the psychology of music and tone as well as the psychology of emotions); musicology (studies in comparative musicology and acoustics); biographical sketches, and collaborative writings.Less
This chapter presents a bibliography of Carl Stumpf's publications on philosophy (epistemology, philosophy of music, mathematics); psychology (theoretical psychology, studies in the psychology of music and tone as well as the psychology of emotions); musicology (studies in comparative musicology and acoustics); biographical sketches, and collaborative writings.
Karen Junod
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780199597000
- eISBN:
- 9780191725357
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199597000.003.0006
- Subject:
- Literature, 18th-century Literature, 19th-century Literature and Romanticism
This chapter discusses the development of the sketch in eighteenth- and early nineteenth-entury Britain. By focusing on a wide variety of different narratives, including Philip Thicknesse's Sketch of ...
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This chapter discusses the development of the sketch in eighteenth- and early nineteenth-entury Britain. By focusing on a wide variety of different narratives, including Philip Thicknesse's Sketch of the Life and Paintings of Thomas Gainsborough (1788) and other texts on the margins of the biographical form, this chapter explores the significance of the sketch – both in its visual and literary aspect – as a way of shaping and simultaneously undermining Gainsborough's artistic and biographical reputation during this period. This chapter also argues that the recurrence of the sketch in the construction of Gainsborough's posthumous life was part of a much wider discourse on the quintessential nature of British art.Less
This chapter discusses the development of the sketch in eighteenth- and early nineteenth-entury Britain. By focusing on a wide variety of different narratives, including Philip Thicknesse's Sketch of the Life and Paintings of Thomas Gainsborough (1788) and other texts on the margins of the biographical form, this chapter explores the significance of the sketch – both in its visual and literary aspect – as a way of shaping and simultaneously undermining Gainsborough's artistic and biographical reputation during this period. This chapter also argues that the recurrence of the sketch in the construction of Gainsborough's posthumous life was part of a much wider discourse on the quintessential nature of British art.
Jonathan Bate
- Published in print:
- 1989
- Published Online:
- October 2011
- ISBN:
- 9780198129943
- eISBN:
- 9780191671883
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198129943.003.0007
- Subject:
- Literature, Shakespeare Studies, 19th-century Literature and Romanticism
In Poetical Sketches, Blake's first collection, Blake attempted to search for a perspective through imitating several different models across both the 18th century and the Elizabethan era. In this ...
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In Poetical Sketches, Blake's first collection, Blake attempted to search for a perspective through imitating several different models across both the 18th century and the Elizabethan era. In this collection, Shakespeare's presence was made known explicitly, whereas in Blake's later and more mature works, Shakespeare was to be integrated implicitly and even transformed. In ‘To Spring’, the collection's first poem, Blake exhibits his debt to the Elizabethan verse wherein he is evidently attempting to imitate Shakespeare and his contemporaries' lyrical language. In ‘Fair Elenor’, Blake emulates Shakespeare's Macbeth which plays no small part in the rise of gothic imagination. This chapter is able to identify Blake's works wherein he indicates patronage to Shakespeare.Less
In Poetical Sketches, Blake's first collection, Blake attempted to search for a perspective through imitating several different models across both the 18th century and the Elizabethan era. In this collection, Shakespeare's presence was made known explicitly, whereas in Blake's later and more mature works, Shakespeare was to be integrated implicitly and even transformed. In ‘To Spring’, the collection's first poem, Blake exhibits his debt to the Elizabethan verse wherein he is evidently attempting to imitate Shakespeare and his contemporaries' lyrical language. In ‘Fair Elenor’, Blake emulates Shakespeare's Macbeth which plays no small part in the rise of gothic imagination. This chapter is able to identify Blake's works wherein he indicates patronage to Shakespeare.
Sos Eltis
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780198121831
- eISBN:
- 9780191671340
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198121831.003.0006
- Subject:
- Literature, 19th-century and Victorian Literature, Drama
Interviewed by a reporter from the Sketch a week after An Ideal Husband opened at the Haymarket, Oscar Wilde provocatively dismissed the role of the public in judging the success of his play. In a ...
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Interviewed by a reporter from the Sketch a week after An Ideal Husband opened at the Haymarket, Oscar Wilde provocatively dismissed the role of the public in judging the success of his play. In a more serious tone, Wilde explained his belief that drama is rightly a private form of art. An Ideal Husband was as deceptive a play as its predecessors, its superficial conservatism concealing its more subversive implications from the common playgoer. The play is constructed in layer upon layer of assertion and contradiction. Characters alternately depend upon and subvert traditional stereotypes. Apparently unironic statements are rendered ambiguous by the action which accompanies them. While presenting a reassuringly familiar melodrama of intrigue and blackmail, Wilde placed his action in the centre of 19th-century political life, and examined the issues of private and public morality and their relation to the contemporary debate on the role of women in society.Less
Interviewed by a reporter from the Sketch a week after An Ideal Husband opened at the Haymarket, Oscar Wilde provocatively dismissed the role of the public in judging the success of his play. In a more serious tone, Wilde explained his belief that drama is rightly a private form of art. An Ideal Husband was as deceptive a play as its predecessors, its superficial conservatism concealing its more subversive implications from the common playgoer. The play is constructed in layer upon layer of assertion and contradiction. Characters alternately depend upon and subvert traditional stereotypes. Apparently unironic statements are rendered ambiguous by the action which accompanies them. While presenting a reassuringly familiar melodrama of intrigue and blackmail, Wilde placed his action in the centre of 19th-century political life, and examined the issues of private and public morality and their relation to the contemporary debate on the role of women in society.
Andrew Sanders
- Published in print:
- 1999
- Published Online:
- October 2011
- ISBN:
- 9780198183549
- eISBN:
- 9780191674068
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198183549.003.0002
- Subject:
- Literature, 19th-century and Victorian Literature
Dickens struck most of his first readers as someone which blazed on to the early-Victorian literary firmament like a meteor. The ambitious but still tentative writer who signed himself with the ...
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Dickens struck most of his first readers as someone which blazed on to the early-Victorian literary firmament like a meteor. The ambitious but still tentative writer who signed himself with the pseudonym ‘Boz’ published his first prose ‘sketch’ in the Monthly Magazine in December 1833. Boz's reputation as a comic observer of London life and London whims was firmly established during the two following years with a stream of further ‘sketches’ published in various magazines, journals, and newspapers. In March 1836, two volumes of the stories he had collected together as Sketches by ‘Boz’ Illustrative of every-day life and every-day people, were released. The very blaze of the talent of the young Boz/Dickens was evidently compelling to his new readers who witnessed the writer of the Sketches triumphantly emerging as the author of the phenomenally successful Pickwick Papers. The reputation of Pickwick Papers was to prove long-lasting and memories of the Pickwick phenomenon in the late-1830s were to remain embedded in the popular imagination, both in fact and fiction.Less
Dickens struck most of his first readers as someone which blazed on to the early-Victorian literary firmament like a meteor. The ambitious but still tentative writer who signed himself with the pseudonym ‘Boz’ published his first prose ‘sketch’ in the Monthly Magazine in December 1833. Boz's reputation as a comic observer of London life and London whims was firmly established during the two following years with a stream of further ‘sketches’ published in various magazines, journals, and newspapers. In March 1836, two volumes of the stories he had collected together as Sketches by ‘Boz’ Illustrative of every-day life and every-day people, were released. The very blaze of the talent of the young Boz/Dickens was evidently compelling to his new readers who witnessed the writer of the Sketches triumphantly emerging as the author of the phenomenally successful Pickwick Papers. The reputation of Pickwick Papers was to prove long-lasting and memories of the Pickwick phenomenon in the late-1830s were to remain embedded in the popular imagination, both in fact and fiction.
Lucy Newlyn
- Published in print:
- 2001
- Published Online:
- October 2011
- ISBN:
- 9780199242597
- eISBN:
- 9780191697142
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199242597.003.0001
- Subject:
- Literature, 19th-century Literature and Romanticism, Poetry
Coleridge describes in literary terms, that the basis of his original attraction to Wordsworth was of a different kind. When he first encountered Descriptive Sketches at Cambridge in 1793, the ...
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Coleridge describes in literary terms, that the basis of his original attraction to Wordsworth was of a different kind. When he first encountered Descriptive Sketches at Cambridge in 1793, the consuming interest in his life was not academic but political. Wordsworth's republicanism, inspired in the summer of 1792 by his brief friendship with Michel Beaupuy, is given full expression here in his vision of Switzerland as an ideal Republic. Coleridge's first meeting with Wordsworth which took place in September 1795 was at a political Debating Society in Bristol. The Farington Diary of April 1810 records that ‘on one occasion Wordsworth spoke with so much force and eloquence that Coleridge was captivated by it, and sought to know him.’ Comparatively little is known about Wordsworth's early impressions of Coleridge.Less
Coleridge describes in literary terms, that the basis of his original attraction to Wordsworth was of a different kind. When he first encountered Descriptive Sketches at Cambridge in 1793, the consuming interest in his life was not academic but political. Wordsworth's republicanism, inspired in the summer of 1792 by his brief friendship with Michel Beaupuy, is given full expression here in his vision of Switzerland as an ideal Republic. Coleridge's first meeting with Wordsworth which took place in September 1795 was at a political Debating Society in Bristol. The Farington Diary of April 1810 records that ‘on one occasion Wordsworth spoke with so much force and eloquence that Coleridge was captivated by it, and sought to know him.’ Comparatively little is known about Wordsworth's early impressions of Coleridge.
Louis P. Masur (ed.)
- Published in print:
- 1995
- Published Online:
- October 2011
- ISBN:
- 9780195098372
- eISBN:
- 9780199853908
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195098372.003.0002
- Subject:
- History, American History: 19th Century
Louisa May Alcott craved action. The Civil War gave her a chance, and she took it. In the Fall of 1862 she applied to serve as a nurse in Washington. On December 11th of that yaer, she received ...
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Louisa May Alcott craved action. The Civil War gave her a chance, and she took it. In the Fall of 1862 she applied to serve as a nurse in Washington. On December 11th of that yaer, she received orders to report to the Union Hotel Hospital, a converted tavern. There she set to work. From Washington, Alcott had signed as Nurse Tribulation Periwinkle, one of many personas that she employed throughout her writing career. She revised some of these letters and published them in four installments in The Commonwealth, an anti-slavery weekly. The response was favorable, and when James Redpath offered to reprint these letters as a book, Alcott accepted. It has been said that all the themes of a writer's lifetime can be found in her first book. Hospital Sketches contains light and darkness, comedy and tragedy, salvation and sin. Such scenes, extended into books, would make Alcott the best-selling author of Little Women, Little Men, and Jo's Boys.Less
Louisa May Alcott craved action. The Civil War gave her a chance, and she took it. In the Fall of 1862 she applied to serve as a nurse in Washington. On December 11th of that yaer, she received orders to report to the Union Hotel Hospital, a converted tavern. There she set to work. From Washington, Alcott had signed as Nurse Tribulation Periwinkle, one of many personas that she employed throughout her writing career. She revised some of these letters and published them in four installments in The Commonwealth, an anti-slavery weekly. The response was favorable, and when James Redpath offered to reprint these letters as a book, Alcott accepted. It has been said that all the themes of a writer's lifetime can be found in her first book. Hospital Sketches contains light and darkness, comedy and tragedy, salvation and sin. Such scenes, extended into books, would make Alcott the best-selling author of Little Women, Little Men, and Jo's Boys.
Dennis Sherwood and Jon Cooper
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199559046
- eISBN:
- 9780191595028
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199559046.003.0005
- Subject:
- Physics, Crystallography: Physics
This chapter revisits the essential mathematics of integral calculus and introduces the important concept of the Fourier transform, the properties of which are elegantly demonstrated by sketching the ...
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This chapter revisits the essential mathematics of integral calculus and introduces the important concept of the Fourier transform, the properties of which are elegantly demonstrated by sketching the curves of various functions. It demonstrates the essential principles of diffraction by determining the Fourier transforms of regularly repeating patterns which can be represented mathematically by Dirac delta functions — the very important concept of Fourier space (or reciprocal space) follows from this discussion. This section leads into a description of another highly important mathematical concept, the convolution. Convolutions allow two functions to be combined and provide an extremely elegant mathematical description of the crystalline state as well as an insight into one of crystallography's most important structure-solving tools, the Patterson function.Less
This chapter revisits the essential mathematics of integral calculus and introduces the important concept of the Fourier transform, the properties of which are elegantly demonstrated by sketching the curves of various functions. It demonstrates the essential principles of diffraction by determining the Fourier transforms of regularly repeating patterns which can be represented mathematically by Dirac delta functions — the very important concept of Fourier space (or reciprocal space) follows from this discussion. This section leads into a description of another highly important mathematical concept, the convolution. Convolutions allow two functions to be combined and provide an extremely elegant mathematical description of the crystalline state as well as an insight into one of crystallography's most important structure-solving tools, the Patterson function.
Donald H. Regan
- Published in print:
- 1980
- Published Online:
- October 2011
- ISBN:
- 9780198246091
- eISBN:
- 9780191680922
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198246091.003.0010
- Subject:
- Philosophy, Moral Philosophy
This chapter discusses what the discussion of P tells people about CU. This is done by recalling where the discussion of CU stopped at the end of Chapter 8. It also provides a more detailed five-step ...
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This chapter discusses what the discussion of P tells people about CU. This is done by recalling where the discussion of CU stopped at the end of Chapter 8. It also provides a more detailed five-step sketch of CU, which directs each agent to do certain things. Some of these steps include holding himself ready to do his part in the co-operative venture and identifying the other co-operators.Less
This chapter discusses what the discussion of P tells people about CU. This is done by recalling where the discussion of CU stopped at the end of Chapter 8. It also provides a more detailed five-step sketch of CU, which directs each agent to do certain things. Some of these steps include holding himself ready to do his part in the co-operative venture and identifying the other co-operators.
