Cataloque of The Collection of Coins and Medals

Cataloque of The Collection of Coins and Medals 

By: Charles Butler 

I. The highest bidder to be the buyer; and if any dispute arise between bidders, the lot so disputed shall be immediately put up again, provided the auctioneer cannot decide the said dispute. II. No person to advance less than Is.; above five pounds 2s. 6d., and so on in proportion. III. In the case of lots upon which there is a reserve, the auctioneer shall have the right to bid on behalf of the seller. IV. The purchasers to give in their names and places of abode, and to pay down 10s. in the pound, if required, in part payment of the purchase-money ; in default of which the lot or lots purchased will be immediately put up again and re-sold. V. The sale of any lot is not to be set aside on account of any error in the enumeration of the numbers stated, or errors of description. VI. The lots to be taken away, at the buyer’s expense, immediately after the conclusion of the sale. [download]

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English Drama Since 1940

English Drama Since 1940 

By: David Ian Rabey

The creation and management of public order through shared meaning is in itself profoundly dramatic. Clarke notes how Churchill’s wartime speeches (like those of Shakespeare’s Henry V) appeal to a sense of performance which constitutes history in the making: ‘Rather than minimising the threat of invasion, he dramatised it’, projecting himself into the future and flattering by association his fellow members of ‘the British Empireand its commonwealth’ that this would stand as ‘their finest hour’. British history has often dealt with challenges to homogeneous national identity by ‘ignoring’ them and marginalising dissenting voices into ultimately supportive foils for the dramatic advancement of self-styled protagonists: ‘Churchill and Orwell slipped into a well-established convention of illicitly, implicitly conscripting all Britons into a pageant of English history, with a few tartan-clad spear-carriers and Celtic by standers, presumed to be muttering the Welsh for “rhubarb”’. [download]

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Romancing The Shadow

Romancing The Shadow 

By: J. Gerald Kennedy and Liliane Weissberg

S:uch recent events as the torching of black churches “across the South, the hate crime in Jasper, Texas, and threatening, anonymous letters to the heads of minority colleges and universities remind us that racial differences continue to stir fear and loathing In a republic dedicated to “liberty and justice for all.” The monstrous paradox embedded in the Declaration of Independence and incompletely resolved by the Civil War haunts the millennial United Stateswith a long legacy of injustice and resentment. In Faces at the Bottom of the Well, Derrick Bell has expressed the bleak conclusion that racism is an “integral, permanent, and indestructible component” of American society (ix), and observers such as journalist Carl Rowan have predicted a latter-day “race war.” [download]

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Queer Renaissance Historiography

Queer Renaissance Historiography

By: Vin Nardizzi, Stephen Guy and Will Stockton

In the years since the publication of Jonathan Goldberg’s Queering the Renaissance (1994), a large amount of scholarship on queerness and sexuality in Renaissance literature has appeared in print or been delivered at conferences and colloquia. In this book, we seek to both reflect on and make a unique contribution to this body of scholarship. In The Renaissance of Lesbianism in Early Modern England, one of the books that has transformed our field as scholars of Renaissance sexuality and which we cite here pars pro toto, Valerie Traub says that in writing her book she assumed “neither that we will find in the past a mirror image of ourselves nor that the past is so utterly alien that we will find nothing usable in its fragmentary traces” (2002: 32). To some extent, we share Traub’s aims, and we certainly admire her work, but we would question her emphasis on the category of use. [download]

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Ventrue Lords Over The Damned

Ventrue Lords Over The Damned 

By: Will Hindmarch

The first Ventrue were the secret masters of the great city of Troy. They emerge from the shadows of prehistory as minor gods, just visible over the shoulders of legendary kings. They dwelled among the living as lares (household gods) and mares (the lingering shades of beloved ancestors). Often thought of as gods or ghosts, they were in fact undying flesh and blood, as we are now. The Ventrue of Troy concerned themselves with the fates and fortunes of their own household kine, not the whole of the city. The greatest families of Ilium had their lares as well, to be sure, counseling them as they faced difficult decisions as the living lords of Troy; but the lares were devoted to their households, whether the kings of the kine dwelled within or not, and could just as easily be found influencing local merchants or tradesmen. [download]

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British Women Poets

British Women Poets 

By: Stephen C. Behrendt

What We Know and What We Thought We Knew. At the beginning of A Christmas Carol, Charles Dickens insists that we bear in mind that Jacob Marley’s death is a fact. “There is no doubt that Marley was dead,” the narrator tells us. “This must be distinctly understood, or nothing wonderful can come of this story” (39). Any effective tale relies on the ability of its hearer and its teller to distinguish between what is and what merely seems to be: Ebenezer Scrooge must learn this as surely as Hamlet had to learn it. When it comes to assessing the poetry written and published by women in the British Islesduring the Romantic period, it is useful to separate what we know from what we only think we know. For this is not a tale simply about the Romantic literary canon or about the cultural wars that have during recent years attended the interrogation of that canon, at least in the academic world. [download]

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Greek and Roman Folklore

Greek and Roman Folklore

By: Graham Anderson

It has been some 80 years since William Halliday produced a short account entitled Greek and Roman Folklore. To attempt to cover the same ground now has presented this author with a challenge of compression. The amount of material available to Halliday and to H. J. Rose in the early part of last century was intractable enough, but the increase since the 1920s in theory alone has made a further survey increasingly necessary and increasingly beyond the scope of any single volume. This is all the more evident because classicists, in particular, tend to classify folkloric materials in so many other ways and tend to avoid folklore as a subject in its own right. I have set out to offer some overview of defi nitions of folklore and some limitations, ancient and modern, in the way we tend to approach it. [download]

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Essay in Sociology

Essay in Sociology 

By: Max Weber

Max Weber was born in Erfurt, Thuringia, on 21 April 1864. His father, Max Weber, Sr., a trained jurist and municipal counselor, came from a family of linen merchants and textile manufacturers of western Germany. In 1869 the Webers moved to Berlin, which was soon to become the booming capital of Bismarck’s Reich. There, Weber, Sr. became a prosperous politician, active in the municipal diet of Berlin, the Prussian diet, and the new Reichstag. He belonged to the right-wing liberals led by the Hanoverian noble, Bennigsen. The family resided in Charlottenburg, then a west-end suburb of Berlin, where academic and political notables were neighbors. In his father’s house young Weber came to know such men as Dilthey, Mommsen, Julian Schmidt, Sybel, Treitschke, and Friedrich Kapp. Max Weber’s mother, Helene Fallenstein Weber, was a cultured and liberal woman of Protestant faith. [download]

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War Poems

War Poems

By: Elbridge Jefferson Cutler

“XT OW let us raise a song of praise, like Miriam’s song of old, A song of praise to God the Lord, for bless ings manifold ! He lifteth up, He casteth down ; He bindeth, setteth free ; He sendeth grace to bear defeat ; He giveth victory ! O, hear ye how fromSomersetthe voice of triumph calls ! Hear how the echoes take it up on Henry’s conquered walls ! And wilder yet the thrilling cry : FortDonelsonis ours ! Like chaff before the roaring North fly fast the Rebel powers ; New Orleanssees her doom afar, and lifts a palsied arm, And haughty Richmond’s drunken streets are sobered with alarm ; Up Carolina’s frantic shore the tide rolls black and dire : The thunder’s voice is in its heart, its crest avenging fire ! On inland slopes and by the sea are wreck and flying foe; [download]

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The Oxford Book of American Poetry

The Oxford Book of American Poetry 

By: David Lehman

The past that foreign country where they do things differently is neither a fixed entity nor a finished narrative but a changing landscape of the mind where travelers come and go, talking of Michelangelo, Hamlet, T. S. Eliot, and much else less lofty. It may be that what we call the present defines itself in the disagreements we have about the past and the complicated negotiations we undertake to resolve our differences. This means at bottom that virtually all events, periods, tendencies, and climates of opinion are subject to continual reassessment and revision. New facts come to light, old testimony comes into question; our belief system changes and we need to adjust our understanding of history to bring it in line with our governing assumptions. And so, for example, a story once held to be “true” in the sense that it. [download]

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The Art of Poetry: How to Read A Poem

The Art of Poetry: How to Read A Poem

By: Shira Wolosky

Poetry can be many things. Poetry can be philosophical, or emotional, or sentimental. It can paint pictures, in a descriptive mode, or tell stories, in a narrative one. Poetry can also be satirical, or funny, or political, or just informative. Yet none of these activities is specific to poetry, or reveals how poetry differs from other kinds of writing or speaking. A definition that underscores what makes poetry distinctive might be: poetry is language in which every component element word and word order, sound and pause, image and echo is significant, significant in that every element points toward or stands for further relationships among and beyond themselves. Poetry is language that always means more. Its elements are figures, and poetry itself is a language of figures. [download]

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Creative Collaboration

Creative Collaboration

By: Vera John Steiner 

We have come to a new understanding of the life of the mind. The notion of the solitary thinker still appeals to those molded by the Western belief in individualism. However, a careful scrutiny of how knowledge is constructed and artistic forms are shaped reveals a different reality. Generative ideas emerge from joint thinking, from significant conversations, and from sustained, shared struggles to achieve new insights by partners in thought. In this book, I address intellectual and artistic collaboration the interdependence of thinkers in the co-construction of knowledge1 among partners and in small groups. This exploration is sustained by a growing community of scholars who view learning and thinking as social processes. This large “thought community” of interactive scholars committed to transformation has a diverse membership. [download]

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Art and Intention: A Philosophical Study

Art and Intention: A Philosophical Study 

By: Paisley Livingston

Sextus Empiricus relates a story about Apelles of Kolophon, the legendary fourth century bc artist whose motto is said to have been ‘Not a day without a line’. Apelles was at work on a picture of a horse, having set himself the task of producing a vivid depiction of the lather on the animal’s mouth. Frustrated by his failure to achieve the desired eVect, he angrily cast his paint-soaked sponge at the picture, only to discover that the paint he had splashed onto the surface yielded a Wne depiction of the horse’s lather. Sextus suggests that the sceptic can enjoy a similar success: when we suspend judgement, tranquillity follows. I draw a rather diVerent lesson from this legendary episode of artistic creation. In thinking about art, we want to keep in mind the artist’s specipic intentions, and the actions and events to which they give rise. [download]

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Wanderings of A War Artist

Wanderings of A War Artist 

By: Irving Montagu

Although have my nurse’s authority that I was not the most docile of infants, I am not in a position to chronicle any particular incidents in my earliest childhood which are likely to bear directly on my after life; indeed, the first of the seven ages, even of the most exalted career, can hardly be of so much interest to the general public as to the mother of the illustrious one ; so surely it is wise to dispense with any allusion to that period of jny existence, unless, indeed, it is to say that my first plaything was a drum, and that my earliest ambition was to gain family notoriety by the dismemberment of a battalion of wooden soldiers, whose well glued limbs and pedestals gave way before repeated onslaughts. [download]  

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Frank Kermode-Romantic Image

Frank Kermode-Romantic Image 

By: Frank Kermode 

I have written this essay because I thought I could see a new way of looking at certain assumptions which are of great importance to contemporary poetry and criticism. Very briefly, these assumptions are that the image is, in Wyndham Lewis’s phrase, the ‘primary pigment’ of poetry; and that the poet who uses it is by that very fact differentiated from other men, and seriously at odds with the society in which he has to live. Thoroughly Romantic they may be, but they are none the less fundamental to much twentieth-century thinking about poetry; and this remains true for critics and poets who are militantly anti-Romantic. Clearly this is a complicated subject, and equally clearly my essay is short and tentative, laying no claim to exhaustive or specialist scholarship. [download]

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Socrates Pleasure and Value

Socrates Pleasure and Value

By: George Rudebusch

In the early dialogues of Plato, there seems to be an incoherent portrait of Socrates. He seems in the Apology and Crito to make virtue the supreme good in human life, but in the Protagoras to make pleasure that supreme good, yet in the Gorgias to deny that pleasure is the supreme good. This book reconciles the hedonist of the Protagoras with the anti hedonist of the Gorgias by distinguishing two theories of pleasure: Socrates argues against one but accepts the other. It reconciles Socrates the (properly understood) hedonist with Socrates the virtue supremacist of the Apology and Crito by showing how Socrates can identify pleasant activity (according to his theory of pleasure) with virtuous activity. It is part of my project to provide a deeper philosophical understanding of Socrates’ ideas that virtue is sufficient for happiness, that nothing bad can happen to a good man (Ap. 4idi). [download]

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Madness Heresy and The Rumor of Angels

Madness Heresy and The Rumor of Angels 

By: Seth Farber

I saw the best minds of my generation destroyed by madness, wrote Allen Ginsberg in Howl. I believe this statement is innaccurate: I contend that he saw the best minds of his generation destroyed by the “mental health” system. Countrary to popular opinion (encourag ed by a formidable public relations campaign) the mental health system has not changed significantly since Ginsberg wrote Howl in the 1950s. But there has been one rather significant change since Ginsberg saw his friends destroyed: at least some of the best minds of my generation have survived this system. They triumphed. This book tells how and why. As to madness, most of the psychiatric survivors I interviewed (and others with millitant viewpoints I’ve spoken to) agree with the late psychiatrist R.D. Lanig: ‘madness’, however painful it may be, can provide the opportunity to re-create one’s self and expand one’s possibilities. [download]  

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The Post Cyberpunk Anthology

The Post Cyberpunk Anthology

By: James Patrick Kelly and John Kessel

The Hugo Award winning editor David Hartwell tells the story of how Bruce Sterling approached him in 1983 with a proposal for an anthology of short stories which would eventually become the classic Mirrorshades. The book was to be a kind of literary manifesto for the newly emerging cyberpunk movement. David said he was indeed interested and asked how many writers Bruce expected would be in Mirrorshades. Bruce said he had five or six in mind. David replied that five or six was not enough for a movement and that Bruce would need at least a dozen. So Bruce set out to recruit writers for the movement and his anthology, even if they were not card carrying cyberpunks. Among those he found was one of the editors of this book, who was at the time most closely associated with the humanist camp, said to be in opposition to cyberpunk. [download]

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Arts with The Brain in Mind

Arts with The Brain in Mind

By: Eric Jensen

Right from the start, it’s imperative to understand that evidence from brain research is only one of many reasons to support the arts as an integral part of the educational process. There are studies that report benefits from a long-term arts curriculum, but many of them are deficient in some respect (Eisner, 1998). A recent Project Zero study (2000) cautioned against making causal links between arts and academic performance. This Harvard group is correct; arts are not to be used as a “quick fix” to shore up other nagging deficits in a district’s educational process. Arts are for the long term; and one should be cautious in claims about how they affect test scores. In fact, a report by the Arts Education Partnership and the President’s Committee on the Arts and the Humanities. [download]

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Art and Complexity

Art and Complexity

Edited By: J. Casti and A. Karlqvist

The concept of “complexity” is a lot like other informal but very useful everyday notions like “truth,” “beauty,” “love,” and “justice,” residing as much in the eye of the beholder as in some objective, platonic realm beyond space and time. But there is an emerging science of complex systems, which is often termed the “science of complexity,” suggesting a formalization of what we mean by “complexity” in objective, mathematical, and computational terms. So it’s of more than passing interest to investigate whether a formal notion of complexity accords with what practitioners of the more humane arts, such as literature, painting, poetry, and music mean by a work of art being complex. With this exploration of the interface between complexity and art as the leitmotif, the Swedish research agency, FRN, sponsored a one-week workshop to bring together complexity scientists interested in art and artists interested in complexity to exchange views of the issue of how complexity and art fit together. [download]

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