William Bligh - "A Narrative Of The Mutiny, On Board His Majesty's Ship Bounty; And The Subsequent Voyage Of Part Of The Crew, In The Ship's Boat"

Jules Verne - "Five Weeks in a Balloon"

Frank L. Packard - "The Further Adventures of Jimmie Dale"

Mark Lemon - "The Jest Book"

Annual Bibliography of Commonwealth Literature 2007
This paper argues that discourses of love in Ghanaian market literature for youth offer a view into complex negotiations of agency and empowerment. Drawing on Deborah Durham's notion of youth as "social `shifters'" and Francis Nyamnjoh's conception of the "interconnectedness" of agency, I take Ghanaian market literature as one specific case of how African literature for youth foregrounds questions of continuity and change as African societies enter into increasingly complex global relations. In this literature for youth, received notions of love, often constructed out of impressions from American pop and hip hop music, carry new notions of agency that compete with existing "domesticated" forms. Authors like Ike Tandoh and Evelyn Tay employ discourses of love to offer youth alternative avenues for empowerment in a context of socio-economic disenfranchizement. In a creative process of "straddling", this writing both reveals and reproduces the contradictions that obtain in youth configurations of agency.

Art in England

D >> Dutton Cook >> Art in England




The table is worthy of study.

The second half of the volume treats of 'Ideas of Relation.' It deals
with Art in its relation to God and man, and with its work in the help
of human beings and the service of their Creator, and inquires into 'the
various powers, conditions, and aims of mind involved in the conception
or creation of pictures, in the choice of subject, and the mode and
order of its history; the choice of forms, and the modes of their
arrangement.' Very forcible and significant are the reflections upon
invention, the 'greatest and rarest of all the qualities of art;' and on
'Composition.' If one part be taken away, all the rest are helpless and
valueless; yet true composition is inexplicable--to be felt, not
reasoned upon. 'A poet or creator is, therefore, a person who puts
things together; not as a watchmaker, steel; or a shoemaker, leather:
but who puts life into them.'

In the chapter entitled the 'Task of the Least,' the author argues,
adroitly enough, 'that the _minutest_ portion of a great composition is
helpful to the whole,' and examples from Turner's compositions furnish
good evidence in this respect. Under the titles of the 'Lance of
Pallas,' and the 'Wings of the Lion,' the Greek and Venetian art
inspirations are descanted upon. These are chapters of great interest to
the student. Mr. Ruskin finds the Venetian mind perfect in its belief,
its width, and its judgment. Yet it passed away. Not desiring the
religion, but the delight only of its art, in proportion to the
greatness of the power of the Venetians was the shame of their fall.
Chapters follow on representative painters--Durer and Salvator, Claude
and Poussin, with comments on the 'faithless' and 'degraded' system of
classical landscape--Rubens and Cuyp. The next discourse is on
'Vulgarity.' A striking exemplification of it Mr. Ruskin finds in the
expression of the butcher's dog in Landseer's 'Low Life,' and
Cruikshank's Noah Claypole in the plates to _Oliver Twist_. He counts
'among the reckless losses of the right service of intellectual power
with which the century must be charged, the employing to no higher
purpose than the illustration of _Jack Sheppard_'and the "Irish
Rebellion," the great, grave (using the words deliberately and with
large meaning), and singular genius of Cruikshank,' though the works
selected are hardly fair specimens of the artist's general illustrative
labours, and the 'Irish Rebellion' is surely worthy of art record and
rendering. The most fatal form of vulgarity is described as dulness of
heart and dulness of bodily sense, general stupidity being its material
manifestation. 'One of the forms of death,' suggests Mr. Ruskin's
'keen-minded friend,' Mr. Brett, the painter--a vague enough
definition--but it pleases Mr. Ruskin, though he amends it, and settles
at last on the term 'earthful selfishness,' as embracing all the most
fatal and essential forms of mental vulgarity. Hastening to an end, it
can only now be simply stated that chapters on Wouvermans and Angelico
succeed. Then the 'two boyhoods,' an interesting and highly-wrought
comparison of the early lives of Turner and Giorgione, and of the
different circumstances under which their art-minds severally dawned and
developed. The remainder of the book is almost wholly devoted in glowing
strains, like the pompous glory of the crowning movement of a Beethoven
symphony, to loving yet deferential homage to Turner. His works and life
are traced out and lingered over, not with biographical exactness, but
with some effort to make them explicable of the character of the great
painter. 'Much of his mind and heart I do not know--perhaps never shall
know; but this much I do, and if there is anything in the previous
course of this work to warrant trust in me of any kind, let me be
trusted when I tell you that Turner had a heart as intensely kind and as
nobly true as ever God gave to one of his creatures.' And in a tone
replete with the most solemn and impassioned poetry and feeling, the
author brings his great work to an end. Emphatically a great work--a
noble jewel in the crown of art literature, resplendent enough to have
its flaws dwelt upon and some imperfections and shortcoming in its
setting pointed out, and yet to lose little in estimation after the
utmost has been said and done in these respects.




EDINBURGH: T. CONSTABLE, PRINTER TO THE QUEEN, AND TO THE UNIVERSITY.

Copyright (c) 2007. topboookz.com. All rights reserved.