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Dieser Doktorhut hat eine Geschichte - die Dissertation dazu gibt's auf Qucosa: tud.qucosa.de
Ein Bild mit Hut sagt mehr als tausend Worte! Deshalb sammeln wir Fotos individueller Dr.Hüte, die mit einer Open Access-Veröffentlichung auf www.qucosa.de verlinkt sind – auf Flickr, im SLUBlog und auf Twitter. Wir möchten damit erreichen, dass noch mehr Forschungsergebnisse elektronisch mit Open Acccess veröffentlicht werden, damit Wissen einfach geteilt und genutzt werden kann. Und Neugier wecken, denn unter jedem Doktorhut stecken Ideen, Anekdoten, Köpfe und die sprichwörtlichen Mühen der Ebene.
Haben Sie bereits beides erworben oder kennen jemand, der jemand kennt, die oder der einen Dr.-Hut mit Open-Access-Link zur eigenen Diss hat? Oder möchten Sie selbst Ihre Doktorarbeit nachträglich online veröffentlichen? Dann bitten wir Sie um eine Nachricht an das Qucosa-Team der SLUB.
Dieser Doktorhut hat eine Geschichte - die Dissertation dazu gibt's auf Qucosa: tud.qucosa.de
Ein Bild mit Hut sagt mehr als tausend Worte! Deshalb sammeln wir Fotos individueller Dr.Hüte, die mit einer Open Access-Veröffentlichung auf www.qucosa.de verlinkt sind – auf Flickr, im SLUBlog und auf Twitter. Wir möchten damit erreichen, dass noch mehr Forschungsergebnisse elektronisch mit Open Acccess veröffentlicht werden, damit Wissen einfach geteilt und genutzt werden kann. Und Neugier wecken, denn unter jedem Doktorhut stecken Ideen, Anekdoten, Köpfe und die sprichwörtlichen Mühen der Ebene.
Haben Sie bereits beides erworben oder kennen jemand, der jemand kennt, die oder der einen Dr.-Hut mit Open-Access-Link zur eigenen Diss hat? Oder möchten Sie selbst Ihre Doktorarbeit nachträglich online veröffentlichen? Dann bitten wir Sie um eine Nachricht an das Qucosa-Team der SLUB.
Foto: Lars Ludwig
Королева Э. А. Ранние формы танца / Королева Э. А. ; Институт истории искусств Министерства культуры СССР : диссертация … канд. искусствоведения.– Москва-Кишинев, 1973.– Т. 1. – 244 с. ; Т. 2. Приложение. – 29 с. ; фотографии.
Автор диссертации, опираясь на огромный эмпирический и теоретический материал, накопленный в смежных науках – археологии, этнографии, искусствоведении, социологии, психологии, попытался выявить наиболее характерные черты древнейших форм танца, определить сущность танцев первобытных племен, структуру и семантику их хореографического текста. Королева Э.А. справедливо считает, что «знание основных черт древнейшего пласта хореографического искусства помогает уже сейчас выявить некоторые наиболее древние черты старинных фольклорных танцев». Очень интересен второй том диссертации, который содержит фотографии изображений наскальной живописи, скульптур, рисунков, на которых запечатлены моменты танца первобытных людей.
The Postcard
A postally unused carte postale that was published by Phot-Express and printed by Baudinière of Nanterre. Someone has used a pencil in order to write the following on the divided back of the card:
'Ruins of the château in
Vermelles where the French
nearly captured "Little Willie"'.
Little Willie (named by the British after Kaiser Wilhelm) was a trench at the southern end of the Hohenzollern Redoubt. The trench at the northern end was nicknamed Big Willie.
The Redoubt was considered to be the strongest German defensive-work on the whole of the Western Front.
Abba Eban
"History teaches us that men and nations
behave wisely when they have exhausted
all other alternatives".
This was said during a speech in London UK on the 16th. December 1970 by Abba Eban (1915-2002), an Israeli diplomat and writer.
Visé Paris 518
The card bears the imprimatur 'Visé Paris.' This means that the image was inspected and deemed by the military authorities in the French capital not to be a security risk.
'Visé Paris' indicates that the card was published during or soon after the Great War.
Vermelles
Vermelles is a village that was just behind the British lines on the Western Front. The château was used as an Advanced Dressing Station during the Battle of Loos which took place from the 25th. September to the 8th. October 1915.
The Use of Chlorine Gas
The battle represented the largest British attack of 1915, and was the first time that the British used poison gas. Prior to the attack, about 140 tons (140,000 kg) of chlorine was released with mixed success - in places the gas was blown back into British trenches (Friendly Gas - a ghastly variation of the term Friendly Fire).
Due to the inefficiency of the available gas masks, many British soldiers removed them as they could not see through the fogged-up eyepieces or could barely breathe with them on. This led to many casualties when the gas blew back.
'Goodbye to All That"
In 'Goodbye to all That', Robert Graves describes Vermelles as having been '...taken and re-taken eight times last October' (i.e. October 1914).
When he was billeted there in 1915 he records that not a single house remained undamaged.
At the time Vermelles was only about 1300 yards from the British front line, and yet Graves and his fellow soldiers played cricket in the village, screened from enemy observation by the ruined houses.
The Use of Artillery in the Great War
Artillery was very heavily used by both sides during the Great War. The British fired over 170 million artillery rounds of all types, weighing more than 5 million tons - that's an average of around 70 pounds (32 kilos) per shell.
If the 170m rounds were on average two feet long, and if they were laid end to end, they would stretch for 64,394 miles (103,632 kilometres); the line would go round the equator over two and a half times. If the artillery of the Central Powers of Germany and its allies is factored in, the figure can be doubled to 5 encirclements of the planet.
During the first two weeks of the Third Battle of Ypres, over 4 million rounds were fired at a cost of over £22,000,000 - a huge sum of money, especially over a century ago.
Artillery was the killer and maimer of the war of attrition.
According to Dennis Winter's book 'Death's Men' three quarters of battle casualties were caused by artillery rounds. According to John Keegan ('The Face of Battle') casualties were:
- Bayonets - less than 1%
- Bullets - 30%
- Artillery and Bombs - 70%
Keegan suggests however that the ratio changed during advances, when massed men walking line-abreast with little protection across no-man's land were no match for for rifles and fortified machine gun emplacements.
Many artillery shells fired during the Great War failed to explode. Drake Goodman provides the following information on Flickr:
"During World War I, an estimated one tonne of explosives was fired for every square metre of territory on the Western front. As many as one in every three shells fired did not detonate. In the Ypres Salient alone, an estimated 300 million projectiles that the British and the German forces fired at each other were "duds", and most of them have not been recovered."
To this day, large quantities of Great War matériel are discovered on a regular basis. Many shells from the Great War were left buried in the mud, and often come to the surface during ploughing and land development.
For example, on the Somme battlefields in 2009 there were 1,025 interventions, unearthing over 6,000 pieces of ammunition weighing 44 tons.
Artillery shells may or may not still be live with explosive or gas, so the bomb disposal squad, of the Civilian Security of the Somme, dispose of them.
A huge mine under the German lines did not explode during the battle of Messines in 1917. The mine, containing several tons of ammonal and gun cotton, was triggered by lightning in 1955, creating an enormous crater.
The precise location of a second mine which also did not explode is unknown. Searches for it are not planned, as they would be too expensive and dangerous. For more on this, please search for "Cotehele Chapel"
The Somme Times
From 'The Somme Times', Monday, 31 July, 1916:
'There was a young girl of the Somme,
Who sat on a number five bomb,
She thought 'twas a dud 'un,
But it went off sudden -
Her exit she made with aplomb!'
Robert Graves
Captain Robert von Ranke Graves, who was born on the 24th. July 1895, was an English poet, historical novelist and critic.
His father was Alfred Perceval Graves, a celebrated Irish poet and figure in the Gaelic revival; they were both Celticists and students of Irish mythology.
Robert Graves produced more than 140 works in his lifetime. His poems, his translations and innovative analysis of the Greek myths, his memoir of his early life — including his role in the Great War — Good-Bye to All That (1929), and his speculative study of poetic inspiration The White Goddess have never been out of print.
Robert is also a renowned short story writer, with stories such as The Tenement still being popular today.
He earned his living from writing, particularly popular historical novels such as I, Claudius; King Jesus; The Golden Fleece; and Count Belisarius.
He also was a prominent translator of Classical Latin and Ancient Greek texts; his versions of The Twelve Caesars and The Golden Ass remain popular for their clarity and entertaining style.
Graves was awarded the 1934 James Tait Black Memorial Prize for both I, Claudius and Claudius the God.
-- Robert Graves - The Early Years
Robert Graves was born into a middle-class family in Wimbledon, then part of Surrey, now part of south London. He was the eighth of ten children born to Alfred Perceval Graves (1846–1931), who was the sixth child and second son of Charles Graves, Bishop of Limerick, Ardfert and Aghadoe.
Robert's father was an Irish school inspector, Gaelic scholar and the author of the popular song "Father O'Flynn."
Robert's mother was his father's second wife, Amalie Elisabeth Sophie von Ranke (1857–1951), the niece of the historian Leopold von Ranke.
At the age of seven, double pneumonia following measles almost took Graves's life, the first of three occasions when he was despaired of by his doctors as a result of afflictions of the lungs, the second being the result of a war wound, and the third when he contracted Spanish influenza in late 1918, immediately before demobilisation.
At school, Graves was enrolled as Robert von Ranke Graves, and in Germany his books are published under that name, but before and during the Great War the name caused him difficulties.
In August 1916 an officer who disliked Robert spread the rumour that he was the brother of a captured German spy who had assumed the name "Karl Graves". The problem resurfaced in a minor way in the Second World War, when a suspicious rural policeman blocked his appointment to the Special Constabulary.
Graves's eldest half-brother, Philip Perceval Graves, achieved success as a journalist, and his younger brother, Charles Patrick Graves, was a writer and journalist.
-- Robert Graves' Education
Graves received his early education at a series of six preparatory schools, including King's College School in Wimbledon, Penrallt in Wales, Hillbrow School in Rugby, Rokeby School in Wimbledon, and Copthorne in Sussex, from which last in 1909 he won a scholarship to Charterhouse.
There Robert began to write poetry, and took up boxing, in due course becoming school champion at both welter- and middleweight. He claimed that this was in response to persecution because of the German element in his name, his outspokenness, his scholarly and moral seriousness, and his poverty relative to the other boys.
Robert also sang in the choir, meeting there an aristocratic boy three years younger, G. H. "Peter" Johnstone, with whom he began an intense romantic friendship, the scandal of which led ultimately to an interview with the headmaster.
However, Graves himself called it "chaste and sentimental" and "proto-homosexual," and though he was clearly in love with Peter (disguised by the name "Dick" in Good-Bye to All That), he denied that their relationship was ever sexual. Robert was warned about Peter's proclivities by other contemporaries.
Among the masters, Robert's chief influence was George Mallory, who introduced him to contemporary literature and took him mountaineering in the holidays. In his final year at Charterhouse, he won a classical exhibition to St. John's College, Oxford, but did not take his place there until after the Great War.
-- Robert Graves and the Great War
At the outbreak of the Great War on the 4th. August 1914, Graves enlisted almost immediately, taking a commission in the 3rd. Battalion of the Royal Welch Fusiliers as a second lieutenant on the 12th. August.
He received rapid promotion, being promoted to lieutenant on the 5th. May 1915 and to captain on the 26th. October 1915.
Robert published his first volume of poems, Over the Brazier, in 1916. He developed an early reputation as a war poet, and was one of the first to write realistic poems about the experience of frontline conflict.
In later years, he omitted his war poems from his collections, on the grounds that they were too obviously "part of the war poetry boom."
At the Battle of the Somme, he was so badly wounded by a shell-fragment through the lung that he was expected to die, and was officially reported as having died of wounds. However Robert gradually recovered and, apart from a brief spell back in France, spent the remainder of the war in England.
One of Graves' friends at this time was the poet Siegfried Sassoon, a fellow officer in his regiment. They both convalesced at Somerville College, Oxford, which was used as a hospital for officers. Sassoon wrote to him in 1917.:
"How unlike you to crib my idea of
going to the Ladies' College at Oxford,"
At Somerville College, Graves met and fell in love with Marjorie, a nurse and professional pianist, but stopped writing to her once he learned that she was engaged. About his time at Somerville, he wrote:
"I enjoyed my stay at Somerville. The
sun shone, and the discipline was easy."
In 1917, Siegfried Sassoon rebelled against the conduct of the war by making a public anti-war statement. Graves feared Sassoon could face a court martial, and intervened with the military authorities, persuading them that Sassoon was experiencing shell shock, and that they should treat him accordingly.
As a result, Sassoon was sent to Craiglockhart, a military hospital in Edinburgh, where he was treated by W. H. R. Rivers and met fellow patient Wilfred Owen. Graves was treated here as well. Graves also had shell shock, or neurasthenia as it was then called, but he was never hospitalised for it:
"I thought of going back to France, but realized
the absurdity of the notion. Since 1916, the fear
of gas obsessed me: any unusual smell, even a
sudden strong scent of flowers in a garden, was
enough to send me trembling.
And I couldn't face the sound of heavy shelling
now; the noise of a car back-firing would send
me flat on my face, or running for cover."
The friendship between Graves and Sassoon is documented in Graves' letters and biographies. The intensity of their early relationship is demonstrated in Graves's collection Fairies and Fusiliers (1917), which contains many poems celebrating their friendship.
Sassoon remarked upon a "heavy sexual element" within it, an observation supported by the sentimental nature of much of the surviving correspondence between the two men. Through Sassoon, Graves became a friend of Wilfred Owen, who often used to send him poems from France.
In September 1917, Graves was seconded for duty with a garrison battalion. Graves's army career ended dramatically with an incident which could have led to a charge of desertion. He wrote:
"Having been posted to Limerick in late 1918,
I woke up with a sudden chill, which I recognized
as the first symptoms of Spanish influenza.
I decided to make a run for it. I should at least
have my influenza in an English, and not an Irish,
hospital."
Arriving at Waterloo with a high fever but without the official papers that would secure his release from the army, he chanced to share a taxi with a demobilisation officer also returning from Ireland, who completed his papers for him with the necessary secret codes.
-- Robert Graves After the Great War
Immediately after the war, Graves with his wife, Nancy Nicholson had a growing family, but he was financially insecure and weakened physically and mentally:
"I was very thin, very nervous, and with about four
years' loss of sleep to make up, I was waiting until
I got well enough to go to Oxford on the Government
educational grant.
I knew that it would be years before I could face
anything but a quiet country life. My disabilities were
many: I could not use a telephone, I felt sick every
time I travelled by train, and to see more than two
new people in a single day prevented me from
sleeping.
I felt ashamed of myself as a drag on Nancy, but had
sworn on the very day of my demobilization never to
be under anyone's orders for the rest of my life.
Somehow I must live by writing."
In October 1919, Robert took up his place at the University of Oxford, soon changing course to English Language and Literature, though managing to retain his Classics exhibition.
In consideration of his health, he was permitted to live a little outside Oxford, on Boars Hill, where the residents included Robert Bridges, John Masefield (his landlord), Edmund Blunden, Gilbert Murray and Robert Nichols. Later, the family moved to Worlds End Cottage on Collice Street, Islip, Oxfordshire.
Robert's most notable Oxford companion was T. E. Lawrence, then a Fellow of All Souls', with whom he discussed contemporary poetry and shared in the planning of elaborate pranks. By this time, he had become an atheist. His work was part of the literature event in the art competition at the 1924 Summer Olympics.
While still an undergraduate Robert established a grocers shop on the outskirts of Oxford but the business soon failed. He also failed his BA degree, but was exceptionally permitted to take a Bachelor of Letters by dissertation instead, allowing him to pursue a teaching career.
In 1926, Robert took up a post as a professor of English Literature at Cairo University, accompanied by his wife, their children and the poet Laura Riding, with whom he was having an affair. Graves later claimed that one of his pupils at the university was a young Gamal Abdel Nasser.
Robert returned to London briefly, where he separated from his wife under highly emotional circumstances (at one point Laura Riding attempted suicide) before leaving to live with Riding in Deià, Majorca.
There they continued to publish letterpress books under the rubric of the Seizin Press, and wrote two successful academic books together: A Survey of Modernist Poetry (1927) and A Pamphlet Against Anthologies (1928). Both works had great influence on modern literary criticism.
-- Robert Graves' Literary Career
In 1927, Robert published Lawrence and the Arabs, a commercially successful biography of T. E. Lawrence. The autobiographical Good-Bye to All That (1929, revised by him and republished in 1957) proved a success, but cost him many of his friends, notably Siegfried Sassoon.
In 1934, Robert published his most commercially successful work, I, Claudius. Using classical sources, he constructed a complex and compelling tale of the life of the Roman emperor Claudius, a tale extended in the sequel Claudius the God (1935).
I, Claudius received the James Tait Black Memorial Prize in 1934. Later, in the 1970's, the Claudius books were turned into the very popular television series I, Claudius, with Sir Derek Jacobi shown in both Britain and United States.
Another historical novel by Graves, Count Belisarius (1938), recounts the career of the Byzantine general Belisarius.
Graves and Laura Riding left Majorca in 1936 at the outbreak of the Spanish Civil War, and in 1939 they moved to the United States, taking lodging in New Hope, Pennsylvania.
Their volatile relationship and eventual breakup was described by Robert's nephew Richard Perceval Graves in Robert Graves: 1927–1940: the Years with Laura, and T. S. Matthews's Jacks or Better (1977). It was also the basis for Miranda Seymour's novel The Summer of '39 (1998).
After returning to Britain, Graves began a relationship with Beryl Hodge, the wife of Alan Hodge, his collaborator on The Long Week-End (1940) and The Reader Over Your Shoulder (1943).
Graves and Beryl (they were not to marry until 1950) lived in Galmpton, Torbay until 1946, when they re-established a home with their three children, in Deià, Majorca. The house is now a museum.
The year 1946 also saw the publication of Robert's historical novel King Jesus. He published The White Goddess: A Historical Grammar of Poetic Myth in 1948; it is a study of the nature of poetic inspiration, interpreted in terms of the classical and Celtic mythology he knew so well.
He turned to science fiction with Seven Days in New Crete (1949), and in 1953 he published The Nazarene Gospel Restored with Joshua Podro.
Robert also wrote Hercules, My Shipmate, published under that name in 1945 (but first published as The Golden Fleece in 1944).
In 1955, he published The Greek Myths, which retells a large body of Greek myths, each tale followed by extensive commentary drawn from the system of The White Goddess. His retellings are well respected; many of his unconventional interpretations and etymologies are dismissed by classicists.
Graves in turn dismissed the reactions of classical scholars, arguing that they are too specialised and prose-minded to interpret ancient poetic meaning, and that:
"The few independent thinkers are
the poets, who try to keep civilisation
alive."
He published a volume of short stories, ¡Catacrok! Mostly Stories, Mostly Funny, in 1956. In 1961, he became Professor of Poetry at Oxford, a post he held until 1966.
In 1967, Robert Graves published, together with Omar Ali-Shah, a new translation of the Rubaiyat of Omar Khayyam. The translation quickly became controversial; Graves was attacked for trying to break the spell of famed passages in Edward FitzGerald's Victorian translation.
L. P. Elwell-Sutton, an orientalist at Edinburgh University, maintained that the manuscript used by Ali-Shah and Graves, which Ali-Shah and his brother Idries Shah claimed had been in their family for 800 years, was a forgery. The translation was a critical disaster, and Graves' reputation suffered severely due to what the public perceived as his gullibility in falling for the Shah brothers' deception.
In 1968, Graves was awarded the Queen's Gold Medal for Poetry by Queen Elizabeth II. His private audience with the Queen was shown in the BBC documentary film Royal Family, which aired in 1969.
From the 1960's until his death, Robert Graves frequently exchanged letters with Spike Milligan. Many of their letters to each other are collected in the book Dear Robert, Dear Spike.
On the 11th. November 1985, Graves was among sixteen Great War poets commemorated on a slate stone unveiled in Westminster Abbey's Poets' Corner. The inscription on the stone was written by friend and fellow Great War poet Wilfred Owen. It reads:
"My subject is War, and the pity
of War. The Poetry is in the pity."
Of the 16 poets, Graves was the only one still living at the time of the commemoration ceremony, though he died less than a month later.
UK government documents released in 2012 indicate that Graves turned down a CBE in 1957.
In 2012, the Nobel Records were opened after 50 years, and it was revealed that Graves was among a shortlist of authors considered for the 1962 Nobel Prize in Literature, along with John Steinbeck (who was that year's recipient of the prize), Lawrence Durrell, Jean Anouilh and Karen Blixen.
Graves was rejected because, even though he had written several historical novels, he was still primarily seen as a poet, and committee member Henry Olsson was reluctant to award any Anglo-Saxon poet the prize before the death of Ezra Pound, believing that other writers did not match his talent.
In 2017, Seven Stories Press began its Robert Graves Project. republishing fourteen of Graves' out-of-print books.
UK government documents released in 2023 reveal that in 1967 Graves was considered for, but then passed over for, the post of Poet Laureate.
His religious belief has been examined by Patrick Grant, "Belief in anarchy: Robert Graves as mythographer," in Six Modern Authors and Problems of Belief.
-- Robert Graves' Sexuality
Robert Graves was bisexual, having intense romantic relationships with both men and women, though the word he coined for it was "pseudo-homosexual." Graves noted:
"I was raised to be prudishly innocent,
as my mother had planned I should be."
In fact his mother, Amy, forbade speaking about sex, save in a "gruesome" context, and insisted That:
"All skin must be covered."
During his days in Penrallt, he had "innocent crushes" on boys; one in particular was a boy named Ronny:
"Ronny climbed trees, killed pigeons with
a catapult and broke all the school rules
while never seeming to get caught."
At Charterhouse, an all-boys school, it was common for boys to develop amorous but seldom erotic relationships, which the headmaster mostly ignored.
Graves described boxing with a friend, Raymond Rodakowski, as having a "a lot of sex feeling", and although Graves admitted to loving Raymond, he would dismiss it as "more comradely than amorous."
In his fourth year at Charterhouse, Graves met "Dick" (George "Peter" Harcourt Johnstone) with whom he would develop "an even stronger relationship".
Johnstone was an object of adoration in Graves's early poems. Graves's feelings for Johnstone were exploited by bullies, who led Graves to believe that Johnstone was seen kissing the choir-master.
Graves, jealous, demanded the choir-master's resignation. During the Great War, Johnstone remained a "solace" to Graves. Despite Graves's own "pure and innocent" view of Johnstone, Graves's cousin Gerald wrote in a letter that:
"Johnstone is not at all the innocent
fellow I took him for, but as bad as
anyone could be".
Johnstone remained a subject for Graves' poems despite this. Communication between them ended when Johnstone's mother found their letters and forbade further contact with Graves. Johnstone was later arrested for attempting to seduce a Canadian soldier, which removed Graves's denial about Johnstone's infidelity, causing Graves to collapse.
In 1917, Graves met Marjorie Machin, an auxiliary nurse from Kent. He admired her "direct manner and practical approach to life". However Graves did not pursue the relationship when he realised that Machin had a fiancé at the Front.
This began a period where Graves would begin to take interest in women with more masculine traits. Nancy Nicholson, his future wife, was an ardent feminist: she kept her hair short, wore trousers, and had "boyish directness and youth."
Her feminism never conflicted with Graves's own ideas of female superiority. Siegfried Sassoon, who felt as if Graves and he had a relationship of a fashion, felt betrayed by Graves's new relationship, and declined to go to the wedding. Graves apparently never loved Sassoon in the same fashion that Sassoon loved Graves.
Graves's and Nicholson's marriage was strained, with Graves living with "shell shock", and having an insatiable need for sex, which Nicholson did not reciprocate. Nancy forbade any mention of the war, which added to the conflict.
In 1926, he met Laura Riding, with whom he would run away in 1929 while still married to Nicholson. Prior to this, Graves, Riding and Nicholson attempted a triadic relationship called "The Trinity."
Despite the implications, Riding and Nicholson were most likely heterosexual. The triangle became the "Holy Circle" with the addition of Irish poet Geoffrey Phibbs, who himself was still married to Irish artist Norah McGuinness. This relationship revolved around the worship and reverence of Laura Riding.
Graves and Phibbs both slept with Riding. When Phibbs attempted to leave the relationship, Graves was sent to track him down, even threatening to kill Phibbs if he did not return to the circle. When Phibbs resisted, Riding threw herself out of a window, with Graves following suit to reach her.
Graves' commitment to Riding was so strong that he entered, on her word, a period of enforced celibacy, which he did not enjoy.
By 1938, no longer entranced by Riding, Graves fell in love with the then-married Beryl Hodge. In 1950, after much dispute with Nicholson (whom he had not yet divorced), he married Beryl.
However despite having a loving marriage with Beryl, Graves took on a 17-year-old muse, Judith Bledsoe, in 1950. Although the relationship was described as "not overtly sexual", Graves later in 1952 attacked Judith's new fiancé, getting the police called on him in the process.
Robert later had three successive female muses, who came to dominate his poetry.
-- The Death and Legacy of Robert Graves
During the early 1970's, Graves began to experience increasingly severe memory loss. By his 80th. birthday in 1975, he had come to the end of his working life.
He lived for another decade, in an increasingly dependent condition, until he died from heart failure on the 7th. December 1985 at the age of 90 years.
He was laid to rest the next morning in the small churchyard on a hill at Deià, at the site of a shrine that had once been sacred to the White Goddess of Pelion.
His second wife, Beryl Graves, died on the 27th. October 2003, and her body was interred in the same grave.
Three of Robert's former houses have a blue plaque on them: in Wimbledon, Brixham, and Islip.
Graves had eight children. With his first wife, Nancy Nicholson (1899-1977), he had Jennie (who married journalist Alexander Clifford), David (who was killed in the Second World War), Catherine (who married nuclear scientist Clifford Dalton at Aldershot), and Sam.
With his second wife, Beryl Pritchard Hodge (1915–2003), he had William (author of the well-received memoir Wild Olives: Life on Majorca with Robert Graves), Lucia (a translator and author whose versions of novels by Carlos Ruiz Zafón have been successful commercially), Juan (addressed in one of Robert Graves' most famous and critically praised poems, "To Juan at the Winter Solstice"), and Tomás (a writer and musician).
Phil McMillan's dissertation for an MA Graphic Design course at the University of Central Lancashire (UCLan) in Preston.
More info at www.folddesign.co.uk. Printed by Newspaper Club.
Dieser Doktorhut hat eine Geschichte - die Dissertation dazu gibt's auf Qucosa: tud.qucosa.de
Ein Bild mit Hut sagt mehr als tausend Worte! Deshalb sammeln wir Fotos individueller Dr.Hüte, die mit einer Open Access-Veröffentlichung auf www.qucosa.de verlinkt sind – auf Flickr, im SLUBlog und auf Twitter. Wir möchten damit erreichen, dass noch mehr Forschungsergebnisse elektronisch mit Open Acccess veröffentlicht werden, damit Wissen einfach geteilt und genutzt werden kann. Und Neugier wecken, denn unter jedem Doktorhut stecken Ideen, Anekdoten, Köpfe und die sprichwörtlichen Mühen der Ebene.
Haben Sie bereits beides erworben oder kennen jemand, der jemand kennt, die oder der einen Dr.-Hut mit Open-Access-Link zur eigenen Diss hat? Oder möchten Sie selbst Ihre Doktorarbeit nachträglich online veröffentlichen? Dann bitten wir Sie um eine Nachricht an das Qucosa-Team der SLUB.
Dieser Doktorhut hat eine Geschichte - die Dissertation dazu gibt's auf Qucosa: tud.qucosa.de
Ein Bild mit Hut sagt mehr als tausend Worte! Deshalb sammeln wir Fotos individueller Dr.Hüte, die mit einer Open Access-Veröffentlichung auf www.qucosa.de verlinkt sind – auf Flickr, im SLUBlog und auf Twitter. Wir möchten damit erreichen, dass noch mehr Forschungsergebnisse elektronisch mit Open Acccess veröffentlicht werden, damit Wissen einfach geteilt und genutzt werden kann. Und Neugier wecken, denn unter jedem Doktorhut stecken Ideen, Anekdoten, Köpfe und die sprichwörtlichen Mühen der Ebene.
Haben Sie bereits beides erworben oder kennen jemand, der jemand kennt, die oder der einen Dr.-Hut mit Open-Access-Link zur eigenen Diss hat? Oder möchten Sie selbst Ihre Doktorarbeit nachträglich online veröffentlichen? Dann bitten wir Sie um eine Nachricht an das Qucosa-Team der SLUB.
Source: Pfaff, Christoph Matthäus, 1686-1760. Dissertatio juris ecclesiastici de annexis exercitii religionis evangelicae ad I. P. Art. V. [paragraph]. 31 (Tubingae: Typis Christiani Godofredi Cottae, [1742?]); 20 cm. Call # German dissertations #23.
Dieser Doktorhut hat eine Geschichte - die Dissertation dazu gibt's auf Qucosa: tud.qucosa.de
Ein Bild mit Hut sagt mehr als tausend Worte! Deshalb sammeln wir Fotos individueller Dr.Hüte, die mit einer Open Access-Veröffentlichung auf www.qucosa.de verlinkt sind – auf Flickr, im SLUBlog und auf Twitter. Wir möchten damit erreichen, dass noch mehr Forschungsergebnisse elektronisch mit Open Acccess veröffentlicht werden, damit Wissen einfach geteilt und genutzt werden kann. Und Neugier wecken, denn unter jedem Doktorhut stecken Ideen, Anekdoten, Köpfe und die sprichwörtlichen Mühen der Ebene.
Haben Sie bereits beides erworben oder kennen jemand, der jemand kennt, die oder der einen Dr.-Hut mit Open-Access-Link zur eigenen Diss hat? Oder möchten Sie selbst Ihre Doktorarbeit nachträglich online veröffentlichen? Dann bitten wir Sie um eine Nachricht an das Qucosa-Team der SLUB.
63.265 // Y3 // 30.04.2010
I handed the final draft of my dissertation in today!
There is one more assignment to do (I handed in the other assignments I had in today, too), and then I'm all done. All finished.
Yikes and blimey.
ETA: Back from Rochester Sweeps Festival! Photos will follow shortly, but I'm currently refueling with lots of coffee, before having a good go at the last essay! I'll be replying to flickrmails and comments soon, I promise!
Cal State Fullerton President Mildred García, right, meets Felicia Anderson of Cal State Long Beach at the recent CSU Board of Trustees meeting. CSUF alumna Charie Poderoso, background, and other CSUF Ed.D. grads and students presented their dissertation research projects. Photo by Matt Gush
“I’m documenting the people of Leeds for my final year dissertation”
“Wow, that sounds a lot more professional than my usual pitch of ‘Can I take your picture?’”
I caught Rob with an outside photography studio set up in the centre of Leeds. I say studio, it was more like one soft box, a background and a camera on a tripod.
Rob studies photography at the local city college and was in town taking portraits for his final year dissertation. We spoke about the similarities in our respective projects and he explained about the concept and theory behind his. He seemed quite knowledgeable in terms of knowing various techniques and other photographers who he had obviously studied.
It got me thinking about the influence education makes on a person’s art. I’ve had no official teachings in photography, apart from the things I’ve read and picked up - does it make a significant difference…?
Anyway, thought aside, after signing a model release and Rob had taken a series of shots of me, leaning against a steal pillar, I had a look at them:
“Wow, it makes me look really tall!”
“Yeah, it’s the angle I’m shooting at”
And he went onto explain the influence of other street photographers such as Vivian Mier, Helen Levitt and a few others in his shot choices.
So, in response to the conversation, I decided to mirror his influenced style by also shooting from a low angle. I have to say it’s not a natural angle to be at, and I wasn’t that low. I can understand the effect it has in terms of skewing the subject and making them look more imposing perhaps but I don’t think I will be using it that often, if at all.
It's finished! Finished!!!
It's finished! Finished!!!
It's finished! Finished!!!
It's finished! Finished!!!
It's finished! Finished!!!
It's finished! Finished!!!
It's finished! Finished!!!
It's finished! Finished!!!
I finished my dissertation yesterday. at long last. I have uploaded a PDF of it onto Dropbox if anyone wants to read it
Features Classic castle and Classic space
Download it here : db.tt/4MnJAzfN
Слева: Пряхин В.П. История советской игрушки за 60 лет (педагогический, художественный и производственно-товарный аспекты) / Пряхин В.П. ; научный руководитель доктор биологических наук, профессор А.М. Фонарев ; научно-исследовательский институт дошкольного воспитания : диссертация … кандидата педагогических наук: 13.00.01. — Москва, 1979. — 183 с. ; иллюстрации.
Шифры хранения: Дк 80-13/110.
В настоящей диссертации В.П. Пряхин всесторонне рассматривает историю развития советской игрушки с 1917 по 1977 год, выделяя основные этапы и характеризуя их. По мнению автора, развитие игрушек и их использование в процессе воспитания детей определяется комплексом социально-педагогических, эстетических и производственно-технологических условий. На основании их изучения предлагается программа-прогноз единой системы ассортимента продукции для детей всех возрастов. В работе широко используются архивные материалы, музейные экспонаты и фотографии игрушек.
Справа: Новиков А.И. Дизайн развивающих комбинаторных игровых средств (на основе русской фольклорной деревянной игрушки) / Новиков А.И. ; научный руководитель кандидат искусствоведения Л.А. Кузьмичев ; Всероссийский научно-исследовательский институт технической эстетики : диссертация … кандидата искусствоведения: 17.00.06 — Москва, 1998. — 267 с. ; иллюстрации.
Шифры хранения: 61 98-17/75.
Целью данной диссертации является разработка основополагающих принципов и методов дизайна развивающих комбинаторных игрушек в системе обучения и воспитания детей. В ходе исследования автор приходит к выводу, что современная игрушка, продолжая традиции многовековой давности, должна нести в своей конструкции перспективу для детского развития. Именно такая дизайнерская игрушка может свести к минимуму многие факторы, которые отрицательно влияют на ребенка, находящегося в социуме и исследующего его. Диссертация проиллюстрирована фотографиями игрушек, некоторые из них обнаружены при проведении раскопок в Великом Новгороде и на Ладоге.
Collection of data is one humungous task that a researcher has to fulfill. But the real challenge lies beyond the samples and questionnaires. It is the analysis part of the data which has been painstakingly collected. The Dissertation Data Analysis has to be done keeping in mind the requirement of the research and the way it has to be molded to get the desired results.
OFFICIAL BIOGRAPHY HAS MANSIONED THAT GUSTAW FREYTAG WAS HERE....
www.matoni.de/freytag/freyer06.htm
THIS IS PART THAT GERMAN SITE WHO MENTIONET ABOUT FREYTAGS VISITING IN ZOBTENBERG/SOBOTKA TRANSLATED INTO ENGLISH:
"There the academic youth decided to commit after longer time again once the large Zobtenkommers: solemn excerpt and travel of four miles after the small city Zobten at the foot of the mountain, large Kommers on open market of the city, last mounting the mountain. For this large purpose the annoying Haendel between the connections was not available explained during the fixed time for. The Praesiden of the Kommerses by the connections placed, also I was one away and carried the Festcostuem, an informally high Zweistutz with Silberagraffe, which stuermer was called, beschnuertes Collet, tremendous cannon boots, at the side the bell racquet. I struck on the market of Zobten with the blade ordering on the board and collected, when the national father was sung, the student caps on the racquet, climbed also after the Komrners under torch/flare light in my large boots the Zobtenberg - no comfortable work -, drank above with other shivering heroes in a MOO hut the Kaffe and saw oversleep the sun over Schlesien to come up. That would have been whole now the correct; but when we returned to the upper city, an investigation was opened against the director/conductor of the celebration, first because of certain omissions during the registration, whereby also I was endowed with three-day-long stay in the Carcer, then however because of the connections themselves, which forbade, legally, in reality waited, until they agitated themselves again once too uebermuethig. This time was thoroughly cleared up and nearly saemmtlichen Korpsbur the Rath was ertheilt to leave the university. THENHURRY and I remained fortunately exempted from this reminder, probably because the senate was convinced of our innocuity. We considered us nevertheless rathsam, the general disturbance, which had come over the university to relieve. Lately me a citizen of Berlin, Hollmann, more huenenhafter, had become gescheidter boy, dear, he praised often and intimately his large Berlin, I requested and received from the father permit-eats to go there. "
THEN...ZOBTENBERG/SOBOTKA HAD ANOTHER MAN WHO HAD CONECTIOC WITH THEATER.....
WHO WAS GUSTAW FREAYTAG?
[edit] Biography
Gustav Freytag was born at Kreuzburg. After attending the gymnasium at Oels, he studied philology at the universities of Breslau and Berlin, and in 1838 took the degree with a remarkable dissertation, De initiis poeseos scenicae apud Germanos. In 1839, he settled at Breslau, as Privatdocenl in German language and literature, but devoted his principal attention to writing for the stage, achieving considerable success with the comedy Die Brautfahrt, oder Kunz von der Rosen (1844). This was followed by a volume of unimportant poems, In Breslau (1845), and the dramas Die Valentine (1846) and Graf Waldemar (1847). He at last attained a prominent position by his comedy, Die Journalisten (1853), one of the best German comedies of the 19th century.
In 1847, he migrated to Berlin, and in the following year took over, in conjunction with Julian Schmidt, the editorship of Die Grenzboten, a weekly journal which, founded in 1841, now became the leading organ of German and Austrian liberalism. Freytag helped to conduct it until 1861, and again from 1867 till 1870, when for a short time he edited a new periodical, Im neuen Reich.
Freytag died in 1895 in Wiesbaden.
[edit] Works
[edit] Soll und Haben
His literary fame was made universal by the publication in 1855 of his novel, Soll und Haben (Debit and Credit), which was translated into almost all the languages of Europe. It was hailed as one the best German novels of its day, noted for its sturdy but unexaggerated realism, and in many parts highly humorous. Its main purpose is the recommendation of the German middle class as the soundest element in the nation, but it also has a more directly patriotic intention in tile contrast which it draws between the homely virtues of the Teuton and the shiftlessness of the Pole and the rapacity of the Jew. As a Silesian, Freytag had no great love for his Slavonic neighbors, and being a native of a province which owed everything to Prussia, he was naturally an earnest champion of Prussian hegemony over Germany. His powerful advocacy of this idea in his Grenzboten gained him the friendship of the duke of Saxe-Coburg-Gotha, whose neighbor he had become, on acquiring the estate of Siebleben near Gotha.
[edit] Die verlorene Handschrift
At the dukes request, Freytag was attached to the staff of the crown prince of Prussia in the campaign of 1870, and was present at the battles of Worth and Sedan. Before this, he had published another novel, Die verlorene Handschrift (1864), in which he endeavoured to do for German university life what Soll und Haben had done for commercial life. The hero is a young German professor, who is so wrapped up in his search for a manuscript by Tacitus that he is oblivious to an impending tragedy in his domestic life. The book was, however, less successful than its predecessor.
[edit] Bilder aus der deutschen Vergangenheit
Between 1859 and 1867, Freytag published in five volumes Bilder aus der deutschen Vergangenheit, a most valuable work on popular lines, illustrating the history and manners of Germany. In 1872, he began a work with a similar patriotic purpose, Die Ahnen, a series of historical romances in which he unfolds the history of a German family from the earliest times to the middle of the 19th century. The series comprises the following novels, none of which, however, reaches the level of Freytags earlier books:
Ingo und Ingraban (1872)
Das Nest der Zaunkönige (1874)
Die Brüder vom deutschen Hause (1875)
Marcus König (1876)
Die Geschwister (1878)
Aus einer kleinen Stadt (1880).
[edit] Other works by Freytag
Among Freytags other works may be noticed:
Die Technik des Dramas (1863), in which he explained a system for dramatic structure , later named Freytag's Pyramid.
an excellent biography of the Baden statesman Karl Mathy (1869)
an autobiography (Erinnerungen aus meinen Leben, 1887)
his Gesammelte Aufsatze, chiefly reprinted from the Grenzboten (1888); Der Kronprinz wed die deutsche Kaiserkrone; and Erinnerungsbidtter (1889).
Photo Credit - JHC Archives
COMING IN MIDWINTER 2012 –
FREE SUNDAY LECTURES AT JAY
Commemorating the Bicentennial of the War of 1812
Come Learn about America’s Founding
… at a Founder’s Home
January 22nd at 4:00 pm – Reimagining the War of 1812 - “Redcoats’ Revenge” with Col. David Fitz-Enz
What if, on September 11, 1814, the United States had lost the close-run battle that Winston Churchill called the “most decisive” of the War of 1812? With a victory at Plattsburgh, would the British have eventually been able to regain control of their former colonies? Redcoats’ Revenge brings the most successful field commander in history, the Duke of Wellington, to North America in 1814 and presents a montage of the personalities and battles, real and quite possible, of the War of 1812. With a clever and compelling premise, this exciting alternate history will enthrall readers and reveal just how close the US was to becoming a British colony once again.
Col. Fitz Enz was a regular army officer for 30 years. Among his combat decorations is the Soldiers Medal, the army’s highest award for life saving at extreme risk. His unit operated the Moscow Hot Line for 3 presidents. His literary awards include The Distinguished Book Prize from the Army Historical Foundation and the Military Order of Saint Louis from The Knights Templar for contributions to military literature.
February 19th at 4:00 pm - The War of 1812 in American Caricature with Dr. Allison Stagg
This lecture will consider key events from the War of 1812 by exploring satirical visual imagery. Political cartoons were printed with immediacy to capitalize on sensational events and to mock prominent politicians and figures, while extolling pride in the American cause. Caricatures of this period although printed in haste, show how people in America responded to the War of 1812. Rarely are such prints considered in American history dialogue, yet such images are vital documents that provide viewers with the opinions of the every-day citizen in the early 1800s. In focusing on caricatures produced during this period, this lecture considers the “peoples story” of the War of 1812 through a series of visually humorous images.
Allison Stagg received a Ph.D. in Art History from University College London. Her work has been supported by numerous grants, including awards from the New-York Historical Society, New York Public Library, and the Gilder Lehrman Institute of American History. Dr. Stagg is a recipient of the Jane and Morgan Whitney fellowship at the Metropolitan Museum of Art 2011-12 to edit her Ph.D. dissertation, “The Art of Wit: Political Caricature in the United States 1780-1830” for publication.
All programs above are free and take place at the 1907 Van Norden Carriage House. Seating is limited so reservations are required.
Landscape lovers travelled to the old silver mining town of Aspen, Colorado this past June 23rd to join The Cultural Landscape Foundation (TCLF) for an unparalled series of private garden visits curated by
TCLF Co-Chair Kurt Culbertson, President of Design Workshop. The 2012 Aspen Garden Excursion, featured no less than 6 award-winning residential designs, all incorporating sustainable features ranging from water conservation to native plant choices responsive to the climate and ecology of the area. The sites were all breathtaking, and participants took in dramatic views from a preserve overlook to a streamside estate, from a contemporary mountain garden to a cascade garden. As one of the highlights, Kurt arranged for Jeff Berkus, architect of The Aspen Institute’s Doerr-Hosier Center, to lead a tour through the grounds which include Herbert Bayer’s striking 1955 Marble Garden and environmental artist Andy Goldsworthy’s red sandstone installation “Stone River.” Our group travelled from McLain Flats to Red Mountain and saw a great breadth of topography and creative treatments while also learning about the agricultural history and rich heritage of Aspen and its environs. The day was a great success.
To learn more about future events at The Cultural Landscape Foundation
The Jay Heritage Center is proud to partner with TCLF on our ongoing series of Sustainable Landscape Symposiums funded by a grant from Con Edison.
Jay Heritage Center
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Rye, NY 10580
(914) 698-9275
Email: jayheritagecenter@gmail.com
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A National Historic Landmark since 1993
Member of the African American Heritage Trail of Westchester County since 2004
Member of the Hudson River Valley National Heritage Area since 2009
On NY State's Path Through History (2013)
Are you confused whether you should take help to complete your dissertation with us? Check our client's success stories in this video.
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(I don't know if I was supposed to see these or not, but they were in with an envelope they gave me)
Each May, final-year undergraduates at Sussex celebrate after dashing to hand in their dissertations before the 4pm deadline.
Phil McMillan's dissertation for an MA Graphic Design course at the University of Central Lancashire (UCLan) in Preston.
More info at www.folddesign.co.uk. Printed by Newspaper Club.
Phil McMillan's dissertation for an MA Graphic Design course at the University of Central Lancashire (UCLan) in Preston.
More info at www.folddesign.co.uk. Printed by Newspaper Club.
For my upcoming dissertation I will have to do a lot of research, so to motivate myself to do it I made a special notebook. The pages are partly printed preparation, partly scrap paper I had at home from various old notebooks and school exercise books.
Dissertations of the Prophecies by Thomas Newton 1758.
Which have remarkably been fulfilled and at this time are fulfilling in the world.
Dr. Thomas Newton, Chaplain to His Majesty and Her Royal Highness the Princess Dowager of Wales.
Printed for J. And R. Tonson in the Strand, London. Half Leather on marbled boards, 443 pages.
I'm a roads scholar. I have this problem with taking pictures of paths. I think about routes all day long, and I see them everywhere... the journey of life, the crossroads of decision making, the individual paths converging and leaving each other... so what can I do if I find myself taking pictures of highways and paths converging and passing by each other in the evening sun? Tilden Regional Park, Berkeley, California
Yesterday I successfully defended my dissertation. It's a very happy thing, and it's still sort of setting in.
Thanks go to my committee for the magnum of champagne and to ImaginaryGirl for the Perfect Gift. (I'm a Moleskin addict, and she managed to find a place that engraves them. I've been carrying it around all day and just staring at it with a goofy grin on my face.)
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