2017, ISBN: 9780415254021

Hardcover

Oxford: Oxford University Press, 1955. Cloth. Near Fine/Fine. 9" by 5.5". None. A second revised edition of this collection of selected letters from the correspondence between Gerard Ma… More...

Oxford: Oxford University Press, 1955. Cloth. Near Fine/Fine. 9" by 5.5". None. A second revised edition of this collection of selected letters from the correspondence between Gerard Manley Hopkins and Richard Watson Dixon. The second revised impression stated of the first published in 1935. Gerard Manley Hopkins was a poet and Jesuit priest, mostly acclaimed for his manipulation of prosody as well as his ability to praise God through a vivid use of imagery and nature. His fame established him as a leading Victorian poet only posthumously. In this volume, his letters to his old friend Bridges and with Dixon, with whom he corresponded with much eloquence and regularity. He shares with them thoughts about his poems, theories about others' work or general principles of literary criticism, about life, religion, art, and much more. With unclipped dustwrapper. In the publisher's original cloth binding, with titles stamped in gilt to spine. Externally very smart with minor shelfwear and minor bumping to tail of spine. Dustwrapper is unclipped and excellent, with minor shelfwear only. Spine is slightly sunned. Internally, firmly bound. Minor spotting to fore edge, only affecting the occasional gutter. With frontispiece of Gerard Manley Hopkins and an illustration of Richard Watson Dixon. Near Fine, Oxford University Press, 1955, 4.5, London: Printed for J. Poole, Newgate Street, 1826. Reissue. Full-Leather. Very Good/No Jacket. Front free endpaper missing, edges lightly spotted. 1826 Full-Leather. xxiv, 611, [5] pp. 4 1/2 x 2 3/4. Two of Watts's early works together in one volume. Isaac Watts (17 July 1674 – 25 November 1748), was an English hymn-writer, theologian and logician. He was recognized as the 'Father of English Hymnody,' as he was the first prolific and popular English hymn-writer, credited with some 750 hymns. Many of his hymns remain in active use today and have been translated into many languages. "In the first half of his literary career Watts published four verse collections: Horae lyricae (in two books, 1706; much enlarged and reorganized in three books, 1709); Hymns and Spiritual Songs (1707, enlarged 1709); Divine Songs Attempted in Easy Language, for the Use of Children (1715); and The Psalms of David Imitated in the Language of the New Testament (1719). He also included some hymns in his Sermons on Various Subjects (1721) and some early poems in Reliquiae juveniles: Miscellaneous Thoughts in Prose and Verse (1734); a handful of poems appeared at the beginning of the posthumously published Remnants of Time (1753). As part of these collections he published some very important manifestos: the enlarged preface to Horae (1709); 'A short essay toward the improvement of psalmody', which followed the text of Hymns (1707), but which was not republished in his lifetime; and the prefaces to Hymns and Psalms (the last incorporating some material from the 'Essay'). Watts essentially regarded poetry as a divine gift which should be dedicated to God but which had been profaned. In the revised preface to Horae he invoked the example of the Old Testament poets and associated himself with the principles and practice of John Dennis, Abraham Cowley, Richard Blackmore, John Norris, and John Milton, arguing that the Christian preacher could find abundant aid from the poet. His hymns and psalms clearly illustrated this principle. According to Gibbons (the story originated with Watts's co-pastor Price), Watts complained about the quality of the hymns sung at the meeting at Southampton (perhaps by William Barton), and his father told him to mend the matter, which he did with great success (Gibbons, 254). His brother Enoch in a letter of March 1700 criticizing existing hymns and versions of the psalms urged him to publish his own (Milner, 176–9); the success of Horae evidently encouraged him to do so. Watts divided his Hymns into three books, the first paraphrases of biblical texts, the second on general divine subjects, and the third designed for the Lord's supper. In the preface he said that he had sunk the metaphors 'to the level of vulgar capacities', though he hoped 'not to give disgust to persons of richer sense, and nicer education' (Works, 7.122). His work on the hymns and psalms was closely related: the 1706 edition of Horae and the early editions of the Hymns contained several psalms, which he moved to the collected Psalms in 1719. Psalm 114 appeared in The Spectator (no. 461, 19 August 1712). In a note to 'Sickness and recovery' (Watts, Works, 7.364) he explained that he had written only half by 1712–13 and after his recovery applied himself to finishing them. His version of the Psalms was not intended as a translation: as the title made clear, they were 'Imitated in the Language of the New Testament and applied to the Christian State and Worship'. This meant bringing David up to date, and substituting Jesus for Jehovah and Britain for Israel. One of Watts's best-known hymns, 'Jesus shall reign where'er the sun', is an imitation of Psalm 72, part 2; another, 'Our God our help in ages past', is based on Psalm 90: 1–5 (it was later altered by John Wesley to 'O God our help'). From Hymns the best-known are 'Come let us join our cheerful songs' (1.62, based on Revelation 5: 11–13) and 'When I survey the wondrous cross' (3.7). Watts was unequivocal about the value of his religious poetry and the revolution he had brought about in congregational worship: in a note dated 3 March 1720 in the seventh edition of Hymns he said of his two books of hymns and psalms: 'if an Author's own Opinion may be taken, he esteems it the greatest Work that ever he has publish'd, or ever hopes to do for the Use of the Churches' (Escott, 136)." - Oxford Dictionary of National Biography, Printed for J. Poole, Newgate Street, 1826, 3, Cambridge, Mass.: Harvard University Press, 1988.. 8vo. 457 pp. Very Good. Hard Cover. Blue cloth covered boards, with gilt lettering. Dust Jacket Very Good. Minor shelf wear. B&W Photo plates throughout.ISBN: 0674301250 9780674301252.Provenance: from the Estate of Judy Stone (1924 2017), The San Francisco Chronicles movie critic who for two decades was a passionate and articulate advocate for the world of cinema outside Hollywood. Judy Stone started at the San Francisco Chronicle in 1961, putting in 10 years as editor of the Datebook section. She began reviewing films for the paper in 1971, favoring arthouse films.She was the youngest of four politically minded children whose eldest brother was the great reporter and gadfly I. F. Stone.She won the Novikoff Award given for "enhancing the public's appreciation of world cinema. Among her publications are The Mystery of B. Traven and "Eye on the World, a collection of her interviews with filmmakers from the 1960s to the 1990s.Contents: The Lumiere Cinematograph [extracts] /Maxim Gorky --First Letter on Theatre [extracts] / Leonid Andreyev --Theatre, Cinema, Futurism / Vladimir Mayakovsky --The Destruction of 'Theatre' by Cinema as a Sign of the Resurrection of Theatrical Art / Vladimir Mayakovsky --The Relationship Between Contemporary Theatre and Cinema and Art / Vladimir Mayakovsky --Second Letter on Theatre [extract] / Leonid Andreyev --On Cinema / Vsevolod Meyerhold --The Tasks of the Artist in Cinema / Lev Kuleshov --The Art of Cinema / Lev Kuleshov --The Tasks of the State Cinema in the RSFSR / Anatoli Lunacharsky --Art Belongs to the People. Conversation with Clara Zetkin / Vladimir Lenin --Directive on Cinema Affairs / Vladimir Lenin --Conversation with Lenin. I. Of all the Arts ... / Anatoli Lunacharsky --Conversation with Lenin. II. Newsreel and Fiction Film / Anatoli Lunacharsky --Eccentrism / Grigori Kozintsev [and others] --Open Letter to Nemirovich-Danchenko and Stanislavsky / Alexei Voznesensky --'Art' Cinema / Lev Kuleshov --Cinema as the Fixing of Theatrical Action / Lev Kuleshov --The Cinematograph and Cinema / Alexei Gan --Art, Contemporary Life and Cinema / Lev Kuleshov --We. A Version of a Manifesto / Dziga Vertov --Americanism / Lev Kuleshov --Chamber Cinema / Lev Kuleshov --Cinema and Cinema / Vladimir Mayakovsky --The 'Left Front' and Cinema / Alexei Gan --The Thirteenth Experiment / Alexei Gan --Two Paths / Alexei Gan --The Cine-Pravda / Dziga Vertov --Quasi-Theses / Proletkino --The Montage of Attractions / Sergei Eisenstein --The Cine-Eyes. A Revolution / Dziga Vertov --Vodka, the Church and the Cinema / Lev Trotsky --Russfilm Script Competition. Literature and Cinema [extracts] / Viktor Shklovsky --Declaration of the Association of Revolutionary Cinematography --The Red Clown to the Rescue! / Leonid Trauberg --Recognition for the Cine-Eyes / Alexei Gan --Mr West / Lev Kuleshov --Revolutionary Ideology and cinema --Theses / Anatoli Lunacharsky --Resolution of Thirteenth Party Congress on Cinema / Thirteenth Party Congress on Cinema --The Cine-Pravda: A Report to the Cine-Eyes / Dziga Vertov --Decree on the Establishment of Sovkino / Sovnarkom of the RSFSR --Fiction Film Drama and the Cine-Eye / Dziga Vertov --Against the 'Theatre of Fools' --For Cinema / Vladimir Blyum --Our Cinema and Its Audience / Anatoli Goldobin --Theatre or Cinema? / Zhizn iskusstva Editorial --Cinema and Theatre / Abram Room --Cine-Pravda and Radio-Pravda / Dziga Vertov --The Semantics of Cinema / Viktor Shklovsky --Cinema and the Soviet Public / Grigori Boltyansky --The Battleship Potemkin / Adrian Piotrovsky --A New Triumph for Soviet Cinema (The Battleship Potemkin and the 'Theatrical October') / Alexei Gvozdev --Literature, Theatre and Cinema [extract] / Vladimir Kirshon --The Future of Film / Bela Balazs --Bela Forgets the Scissors / Sergei Eisenstein --The Soviet Cinema in Danger / Alexander Dubrovsky --The Factory of Facts / Dziga Vertov --Where is Dziga Vertov Striding? / Viktor Shklovsky --The Manufacture of Facts / Esfir Shub --The Cine-Eyes and Intertitles / Viktor Shklovsky --Cinema --the Greatest of the Arts / Anatoli Lunacharsky --Help! / Vladimir Mayakovsky --Sergei Eisenstein and 'Non-Played' Film / Viktor Shklovsky --The Temperature of Cinema / Viktor Shklovsky --Literature and Cinema / Viktor Pertsov. The Film Factory [extracts] / Viktor Shklovsky --Speech in Debate on 'The Paths and Policy of Sovkino' / Vladimir Mayakovsky --On Cinema / Vladimir Mayakovsky --Preface to Poetics of Cinema / Kirill Shutko --Poetry and Prose in Cinema / Viktor Shklovsky --The Cinefication of Theatre --Some General Points / Adrian Piotrovsky --Mistakes and Inventions / Viktor Shklovsky --The Fixation of Fact [extract] / Osip Brik --We Do Not Deny the Element of Mastery / Esfir Shub --Let Us Be Maximalists! / Adrian Piotrovsky --'Ideology' and 'Commerce' / Adrian Piotrovsky --The Nihilists from ARK / Nikolai Yakovlev --Speech to Film Workers / Anatoli Lunacharsky --S.M. Eisenstein (From Potemkin to October) / Vsevolod Pudovkin --The Eleventh Year / Dziga Vertov --The Relationships Between Cinema and Theatre / Alexei Popov --To the Party Conference on Cinema From a Group of Film Directors / A Group of Film Directors --The Results of Cinema Construction in the USSR and the Tasks of Soviet Cinema / Party Cinema Conference Resolution --Review of October / Anatoli Lunacharsky --October Must Be Re-Edited! / Adrian Piotrovsky --This Work Cries Out / Esfir Shub --We Are Waiting! / Sergei Eisenstein and Grigori Alexandrov --Why Is October Difficult? / T. Rokotov --For Soviet Cinema / Sergei Eisenstein --Comrades! A Clash of Views! / The Lef Ring --October --The Results of the Discussion / Zhizn iskusstva Editorial --Statement on Sound / Sergei Eisenstein, Vsevolod Pudovkin and Grigori Alexandrov --Sound Film / Vladimir Messman --The Soviet School of Acting / Viktor Shklovsky --Is There a Crisis in Soviet Cinema? / Adrian Piotrovsky --Sovkino's New Course [extract] / Sovkino Workers' Conference Resolution. The Rightist Danger in Cinema / Sovetskii ekran Editorial --An Experiment Intelligible to the Millions / Leonid Trauberg --Beware of Music / Viktor Shklovsky --On the Strengthening of Cinema Cadres / Party Central Committee Decree --An Experiment Intelligible to the Millions / Sergei Eisenstein and Grigori Alexandrov --On FEKS / Yuri Tynyanov --We Have No Soviet Cinema / Pavel Petrov-Bytov --Petrov-Bytov's Platform and Soviet Cinema / Adrian Piotrovsky --On the Principle of Sound in Film / Vsevolod Pudovkin --Westernism in Our Cinema / Adrian Piotrovsky --Preface to Kuleshov's Book The Art of Cinema / Vsevolod Pudovkin [and others] --The Advent of Sound in Cinema / Esfir Shub --The Cinefication of Theatre / Vsevolod Meyerhold --RAPP Resolution on Cinema --Conversation on Sound Film / Vsevolod Pudovkin --ARRK Must Be Reorganised / 'An ARK Member' --The Legend of 'Left' Cinema / Ippolit Sokolov --For the Reconstruction of Soviet Cinema / Na literaturnom postu Editorial --Sound Cinema in the Service of the Cultural Revolution / Nikolai Anoshchenko --The Script Laboratory / Viktor Shklovsky --Film Work and the Mass Audience / Kino i zhizn Editorial --The Radio-Eye's March / Dziga Vertov --Speech to the First All-Union Conference on Sound Cinema / Dziga Vertov --Sound as a Semantic Sign / Viktor Shklovsky --The Second Sound Film Programme / Ippolit Sokolov --Is There a Soviet Sound Cinema? / Kino i zhizn Editorial --The Film Language of New Babylon / Viktor Shklovsky --What Does 'Proletarian Cinema' Mean? / Proletarskoe kino Editorial --We Are Continuing the Struggle / Proletarskoe kino Editorial --To All Creative Workers in Soviet Cinema / Vsevolod Pudovkin, Esfir Shub [and others]. The Reorganisation of Literary and Artistic Organisations / Party Central Committee Decree --Synopsis of a Report on the Tasks of Dramaturgy [extract] / Anatoli Lunacharsky --The Role of Sound Cinema / Vsevolod Pudovkin --Cinema and the Classics / Sergei Eisenstein --untitled [extracts] / First Congress of Soviet Writers --The Whole County is Watching Chapayev / Pravda Editorial --Film-Makers' Letter to Stalin / Film-Makers --The Youth of Maxim [extracts] / Grigori Kozintsev and Leonid Trauberg --The Youth of Maxim / Vsevolod Pudovkin --More on Mayakovsky [extract] / Dziga Vertov --Congratulations to Soviet Cinema on Its Fifteenth Anniversary / Joseph Stalin --Speeches to the All-Union Creative Conference of Workers in Soviet Cinema [extracts] / For a Great Cinema Art --My Illness / Dziga Vertov --A Cinema for the Millions [extracts] / Boris Shumyatsky --The Role of the Producer / Boris Shumyatsky --Perfecting Our Mastery / Boris Shumyatsky --Diary Entry / Dziga Vertov --The Film Bezhin Meadow / Boris Shumyatsky --Seminar at VGIK [extracts] / Yuli Raizman --The Director and the Scriptwriter [extracts] / Vsevolod Pudovkin --Dialogue in Film [extract] / Vsevolod Pudovkin --The Artist's Teacher and Friend / Alexander Dovzhenko --What Is Holding Up the Development of Soviet Cinema? / G. Ermolayev --The Fascist Cur Eradicated / Iskusstvo kino Editorial --My Suggestion to Soviet Cinema / Alexei Stakhanov --Reactions to Stakhanov's Article [extracts] / Anonymous --The Internal and the External in an Actor's Training / Vsevolod Pudovkin --My Subject Is Patriotism / Sergei Eisenstein., Cambridge, Mass.: Harvard University Press, 1988., 0, Pencilled & inked notes & underlinings to the first 40 pages., dustwrapper. Philosophy of Literature University of Chicago Press Chicago 1989 orig.cloth 24x16cm, xiv,210 pp., Name inked on flyleaf. Minor rubbing. A small ink mark to side page-edge. Good. Contents: Opening: The Space of Reading; The Phenomenology of Moral Consciousness: Principle & Context, Kant & Hegel; The Achievement of Autonomy: Marlow's Talk; Self-Understanding & Community in Wordsworth's Poetry; Dejection, Recollection & Temporality: Coleridge's "Frost at Midnight"; Ideality, Materiality & Value: 'Pride & Prejudice' and Marriage;Epilogue: The Uses of Narrative - partiality & Diference, Self- Understanding & Value., University of Chicago Press, 1989, 0, Routledge. paperback. New. New. In shrink wrap. Looks like an interesting title!, Routledge, 6<