Winona Daily News

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Farmer's Mail & Breeze, v. 49, no. 28 (July 12, 1919)

Published as: Kansas Farmer, Vol. 1, no. 1 (May 1, 1863)-v. 57, no. 49 (Dec. 6, 1919); Kansas Farmer and Mail & Breeze, Vol. 57, no. 50 (Dec 13, 1919)-v. 64, no. 9 (Feb 27, 1926); Kansas Farmer, Mail & Breeze, Vol. 64, no. 10 (Mar. 6, 1926)-v. 70, no. 1 (Jan. 9, 1932); Kansas Farmer Continuing Mail & Breeze, Vol. 70, no. 2 (Jan. 23, 1932)-v. 76, no. 8 (Apr. 22, 1939); Kansas Farmer, Mail & Breeze, Vol. 76, no. 9 (May 6, 1939)-v. 77, no. 20 (Oct. 5, 1940); Kansas Farmer Continuing Mail & Breeze, Vol. 77, no. 21 (Oct. 19, 1940)-v. 91, no. 3 (Feb. 6, 1954).Issued by Kansas Farmer Co., 1863-1919; Kansas Farmer and Mail & Breeze, 1919-1926; Kansas Farmer, 1926-1954.Missing issues and volumes arranged chronologically by date and journal name: Kansas Farmer: vol. 6, nos. 2-8, 10 and 12 (1869); vol. 9, no. 10 (1872); vol. 14, no. 50 (1876); vol. 18, nos. 1, 12 and 13 (1880); vol. 24. no. 16 (1886); vol. 35 (1897); vol. 38 (1900); vol. 41, nos. 52 and 53 (1903); vol. 42, nos. 17 and 35 (1904); vol. 48, nos. 11 and 53 (1910); vol. 50, nos. 45-50 (1912); vol. 53 (1915); vol. 56 (1918); vol. 49, no. 39 (1919); Kansas Farmer, Continuing Mail & Breeze: vol. 73 (1935); vol. 85, nos. 9-17 (1948); and The Farmers Mail and Breeze: vol. 49, no. 39 (1919).Call number: S544.3.K3 K3

Farmer's Mail & Breeze, v. 49, no. 9 (March 1, 1919)

Published as: Kansas Farmer, Vol. 1, no. 1 (May 1, 1863)-v. 57, no. 49 (Dec. 6, 1919); Kansas Farmer and Mail & Breeze, Vol. 57, no. 50 (Dec 13, 1919)-v. 64, no. 9 (Feb 27, 1926); Kansas Farmer, Mail & Breeze, Vol. 64, no. 10 (Mar. 6, 1926)-v. 70, no. 1 (Jan. 9, 1932); Kansas Farmer Continuing Mail & Breeze, Vol. 70, no. 2 (Jan. 23, 1932)-v. 76, no. 8 (Apr. 22, 1939); Kansas Farmer, Mail & Breeze, Vol. 76, no. 9 (May 6, 1939)-v. 77, no. 20 (Oct. 5, 1940); Kansas Farmer Continuing Mail & Breeze, Vol. 77, no. 21 (Oct. 19, 1940)-v. 91, no. 3 (Feb. 6, 1954).Issued by Kansas Farmer Co., 1863-1919; Kansas Farmer and Mail & Breeze, 1919-1926; Kansas Farmer, 1926-1954.Missing issues and volumes arranged chronologically by date and journal name: Kansas Farmer: vol. 6, nos. 2-8, 10 and 12 (1869); vol. 9, no. 10 (1872); vol. 14, no. 50 (1876); vol. 18, nos. 1, 12 and 13 (1880); vol. 24. no. 16 (1886); vol. 35 (1897); vol. 38 (1900); vol. 41, nos. 52 and 53 (1903); vol. 42, nos. 17 and 35 (1904); vol. 48, nos. 11 and 53 (1910); vol. 50, nos. 45-50 (1912); vol. 53 (1915); vol. 56 (1918); vol. 49, no. 39 (1919); Kansas Farmer, Continuing Mail & Breeze: vol. 73 (1935); vol. 85, nos. 9-17 (1948); and The Farmers Mail and Breeze: vol. 49, no. 39 (1919).Call number: S544.3.K3 K3

The role of the narrator in selected first-person novels

The introduction to this thesis discusses and evaluates first-person narration in the context of point of view generally. As part of the critical background to the study, attention is drawn to the Critical Prefaces of Henry James and the experiments he made with point of view in specific novels. Reference is made to the commentary by Joseph Beach on the issues James raises. Technical terms relating to first-person narration -for example, primary and secondary narrators, the reliable narrator, the frame narrator, composite narration and the Chinese box device - are defined. Norman Friedman's classification of point of view is also discussed. An important distinction between the narrator as witness and the narrator as protagonist is considered but the thesis argues against simplistically categorizing the narrator in this way. Finally, Percy Lubbock's key objections to first-person narration are considered and the advantages and disadvantages of first-person narration are discussed. Selected novels by H. G. Wells, Joseph Conrad, Joyce Cary, Lawrence Durrell and John Fowles are used to illustrate different aspects of first-person narration. Chapter Two deals with Wells's scientific romances, The Time Machine and The Island of Dr. Moreau, which use first person to achieve plausibility in fantastic situations, and his realistic novels, Tono-Bungay and The New Machiavelli which show contrasting uses of the narrator. Tono-Bungay is a successful memoir novel in which the narrator functions primarily as observer to give a panoramic survey of his society; The New Machiavelli fails and its failure stems largely from Wells' use of first person. Its narrator attempts to portray both his age and himself objectively. The confused and uncritical portrayal is exacerbated by Wells' identification with the narrator. Chapter Three deals with three of Conrad's novels: Heart of Darkness , Lord Jim and Chance. The first two demonstrate that one cannot always distinguish between the narrator as observer and as protagonist for in both novels, Marlow may be seen to perform a dual function. In Chance, however, Marlow is simply an observing narrator whose role is to show how fictions may be created. While the Conrad novels only accidentally form a trilogy, Cary's use of the trilogy format is deliberate. Chapter Four examines his art and political trilogies. Although the point of view is consistent within each novel, one can observe the changes in point of view from one volume to another. Each volume of a given trilogy presents a different perspective. In the chapter on Cary, I will therefore discuss ambiguity and the problematical nature of truth which look forward to issues raised by Durrell and Fowles. None of Cary's narrators develop but in The Alexandria Quartet, the subject of Chapter Five, Durrell uses a developing narrator to explore the problem of achieving truth. Different subjective realities are presented in relation to the psychologist, Georg Groddeck. As in Chance, the creation of fiction is an important theme, but Durrell approaches it differently. John Fowles's novels, The Collector, The Magus and Daniel Martin are discussed in Chapter Six. The Collector is chosen to explore the balanced use of antiphonal narration using contrasting narrators. The Magus relates to The Alexandria Quartet for both use developing characters as narrators and both are about the creation of fictions. Durrell, however, expresses this theme in terms of a narrator who is the subject of his own narrative while Fowles expresses it in terms of the relationship of the reader to the novel. The theme of Daniel Martin is again the creation of fictions. This time, Fowles alternates between first and third-person narration to draw attention to the relationship between the author and the novel.<p

LUCAS MOSER’S ST. MAGDALENE ALTARPIECE: SOLVING THE RIDDLE OF THE SPHINX

Lucas Moser’s St. Magdalene Altarpiece: Solving the Riddle of the Sphinx Once described as a “sphinx that beckons with a thousand riddles” this dissertation presents a new understanding of some of the controversial topics surrounding Lucas Moser’s St. Magdalene Altarpiece (1432), one of the most important paintings from the late Gothic period in Germany. While interest in this altarpiece has declined in recent decades because of a lack of historical documentation, this study proposes new interpretations for many of its puzzling features by critically examining earlier research in light of more recent findings. This study contributes to the literature on the St. Magdalene Altarpiece and its artist by expanding the formal focus of earlier research to a largely contextual consideration of the work, emphasizing the importance of local and regional influences as well as broader historical factors in shaping its function, iconography and later renovation. One feature of the altarpiece considered in this study is the function of the St. Magdalene Altarpiece’s indulgence inscription. Challenging its relationship to an established Mary Magdalene cult, this identifies the St. Magdalene Altarpiece as an “indulgenced media” whose purpose was to advertise indulgence privileges held by the church at Tiefenbronn. Concerning the subject matter of the altarpiece, this dismisses the suggestion that French influence motivated the selection of Mary Magdalene, emphasizing instead her popularity in Germany and the distinctively German character of the work’s iconography. Also considered in this study are the contextual factors surrounding the sixteenth-century renovation of the St. Magdalene Altarpiece. Motivated by a larger program of redecoration in the church at Tiefenbronn this demonstrates that x the heirs of the altarpiece renovated it to stay abreast of new stylistic trends. Reflecting the growing taste for large scale altarpieces, the shrine was enlarged and its former contents replaced with a larger sculpture. Turning to the artist, rather than emphasizing foreign influences on Moser’s style this study offers new evidence for his stylistic ties to the art of his native southwest Germany. Also relevant for understanding the artist, another topic addressed is Moser’s inscription. Rather than viewing his so-called lament as an acknowledgment of his artistic weakness, how it reflects his artistic ability and intellectual aspirations is considered

The novels of Ford Madox Ford

The novels of Ford Madox Ford were the sublet of a revival of critical attention in the 1960's and interest in his work culminated in the recent publication of a lengthy critical biography (Mizener, 1971). The value of these studies lay primarily in their elucidation of the various techniques Ford employed in his novels, but scarcely any notice was taken of the wider historical implications of his work. The object of this thesis, then, is to situate Ford within the cultural and political circumstances in which he wrote. The opening chapter suggests the critical approach that will be employed, and is followed by detailed studies of Ford's major novels (Chapters 3, 5 and 7). These are flanked shorter accounts (Chapters 2, 4, 6 and 8) of his lesser novels and of other prose works by Ford that help to illuminate the fiction. Throughout the thesis Ford's novels are treated in chronological order, and are connected with the historical and cultural pressures surrounding their author. Ford's career as a novelist spanned the period between the Boer War and the eve of the Second World War and the thesis argues that his work is best understood as a series of responses to the major changes in English life and letters during that period. A concluding chapter examines Ford's career as a whole and the question of the relationship with both his 'modernist’ contemporaries - James, Conrad, Joyce - and more traditional novelists, such as Wells and Bennett. This study agrees with the critical consensus that Ford will chiefly be remembered for The Good Solider end Parade’s end. What is new here, however, is the attempt to place his novels within a somewhat larger historical framework

Bowdoin Orient v.134, no.1-24 (2004-2005)

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Farmer's Mail & Breeze, v. 48, no. 7 (February 16, 1918)

Published as: Kansas Farmer, Vol. 1, no. 1 (May 1, 1863)-v. 57, no. 49 (Dec. 6, 1919); Kansas Farmer and Mail & Breeze, Vol. 57, no. 50 (Dec 13, 1919)-v. 64, no. 9 (Feb 27, 1926); Kansas Farmer, Mail & Breeze, Vol. 64, no. 10 (Mar. 6, 1926)-v. 70, no. 1 (Jan. 9, 1932); Kansas Farmer Continuing Mail & Breeze, Vol. 70, no. 2 (Jan. 23, 1932)-v. 76, no. 8 (Apr. 22, 1939); Kansas Farmer, Mail & Breeze, Vol. 76, no. 9 (May 6, 1939)-v. 77, no. 20 (Oct. 5, 1940); Kansas Farmer Continuing Mail & Breeze, Vol. 77, no. 21 (Oct. 19, 1940)-v. 91, no. 3 (Feb. 6, 1954).Issued by Kansas Farmer Co., 1863-1919; Kansas Farmer and Mail & Breeze, 1919-1926; Kansas Farmer, 1926-1954.Missing issues and volumes arranged chronologically by date and journal name: Kansas Farmer: vol. 6, nos. 2-8, 10 and 12 (1869); vol. 9, no. 10 (1872); vol. 14, no. 50 (1876); vol. 18, nos. 1, 12 and 13 (1880); vol. 24. no. 16 (1886); vol. 35 (1897); vol. 38 (1900); vol. 41, nos. 52 and 53 (1903); vol. 42, nos. 17 and 35 (1904); vol. 48, nos. 11 and 53 (1910); vol. 50, nos. 45-50 (1912); vol. 53 (1915); vol. 56 (1918); vol. 49, no. 39 (1919); Kansas Farmer, Continuing Mail & Breeze: vol. 73 (1935); vol. 85, nos. 9-17 (1948); and The Farmers Mail and Breeze: vol. 49, no. 39 (1919).Call number: S544.3.K3 K3

Kansas Farmer and Mail & Breeze, v. 58, no. 10 (March 6, 1920)

Published as: Kansas Farmer, Vol. 1, no. 1 (May 1, 1863)-v. 57, no. 49 (Dec. 6, 1919); Kansas Farmer and Mail & Breeze, Vol. 57, no. 50 (Dec 13, 1919)-v. 64, no. 9 (Feb 27, 1926); Kansas Farmer, Mail & Breeze, Vol. 64, no. 10 (Mar. 6, 1926)-v. 70, no. 1 (Jan. 9, 1932); Kansas Farmer Continuing Mail & Breeze, Vol. 70, no. 2 (Jan. 23, 1932)-v. 76, no. 8 (Apr. 22, 1939); Kansas Farmer, Mail & Breeze, Vol. 76, no. 9 (May 6, 1939)-v. 77, no. 20 (Oct. 5, 1940); Kansas Farmer Continuing Mail & Breeze, Vol. 77, no. 21 (Oct. 19, 1940)-v. 91, no. 3 (Feb. 6, 1954).Issued by Kansas Farmer Co., 1863-1919; Kansas Farmer and Mail & Breeze, 1919-1926; Kansas Farmer, 1926-1954.Missing issues and volumes arranged chronologically by date and journal name: Kansas Farmer: vol. 6, nos. 2-8, 10 and 12 (1869); vol. 9, no. 10 (1872); vol. 14, no. 50 (1876); vol. 18, nos. 1, 12 and 13 (1880); vol. 24. no. 16 (1886); vol. 35 (1897); vol. 38 (1900); vol. 41, nos. 52 and 53 (1903); vol. 42, nos. 17 and 35 (1904); vol. 48, nos. 11 and 53 (1910); vol. 50, nos. 45-50 (1912); vol. 53 (1915); vol. 56 (1918); vol. 49, no. 39 (1919); Kansas Farmer, Continuing Mail & Breeze: vol. 73 (1935); vol. 85, nos. 9-17 (1948); and The Farmers Mail and Breeze: vol. 49, no. 39 (1919).Call number: S544.3.K3 K3

Catalog : eightieth report of the Curators to the Governor of the State, 1921-1922

"May, 1922.