オスカー・ワイルドの初・中期詩における音楽の表象

Oscar Wilde (1854-1900), an Anglo-Irish author of the nineteenth century, is known to have embraced music both as culture and as an idea. In examining his appreciation of music, musical representations in his earlier poetry should not be overlooked. As observed in this paper, Wilde’s appreciation of music as the supreme art form was almost synonymous with writing poetry. The paper explores how the idea and figure of music played a role throughout Wilde’s early career, and it unveils the process in which his references to Classical images were replaced by contemporary discourse over the course of time

Energetic, relativistic and ultra-relativistic electrons: Comparison of long-term VERB code simulations with Van Allen Probes measurements

In this study, we compare long-term simulations performed by the Versatile Electron Radiation Belt (VERB) code with observations from the Magnetic Electron Ion Spectrometer and Relativistic Electron-Proton Telescope instruments on the Van Allen Probes satellites. The model takes into account radial, energy, pitch angle and mixed diffusion, losses into the atmosphere, and magnetopause shadowing. We consider the energetic (\u3e100 keV), relativistic (~0.5–1 MeV), and ultrarelativistic (\u3e2 MeV) electrons. One year of relativistic electron measurements (μ = 700 MeV/G) from 1 October 2012 to 1 October 2013 are well reproduced by the simulation during varying levels of geomagnetic activity. However, for ultrarelativistic energies (μ = 3500 MeV/G), the VERB code simulation overestimates electron fluxes and phase space density. These results indicate that an additional loss mechanism is operational and efficient for these high energies. The most likely mechanism for explaining the observed loss at ultrarelativistic energies is scattering by the electromagnetic ion cyclotron waves

PSJA High School Yearbook, 1971

Color, black and white images. Bear Memories 1971.https://scholarworks.utrgv.edu/psjayearbooks/1033/thumbnail.jp

“The primary colour of delight”: Walter Pater and Gold

Le poète irlandais William Sharp se souvient avoir rendu visite à Walter Pater dans son appartement universitaire, lorsqu’un rayon de soleil doré provoqua soudain une longue réflexion sur l’or de la part du critique victorien. En effet, pendant toute sa carrière d’écrivain, Pater ne cesse de méditer sur ce qu’il appelle « la couleur primaire du délice ». Cet article examine donc le rôle de l’or dans les écrits de Pater afin de cerner les complexités de sa pensée sur le plus pur des métaux. Dans ses essais sur l’art grec, Pater envisage l’or en tant que matériau utilisé en sculpture, comme c’est le cas dans les œuvres retrouvées lors des fouilles de Mycènes réalisées par Heinrich Schliemann en 1874. Mais Pater évoque aussi la sculpture polychrome antique, sujet très controversé à l’époque, et qualifie la langue d’Homère de « chryséléphantine », comme pour lier les arts du langage et de la sculpture. Dans son roman Marius the Epicurean (1885), il fait référence à L’Âne d’or d’Apulée comme le « livre d’or » du personnage principal, tandis que sa nouvelle « Denys l’Auxerrois » représente le personnage dionysien central dans le contexte du mythe classique de l’Âge d’Or tel qu’il est décrit dans l’introduction des Métamorphoses d’Ovide. Dans son essai « The School of Giorgione » (1877), Pater relie les fils d’or de la peinture vénitienne à la toile scandaleuse de J.A.M. Whistler, Nocturne in Black and Gold: The Falling Rocket, et à l’influence de l’art byzantin sur la peinture vénitienne. Qu’il soit considéré comme matière, ligne ou surface, l’or figure chez Pater comme une métaphore et un mythe complexes. Â la fois tangible et intangible, l’or est pour Pater lié à la lumière d’où il tire ses principaux effets esthétiques. Mais s’il évoque la pureté, la vérité et une essence d’origine alchimique, l’or est aussi potentiellement trompeur, ainsi que le critique le suggère en distinguant ce qui est de l’or massif de ce qui est seulement « doré ». Même s’il est vain de chercher à donner une définition unique de l’or dans l’œuvre de Pater, il semble évident que sa réflexion continue sur le sujet rejoint un certain nombre de préoccupations centrales de la fin de l’ère victorienne, en lien avec les découvertes archéologiques récentes, le regain d’intérêt pour la mythologie et les controverses artistiques de cette époque. C’est enfin par son écriture aurifère, distillée et raffinée à force de révisions et polissages, que Pater nous permet de comprendre la signification de l’or à la fin du dix-neuvième siècle.The Irish poet William Sharp recalled visiting Walter Pater’s college rooms, when a golden ray of sunlight suddenly provoked a lengthy discourse on gold from the Victorian critic. Pater explored what he called “the primary colour of delight” throughout his thirty years as a writer. This paper maps the range of Pater’s use of gold in his writings in an attempt to capture the complexities of his notion of the purest of metals. In his Greek essays Pater dealt with the purest gold as a material for sculpture as it had recently surfaced in Heinrich Schliemann’s excavations of Mycenae. But he also dealt with the polychrome sculpture of Antiquity and spoke of Homer’s language as “chryselefantine”. He thus addressed the controversial issue of colour in ancient sculpture, while linking sculpture and language by means of the adjective “chryselefantine”. In his novel Marius the Epicurean (1885) Apuleius’ The Golden Ass figured as the protagonist’s “Golden Book”, and in one of his short pieces of fiction Pater’s Dionysian figure Denys l’Auxerrois was framed in the context of the classical myth of the Golden Age, popularly known from the opening of Ovid’s Metamorphoses. In “The School of Giorgione” (1877) the golden threads of Venetian painting relate in a complex manner to J.A.M. Whistler’s controversial Nocturne in Black and Gold: The Falling Rocket and to the influence of Byzantine art on Venetian painting. Gold figures as mass, as line, as surface covering, as composite sculptural material, as an intriguing metaphor and as myth. It is likened to light, and is thus immaterial, and at the same time, it is tangible—whether as a thread in weaving, as surface covering or as solid material, alone or set off by other materials. Its primary aesthetic effect is dependent on light. To Pater gold is pure, truthful, essential—as the result of an alchemical process—and potentially deceptive, as indicated in his distinction between the terms “golden” and “gilded”. It is questionable whether it is at all possible to condense Pater’s use of gold over a long career into any one clear definition, but inevitably his continued reference to the material reflects a range of highly topical late Victorian issues, whether the latest archaeological discoveries, the latest art controversies or the late Victorian interest in myth. Pater’s golden writings, themselves distilled through endless revision and polishing, thus serve as a reflection of the late nineteenth-century concern with gold

Dynamics of genre and the shape of historical fiction : a Lukácsian reading of Walter Scott's The Heart of Midlothian

Georg Lukács’ The Historical Novel continues to have a wide influence in Walter Scott criticism. However, Lukács’ theoretical insights into the role of genre in Scott’s work remains underappreciated. This thesis takes for its departure Lukács’ summary that "the profound grasp of the historical factor in human life demands a dramatic concentration of the epic framework" (41). Lukács’ description of these two forms, dramatic and epic, is then applied in a reading of Scott’s The Heart of Midlothian. Lukács’ terms offer a way of describing how Scott’s fiction works, as the interplay of dramatic and epic motifs provide the aesthetic mediation for Midlothian’s social and political concerns. The chief problem raised through this reading is the role of genre in establishing a sense of historical necessity. In The Heart of Midlothian, the role of genre is made concrete in the novel’s gradual transition. Opening with dramatic social unrest, the novel shifts attention to the epic journey of Jeanie Deans and how her intervention re-establishes domestic and political harmony within the world of the novel. The interplay of dramatic and epic forms establishes a sense of internal necessity, as each major character organically finds his or her role in the overall course of progress. The thesis turns in its final chapter and conclusion to a resistance in Midlothian to the "dramatic concentration of the epic framework." Thus instead of solely applying Lukács’ categories to a Scott, the conclusion of the thesis turns Scott against Lukács. Midlothian’s conclusion evinces the resistance of Scott the storyteller to Scott the novelist of historical necessity, as the storyteller re-opens a sense of unforeseen possibility at the novel’s conclusion. The thesis concludes with a meditation on the ethical implications of Scott’s competing narrative practices, that is, the dissonance between the historical novelist and the storyteller

The Gay Nineties: Oscar Wilde Reconsidered

Sex and hypocrisy have always been bedmates, but never more than in Victorian England. In the “Gay Nineties” promiscuity was widely accepted in all social classes, although the aristocracy hid its lust behind a strict code of propriety. Country house parties catered to infidelities with the approval of the Prince of Wales, himself a notorious womanizer

Bad Neighbors: A Look into the Complex Relations within the Creek Nation through the Acorn Whistler Crisis

Co-Winner for the Griswold Prize for Excellence in Undergraduate Historical ScholarshipIn “Bad Neighbors: A Look into the Complex Relations within the Creek Nation through the Acorn Whistler Crisis of 1752,” Brooke Hamilton unveils a gripping mid-eighteenth century tale of intrigue and deception, in which an enduring property dispute almost ends in open hostilities between the Creek Indians and the Georgia government. The origins of the plot, hatched by the devious Bosomworth family to take greater control of the eastern trading path from Charleston to Creek country, tap deeply into disagreements between two neighboring tribes, the Cowetas and Cussetas, both striving to be the predominant clan among the Lower Creeks. Masterfully engaging current scholarship, Hamilton narrates how greed and tribal resentments precipitated the vicious sacrifice of an Upper Creek headman, Acorn Whistler. –Garret Olberdinghttp://history.ou.edu/journal-2014undergraduat

Manacled to Identity: Cosmopolitanism, Class, and ‘The Culture Concept’ in Stephen Crane

This article begins with a close reading of Stephen Crane’s short story ‘Manacled’ from 1900, which situates this rarely considered short work within the context of contemporary debates about realism. I then proceed to argue that many of the debates raised by the tale have an afterlife in our own era of American literary studies, which has frequently focused on questions of ‘identity’ and ‘culture’ in its reading of realism and naturalism to the exclusion of the importance of cosmopolitan discourses of diffusion and exchange across national borders. I then offer a brief reading of Crane’s novel George’s Mother, which follows Walter Benn Michaels in suggesting that the recent critical attention paid to particularities of cultural difference in American studies have come to conflate ideas of class and social position with ideas of culture in ways that have ultimately obscured the presence of genuine historical inequalities in US society. In order to challenge this critical commonplace, I situate Crane’s work within a history of transatlantic cosmopolitanism associated with the ideas of Franz Boas and Matthew Arnold to demonstrate the ways in which Crane’s narratives sought out an experience of the universal within their treatments of the particular