Relevant bibliographies by topics / Arnold (George Arnold)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Reports

Academic literature on the topic 'Arnold (George Arnold)'

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Published: 20 February 2023

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Journal articles on the topic "Arnold (George Arnold)"

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Thomas, Kate. "MATTHEW ARNOLD'S DIET." Victorian Literature and Culture 44, no. 1 (January 28, 2016): 1–18. http://dx.doi.org/10.1017/s106015031500039x.

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The objective of this articleis to connect Matthew Arnold, that statesman of culture, with a tin of Tate and Lyle's Golden Syrup, a by-product of industrial sugar refining that has been named Britain's “oldest brand.” Bringing the lofty to the low, the sage to the sweetener, is an exercise in willful materialism. Reading Arnold's “sweetness and light” literally, as comestibles, and “culture” as a term that engages the culinary, puts Arnold into conversation with revolutionary nineteenth-century materialist theorists, in particular the German philosopher Ludwig Feuerbach. Although not commonly read now, Feuerbach's work was translated by George Eliot and influential on that of Karl Marx and Friedrich Engels: it is his materialism and his atheism that we see, modified, in their work. In his own time, he was also known for theories about diet and this article will, in part, show how these theories are inseparable from both his materialism and his atheism. True to its viscous, tacky nature, Golden Syrup arrives slowly and emerges late in my argument, but it will adhere Arnold to Feuerbach, and to an intellectual tradition that holds that what we eat, and whether and how we can eat, is as world-making as what we read. Sitting Feuerbach's self-avowed extreme materialism down at the table with Arnold's self-avowed extreme anti-materialism, I will show that they grapple with the same gods – the gods of Christianity, capitalism, and cultural immortality – and that they both conclude that we make and remake our world by digesting it.
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Schäfer, Thomas. "Wortmusik - Tonmusik." Die Musikforschung 47, no. 3 (September 22, 2021): 252–73. http://dx.doi.org/10.52412/mf.1994.h3.1120.

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Der Beitrag versucht, sowohl Arnold Schönbergs als auch Stefan Georges Verhältnis zu Richard Wagner zu beleuchten. Dabei werden anhand von Schönergs <George-Liedern> op. 15 zweifacher Hinsicht produktive Rezeptionshaltungen beschrieben. Georges <buch der hängenden gärten> und Schönbergs Liederzyklus werden in diesem Kontext als Allusionen auf Wagners Musikdrama <Tristan und Isolde> gelesen. (Schäfer, Thomas)
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Sandu-Dediu, Valentina. "George Enescu, Posthumously Reviewed." Studia Musicologica 59, no. 1-2 (June 2018): 61–69. http://dx.doi.org/10.1556/6.2018.59.1-2.5.

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This essay tackles some aspects related to the attitude of the Romanian officials after George Enescu left his country definitively (in 1946). For example, recent research through the archives of the former secret police shows that Enescu was under the close supervision of Securitate during his last years in Paris. Enescu did not generate a compositional school during his lifetime, like for instance Arnold Schoenberg did. His contemporaries admired him, but each followed their own path and had to adapt differently to an inter-war, then to a post-war, Communist Romania. I will therefore sketch the approach of younger composers in relation to Enescu (after 1955): some of them attempted to complete unfinished manuscripts; others were influenced by ideas of Enescu's music. The posthumous reception of Enescu means also an intense debate in the Romanian milieu about his “national” and “universal” output.
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Monod, Sylvere, Nicholas Sagovsky, and William E. Buckler. "Between Two Worlds: George Tyrrell's Relationship to the Thought of Matthew Arnold." Modern Language Review 82, no. 4 (October 1987): 934. http://dx.doi.org/10.2307/3729074.

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Martel, Michael. "George Eliot: Interdisciplinary Essays ed. by Jean Arnold and Lila Marz Harper." Victorian Periodicals Review 53, no. 2 (2020): 297–99. http://dx.doi.org/10.1353/vpr.2020.0025.

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Baker, William. "Matthew Arnold and the Eastern Question: An Unpublished Letter to George Howard." Notes and Queries 42, no. 2 (June 1, 1995): 197–98. http://dx.doi.org/10.1093/notesj/42.2.197.

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da Vinci Nichols, M. "Myth, Exorcism, and Maggie Tulliver." Browning Institute Studies 16 (1988): 101–22. http://dx.doi.org/10.1017/s0092472500002121.

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Pater speaks here for a perception shared, differently, by George Eliot and Matthew Arnold. Deep respect for Greek learning as the font of humanism led Arnold to suspect that myth held more truth than did mere philosophy. As if in agreement, Eliot's novel, The Mill on the Floss, asks what that more might be. Is myth a religious expression? an illustration of fate? a model of nature? or of some irreducible essence within the grain and texture of reality eluding definition? All may apply. The gross sum of rural life in the novel, a “grovelling existence which even calamity does not elevate” (238; bk. 4, ch. 1), nevertheless possesses an obscure power that Eliot both dignifies and parodies through sustained allusions to the Ariadne myth. In addition and more particularly, Ariadne expresses Maggie Tulliver's otherwise mute impulses and suppressed motives, the same function it performs for Eliot's later heroines in conflict. This evidence of the myth's extended hold on Eliot's imagination strongly suggests that it spoke for personal as well as fictional experience. Here in her bildungsroman, myth begins to provide her with a vocabulary to express antagonism between nature and culture – to put this roughly – or between passion and idea that Eliot herself confronted and returned to time and again in her novels.
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Dümling, Albrecht. "Das Buch der hängenden Gärten." »Der digital-ökonomische Komplex« 31, no. 1 (June 2019): 129–44. http://dx.doi.org/10.30820/0941-5378-2019-1-129.

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Die Semiramis-Gedichte von Stefan George, die er in seinem Buch der hängenden Gärten veröffentlichte, sind verschlüsselte Liebeserklärungen an die in Bingen lebende Ida Coblenz. Als diese Frau sich aber ausgerechnet seinem verhassten Rivalen, dem Dichter Richard Dehmel, zuwandte, führte dies bei George zu einem Persönlichkeitswandel und einer neuen Ästhetik. Arnold Schönberg hatte in seinen frühen Werken (etwa im Streichsextett Verklärte Nacht op. 4) Gedichte verwendet, die Richard Dehmel an seine Frau Ida geb. Coblenz gerichtet hatte. In einer schweren persönlichen Krise, die ihn an den Rand des Suizids führte, wandte er sich ab 1907 Stefan George zu. Orientiert an Inhalt und Form von Gedichten aus dessen Buch der hängenden Gärten sowie dem Buch Maximin fand er 1908 zu einer neuen Ästhetik und einem überpersönlichen Künstlerbild. Parallel zu seiner Auffassung vom Künstler als eines Propheten des Weltgeists löste er sich in seinem Liedzyklus Fünfzehn Gedichte aus dem Buch der Hängenden Gärten von Stefan George op. 15 von der Tonalität, die bis dahin das Fundament der europäischen Musik gebildet hatte.
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Sánchez-Llama, Íñigo. "Emilia Pardo Bazán (1851-1921) y la crítica victoriana: una comparación con la obra crítica de Matthew Arnold (1822-1888) y George Eliot (1819-1880) escrita durante las décadas de 1850-1860." BOLETÍN DE LA BIBLIOTECA DE MENÉNDEZ PELAYO 97, no. 2 (December 10, 2021): 295–326. http://dx.doi.org/10.55422/bbmp.547.

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La obra crítica de Emilia Pardo Bazán escrita durante la Restauración (1874-1931) comparte sugestivas coincidencias con los intereses socio-estéticos promovidos durante los decenios de 1850-1860 por los críticos victorianos Matthew Arnold y George Eliot. Estos autores experimentan en su obra las presiones del mercado editorial que convierte al fenómeno literario en mercancía. La crítica literaria debe entonces afrontar un complejo dilema: restaurar en el XIX el periodismo cultural dieciochesco de orientación divulgativa o practicar una especialización erudita que inevitablemente reduce su impacto entre el público. Arnold, Eliot y Pardo Bazán escriben su obra crítica, respectivamente, en revistas culturales como The Cornhill Magazine (1860-1975), The Westminster Review (1823-1914), el Nuevo Teatro Crítico (1891-1893), La Ilustración Artística (1882-1916) o La España Moderna (1889-1914). Es un proyecto ambicioso, tributario del humanismo renacentista, configurado para impugnar el creciente utilitarismo materialista que compromete el cultivo de la excelencia intelectual en el fenómeno literario. Su obra crítica—partiendo de premisas cosmopolitas, eclécticas y seculares—aspira a la divulgación de la cultura humanista en un complejo contexto histórico que dificulta el alcance efectivo de tales propuestas entre sus respectivas audiencias lectoras. Su meritoria empresa intelectual, en cualquiera de los casos, elabora una solvente interpretación sobre la cultura moderna producida durante la segunda mitad del siglo XIX.
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Zharkov, D., and A. Yudkina. "2018 Nobel Prize Laureates in Chemistry: Frances Arnold, George Smith, and Sir Gregory Winter." Priroda, no. 12 (December 2018): 74–82. http://dx.doi.org/10.31857/s0032874x0003494-2.

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Dissertations / Theses on the topic "Arnold (George Arnold)"

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Frank, Annemarie. "German affinities and the idea of culture in the works of Thomas Carlyle, Matthew Arnold and George Eliot." Thesis, University of London, 2007. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.706530.

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Barber, Belinda. "The role of Greek tragedy and attitudes towards it, in the works of George Eliot, Matthew Arnold, Swinburne, and Thomas Hardy." Thesis, University of Sheffield, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319913.

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Rosa, António Chagas. "Figuras rítmicas e significados poéticos em Das Buch der hangenden Gärten (O Livro dos Jardins suspensos) de Stefan George e Arnold Schönberg." Doctoral thesis, Universidade de Aveiro, 2005. http://hdl.handle.net/10773/8931.

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Doutoramento em Música
A presente dissertação tem um formato bipartido, constituindo a primeira das suas partes um trabalho de investigação teórico, e a segunda um corpo de composições livres. A investigação analisa as relações entre ritmos e significados semânticos no ciclo de canções Das Buch der hängenden Gärten (O Livro dos jardins Suspensos) op. 15 de Arnold Schönberg, sobre um livro de poemas homónimo de Stefan George. As composições que integram a Tese são o ciclo de canções Non Altro para tenor, piano e electrónica, sobre textos de Michelangelo Buonarroti; a ópera de câmara Melodias Estranhas, com libreto de Gerrit Komrij; e a peça para coro de câmara intitulada Quatrains du Secret Estude, sobre centúrias de Michel de Nostredame ou Nostradamus. O seguinte resumo restringe-se ao trabalho de investigação, incluindo-se um texto introdutório às partituras no início da 2ª parte da presente Tese. A investigação sobre o op. 15 de Schönberg decorreu da convicção de que, na representação musical de obras vocais, a diferentes formulações rítmicas correspondem diferentes níveis de significados semânticos. Trata-se de um trabalho que procura aprofundar as relações entre música e texto, privilegiando a observação do comportamento de ritmos e seus padrões. Para a aferição de tais correspondências, o trabalho de investigação propõe uma estratificação rítmica que se consubstancia numa tipologia tripartida, a qual inclui famílias rítmicas cuja designação – ritmos objectivantes, sincopados e sensoriais – foi buscar justificação nas funções históricas que o ritmo desempenha na música ocidental desde a Antiguidade Grega. Constatou-se que, na obra estudada, cada um dos tipos rítmicos articula significados semânticos específicos, agrupando-se estes em três famílias que estabelecem com os tipos rítmicos os seguintes binómios: ritmos objectivantes/ significados de cariz intelectual, ritmos sincopados/significados do foro emocional e ritmos sensoriais/significados referentes a sensações e imagens. A relação entre estes dois critérios de análise passou igualmente pelo estudo de outros elementos musicais (harmonia, timbre, agógica), tendo-se, porém, concluído que o comportamento dos tipos rítmicos face às famílias de significados semânticos (e suas implicações poéticas) apresenta muito mais estabilidade do que o evoluir de harmonias face ao mesmo universo.
This dissertation is structured in two different parts, being the first of them a theoretical investigation, and the second an autonomous body of free compositions. The investigation analyses the relationship between rythm and semantics in the song cycle Das Buch der hängenden Gärten (The Book of the Hanging Gardens) op. 15, by Arnold Schoenberg, on a book of poems by Stefan George that bears the same title. The free compositions that are included in this dissertation are the songs from the cycle Non Altro for tenor, piano and electronics, on texts by Michelangelo Buonarroti; the chamber opera Melodias Estranhas, with a libreto by Gerrit Komrij; and finally the a capella chorus piece Quatrains du Secret Estude, on texts by Michel de Nostredame or Nostradamus. This abstract focuses solely on the investigation on Schoenberg’s op. 15. The investigation was conducted based on the premise that, in the musical representation of vocal works, a correspondence between different levels of semantic meanings and rythmical formulae can be found. Therefore, its paths cross the ways between music and text, enhancing the observation of rythmical cells and patterns in the scores. In order to establish solid correspondences between words and rhythm, a specific methodology was created. This consists of a three-level scheme that groups rythmical “families”, whose designations (objective, syncopated and sensorial) were supported by the historical functions that rythm has played in the Western music since Ancient Greece. The investigation claims to have found in the Das Buch a clear parallelism between this three “families” and three platforms of semantic signification of the poems. The articulation between each of the rythmical types and its semantic counterpart made also possible that a three axes matrix could be used throughout the entire work: objective rythm/intelectual content of words; syncopated rythm/ emotional conotation of words; and finally, sensorial rythm/ sensorial conotation of words, that is to say, words that express images and sensations. The relationship between these two criteria of analysis didn’t neglect the study of other musical elements such as harmony, timbre and dynamics. However, the conclusions of the research point out to the fact that the behaviour of the rythmical types vs. the semantic levels (and their poetical implications), show much more stability and coherence than, for instance, the relation between harmonic types and the same semantic universe.
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Crow, Vincent. "A study of the History curricula of Professors Wood and Roberts at the University of Sydney and of Professors Scott and Crawford at the University of Melbourne, c. 1910-50." Master's thesis, Faculty of Education and Social Work, 1986. http://hdl.handle.net/2123/13920.

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Drayton, Alexandra L. "'Paper gypsies' : representations of the gypsy figure in British literature, c.1780-1870." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3110.

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Representations of the Gypsies and their lifestyle were widespread in British culture in the late-eighteenth and nineteenth centuries. This thesis analyzes the varying literary and artistic responses to the Gypsy figure in the period circa 1780-1870. Addressing not only well-known works by William Wordsworth, Jane Austen, Walter Scott, John Clare, Robert Browning, Matthew Arnold and George Eliot, but also lesser-known or neglected works by Gilbert White, Hannah More, George Crabbe and Samuel Rogers, unpublished archival material from Princess Victoria's journals, and a range of articles from the periodical press, this thesis examines how the figure of the Gypsy was used to explore differing conceptions of the landscape, identity and freedom, as well as the authoritative discourses of law, religion and science. The influence of William Cowper's Gypsy episode in Book One of The Task is shown to be profound, and its effect on ensuing literary representations of the Gypsy is an example of my interpretation of Wim Willem's term ‘paper Gypsies': the idea that literary Gypsies are often textual (re)constructions of other writers' work, creating a shared literary, cultural and artistic heritage. A focus on the picturesque and the Gypsies' role within that genre is a strong theme throughout this thesis. The ambiguity of picturesque Gypsy representations challenges the authority of the leisured viewer, provoking complex responses that either seek to contain the Gypsy's disruptive potential or demonstrate the figure's refusal to be controlled. An examination of texts alongside contemporary paintings and sketches of Gypsies by Princess Victoria, George Morland, Thomas Gainsborough, J. M. W. Turner, John Constable and John Everett Millais, elucidates the significance of the Gypsies as ambiguous ciphers in both literature and art.
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HSIEH, CHENG-FENG. "Beyond Traditional Perspective: The Solo Piano Waltz in the Twentieth Century." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1208829080.

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Arnold, Rafael. "Georg Bossong: Die Sepharden. Geschichte und Kultur der spanischen Juden / [rezensiert von] Rafael Arnold." Universität Potsdam, 2008. http://opus.kobv.de/ubp/volltexte/2009/3843/.

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Jeffrey, Johnson Kirstin Elizabeth. "Rooted in all its story, more is meant than meets the ear : a study of the relational and revelational nature of George MacDonald's mythopoeic art." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1887.

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Scholars and storytellers alike have deemed George MacDonald a great mythopoeic writer, an exemplar of the art. Examination of this accolade by those who first applied it to him proves it profoundly theological: for them a mythopoeic tale was a relational medium through which transformation might occur, transcending boundaries of time and space. The implications challenge much contemporary critical study of MacDonald, for they demand that his literary life and his theological life cannot be divorced if either is to be adequately assessed. Yet they prove consistent with the critical methodology MacDonald himself models and promotes. Utilizing MacDonald’s relational methodology evinces his intentional facilitating of Mythopoesis. It also reveals how oversights have impeded critical readings both of MacDonald’s writing and of his character. It evokes a redressing of MacDonald’s relationship with his Scottish cultural, theological, and familial environment – of how his writing is a response that rises out of these, rather than, as has so often been asserted, a mere reaction against them. Consequently it becomes evident that key relationships, both literary and personal, have been neglected in MacDonald scholarship – relationships that confirm MacDonald’s convictions and inform his writing, and the examination of which restores his identity as a literature scholar. Of particular relational import in this reassessment is A.J. Scott, a Scottish visionary intentionally chosen by MacDonald to mentor him in a holistic Weltanschauung. Little has been written on Scott, yet not only was he MacDonald’s prime influence in adulthood, but he forged the literary vocation that became MacDonald’s own. Previously unexamined personal and textual engagement with John Ruskin enables entirely new readings of standard MacDonald texts, as does the textual engagement with Matthew Arnold and F.D. Maurice. These close readings, informed by the established context, demonstrate MacDonald’s emergence, practice, and intent as a mythopoeic writer.
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Bulaitis, Zoe Hope. "Articulations of value in the humanities : the contemporary neoliberal university and our Victorian inheritance." Thesis, University of Exeter, 2018. http://hdl.handle.net/10871/33626.

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This thesis traces the shift from liberal to neoliberal education from the nineteenth century to the present day, in order to provide a rich and previously underdeveloped narrative of value in higher education in England. Rather than attempting to justify the value of the humanities within the presiding economic frameworks, or writing a defence against market rationalism, this thesis offers an original contribution through an immersion in historical, financial, and critical debates concerning educational policy. Drawing upon close reading and discursive analysis, this thesis constructs a nuanced map of the intersections of value in the humanities. The discussion encompasses an exploration of policymaking practices, scientific discourse, mediated representations, and public cultural life. The structure of the thesis is as follows. The introductory chapter outlines the overarching methodology by defining the contemporary period of this project (2008-14), establishing relevant scholarship, and drawing out the correspondences between the nineteenth century and the present day. Chapter one establishes a history of the Payment by Results approach in policymaking, first established in the Revised Code of Education (1862) and recently re-introduced in the reforms of the Browne Report (2010). Understanding the predominance of such short-term and quantitative policy is essential for detailing how value is articulated. Chapter two reconsiders the two cultures debate. In contrast to the misrepresentative, yet pervasive, perception that the sciences and the humanities are fundamentally in opposition, I propose a more nuanced history of these disciplines. Chapter three addresses fictional representations of the humanities within literature in order to establish a vantage point from which to assess alternative routes for valuation beyond economic narratives. The final chapter scrutinises the rise of the impact criterion within research assessment and places it within a wider context of market-led cultural policy (1980-90s). This thesis argues that reflecting on Victorian legacies of economism and public accountability enables us to reconsider contemporary valuation culture in higher education. This analytical framework is of benefit to future academic studies interested in the marketisation and valuation of culture, alongside literary studies that focus on the relationship between higher education, the individual, and the state.
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Kelch, Christian [Verfasser], Georg [Akademischer Betreuer] Seiderer, and Georg [Gutachter] Seiderer. "Dr. Hermann Arnold und seine "Zigeuner". Zur Geschichte der "Grundlagenforschung" gegen Sinti und Roma in Deutschland unter Berücksichtigung der Genese des Antiziganismusbegriffs / Christian Kelch ; Gutachter: Georg Seiderer ; Betreuer: Georg Seiderer." Erlangen : Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU), 2020. http://d-nb.info/1218300906/34.

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Books on the topic "Arnold (George Arnold)"

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Eugene, Custer Chester. Descendants of George Custer (ca. 1705-1756): Son of Arnold Custer & Rebecca ... [Nashville, TN] (831 Rodney Dr., Nashville 37205): C.E. Custer, 1992.

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Jacobs, Joseph. George Eliot, Matthew Arnold, Browning, Newman [microform]: Essays and reviews from the Athenaeum. London: British Library, 1986.

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Eminent Victorians: Cardinal Manning, Florence Nightingale, Dr. Arnold, General Gordon. London: Continuum, 2002.

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Prussian-German militarism, 1914-18 in Australian perspective: The thought of George Arnold Wood. Bern: P. Lang, 1991.

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1826-1897, Hutton Richard Holt, ed. R.H. Hutton, critic and theologian: The writings of R.H. Hutton on Newman, Arnold, Tennyson, Wordsworth, and George Eliot. Oxford [Oxfordshire]: Clarendon Press, 1986.

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Stone, Donald David. Communications with the future: Matthew Arnold in dialogue : Henry James, Charles-Augustin Sainte-Beuve, Ernest Renan, Michel Foucault, Friedrich Nietzsche, Hans-George Gadamer, William James, Richard Rorty, John Dewey. Ann Arbor: University of Michigan Press, 1997.

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Bosquet, Alain, and Alain Bosquet. Georges et Arnold, Arnold et Georges: Récit. [Paris]: Gallimard, 1995.

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Harmening, Clara B. Johann George Freidel of Allegheny City, Allegheny County, PA: His ancestors and descendants : with Arnold, Fisher, and Hoerr lines. Decorah, Iowa: Anundsen Publishing Company, 2012.

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George, Inness. George Inness: The 1880s and 1890s : Suzanne H. Arnold Art Gallery, Lebanon Valley College, Annville, Pennsylvania, March 11-April 11, 1999. Annville, Pa: Lebanon Valley College, 1999.

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Strachey, Lytton. Eminent Victorians. Oxford: Oxford University Press, 2009.

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Book chapters on the topic "Arnold (George Arnold)"

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Morse, David. "Victorian Intellectuals and their Dilemmas: Mill, Huxley, George Eliot and Matthew Arnold." In High Victorian Culture, 299–393. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1057/9780230378063_5.

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Pugh, Bridget. "The Midlands Imagination: Arnold Bennett, George Eliot, William Hale White and D. H. Lawrence." In D.H. Lawrence in the Modern World, 139–60. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-09848-4_9.

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Heilmann, Ann. "The Sublime and Satanic North: The Potteries in George Moore’s A Mummer’s Wife (1885) and Arnold Bennett’s Anna of the Five Towns (1902)." In The Literary North, 56–72. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137026873_4.

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"George Saintsbury, ‘Corrected Impressions’, Collected Essays and Papers." In Matthew Arnold, 339–44. Routledge, 2005. http://dx.doi.org/10.4324/9780203977088-47.

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Wyatt, Robert, and John Andrew Johnson. "Arnold Schoenberg: “George Gershwin” (1938)." In The George Gershwin Reader, 274. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780195327113.003.0072.

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"Chapter 4: George Whitefield according to Arnold Dallimore." In Reformed Evangelicalism and the Search for a Usable Past, 107–66. Göttingen: Vandenhoeck & Ruprecht, 2020. http://dx.doi.org/10.13109/9783666567247.107.

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Ellenzweig, Allen. "Exiles in Paradise." In George Platt Lynes, 385–99. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190219666.003.0026.

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In May 1946, George drives to Hollywood with “Dougie,” Russell, and Mildred. He looks for a house to buy. Russell and Mildred lend $20,000 toward its purchase, secured by a chattel mortgage on George’s art works. Meanwhile, George has “squatter’s rights” to a studio arranged by Vogue. Soon he is introduced at Hollywood parties, a favorite of Janet Gaynor and husband “Adrian.” George sees visiting New York friends and old chums Katherine Anne Porter and Isherwood, both writing for movies. Awaiting completion of the Vogue studio, George enlists his house for workspace. His sittings catch new cinema heartthrobs Kirk Douglas, Burt Lancaster, and Frenchman Louis Jourdan. Culturally elevated subjects include West Coast German/Austrian émigrés Bertolt Brecht, Arnold Schoenberg, and Thomas Mann. The last produces a telling account of a German intellectual exiled to the manicured environs of sunny Hollywood. George maintains a wistful correspondence with Monroe. He travels to Hawaii for a Vogue article.
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Simms, Bryan R. "Settings of the Poetry of Stefan George: Opp. 10, 14, and 15." In The Atonal Music of Arnold Schoenberg 1908–1923, 29–58. Oxford University Press, 2000. http://dx.doi.org/10.1093/acprof:oso/9780195128260.003.0003.

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9

Cunningham, Valentine. "On the Beach." In Coastal Cultures of the Long Nineteenth Century, 186–99. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474435734.003.0011.

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This chapter offers a wide-ranging and evocative snapshot of literary seashores in the middle of the nineteenth century. Cunningham suggestively links edgeland doings and meanings, their positives and negatives: Victorian Doverianisms in the parenthesis between suicidal Gloucester and gay Auden; what happened at Tenby; natural historical reverence beside the sea; Small Game Hunting with Hammer and Chisel; microscopes and vivaria; depredations and poeticities. Key figures discussed include Philip Henry Gosse, George Eliot, G. H. Lewes (and Peter Carey), Matthew Arnold and Alfred Lord Tennyson.
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Weddle, Kevin J. "Opening Moves." In The Compleat Victory:, 7–24. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780195331400.003.0002.

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This chapter sets the political, strategic, and operational context for the Saratoga campaign. Many of the key personalities are introduced to the reader including General Sir William Howe, Admiral Lord Richard Howe, General Sir Guy Carleton, General George Washington, Major General Horatio Gates, Major General Philip Schuyler, and Major General Benedict Arnold. This chapter also covers the American Revolution’s initial military operations including the battles and siege of Boston, the battles on Long Island and Manhattan, and the failed American invasion of Canada, including the attack on and siege of Quebec. The chapter concludes with Washington’s twin victories at Trenton and Princeton and his adoption of a modified Fabian military strategy.
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Reports on the topic "Arnold (George Arnold)"

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Staff - Denison Miller with George Arnott, at opening of C.S.B. Agency for Seamen's accounts, 1922 (plate 547). Reserve Bank of Australia, March 2021. http://dx.doi.org/10.47688/rba_archives_pn-004046.

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Commonwealth Bank - Branches, Representative Offices & Agencies - Sydney - Mercantile Marine Office, York Street - Sir Denison Miller with George Arnott at the opening of a C.S.B. agency for Seamen's accounts - c.1922 (plate 546). Reserve Bank of Australia, March 2021. http://dx.doi.org/10.47688/rba_archives_pn-004045.

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