From bredwine1968 at earthlink.net Tue Jan 12 12:59:36 2010 From: bredwine1968 at earthlink.net (Bruce Redwine) Date: Tue, 12 Jan 2010 12:59:36 -0800 Subject: [ilds] Durrell quantum In-Reply-To: References: Message-ID: RW, I think you can survive without knowing much or anything about Special or General Relativity, Quantum Mechanics, or Jung's ideas about the Collective Unconscious. I doubt that Durrell knew much or anything about them either. I hate to say it, but those names are probably little more than window-dressing. Others will disagree, of course. The story is what counts, and you're already appreciating that. It's probably heresy to say, but my favorite scenes occur at the beginning of Mountolive, when the young diplomat has his first experience with "Egypt . . . as one might repeat the name of a woman. Egypt." Bruce On Jan 8, 2010, at 1:40 AM, RW HEDGES wrote: > I have only read one and a half of the Quartet but I listened to the whole lot whilst performing the monotonous task of remastic-ing showers at the Brunel University (dont try it)...The Mp3 audio books gave great pleasure (I think it was the Nigel Anthony reading) and I'm a big fan of the music that accompanied the whole piece (anyone got the music on its own?). What I did not understand, (failed to hear) as I have no knowledge in the way of Quantum anything, is where the books have any connection with strange weaving alchemical qualities, partial layered realities or any of this Einstein "Guff"? > I think it was elegant and smoky. Dream-like? But if someone can give a really basic outline or example of where this science appears then I'm game for a listen. > Also is there any connection between Carl Jung and Durrell? Thats the new age pyschoanalysis that I really buy into pre-60's? > I remain a fan of the duck hunt in Justine but I do love that scene where the little guy gets the knitting needle through the noodle and ends up under a pile of coats. How lovely it would be in that film noir style (but in colour like china town) > -------------- next part -------------- An HTML attachment was scrubbed... URL: http://lists.uvic.ca/pipermail/ilds/attachments/20100112/17cd3bc9/attachment.html From Charles-Sligh at utc.edu Thu Jan 14 07:13:28 2010 From: Charles-Sligh at utc.edu (Charles Sligh) Date: Thu, 14 Jan 2010 10:13:28 -0500 Subject: [ilds] "whistling through the rigging" Message-ID: <4B4F3498.9030200@utc.edu> Apologies for calling up thirst--see below. C&c. *** > * > Food for Fort: On misbehaving pans, whiffy beans and Nigella's apple > martini > > Nonstick pans that stick, Nigella's apple martini and the truth about > the after-effects of eating beans > * > * o Matthew Fort > o The Guardian, Saturday 9 January 2010 * > http://www.guardian.co.uk/lifeandstyle/2010/jan/09/nonstick-pans-beans-nigella > *Where can I buy Monin green apple syrup? Nigella has a recipe for > green apple martini that I'd love to try, but I can't find a UK source > for the syrup.* > *There's a great phrase in one of Lawrence Durrell's tales of > diplomatic life, when he describes the first martini of the day as > "whistling through the rigging". *I'm not sure if Nigella's version > has quite that effect, but the answer to your plea is online, with > suppliers queueing up to sell you the stuff: try thewhiskyexchange.com > (70cl, ?5.99); thedrinkshop.com (?6.54); verdecoffee.com (?6.65 ); and > thelairdslarder.co.uk (?6.65). Happy drinking. > > ? Got a question for Matthew? > Email food.for.fort at guardian.co.uk -- ******************************************** Charles L. Sligh Assistant Professor Department of English University of Tennessee at Chattanooga charles-sligh at utc.edu ******************************************** From Charles-Sligh at utc.edu Thu Jan 14 09:45:15 2010 From: Charles-Sligh at utc.edu (Charles Sligh) Date: Thu, 14 Jan 2010 12:45:15 -0500 Subject: [ilds] "Neither does the spirit of Lawrence Durrell hover" Message-ID: <4B4F582B.1090803@utc.edu> See the penultimate paragraph of the piece copied below for the Durrell reference. My observation: The author of the review seems to understand the "spirit of Lawrence Durrell" in a limited capacity. Perhaps the "spirit of Alexandria" is more important? In fact, what the writer describes about the artist's work might in fact start an interesting conversation between readers of Durrell and viewers of Louis's artwork. > The creamy surface gets thicker and more clotted; the > decorative work almost incomplete. The insets and > juxtapositions depict multiple phases of Alexandrian, and > Egyptian, history. Crafting an ageless portrait is a fine art. > Louis excels at adding the finer details without embarking on > the unqualified finish. He is neither fearful of exploring the > inner meanings of items found in plundered Pharaonic tombs, > nor on the age-old controversies that historically bedeviled > his hometown. Alexander the Great, the city's founder, and > Cleopatra V, the last Ptolomaic queen of Egypt, and probably > Alexandria's most famous daughter, are hinted at in the works > of Tossoonian, but only the faintest of hints. Do not look for > such famous cosmopolitan Alexandrian landmarks as the Cecil > Hotel or the Constantine Cavafy Museum. Neither does the > spirit of Lawrence Durrell hover over the works of these three > Alexandria > artists. Charles ** > *An Alexandrian trio > They simulate waves but what do waves correspond to, asks Gamal Nkrumah > * > *Al-Ahram / 14 - 20 January 2010 > Issue No. 981* > *http://weekly.ahram.org.eg/2010/981/cu1.htm* > Alfons Louis, Said Badr and Sarkis Tossoonian wandered wistfully into > Safar Khan with an extraordinary milieu of connected memories -- all > of their seaside city. Alexandria was always as secular as it was > sacred. Above all, the three artists evoke Alexandria in August, with > a hint of October. Strange, since we are in midwinter. As if worn away > by weather, these works recall a bygone age. > > In this climate the arts, whether religious or irreverent, flourished > uneasily side by side, narrating a compelling story about a > theology-obsessed schizophrenic cosmopolitanism. A Coptic Christian, a > Muslim and an ethnic Armenian, Louis, Badr and Tossoonian express the > aesthetic of Alexandria in their respective personal fashions. They > delve into such multi- layered and elusive meanings of the city's > historical cultural outpourings and confront the issue of urban > multi-identities from radically different perspectives, using distinct > mediums and notions of self-expression. Their exhibition highlights > their Alexandrian roots, but in a manner not immediately perceptible. > Alexandria is honeycombed with catacombs, cisterns and underground > chambers, and the curiously attractive works of Louis look like > something snatched out of the dungeons beneath the city, except that > they are recovered from the depths of the sea like some denizens of > the deep. > > Sun drenched scratched surfaces with fairy-tale hares and gazelles > prancing past Coptic-like iconic figures look like they have been > hollowed out of some ancient rock, or dug out of the crypt of some > long deceased Alexandrian Greek nobles, with scattered pieces of > potsherds and pockmarked sea salvaged timber. Inscriptions are scarce, > but Pharaonic oddments are in abundance. > > The Copt tells the tale of his extraordinary seaside hometown in > unpretentious, carefully weighed logs siphoned from the Mediterranean. > Expect to see no rudimentary paintings of the sea. However, he pulls > no punches when he tells the story of his many-layered port city. His > works are a carefully crafted recreation of Alexandria, but without > the glamour. There is something about his work that ultimately evades > interpretation. His icons give the impression of being hauled up some > secret shaft down which the mortal remains of individuals long gone > have been deposited in the Netherworld. Yet there is something bright > and cheery about these works built of planks. > > Rain-sodden scenes are tangible only in the rough texture of the > stylistically hewn damp wood. The fragments of metal scattered here > and there re-enforce the sodden lot. There is something almost > imperceptible that gives the impression of dankness even though there > isn't a trace of moisture. > > Images of a cosmopolitan Alexandria have long since faded. Instead the > trio treat visitors to the exhibition to a miscellaneous collection of > hypnotically powerful works with a classical quality evocative of this > particular Mediterranean port city's past. > > However, the Alexandrian threesome offer an enticing hint of the > city's original magnificence, and of a darker aspect of its doctrinal > sophistication. Was not the newly converted Christian Alexandria that > cruelly culled its pagans -- including the philosopher-sorceress > Hepatia? She was after all a mere mathematician who happened to infuse > her students with a vitality and warmth that none of her > contemporaries matched. For this, she had to be put down, publicly > executed. > > I searched Tossoonian's figurines for reminders of Hepatia. Yes, the > features of his belles were Romanesque. Snake- haired Medusas of Greek > mythology stare out into space past your gaze. These bronze figures > seem to have been rescued from the Serapeum. The original golden > plaques are polished bronze, of course, and are as shiny and smooth as > mirrors. Others smack of Ptolemaic sphinxes and most sport aquiline > Roman noses. > > Such not too subtle gems are more than a leitmotif of an exhibition > mounted in commemoration of Alexandria's past cosmopolitanism. The > exhibition barely alludes to the multi- religious, multi-cultural > background of the artists. The three artists' works are not framed in > the context of a city that has become a magnet for peasants from the > Delta and beyond. Tossoonian is the only one whose sculptures feature > human figures. Even so, his women are more reminiscent of some > Greco-Roman Madonna than mere country maidens. > > Tossoonian's sculptures resemble the works of the late Swiss painter > and sculptor Alberto Giacometti. Art connoisseurs glimpse something of > the ancient -- Celtic, Greco- Roman or Egyptian? Unlike the statues of > the ancients, Tossoonian's works stand upright, there is nothing of > the fallen visages of long dead pharaohs. There is no attempt, either, > to bring them back to life. Indeed, the bronze is designed to feign > the listless and lifeless. > > And back to Badr. The Muslim, presumably on religious grounds, eschews > the human figure. Rosetta's fortunes have historically been inversely > linked with that of Alexandria. And yet the smaller city is only a > stone's throw away from its far more buxom older sister. But Badr > isn't in the least interested in the treasures of Rosetta. He pays no > attention to the medieval rival to Alexandria with its streets studded > with mashrabeyas, wooden latticework windows, and the lakes engulfing > the seaport lined with tall reeds. Such a typically Rosetta scene, > Badr leaves for Louis to make the most of. > > The latter uses intricate wooden paneling sparsely, but the timber he > uses in profusion and with such passion that his works appear to leap > out of some ancient history book. Louis fuses medieval and ancient, > Muslim and Coptic, Ptolemaic and Greco-Roman symbols and signs with > ingenious creativity. However, it is Badr who makes the most of > arguably the most significant find of Egyptology. Neither a > multilingual stele, nor a decree from Ptolomy V, a tax amnesty to > temple priests, Badr's are stuffed with good lines, except that most > are unreadable. But Badr isn't focussed on the content of the Rosetta > Stone, only on the inspiration he so obviously derives from the slab > of black basalt. > > Lines rippling across granite. Arabic script mutates into hieroglyphs > and then back into Arabic calligraphy. It is all extraordinarily > prescient. The shapes of the stone themselves are designed to shed > light on the glowing illuminations that capture Alexandria at > different times of the day and in different seasons. These are apt > descriptions for Badr's renditions of the Rosetta Stone. His take on > that curious object defies definition. > > Badr's letters are like pictograms. Some are in indecipherable script, > a make-believe language, others in Arabic. Pencilled on polished > surfaces, they so nearly resemble the Rosetta Stone, except they don't. > > The deciphering of hieroglyphs in 1824 by Jean-Francois Champollion of > France enabled the world to understand the secrets of ancient Egypt, > and opened up the mysteries of the Pharaohs. Badr applies himself to > the tremendous task of reinterpreting Alexandrian history through the > irregular shapes and weird writings engraved on his imitations of the > Rosetta Stone. > > Black basalt is a hardy stone not easily worked or tamed. The Safar > Khan gallery is strewn with huge blocks of stone, timber and bronze -- > like a show of excavations in some undisclosed dig somewhere near > Alexandria. The cosmopolitan city of yesteryear is the inspiration. > There is no inkling of the bustling contemporary port. Instead there > are numerous vestiges of the past. > > Does an underlying constituency hold their disparate strands together? > A master of the right angle and the perfect circle, Badr reproduces > the curiously cut blocks of black basalt in a variety of shapes and > sizes, all paying tribute to the original. > > The works of the other two artists are somewhat more inconstant, but > only slightly so. Louis's pieces are easily identifiable. There are > clear changes of visual texture. Yet the dominant theme remains the > same. They are decorated with strange images, some faintly resembling > the ushatbi of the ancients. The Pharaonic influence is greatest; > however, the Fatimid, Mamluk, Ottoman and other Islamic influences > abound. Rabbits and antelopes hop and skip in total abandon. > > His etchings aspire to the primitive. Colourless elegance yields to > the saturated earthy hues and icons of his imagination albeit adorned > in muted tones. > > The creamy surface gets thicker and more clotted; the decorative work > almost incomplete. The insets and juxtapositions depict multiple > phases of Alexandrian, and Egyptian, history. Crafting an ageless > portrait is a fine art. Louis excels at adding the finer details > without embarking on the unqualified finish. He is neither fearful of > exploring the inner meanings of items found in plundered Pharaonic > tombs, nor on the age-old controversies that historically bedeviled > his hometown. Alexander the Great, the city's founder, and Cleopatra > V, the last Ptolomaic queen of Egypt, and probably Alexandria's most > famous daughter, are hinted at in the works of Tossoonian, but only > the faintest of hints. *Do not look for such famous cosmopolitan > Alexandrian landmarks as the Cecil Hotel or the Constantine Cavafy > Museum. Neither does the spirit of Lawrence Durrell hover over the > works of these three Alexandrian artists.* > > Instead, pieces of Pompey's pillar, the Fortress of Qaitbey are seen > and understood in touches by Tossoonian, feelings divulged by Louis, > and variegated duplications by Badr. They are, like the exhibition > itself, running a fine line between memory, the memorable and the > immemorial. Alexandria has profoundly influenced Western thought and > philosophy. The remains are the relics from its rich past. Carved > tombstone panels? An artistic tribute to the ancients. -- ******************************************** Charles L. Sligh Assistant Professor Department of English University of Tennessee at Chattanooga charles-sligh at utc.edu ******************************************** From bredwine1968 at earthlink.net Thu Jan 14 12:51:45 2010 From: bredwine1968 at earthlink.net (Bruce Redwine) Date: Thu, 14 Jan 2010 12:51:45 -0800 Subject: [ilds] "Neither does the spirit of Lawrence Durrell hover" In-Reply-To: <4B4F582B.1090803@utc.edu> References: <4B4F582B.1090803@utc.edu> Message-ID: <9DBC356C-EA96-47F4-A014-2635F6124267@earthlink.net> Charles, Agreed. Gamal Nkrumah, while making some interesting points about an exhibition in Alexandria, does not understand "the spirit of Lawrence Durrell." Durrell's poetry in the Quartet easily encompasses in brief what Nkrumah describes at length. Take, for example, Durrell's "Taposiris is dead among its tumbling columns and seamarks, vanished the Harpoon Men . . . Mareotis under a sky of hot lilac." Twenty words spanning three thousand years of history. Moreover, Cleopatra VII would be surprised to know she was not the last Ptolomaic Queen. Nkrumah gives that honor to "Cleopatra V." Bruce On Jan 14, 2010, at 9:45 AM, Charles Sligh wrote: > See the penultimate paragraph of the piece copied below for the Durrell > reference. > > My observation: > > The author of the review seems to understand the "spirit of Lawrence > Durrell" in a limited capacity. Perhaps the "spirit of Alexandria" is > more important? In fact, what the writer describes about the artist's > work might in fact start an interesting conversation between readers of > Durrell and viewers of Louis's artwork. > >> The creamy surface gets thicker and more clotted; the >> decorative work almost incomplete. The insets and >> juxtapositions depict multiple phases of Alexandrian, and >> Egyptian, history. Crafting an ageless portrait is a fine art. >> Louis excels at adding the finer details without embarking on >> the unqualified finish. He is neither fearful of exploring the >> inner meanings of items found in plundered Pharaonic tombs, >> nor on the age-old controversies that historically bedeviled >> his hometown. Alexander the Great, the city's founder, and >> Cleopatra V, the last Ptolomaic queen of Egypt, and probably >> Alexandria's most famous daughter, are hinted at in the works >> of Tossoonian, but only the faintest of hints. Do not look for >> such famous cosmopolitan Alexandrian landmarks as the Cecil >> Hotel or the Constantine Cavafy Museum. Neither does the >> spirit of Lawrence Durrell hover over the works of these three >> Alexandria >> artists. > > Charles > > ** >> *An Alexandrian trio >> They simulate waves but what do waves correspond to, asks Gamal Nkrumah >> * >> *Al-Ahram / 14 - 20 January 2010 >> Issue No. 981* >> *http://weekly.ahram.org.eg/2010/981/cu1.htm* > >> Alfons Louis, Said Badr and Sarkis Tossoonian wandered wistfully into >> Safar Khan with an extraordinary milieu of connected memories -- all >> of their seaside city. Alexandria was always as secular as it was >> sacred. Above all, the three artists evoke Alexandria in August, with >> a hint of October. Strange, since we are in midwinter. As if worn away >> by weather, these works recall a bygone age. >> >> In this climate the arts, whether religious or irreverent, flourished >> uneasily side by side, narrating a compelling story about a >> theology-obsessed schizophrenic cosmopolitanism. A Coptic Christian, a >> Muslim and an ethnic Armenian, Louis, Badr and Tossoonian express the >> aesthetic of Alexandria in their respective personal fashions. They >> delve into such multi- layered and elusive meanings of the city's >> historical cultural outpourings and confront the issue of urban >> multi-identities from radically different perspectives, using distinct >> mediums and notions of self-expression. Their exhibition highlights >> their Alexandrian roots, but in a manner not immediately perceptible. >> Alexandria is honeycombed with catacombs, cisterns and underground >> chambers, and the curiously attractive works of Louis look like >> something snatched out of the dungeons beneath the city, except that >> they are recovered from the depths of the sea like some denizens of >> the deep. >> >> Sun drenched scratched surfaces with fairy-tale hares and gazelles >> prancing past Coptic-like iconic figures look like they have been >> hollowed out of some ancient rock, or dug out of the crypt of some >> long deceased Alexandrian Greek nobles, with scattered pieces of >> potsherds and pockmarked sea salvaged timber. Inscriptions are scarce, >> but Pharaonic oddments are in abundance. >> >> The Copt tells the tale of his extraordinary seaside hometown in >> unpretentious, carefully weighed logs siphoned from the Mediterranean. >> Expect to see no rudimentary paintings of the sea. However, he pulls >> no punches when he tells the story of his many-layered port city. His >> works are a carefully crafted recreation of Alexandria, but without >> the glamour. There is something about his work that ultimately evades >> interpretation. His icons give the impression of being hauled up some >> secret shaft down which the mortal remains of individuals long gone >> have been deposited in the Netherworld. Yet there is something bright >> and cheery about these works built of planks. >> >> Rain-sodden scenes are tangible only in the rough texture of the >> stylistically hewn damp wood. The fragments of metal scattered here >> and there re-enforce the sodden lot. There is something almost >> imperceptible that gives the impression of dankness even though there >> isn't a trace of moisture. >> >> Images of a cosmopolitan Alexandria have long since faded. Instead the >> trio treat visitors to the exhibition to a miscellaneous collection of >> hypnotically powerful works with a classical quality evocative of this >> particular Mediterranean port city's past. >> >> However, the Alexandrian threesome offer an enticing hint of the >> city's original magnificence, and of a darker aspect of its doctrinal >> sophistication. Was not the newly converted Christian Alexandria that >> cruelly culled its pagans -- including the philosopher-sorceress >> Hepatia? She was after all a mere mathematician who happened to infuse >> her students with a vitality and warmth that none of her >> contemporaries matched. For this, she had to be put down, publicly >> executed. >> >> I searched Tossoonian's figurines for reminders of Hepatia. Yes, the >> features of his belles were Romanesque. Snake- haired Medusas of Greek >> mythology stare out into space past your gaze. These bronze figures >> seem to have been rescued from the Serapeum. The original golden >> plaques are polished bronze, of course, and are as shiny and smooth as >> mirrors. Others smack of Ptolemaic sphinxes and most sport aquiline >> Roman noses. >> >> Such not too subtle gems are more than a leitmotif of an exhibition >> mounted in commemoration of Alexandria's past cosmopolitanism. The >> exhibition barely alludes to the multi- religious, multi-cultural >> background of the artists. The three artists' works are not framed in >> the context of a city that has become a magnet for peasants from the >> Delta and beyond. Tossoonian is the only one whose sculptures feature >> human figures. Even so, his women are more reminiscent of some >> Greco-Roman Madonna than mere country maidens. >> >> Tossoonian's sculptures resemble the works of the late Swiss painter >> and sculptor Alberto Giacometti. Art connoisseurs glimpse something of >> the ancient -- Celtic, Greco- Roman or Egyptian? Unlike the statues of >> the ancients, Tossoonian's works stand upright, there is nothing of >> the fallen visages of long dead pharaohs. There is no attempt, either, >> to bring them back to life. Indeed, the bronze is designed to feign >> the listless and lifeless. >> >> And back to Badr. The Muslim, presumably on religious grounds, eschews >> the human figure. Rosetta's fortunes have historically been inversely >> linked with that of Alexandria. And yet the smaller city is only a >> stone's throw away from its far more buxom older sister. But Badr >> isn't in the least interested in the treasures of Rosetta. He pays no >> attention to the medieval rival to Alexandria with its streets studded >> with mashrabeyas, wooden latticework windows, and the lakes engulfing >> the seaport lined with tall reeds. Such a typically Rosetta scene, >> Badr leaves for Louis to make the most of. >> >> The latter uses intricate wooden paneling sparsely, but the timber he >> uses in profusion and with such passion that his works appear to leap >> out of some ancient history book. Louis fuses medieval and ancient, >> Muslim and Coptic, Ptolemaic and Greco-Roman symbols and signs with >> ingenious creativity. However, it is Badr who makes the most of >> arguably the most significant find of Egyptology. Neither a >> multilingual stele, nor a decree from Ptolomy V, a tax amnesty to >> temple priests, Badr's are stuffed with good lines, except that most >> are unreadable. But Badr isn't focussed on the content of the Rosetta >> Stone, only on the inspiration he so obviously derives from the slab >> of black basalt. >> >> Lines rippling across granite. Arabic script mutates into hieroglyphs >> and then back into Arabic calligraphy. It is all extraordinarily >> prescient. The shapes of the stone themselves are designed to shed >> light on the glowing illuminations that capture Alexandria at >> different times of the day and in different seasons. These are apt >> descriptions for Badr's renditions of the Rosetta Stone. His take on >> that curious object defies definition. >> >> Badr's letters are like pictograms. Some are in indecipherable script, >> a make-believe language, others in Arabic. Pencilled on polished >> surfaces, they so nearly resemble the Rosetta Stone, except they don't. >> >> The deciphering of hieroglyphs in 1824 by Jean-Francois Champollion of >> France enabled the world to understand the secrets of ancient Egypt, >> and opened up the mysteries of the Pharaohs. Badr applies himself to >> the tremendous task of reinterpreting Alexandrian history through the >> irregular shapes and weird writings engraved on his imitations of the >> Rosetta Stone. >> >> Black basalt is a hardy stone not easily worked or tamed. The Safar >> Khan gallery is strewn with huge blocks of stone, timber and bronze -- >> like a show of excavations in some undisclosed dig somewhere near >> Alexandria. The cosmopolitan city of yesteryear is the inspiration. >> There is no inkling of the bustling contemporary port. Instead there >> are numerous vestiges of the past. >> >> Does an underlying constituency hold their disparate strands together? >> A master of the right angle and the perfect circle, Badr reproduces >> the curiously cut blocks of black basalt in a variety of shapes and >> sizes, all paying tribute to the original. >> >> The works of the other two artists are somewhat more inconstant, but >> only slightly so. Louis's pieces are easily identifiable. There are >> clear changes of visual texture. Yet the dominant theme remains the >> same. They are decorated with strange images, some faintly resembling >> the ushatbi of the ancients. The Pharaonic influence is greatest; >> however, the Fatimid, Mamluk, Ottoman and other Islamic influences >> abound. Rabbits and antelopes hop and skip in total abandon. >> >> His etchings aspire to the primitive. Colourless elegance yields to >> the saturated earthy hues and icons of his imagination albeit adorned >> in muted tones. >> >> The creamy surface gets thicker and more clotted; the decorative work >> almost incomplete. The insets and juxtapositions depict multiple >> phases of Alexandrian, and Egyptian, history. Crafting an ageless >> portrait is a fine art. Louis excels at adding the finer details >> without embarking on the unqualified finish. He is neither fearful of >> exploring the inner meanings of items found in plundered Pharaonic >> tombs, nor on the age-old controversies that historically bedeviled >> his hometown. Alexander the Great, the city's founder, and Cleopatra >> V, the last Ptolomaic queen of Egypt, and probably Alexandria's most >> famous daughter, are hinted at in the works of Tossoonian, but only >> the faintest of hints. *Do not look for such famous cosmopolitan >> Alexandrian landmarks as the Cecil Hotel or the Constantine Cavafy >> Museum. Neither does the spirit of Lawrence Durrell hover over the >> works of these three Alexandrian artists.* >> >> Instead, pieces of Pompey's pillar, the Fortress of Qaitbey are seen >> and understood in touches by Tossoonian, feelings divulged by Louis, >> and variegated duplications by Badr. They are, like the exhibition >> itself, running a fine line between memory, the memorable and the >> immemorial. Alexandria has profoundly influenced Western thought and >> philosophy. The remains are the relics from its rich past. Carved >> tombstone panels? An artistic tribute to the ancients. > > > > -- > ******************************************** > Charles L. Sligh > Assistant Professor > Department of English > University of Tennessee at Chattanooga > charles-sligh at utc.edu > ******************************************** > > _______________________________________________ > ILDS mailing list > ILDS at lists.uvic.ca > https://lists.uvic.ca/mailman/listinfo/ilds -------------- next part -------------- An HTML attachment was scrubbed... URL: http://lists.uvic.ca/pipermail/ilds/attachments/20100114/7d94c4e2/attachment.html From rwhedges at hotmail.co.uk Thu Jan 14 12:51:51 2010 From: rwhedges at hotmail.co.uk (RW HEDGES) Date: Thu, 14 Jan 2010 20:51:51 +0000 Subject: [ilds] creamy layers Message-ID: Love the description of that art. Nigella has no substance to me. Martini tastes horrid. But i'd give it a shot knowing me. Thanks Charles and Bruce for your words. In truth I was trying to get in line after my champaigne nonsense. Jung I get though. Its the physics that scares me. Is it physics? Any way thanks for the words. I am onto Tunc once The marine Venus is done. I really am a bigger fan of the Island books. Durrell for me started through my passion for Greece. But i'd be up for Alexandria one day. _________________________________________________________________ Do you have a story that started on Hotmail? Tell us now http://clk.atdmt.com/UKM/go/195013117/direct/01/ -------------- next part -------------- An HTML attachment was scrubbed... URL: http://lists.uvic.ca/pipermail/ilds/attachments/20100114/d27f9c88/attachment.html From billyapt at hotmail.com Sat Jan 16 13:03:00 2010 From: billyapt at hotmail.com (William Apt) Date: Sat, 16 Jan 2010 15:03:00 -0600 Subject: [ilds] HELP! Message-ID: Page 71, Penguin ed. of MONTOLIVE: "The eagle smelt of camphor - why he could not imagine" What is an "eagle" in this instance? Is it the flag or standard of the Church of England thats laid over the lecturn? And if it is a cloth covering of some sort, why does Montolive find its smell so odd? BILLY APT Austin, Texas _________________________________________________________________ Hotmail: Trusted email with powerful SPAM protection. http://clk.atdmt.com/GBL/go/196390707/direct/01/ -------------- next part -------------- An HTML attachment was scrubbed... URL: http://lists.uvic.ca/pipermail/ilds/attachments/20100116/e15feb59/attachment.html From Charles-Sligh at utc.edu Sat Jan 16 13:15:36 2010 From: Charles-Sligh at utc.edu (Charles Sligh) Date: Sat, 16 Jan 2010 16:15:36 -0500 Subject: [ilds] HELP! In-Reply-To: References: Message-ID: <4B522C78.2030203@utc.edu> I will let someone else speak to the camphor. But the quick answer would be that the eagle is actually the lectern, as many such carven eagle lecterns appear in Anglican churches. Cf. http://standrewsaa.org/index.php?page=the-gillespie-eagle The Gillespie Eagle Also note the Eagle is St. John's emblem. Good luck C&c. From ilyas.khan at crosby.com Sat Jan 16 13:30:10 2010 From: ilyas.khan at crosby.com (Ilyas) Date: Sat, 16 Jan 2010 21:30:10 +0000 Subject: [ilds] HELP! In-Reply-To: <4B522C78.2030203@utc.edu> Message-ID: One of the best examples of the eagle in a lectern is St James in the town of Haslingden, on the Borough of Rossendale, in the county of Lancashire. I grew in going to church there, and the rather magnificent eagle still remains vivid in my mind. The current church building was predominantly constructed in the 1700's but a church has been on that site since the 1200's. All in all a fabulous church and noteworthy "eagle". If you are ever in the vicinity, please come visit. On 16/01/2010 21:15, "csligh" wrote: > I will let someone else speak to the camphor. > > But the quick answer would be that the eagle is actually the lectern, as > many such carven eagle lecterns appear in Anglican churches. > > Cf. > > http://standrewsaa.org/index.php?page=the-gillespie-eagle > The Gillespie Eagle > > Also note the Eagle is St. John's emblem. > > Good luck > > C&c. > _______________________________________________ > ILDS mailing list > ILDS at lists.uvic.ca > https://lists.uvic.ca/mailman/listinfo/ilds From billyapt at hotmail.com Sat Jan 16 14:00:26 2010 From: billyapt at hotmail.com (William Apt) Date: Sat, 16 Jan 2010 16:00:26 -0600 Subject: [ilds] HELP! In-Reply-To: References: <4B522C78.2030203@utc.edu>, Message-ID: Ah! Thanks! Another question, on page 73: "The Secretary for the H.E." Does H.E. mean embassy head? > Date: Sat, 16 Jan 2010 21:30:10 +0000 > From: ilyas.khan at crosby.com > To: Charles-Sligh at utc.edu; ilds at lists.uvic.ca > Subject: Re: [ilds] HELP! > > One of the best examples of the eagle in a lectern is St James in the town > of Haslingden, on the Borough of Rossendale, in the county of Lancashire. I > grew in going to church there, and the rather magnificent eagle still > remains vivid in my mind. The current church building was predominantly > constructed in the 1700's but a church has been on that site since the > 1200's. > > All in all a fabulous church and noteworthy "eagle". If you are ever in the > vicinity, please come visit. > > > On 16/01/2010 21:15, "csligh" wrote: > > > I will let someone else speak to the camphor. > > > > But the quick answer would be that the eagle is actually the lectern, as > > many such carven eagle lecterns appear in Anglican churches. > > > > Cf. > > > > http://standrewsaa.org/index.php?page=the-gillespie-eagle > > The Gillespie Eagle > > > > Also note the Eagle is St. John's emblem. > > > > Good luck > > > > C&c. > > _______________________________________________ > > ILDS mailing list > > ILDS at lists.uvic.ca > > https://lists.uvic.ca/mailman/listinfo/ilds > > > _______________________________________________ > ILDS mailing list > ILDS at lists.uvic.ca > https://lists.uvic.ca/mailman/listinfo/ilds _________________________________________________________________ Hotmail: Free, trusted and rich email service. http://clk.atdmt.com/GBL/go/196390708/direct/01/ -------------- next part -------------- An HTML attachment was scrubbed... URL: http://lists.uvic.ca/pipermail/ilds/attachments/20100116/d47de516/attachment.html From bredwine1968 at earthlink.net Sat Jan 16 18:13:12 2010 From: bredwine1968 at earthlink.net (Bruce Redwine) Date: Sat, 16 Jan 2010 18:13:12 -0800 Subject: [ilds] HELP! In-Reply-To: <4B522C78.2030203@utc.edu> References: <4B522C78.2030203@utc.edu> Message-ID: <9802AD7C-F130-4A58-AAA0-911FA873E98D@earthlink.net> My guess is that camphor is associated with Anglican ritual, possibly the burning of incense. In Catholic ritual, the priest swings a censer, in which burns a substance, possibly camphor. It emits a heavy scent. Bruce On Jan 16, 2010, at 1:15 PM, Charles Sligh wrote: > I will let someone else speak to the camphor. > > But the quick answer would be that the eagle is actually the lectern, as > many such carven eagle lecterns appear in Anglican churches. > > Cf. > > http://standrewsaa.org/index.php?page=the-gillespie-eagle > The Gillespie Eagle > > Also note the Eagle is St. John's emblem. > > Good luck > > C&c. From billyapt at hotmail.com Sun Jan 17 08:43:13 2010 From: billyapt at hotmail.com (William Apt) Date: Sun, 17 Jan 2010 10:43:13 -0600 Subject: [ilds] HELP! In-Reply-To: <9802AD7C-F130-4A58-AAA0-911FA873E98D@earthlink.net> References: , <4B522C78.2030203@utc.edu>, <9802AD7C-F130-4A58-AAA0-911FA873E98D@earthlink.net> Message-ID: Thanks. > From: bredwine1968 at earthlink.net > Date: Sat, 16 Jan 2010 18:13:12 -0800 > To: Charles-Sligh at utc.edu; ilds at lists.uvic.ca > CC: bredwine1968 at earthlink.net > Subject: Re: [ilds] HELP! > > My guess is that camphor is associated with Anglican ritual, possibly the burning of incense. In Catholic ritual, the priest swings a censer, in which burns a substance, possibly camphor. It emits a heavy scent. > > > Bruce > > > On Jan 16, 2010, at 1:15 PM, Charles Sligh wrote: > > > I will let someone else speak to the camphor. > > > > But the quick answer would be that the eagle is actually the lectern, as > > many such carven eagle lecterns appear in Anglican churches. > > > > Cf. > > > > http://standrewsaa.org/index.php?page=the-gillespie-eagle > > The Gillespie Eagle > > > > Also note the Eagle is St. John's emblem. > > > > Good luck > > > > C&c. > > > _______________________________________________ > ILDS mailing list > ILDS at lists.uvic.ca > https://lists.uvic.ca/mailman/listinfo/ilds _________________________________________________________________ Hotmail: Free, trusted and rich email service. http://clk.atdmt.com/GBL/go/196390708/direct/01/ -------------- next part -------------- An HTML attachment was scrubbed... URL: http://lists.uvic.ca/pipermail/ilds/attachments/20100117/9baf995d/attachment.html From bredwine1968 at earthlink.net Sun Jan 17 09:09:58 2010 From: bredwine1968 at earthlink.net (Bruce Redwine) Date: Sun, 17 Jan 2010 09:09:58 -0800 Subject: [ilds] HELP! In-Reply-To: References: <4B522C78.2030203@utc.edu>, Message-ID: H.E. = His Excellency? I.e., the head of the diplomatic mission. The Brits seem to have a special fondness for abbreviating an honorific term. Cf. HRH for His/Her Royal Highness. BR On Jan 16, 2010, at 2:00 PM, William Apt wrote: > Ah! Thanks! > > Another question, on page 73: "The Secretary for the H.E." Does H.E. mean embassy head? > > > Date: Sat, 16 Jan 2010 21:30:10 +0000 > > From: ilyas.khan at crosby.com > > To: Charles-Sligh at utc.edu; ilds at lists.uvic.ca > > Subject: Re: [ilds] HELP! > > > > One of the best examples of the eagle in a lectern is St James in the town > > of Haslingden, on the Borough of Rossendale, in the county of Lancashire. I > > grew in going to church there, and the rather magnificent eagle still > > remains vivid in my mind. The current church building was predominantly > > constructed in the 1700's but a church has been on that site since the > > 1200's. > > > > All in all a fabulous church and noteworthy "eagle". If you are ever in the > > vicinity, please come visit. > > > > > > On 16/01/2010 21:15, "csligh" wrote: > > > > > I will let someone else speak to the camphor. > > > > > > But the quick answer would be that the eagle is actually the lectern, as > > > many such carven eagle lecterns appear in Anglican churches. > > > > > > Cf. > > > > > > http://standrewsaa.org/index.php?page=the-gillespie-eagle > > > The Gillespie Eagle > > > > > > Also note the Eagle is St. John's emblem. > > > > > > Good luck > > > > > > C&c. > > > _______________________________________________ > > > ILDS mailing list > > > ILDS at lists.uvic.ca > > > https://lists.uvic.ca/mailman/listinfo/ilds > > > > > > _______________________________________________ > > ILDS mailing list > > ILDS at lists.uvic.ca > > https://lists.uvic.ca/mailman/listinfo/ilds > > Hotmail: Free, trusted and rich email service. Get it now. _______________________________________________ > ILDS mailing list > ILDS at lists.uvic.ca > https://lists.uvic.ca/mailman/listinfo/ilds -------------- next part -------------- An HTML attachment was scrubbed... URL: http://lists.uvic.ca/pipermail/ilds/attachments/20100117/97616277/attachment.html From Charles-Sligh at utc.edu Sun Jan 17 09:43:12 2010 From: Charles-Sligh at utc.edu (Charles Sligh) Date: Sun, 17 Jan 2010 12:43:12 -0500 Subject: [ilds] authors' & printers' dictionary Message-ID: <4B534C30.5040308@utc.edu> Billy, Bruce, & co.: One good resource for readers doing spadework in the post-Victorian midden-field of official and honorary British abbreviations: > Title Authors' & printers' dictionary > Author Frederick Howard Collins > Editor Horace Hart > Publisher H. Frowde, 1912 http://books.google.com/books?id=_P0uAAAAMAAJ&printsec=frontcover&client=firefox-a&source=gbs_navlinks_s#v=onepage&q=&f=false There you will find "H.E. His Eminence, ? Excellency." I keep the seventh edition (1933) of this book close at hand. It has served me admirably. (By the way, you can download the googlebooks copy in pdf.) C&c. -- ******************************************** Charles L. Sligh Assistant Professor Department of English University of Tennessee at Chattanooga charles-sligh at utc.edu ******************************************** From bredwine1968 at earthlink.net Sun Jan 17 10:28:42 2010 From: bredwine1968 at earthlink.net (Bruce Redwine) Date: Sun, 17 Jan 2010 10:28:42 -0800 Subject: [ilds] authors' & printers' dictionary In-Reply-To: <4B534C30.5040308@utc.edu> References: <4B534C30.5040308@utc.edu> Message-ID: Thanks, Charles. I knew something like this had to exist somewhere, but I question "eminence." Isn't that reserved for the clergy? Bruce Sent from my iPhone On Jan 17, 2010, at 9:43 AM, Charles Sligh wrote: > Billy, Bruce, & co.: > > One good resource for readers doing spadework in the post-Victorian > midden-field of official and honorary British abbreviations: > >> Title Authors' & printers' dictionary >> Author Frederick Howard Collins >> Editor Horace Hart >> Publisher H. Frowde, 1912 > > http://books.google.com/books?id=_P0uAAAAMAAJ&printsec=frontcover&client=firefox-a&source=gbs_navlinks_s#v=onepage&q=&f=false > > There you will find "H.E. His Eminence, ? Excellency." > > I keep the seventh edition (1933) of this book close at hand. It has > served me admirably. > > (By the way, you can download the googlebooks copy in pdf.) > > C&c. > > -- > ******************************************** > Charles L. Sligh > Assistant Professor > Department of English > University of Tennessee at Chattanooga > charles-sligh at utc.edu > ******************************************** > > _______________________________________________ > ILDS mailing list > ILDS at lists.uvic.ca > https://lists.uvic.ca/mailman/listinfo/ilds From Charles-Sligh at utc.edu Sun Jan 17 10:43:39 2010 From: Charles-Sligh at utc.edu (Charles Sligh) Date: Sun, 17 Jan 2010 13:43:39 -0500 Subject: [ilds] authors' & printers' dictionary In-Reply-To: References: <4B534C30.5040308@utc.edu> Message-ID: <4B535A5B.7010302@utc.edu> Bruce Redwine wrote: > Thanks, Charles. I knew something like this had to exist somewhere, > but I question "eminence." Isn't that reserved for the clergy? > > I think you are right. So one HE for service to the crown, one HE for service to the Church. C&c. -- ******************************************** Charles L. Sligh Assistant Professor Department of English University of Tennessee at Chattanooga charles-sligh at utc.edu ******************************************** From billyapt at hotmail.com Sun Jan 17 11:29:17 2010 From: billyapt at hotmail.com (William Apt) Date: Sun, 17 Jan 2010 13:29:17 -0600 Subject: [ilds] authors' & printers' dictionary In-Reply-To: <4B535A5B.7010302@utc.edu> References: <4B534C30.5040308@utc.edu>, , <4B535A5B.7010302@utc.edu> Message-ID: Thanks to you both for addressing my questions. You are a great help. I really appreciate the ILDS list serve and your availability. > Date: Sun, 17 Jan 2010 13:43:39 -0500 > From: Charles-Sligh at utc.edu > To: bredwine1968 at earthlink.net; ilds at lists.uvic.ca > Subject: Re: [ilds] authors' & printers' dictionary > > Bruce Redwine wrote: > > Thanks, Charles. I knew something like this had to exist somewhere, > > but I question "eminence." Isn't that reserved for the clergy? > > > > > > I think you are right. So one HE for service to the crown, one HE for > service to the Church. > > C&c. > > -- > ******************************************** > Charles L. Sligh > Assistant Professor > Department of English > University of Tennessee at Chattanooga > charles-sligh at utc.edu > ******************************************** > > _______________________________________________ > ILDS mailing list > ILDS at lists.uvic.ca > https://lists.uvic.ca/mailman/listinfo/ilds _________________________________________________________________ Hotmail: Trusted email with powerful SPAM protection. http://clk.atdmt.com/GBL/go/196390707/direct/01/ -------------- next part -------------- An HTML attachment was scrubbed... URL: http://lists.uvic.ca/pipermail/ilds/attachments/20100117/52af82ad/attachment.html From bredwine1968 at earthlink.net Sun Jan 17 12:04:49 2010 From: bredwine1968 at earthlink.net (Bruce Redwine) Date: Sun, 17 Jan 2010 12:04:49 -0800 Subject: [ilds] authors' & printers' dictionary In-Reply-To: References: <4B534C30.5040308@utc.edu>, , <4B535A5B.7010302@utc.edu> Message-ID: <91DB6643-D0CC-4123-A0AB-121789514887@earthlink.net> Irony may be involved. I'm reminded of an Orson Wells story. Wells meets an "eminent" Hollywood executive and says. "I wish you'd be made a cardinal. Then I'd only have to kiss your ring.". H.E. may have a similar connotation. Bruce Sent from my iPhone On Jan 17, 2010, at 11:29 AM, William Apt wrote: > Thanks to you both for addressing my questions. You are a great > help. I really appreciate the ILDS list serve and your availability. > > > > Date: Sun, 17 Jan 2010 13:43:39 -0500 > > From: Charles-Sligh at utc.edu > > To: bredwine1968 at earthlink.net; ilds at lists.uvic.ca > > Subject: Re: [ilds] authors' & printers' dictionary > > > > Bruce Redwine wrote: > > > Thanks, Charles. I knew something like this had to exist > somewhere, > > > but I question "eminence." Isn't that reserved for the clergy? > > > > > > > > > > I think you are right. So one HE for service to the crown, one HE > for > > service to the Church. > > > > C&c. > > > > -- > > ******************************************** > > Charles L. Sligh > > Assistant Professor > > Department of English > > University of Tennessee at Chattanooga > > charles-sligh at utc.edu > > ******************************************** > > > > _______________________________________________ > > ILDS mailing list > > ILDS at lists.uvic.ca > > https://lists.uvic.ca/mailman/listinfo/ilds > > Hotmail: Trusted email with powerful SPAM protection. Sign up now. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://lists.uvic.ca/pipermail/ilds/attachments/20100117/406e52e8/attachment.html From dtart at bigpond.net.au Sun Jan 17 15:32:45 2010 From: dtart at bigpond.net.au (Denise Tart & David Green) Date: Mon, 18 Jan 2010 10:32:45 +1100 Subject: [ilds] H.E. H.R.H and 3R.A.R. Message-ID: MMmness, I would confirm that H.E does indeed stand for His Excellency and His Eminence is a cardinal like Cardinal Richelieu or Cardinal George Pell, the head of the mick church here in Australia but the the term H. E. is not, in my experience, applied to cardinals. Now yes, Bruce is right. The Brits do have a fondness for abreviations of this type: F.O = Foreign Office (or fuck off), MOD = Ministry of Defence, GHQ = General Head Quarters etc. Here in Aust. there is not quite the same obsession but, for example, the Third Royal Australian Regiment is known as 3RAR. In the early 70s the British Comedians Peter Cook and Dudley Moore did a humorous satire of the abreviation and acronym tendencies of the British upper class, something like "so how's of JF?" "Oh doing frightfully well. Just got a promotion to MD by old HE down at the MOD, don't you know!" But let us not talk about the American tendency to leave out vowels or one may well and truly fall out of FAVOUR, what! DG BA Dip Ed. Aust. Denise Tart designing ceremonies Civil Celebrant - A8807 16 William Street Marrickville NSW 2204 +61 2 9564 6165 0412 707 625 dtart at bigpond.net.au www.denisetart.com.au -------------- next part -------------- An HTML attachment was scrubbed... URL: http://lists.uvic.ca/pipermail/ilds/attachments/20100118/b2d5c463/attachment.html From bredwine1968 at earthlink.net Sun Jan 17 20:22:37 2010 From: bredwine1968 at earthlink.net (Bruce Redwine) Date: Sun, 17 Jan 2010 20:22:37 -0800 Subject: [ilds] H.E. H.R.H and 3R.A.R. In-Reply-To: References: Message-ID: <40C653D7-F2FB-411D-A23D-C34B9CD9497A@earthlink.net> Thanks, David. Personally I've always preferred "favour," "colour," "centre," and the lot when it comes to writing English. My teachers of American English never agreed, however. David brings up interesting examples and confirms what we know about old LD or LGD. Now, there's a Durrell poem which has always puzzled me. It's an obvious spoof on diplomatic or journalistic cablese, but what does it really mean? Any translations? PRESSMARKED URGENT DESPATCH ADGENERAL PUBLICS EXTHE WEST PERPETUAL MOTION QUITE UNFINDING REST ADVANCES ETRETREATS UPON ILLUSION PREPARES NEW METAPHYSICS PERCONFUSION PARA PERDISPOSITION ADNEW EVIL ETREFUSAL ADCONCEDE OUR ACTS ADDEVIL NEITHER PROFIT SHOWS NOR LOSS SEDSOME MORE PROPHETS NAILED ADCROSS ATTACK IN FORCE SURMEANS NONENDS BY MULTIPLYING CONFUSION TENDS ADCLOUD THE ISSUES WHICH ARE PLAIN COLON DISTINGUISH PROFIT EXGAIN ETBY SMALL CONCEPTS LONG NEGLECTED FIND VIRTUE SUBACTION CLEAR REFLECTED ETWEIGHING THE QUANTUM OF THE SIN BEGIN TO BE REPEAT BEGIN. On Jan 17, 2010, at 3:32 PM, Denise Tart & David Green wrote: > MMmness, I would confirm that H.E does indeed stand for His Excellency and His Eminence is a cardinal like Cardinal Richelieu or Cardinal George Pell, the head of the mick church here in Australia but the the term H. E. is not, in my experience, applied to cardinals. > > Now yes, Bruce is right. The Brits do have a fondness for abreviations of this type: F.O = Foreign Office (or fuck off), MOD = Ministry of Defence, GHQ = General Head Quarters etc. Here in Aust. there is not quite the same obsession but, for example, the Third Royal Australian Regiment is known as 3RAR. > > In the early 70s the British Comedians Peter Cook and Dudley Moore did a humorous satire of the abreviation and acronym tendencies of the British upper class, something like > > "so how's of JF?" > > "Oh doing frightfully well. Just got a promotion to MD by old HE down at the MOD, don't you know!" > > But let us not talk about the American tendency to leave out vowels or one may well and truly fall out of FAVOUR, what! > > DG > BA Dip Ed. > Aust. > > > Denise Tart > designing ceremonies > Civil Celebrant - A8807 > 16 William Street > Marrickville NSW 2204 > +61 2 9564 6165 > 0412 707 625 > dtart at bigpond.net.au > www.denisetart.com.au -------------- next part -------------- An HTML attachment was scrubbed... URL: http://lists.uvic.ca/pipermail/ilds/attachments/20100117/b6c05153/attachment.html