http://hdl.handle.net/10023/103 2013-05-23T07:52:34Z 2013-05-23T07:52:34Z Culpin, David John http://hdl.handle.net/10023/3520 2013-05-10T19:31:01Z 2009-01-01T00:00:00Z

Abstract: In 1848, the South Australian Library and Mechanics’ Institute came into existence. It was the first stable library in South Australia. In 1856 its books passed to the library of the South Australian Institute, whose holdings continued to grow until 1883, when many of the books were transferred to the fledgling Public Library, forerunner of today’s State Library. Between 1848 and 1883 the two early libraries built up a collection of nearly 20,000 works of which a little over 500 were by French authors, and almost half of those books were in French. This paper follows the growth of the collection of French books and examines the nature of the books that were acquired. In doing so it highlights the place which French culture continued to occupy within the intellectual life of early South Australia and illustrates the gradual change of taste as an elite culture was displaced by the demands of a more popular readership.

2009-01-01T00:00:00Z Culpin, David John In 1848, the South Australian Library and Mechanics’ Institute came into existence. It was the first stable library in South Australia. In 1856 its books passed to the library of the South Australian Institute, whose holdings continued to grow until 1883, when many of the books were transferred to the fledgling Public Library, forerunner of today’s State Library. Between 1848 and 1883 the two early libraries built up a collection of nearly 20,000 works of which a little over 500 were by French authors, and almost half of those books were in French. This paper follows the growth of the collection of French books and examines the nature of the books that were acquired. In doing so it highlights the place which French culture continued to occupy within the intellectual life of early South Australia and illustrates the gradual change of taste as an elite culture was displaced by the demands of a more popular readership. Bowd, Gavin Philip http://hdl.handle.net/10023/3519 2013-05-10T19:01:03Z 2011-11-01T00:00:00Z 2011-11-01T00:00:00Z Bowd, Gavin Philip Evans, David Elwyn http://hdl.handle.net/10023/3484 2013-05-12T02:04:57Z 2010-07-01T00:00:00Z

Abstract: Throughout his theoretical writings, Valéry insists on two fundamental principles: poetic rhythm is undefinable and yet it is central to poetry. Although his verse practice evolves from irregularity to regularity, Valéry insists that predictable metrical forms are no guarantee of poeticity, and rejects the Romantic model of rhythmic mimesis based on the cosmos, nature or the human body. It is not by confirming the meaningfulness of regular patterns, therefore, that poetic rhythm signifies; rather, the complex overlapping of multiple, elusive and unanalysable rhythms provides a source of questions to which the answer is constantly deferred; and that, for Valéry, is the definition of poetry.

2010-07-01T00:00:00Z Evans, David Elwyn Throughout his theoretical writings, Valéry insists on two fundamental principles: poetic rhythm is undefinable and yet it is central to poetry. Although his verse practice evolves from irregularity to regularity, Valéry insists that predictable metrical forms are no guarantee of poeticity, and rejects the Romantic model of rhythmic mimesis based on the cosmos, nature or the human body. It is not by confirming the meaningfulness of regular patterns, therefore, that poetic rhythm signifies; rather, the complex overlapping of multiple, elusive and unanalysable rhythms provides a source of questions to which the answer is constantly deferred; and that, for Valéry, is the definition of poetry. Morisi, Eve Celia http://hdl.handle.net/10023/1995 2013-05-12T04:06:31Z 2008-03-01T00:00:00Z 2008-03-01T00:00:00Z Morisi, Eve Celia