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At the turn of the century, visionary composer Charles Tomlinson Griffes synthesized highly diverse elements from other musical traditions into his distinct artistic voice. As American as he was far ranging in his interests, Griffes was an aesthetic polyglot, combining elements of literature, visual arts, global folk melodies, and contemporary European art music into a new musical language. The breadth of his sources of inspiration are breathtaking, including the sensual harmonies of fin-de-siècle French music, the British Aesthetic Movement, folk music drawn from the Middle East and Java, and a wide range of poets, including William Blake, Samuel Taylor Coleridge, and William Sharp. The Pastoral in Charles Griffes's Music explores both his music and the rich historical context from which it grew to enrich our understanding of the composer's artistic contribution and reveal new intersections and contradictions in European and American culture during the early twentieth century. Taylor A. Greer also critiques the philosophical foundation of topic theory and its relationship to the pastoral in Griffes's music to reflect on the end of the nineteenth century and clarify our understanding of his artistic influences. With Griffes's conception of the pastoral, he transformed the siciliana-based tradition he inherited from the eighteenth century into a new and vibrant genre that preserved the usual associations of simplicity and tranquility and introduced new elements of tension into the pastoral ideal, including global voices, paradox, and occasional conflict.

This critical study looks at the first four decades of Charles Tomlinson’s poetic career, and is the only published full-scale, exclusive treatment of his poetry. Tomlinson is a major British poet whose work has received more recognition in North America and continental Europe than it has in his own country, where still, in some quarters, its character is misunderstood and therefore misjudged. The purpose of Kirkham’s study is to increase understanding and appreciation of the exceptional achievement of Tomlinson’s poetry, emphasising both the startling originality of his vision – a unified vision of a natural-human world – and the subtlety of his poetic art. The study is a reading of the poems which aims to show what they yield to close scrutiny and to remove misconceptions. Known for its analytical rendering of sense-impressions and its avoidance of the personal pronoun, the objectivism of Tomlinson’s poetry is not an exercise in asceticism, but a means of enlarging the circumference of the perceiving self, an expansion of self which is not at the same time an inflation of the self-regarding ego. Its theme is not objects as such but relations, the relation of the perceiving self to the other, of the human to the non-human world. Its reputation for cool detachment is based on a misreading: it is a poetry of energy and excitement, which combines self-restraint with passionate conviction.

Renga (1971) is a book-length chain of linked poems written in four European languages by four leading twentieth-century poets: Octavio Paz, Edoardo Sanguineti, Charles Tomlinson, and Jacques Roubaud. Because this pioneering multiauthored, multilingual, and multicultural work is based on the medieval Japanese poetic genre of “linked verse” (renga), the question arises: what is the exact nature of the relation between the modern Western poem and its Japanese model? This article argues that, far from being a merely superficial imitation of certain formal elements of the Japanese poetic practice of group composition, Renga is remarkably faithful to the spirit of the original genre, especially its underlying Zen aesthetics, philosophy, and psychology of muga (no-self). At the same time, the poem's embodiment of a “negative poetic self” does not alienate it from its own Western tradition. On the contrary, in this respect it also faithfully reflects both the Zeitgeist of the postwar period when it was written and, more generally, the post-Romantic, modernist concept of the poetic self. Much of the credit for this remarkable achievement and for the continuing seminal influence of this unique work is due to the profound cross-cultural insight of the project's leading poet, Paz.

(1927– ), poet and artist. His aspirations as a painter are reflected in the visual qualities of his

Examples of contemporary UK poetry are analyzed, including works by Charles Tomlinson. Tomlinson has shown an aversion to extremism, both in politics and in poetic style.

Mr Maxlow-[Charles Maxlow-Tomlinson] left Lvam towards the end of last year after the company's parent LV= outsourced Lvam's assets to Threadneedle, which did not hire any of Lvam's managers.

Charles Tomlinson (1808-97) was an exceptionally versatile scientist of the Victorian era, who, in a long career as an educator, encyclopaedist and researcher contributed significantly to the advancement of science and technology. By his prolific authorship of some 50 books and 100 published papers and notes, he promoted the dissemination of scientific information, both to professionals and to a wider public that was beginning to appreciate the powerful influence of technology on the wealth and well-being of society. In his magnificent Cyclopaedia of the useful arts, he set a monument to the contemporary state of science, technology and the manufactures. His researches in the field of chemical physics, especially concerned with the phenomena of surface tension, supersaturation and meteorology, were recognized by his election as a Fellow of The Royal Society.