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As a child, Anthony Sampson was haunted by a family skeleton. He knew his grandfather John Sampson had been an authority on the gypsies. They had called him the Rai - the Master - and had flocked to his magnificent funeral on a Welsh mountain. But of his grandfather's private life he was told nothing, nor of the mysterious aunt who joined the family after his death. In fact only sixty years later did the truth begin to emerge. This book follows a trail of clues to uncover an extraordinary hidden life and a gypsy world now disappeared. John Sampson was a brilliant philologist who, happening to encounter a gypsy tribe in North Wales, compiled over thirty years a dictionary of the Romani language that remains the standard work. But he also became a Bohemian himself, a bigamist and the father of a child who was brought up secretly and who would in turn become a remarkable scholar. Using intimate letters, bawdy rhymes and wonderful illustrations- including many by Augustus John who was part of the circle - Anthony Sampson brings to life a group of scholars, writers and painters who escaped Victorian convention to pursue an alternative life in the Welsh hills. The Scholar Gypsy is both a detective story and a moving voyage of discovery. Ranging through finely observed contrasts and connections it illuminates many lesser-known aspects of Victorian and Edwardian Britain and vividly conveys the spell that gypsies cast on the imagination of artists and writers, and the fear that they arouse among the conventional.
The first monograph to be published on Gypsies in Britain using the perspective of social anthropology.
This is a timely collection of Ian Hancock's selected writings. His impact upon Romani Studies has been truly remarkable, both in terms of his contributions to linguistics and Gypsy historiography and in his re-assessment of Romani identity within the Western cultural fabric
Cervera, Spain, 1852. David Sandoval is a sixteen-year-old genius on many different subjects, yet he is more content studying than becoming close with family or friends. When he accepts an apprenticeship offer from a French architect, he is convinced that this will be the biggest achievement of his life. While on his travels to Paris, a foolhardy decision on his part gets him abducted by a gypsy caravan, owned by a living Grecian sphinx. The sphinx, seemingly intrigued by the fearless young man, takes him through the Curtain, the gateway between our world and the worlds of the "unseen," where many creatures of myth and legend reside. When David discovers that he has unwittingly proposed to the sphinx--who appears pleased to have him as a potential mate--he attempts to escape back through the Curtain to the human world, only to be sent to Kyoto, Japan, and that is only the beginning of his problems. On his adventure to return home, he learns a dark secret: a Shade, an extension of the shadowy Night Goddess Nyx, is slowly draining the sphinx of her most precious talents. David might be the only human on earth with the knowledge of how to save the sphinx from a lethal blight imposed on her by Nyx, and he must also save his new friends from a ruthless adversary, the Teumessian. Can one normal boy truly undo the inflictions of a goddess, and rescue both the seen and unseen worlds from her dark intentions?
Complementing recent feminist studies of female self-representation, this book examines the dynamics of masculine self-representation in nineteenth-century British literature. Arguing that the category "autobiography" was a product of nineteenth-century individualism, the author analyzes the dependence of the nineteenth-century masculine subject on autonomy or self-naming as the prerequisite for the composition of a life history. The masculine autobiographer achieves this autonomy by using a feminized other as a metaphorical mirror for the self. The feminized other in these texts represents the social cost of masculine autobiography. Authors from Wordsworth to Arnold, including Samuel Taylor Coleridge, Thomas De Quincey, John Ruskin, Alfred Tennyson, Robert Louis Stevenson, John Stuart Mill, and Edmund Gosse, use female lovers and family members as symbols for the community with which they feel they have lost contact. In the theoretical introduction, the author argues that these texts actually privilege the autonomous self over the images of community they ostensibly value, creating in the process a self-enclosed and self-referential "community of one."