30,426 research outputs found
Prosperity. The effect of the grass-hoppers. Leaving Nebraska, going west
No full textHumorous photograph shows prosperous man sitting in his living room; no grasshoppers are visible outside.Copyright by James A. Farnham, 1875.No. 4.Title from item
Suspense. First appearance of the grasshoppers in Nebraska
No full textHumorous photograph shows a man sitting in his home watching grasshoppers outside the door.Copyright by James A. Farnham, 1875.Title from item.No. 1
Adversity. Effect of grass-hoppers coming down
No full textHumorous photograph shows man in home looking poverty stricken. House is in disarray and writing on wall says "Go west young man, go west."Copyright by James A. Farnham, 1875.No. 3.Title from item
Telegram re: Will Rogers portrait
No full textTelegram from Sally James Farnham, sculptor, to Amon Carter regarding her portrait of Will Rogers
Farnham Meadows
No full textFarnham Meadows is a moving image and sound artefact exploring the history of land tenure of meadows from the 17th century to the present in the vicinity of the small town of Farnham, Surrey. Using diverse visual sources – 17th century estate plans and a drone - the work explores the palimpsest of representations of space and social relationships that shape this material environment. It presents the traces of the remaking and dispossession of meadow farmland in this corner of Surrey from strip farmers to property ownership. This project is a collaboration between academics at UCA Farnham, the Museum of Farnham, and local historians
Meadows of Farnham Enclosures
No full textMapping Enclosures is a moving image and sound artefact exploring the history of land tenure of meadows from the 17th century to the present in the vicinity of the small town of Farnham, Surrey. Using diverse visual sources – 17th century estate maps and contemporary drone footage - the work explores the palimpsest of representations of space and social relationships that shape this material environment. It aims to recover the traces of the remaking and dispossession of the natural resources of Surrey from farmers to property ownership. This project is a collaboration between researchers at the UCA Farnham and the Museum of Farnham.
The sonic element of the project will approach the site and space through field recordings and a creative reworking of the aural processes and cycles that comprise the labour and material processes of agricultural production on the land. These sites of ecological conservation – a chain of natural meadows adjacent to the River Wey near Farnham - are re-framed by the project as sites of historic human sustenance and economic relationships. An aspect of the dispossession of land is re-acted in the form of surveying in the work.
Within the acoustic area, there are topic links with the work of Barry Truax (albeit the creative processes and project aims are quite different) (Truax, 2022). This work continues the practice of Spatial Cinema of the PI (Connolly 2020) and audio design work of James Edward Armstrong (2018).
The presentation of this work in progress will feature audio-visual clips and examples of the media as well as an exploration of the project context – this is a UCA Knowledge Exchange funded project
Engraved portrait of James Nayler (1618–1660)
No full textEngraved portrait of James Nayler (1618-1660) by Robert Grave (1768-1825). Inscribed, 'Born at Ardesloe, near Wakefield, in Yorkshire. Was an Independent and served Quarter Master in ye Parliament Army, about the Year 1641. turn'd Quaker in 1651. Punish'd as a Blasphemer 1656. Author of many Books & Dyed at Holm in Huntingtonshire 1660. Aged 44.
James Hogg and the Authority of Tradition
No full textThe nineteenth-century Scottish writer James Hogg (1770-1835) engaged with traditional forms of expression as part of his mission to represent subaltern Scottish experience rather than to be represented by the literati’s constructions of it. This essay addresses the various forms his mediation took: in his role as informant for Walter Scott’s Minstrelsy of the Scottish Border (1802–1803), as deliberate re-writer of folk narratives in poetry and fiction, and as plainspoken advocate of Scottish culture. Throughout, Hogg insisted on narrative strategies anchored in community, drawing authority from living tradition rather than acquiescing to the prevalent view of tradition as a collection of fossilised relics. In doing so, he offered an alternative model to the antiquarian grand narrative
Eileen Barker (éd.), The Centrality of Religion in Social Life. Essays in Honour of James A. Beckford, Farnham, Ashgate, 2008
No full textBastian Jean-Pierre. Eileen Barker (éd.), The Centrality of Religion in Social Life. Essays in Honour of James A. Beckford, Farnham, Ashgate, 2008. In: Revue d'histoire et de philosophie religieuses, 91e année n°2, Avril-Juin 2011. p. 243
Polyphony and the anxiety of influence in the fiction of Henry James
No full textJames's fiction, especially in the Middle Phase, centres
on the figure of the artist and is characterized by, the two
interrelated aspects which previous criticism has largely
overlooked: the Bakhtinian 'polyphonic' -creation of
'author-thinkers'; and the conflict between ephebes and
precursors, for which Harold-Bloom's concept of 'the-anxiety of
influence' is the most illuminating model. Polyphony is the
narrative mode, and influence is the intra-artistic, theme.
These, as the Introduction to the thesis makes clear, are
rehearsed in James's inaugural novel, Roderick Hudson. Rowland
Mallet is an author-thinker, and his failure is caused by
authorial limitations. His monologism -is impaired by his
mistaking empathy for the authorial sympathy. Likewise,
Hudson's failure does not arise from a mercurial temperament,
but from a polyphonic shortcoming: not possessing the power of
fiction to contain the fiction of power in, his mentor. And the
relationships among the three artists - Gloriani, Hudson and
Singleton - perfectly exemplify the Bloomian-theme. It is these
two concepts, polyphony and influence, which are the major
preoccupation in the Middle Phase; as, the works chosen
demonstrate. These are a novella, a novel, and a number of
short stories all of which have been unjustifiably neglected.
Chapter One, on The Aspern Papers, argues that Tina Bordereau,
far from being, the artless victim seen by many critics,
actually challenges and defeats the narrator by the very form
of her narrative. Her 'realist' discourse undermines his
language of 'romance', and shows up its internal unstability.
Chapter Two is an extensive study of the critical reception of
The Tragic Muse. The most common areas of critical attention
have been its contemporary topicality, its relation to previous
novels on similar themes, and the possible genealogy of Gabriel
Nash. Those have all missed the core of the work. - Chapter Three
demonstrates how polyphony and the anxiety of influence make
the novel what it really is. Influence arises from the
juxtaposition of, and the wrestling between, artistic ephebes
and their precursors (Nick and Nash,, Miriam and Madame Carre).
The dialogic quality defined by Bakhtin is crucial to the
proper, and even-handed, characterization of all, the conflicts
in the novel. And since most of James's tales in the eighties
and nineties -are about 'masters - and acolytes, the anxiety of
influence remains central. Chapter Four is a study of 'The
Author of Beltraffiol' and 'The Lesson of the Master'. Again the
characters' manipulations are a crucial focus in a way that
G6rard Genette's terminology helps to illuminate. The fact that
the ephebe is the author-thinker emphasizes the inextricability
of the Bakhtinian and the Bloomian in James. Just as
polyphony offers a different focus for explicating the poetics
of James's fiction; so the ephebal conflict provides the basis
for a fresh perception of James's own artistic struggle
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