3,635 research outputs found
Providence College Faculty Author Series 2012-2013: Dr. Adrian Weimer
No full textDr. Adrian Weimer (History, Providence College) discusses her new book Martyrs\u27 Mirror: Persecution and Holiness in Early New England and the cultural importance of martyrdom within Colonial America
Providence College Faculty Author Series 2012-2013: Dr. Adrian Weimer
No full textDr. Adrian Weimer (History, Providence College) discusses her new book Martyrs\u27 Mirror: Persecution and Holiness in Early New England and the cultural importance of martyrdom within Colonial America
Adrian Matejka, 34th Annual ODU Literary Festival
No full textAdrian Matejka is the author of The Devil’s Garden and Mixology, which was a winner of the 2008 National Poetry Series. He is the recipient of two Illinois Arts Council Literary Awards and fellowships from Cave Canem and the Lannan Foundation. His work has been featured in American Poetry Review, The Best American Poetry 2010, and Ploughshares, among other journals and anthologies. He teaches at Southern Illinois University Edwardsville
This Room is My Castle of Quiet: The Collaborations of Delmer Daves and Glenn Ford
No full textAdrian Danks points out that, although it is relatively common to examine the collaborations between various actors and directors working in the 1950s Western – John Wayne/John Ford, James Stewart/Anthony Mann, etc. – the series of three varied films made by Daves and Glenn Ford between 1956 and 1958 – Jubal, 3:10 to Yuma, and Cowboy – have seldom attracted attention. While at least one of these films, 3:10 to Yuma, has been championed in terms of Daves’ spatially and tonally expressive direction and of Ford’s morally ambiguous but effortlessly genial characterisation, this extraordinary trio of films have seldom been examined in relation to one another. Danks reads the collaboration between Ford and Daves as symptomatic of the work of both actor and director, and their sympathetic, subtle, ‘benevolent’, and relatively unadorned approach to various subjects and character types. In the process, he helps pinpoint some of the key reasons why both of these important but workaday figures have remained relatively underestimated and why they need to be brought to the forefront of a more complex understanding of the variations possible in the ‘classical’ Western.</p
A Proto-Modernist Artist-Critic Encounters a Victorian Painter-Poet: Ford Madox Ford on Dante Gabriel Rossetti
No full textFord Madox Ford’s art criticism is a mode of writing which stems from a mode of searching for connections among various forms of artistic expression and of establishing a dialectical relationship with history and tradition, by following the threads of one’s own memories, knowledge, and passions of the mind. By weaving throughout his whole life a net of interrelated acts of reading and writing, both creative and critical, Ford as an artist-critic is constantly composing a discourse characterised by comprehensiveness, not by discreteness. The principle of selection he applies to the craft of writing is not neglected, but fulfilled by the critic’s ability to discern and distinguish significant artworks within a corpus which spans the whole cultural history of western literatures and arts.
My argument is that during the decade from 1896 to 1906, with the publication of his critical monographs, Ford initiated the critique of 19th-century art and culture, which the avant-garde movements were to address in their programmatic, iconoclastic assault one decade later. Between 1896, the year of the publication of Ford Madox Brown: A Record of His Life and Work and 1906, when The Pre-Raphaelite Brotherhood. A Critical Monograph appeared, Ford published Rossetti. A Critical Essay on his Art in 1902, and Hans Holbein The Younger. A Critical Monograph in 1905. Each of them stands out as an emblematic example of Ford’s impressionist art criticism, and three of them open the way for the 20th-century criticism of Victorian culture. In particular, Rossetti. A Critical Essay on his Art is a seminal study which involves a complex mediation between the modernist iconoclastic attitude towards tradition and the acknowledgement that there were late 19th-century artists who brought innovations to English art.
As a matter of fact, Ford Madox Ford’s construction of a discourse on Dante Gabriel Rossetti’s poetics, technique and artistic personality does not impress the reader as a research conducted with rigorous methodological tools, though founded on a deep knowledge of the subject. However, Ford’s reception of Rossetti’s modes of representation through literature and painting significantly contributes to the development of Ford’s own aesthetic theories and experimental practices. The specific value here attributed to the monograph on Rossetti is Ford’s capability to interweave, at a very early stage of his artistic development, the intriguing portrayal of Rossetti’s double talent, of his artistic temperament, of his cultural models, with personal views on Art, albeit in his typical unsystematic way, and with the formulation of his own poetics. Furthermore, the dialectic encounter of a Proto-Modernist with a late Victorian involves a diachronic cultural shift, which allows the critic to confront some distinctive features of their art and personality with the cultural contexts of the late Victorian age and modernism. Rossetti’s and Ford’s conceptions thus enable the critic to explore the degree of proximity of two cultural systems and thus to deal with an issue still crucial for literary history and criticism: the modernist reception of the late Victorian legacy.
Ford’s views of the arts are composed into a wide reference system which provide him with a multiplicity of topics and issues to be encompassed into a multi-layered discourse on poetics; however, I would also like to suggest that a distinctive role can be ascribed to his first works of art criticism. The specificity of the monographs written between 1896 and 1906 is to be found in the anticipation with which they respond to some crucial issues on the status of the arts between tradition and innovation, between originality and conformity to conventions of writing and to recognised models in the visual arts. Thus, Ford’s study on Rossetti will be primarily regarded as a work of literary criticism sustaining a revisionist discourse on late romanticism, even though it is not easily classifiable as a critical monograph, because of its constant intermingling with the genre of biography.
Beginning with the acknowledgement that Ford’s constant inter-fusing of creativity and criticism blurs the boundaries between the art of writing and the art of assessing, my assumption is that the rupture with the late Romantic theories of art, through which the modernists have constructed their own poetics, is a significant issue in Ford’s monographs on Victorian artists. In recent years scholars have offered new insight into the permanence of late-Victorian modules in modernist literature and art, and to the response of critics like Roger Fry and Adrian Stokes to Victorian critics such as Ruskin or Pater. Victorian scholars such as John Dixon Hunt in The Pre-Raphaelite Imagination, 1848-1900 and Lothar Hönnighausen in The Symbolist Tradition in English Literature. A Study of Pre-Raphaelitism and Fin de siècle paved the way for the study of Pre-Raphaelite germs in modernist poetry and prose, by emphasising the impact of the Pre-Raphaelite poetic imaginary, a landscape of the spirit, lost and haunting, chased as well as nostalgically sought after. Pre-Raphaelitism acted as a cultural soil which nurtured Pound, Eliot, and Yeats, and Rossetti’s aestheticised medievalism can be regarded as the expression of a poetry conceived as a mode of evoking an ideal otherwhere, a model still alluring in its quest for a dimension of beauty and pathos mixed with languor. As far as Ford Madox Ford is concerned, the Pre-Raphaelite nexus has mainly been examined in connection with his biography and cultural background. Rossetti. A Critical Essay on his Art calls for further investigation: here Ford, an intellectual who became strongly engaged with the redefinition of modernity in an avant-garde perspective, reveals a deep capability of envisaging aspects of ‘modernity’ in an artist whose work dates between 1850 and 1880. Ford’s distinction between the originality of Rossetti’s poetic voice and his affected exploitation of stylised, repetitive modules brings evidence to the hypothesis that the ‘new to be made’ does not involve an act of cultural eradication, but stems from the ‘old to be deconstructed’: the deconstruction of Victorian modules induced modernist authors to found a new epistemological interrogation and new aesthetic standards
The dramaturgy of the tragedies of John Webster and John Ford with special reference to their use of stage imagery.
No full textPhDThe imagery of the plays of John Webster and John
Ford is not only verbal: in staging as well as language
these dramas display strongly imagistic, symbolic elements.
The purpose of this thesis is to examine the seven extant
tragedies of Webster and Ford from the point of view of
their total dramatic nature - to examine the staging,
costumes, hand and large properties, movement and gestures
as well as the verbal imagery, and the interplay of these
verbal and visual elements. The original appearance, of
these plays in their contemporary theatre, and the
dramatist's intentions for performance, can only be surmised.
The original stage directions are examined for
hints of the original presentation: these stage directions
may not always be authorial, but, especially in the case of
Ford, they seem to reveal the playwright's hand. The dialogue,
too, frequently implies particular gestures,
grouping or stage placement.
The visual imagery, it is here suggested, is created
by the dramatist for several purposes: a moral or ironical
point may be silently established; a chain of related
visual motifs may bind various actions and characters into
an organic union; a visualization may appeal outward to
other works of art or theatrical or non-dramatic conventions,
enlarging the immediate significance by this shorthand
reference; visual ceremonies may make concrete the more
ephemeral words and feelings of the characters.
Each of the tragedies is studied in a separate chapter,
in the following order: Webster's The White Devil, The
Duchess of Malfi, and Appius and Virginia (the authorship
of which is disputed); John Ford's The Broken Heart,
Love's Sacrifice, 'Tis Pity She's a Whore, and Perkin
Warbeck. A conclusion indicates the differences between
Webster's more overtly theatrical visualizations and Ford's
quiet tableaux.
The thesis is accompanied by illustrations which are
either explanatory or comparative
Performing the archive: following in the footsteps
No full textUsing documentation of Mike Pearson's performance 'Bubbling Tom', Deirdre Heddon attempts to step into his shoes and re-perform it
Alternatives for community development, incorporated July 1982
No full textAs stated in the thesis project, "Alternatives for Community Development, Incorporated (ACDI) is a Massachusetts for profit community development corporation established in July, 1982. ACDI was formulated as a joint venture between two non profits local agencies, Three Pyramids, Inc., Fitchburg, MA and Montachusett Opportunity Council (MOC), Leominster, MA. Three Pyramids is a minority social service agency which currently administers various government contracts, i.e., After School Program, Nutrition Program, Information and Referral Program, as well as providing other services to meet the social and economic needs of minorities and low income area persons. MOC is a community action agency which services Leominster, Fitchburg and other surrounding areas. It is easily the largest social service/advocacy program in the area, with a wide base of funding (most recently topping $10 million).
The Partnership agreement between the two non-profits delineates stock ownerships to the Boards of Directors of the two agencies with 51% of its corporate stock being owned by Three Pyramids, and 49% being owned by Montachusett Opportunity Council. This mix of control allows ACDI to be a minority business enterprise, thus affording eligibility for a variety of contracts and benefits as a minority business.
Conceptually the project was put together by the staff of both MOC and Three Pyramids, and neither board was involved until the package had been put together and specific authorization was required to proceed and formulate the new corporation. The two agencies believed that this partnership can exist because of the reservoir of trust that has been built over the past ten years. Three Pyramids Chief Executive Officer, Adrian Ford, has once served as the Vice-President of the MOC Board (previous to this formed relationship) and had several as a "loaned executive11 to MOC as Director of the Research and Development Unit (the fore-runner of the ACDI idea). Three Pyramids currently contracts with MOC to do fiscal management and consultation services. Dorothy Wms. Proctor currently is a member of the MOC Board of Directors, Chairperson of the Affirmative Action Committee, and a member of the Boards Personnel Committee. Both agencies believe that a common philosophy/ purpose exists and both have identified the need for alternative strategies for both as a self dependency module, not being totally dependent on government funding. The common goal between the two agencies, ACDI, is the economic development of the community as a group effort, thus alleviating duplication of efforts, and more efficiently and effectively managing available resources." (Library derived description)Ford, A. L. (1983). Alternatives for community development, incorporated July 1982. Retrieved from http://academicarchive.snhu.eduMaster of Science (M.S.)School of Community Economic Developmen
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