8,889 research outputs found
Variations on the Author
No full text“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
John in Canterbury.
No full textLower centre (l.c.) with brush: McCahon August ’59; u.l. - c.r. with brush: God, it is all dark. The heart beat but there is no answering hark of a hearer and no-one to speak; l.r. with brush: John in Canterbury; verso: Colin McCahon No 36 August 59 John in Canterbury Butex 30 gns
PHILIP LARKIN: INNOVAZIONI DI UN ANTI-MODERNO
No full textIn un recente sondaggio condotto dal Times su cinquanta scrittori britannici più amati dal dopoguerra a oggi, Philip Larkin è risultato il primo in classifica. Nonostante la sua produzione poetica si basi soltanto su quattro raccolte di versi pubblicate nell’arco di un trentennio a dieci anni di distanza l’una dall’altra, – The North Ship (1945), The Less Deceived (1955), The Whitsun Weddings (1964) e High Windows (1974), a cui si aggiungono pochi altri componimenti, Larkin gode di fama indiscussa. Lo testimoniano le riedizioni dei Collected Poems (1988) curati da Anthony Thwaite, le numerose monografie e i contributi critici che vanno ad arricchire la già copiosa bibliografia critica sul poeta. Notevole è anche il lavoro di approfondimento e divulgazione condotto dalla Philip Larkin Society, nata nel 1995 in occasione del decimo anniversario della morte dell’autore, che promuove e incoraggia gli studi larkiniani sia in territorio britannico che nel resto del mondo, grazie a programmi annuali fittissimi di eventi, conferenze, giornate di studio, incontri e alla preziosa rivista dell’associazione “About Larkin”.
Ciononostante, Larkin è ancora semisconosciuto in Italia, almeno al grande pubblico. A parte alcune traduzioni, la prima datata 1969, Le nozze di Pentecoste e altre poesie per Einaudi e, più recente, Finestre Alte (2002), sempre per Einaudi, nella nostra lingua è disponibile solo l’edizione del romanzo Turbamenti a Willow Gables (2003).
Si parte dal contesto culturale all’interno del quale l’autore inizia a muovere i primi passi, quello del Movement inglese, fenomeno letterario degli anni ‘50 del 1900, in cui Larkin si inserisce, interagendo e collaborando con altre figure altrettanto importanti come Donald Davie, John Wain, Thom Gunn, D.J. Enright ed Elizabeth Jennings; poi vengono descritti dettagliatamente i differenti punti di vista di Larkin e Kingsley Amis, fino ad analizzare l’influenza che Auden ha avuto su Larkin. Infine, ulteriore intento di questo elaborato, è quello di affrontare l’analisi dettagliata di alcuni testi poetici, tra i più significativi, contenuti nelle varie raccolte poetiche, per mostrare le differenti tematiche affrontate dall’autore. Il Movement, il fenomeno letterario più importante nell’Inghilterra del secondo dopoguerra, nasce tra il ‘53 e il ‘55, grazie ad alcuni poeti formatisi presso le università di Oxford a Cambridge. A Oxford nel 1940 si incontrano Philip Larkin e Kingsley Amis, i due rappresentanti più importanti del movimento, entrambi affascinati dal lavoro di Gavin Bone, uno studioso di poesia anglosassone. Entrambi pubblicano le loro prime opere con la Fortune Press. Successivamente sulla scena letteraria inglese compare John Wain, un altro futuro membro del Movement, che è attratto proprio dalla sobrietà, dallo stile sintetico e dalla Englishness dei due giovani scrittori. Sempre negli anni Quaranta, a Cambridge, D.J. Enright, Donald Davie e Thom Gunn fanno propri i valori di chiarezza, dedizione e disciplina, apprezzando i modelli letterari augustei che potessero fungere da esempi nella trattazione delle vicende quotidiane. A definire chiaramente il Movement compaiono poi due antologie, Poets of the Fifties, uscita nel 1955 a cura di D.J. Enright e New Lines di Robert Conquest. Nelle due raccolte compaiono gli stessi otto poeti: Enright, Wain, Conquest, Larkin, Davie, Holloway, Amis, Jennings, mentre Gunn è rappresentato soltanto in New Lines. La figura di maggior spicco nel Movement è quella di Philip Larkin (1922-1985), il quale è stato definito, secondo recenti studi, misogino, sprezzante nei confronti della classe operaia, sciovinista, onanista, pornografo e forse ammiratore (sulla scia del padre) della Germania hitleriana. L’ambientazione tipica delle sue poesie è la provincia industriale, con pub, alberghi georgiani, camere in affitto, corsie d’ospedale, fiere e chiese di periferia. I suoi antieroi sono soggetti egoisti ossessionati dalla propria morte, burocrati vittime della routine lavorativa, inetti in amore, uomini sulla mezza età che invidiano l’energia dei giovani, denigratori della vita e nostalgici di quella potenza imperiale oramai andata. Nonostante ciò, non riescono ad allontanarsi dal mondo a cui appartengono per affrontare l’ignoto, infatti Larkin stesso non voleva allontanarsi dalla sua Inghilterra, poiché sosteneva che prima o poi sarebbe dovuto tornare.
In a recent Times survey of the 50 most beloved British writers since the post-war period, Philip Larkin was the first. Although his poetic output is based on only four collections of verses published over a period of 30 years – The North Ship (1945), The Less Deceived (1955), The Whitsun Weddings (1964) and High Windows (1974), to which he has added few other compositions, Larkin enjoys undisputed fame. To confirm this, there are the re-editions of Anthony Thwaite’s Collected Poems (1988), as well as the numerous monographs and critical contributions that enrich the already copious critical bibliography on the poet. The Philip Larkin Society, founded in 1995 on the occasion of the tenth anniversary of the author’s death, is also noteworthy. It promotes and encourages Larkin’s studies both in the UK and throughout the world, thanks to its extensive annual programmes of research and development. Larkin is still semi-unknown in Italy, at least to the general public. Apart from a few translations, the first one dated 1969, 'Le nozze di Pentecoste' and other poems for Einaudi and, more recently, 'Finestre Alte' (2002), also for Einaudi, only the edition of 'Turbamenti a Willow Gables' (2003) is available in our language. It starts from the cultural context within which the author begins to take his first steps, that of the English Movement, a literary phenomenon of the 1950s of 1900, in which Larkin enters, interacting and collaborating with other equally important figures such as Donald Davie, John Wain, Thom Gunn, D. J. Enright and Elizabeth Jennings; Larkin’s and Kingsley Amis’s different points of view are described in detail, and the influence Auden had on Larkin is analysed. Finally, a further aim of this work is to address the detailed analysis of some of the most significant poetic texts contained in the various collections of poetry, in order to show the differences The Movement, the most important literary phenomenon in post-World War II in England, was founded between '53 and '55 thanks to poets trained at the universities of Oxford in Cambridge. At Oxford in 1940 they met Philip Larkin and Kingsley Amis, the two most important representatives of the Movement, both fascinated by the work of Gavin Bone, a scholar of Anglo-Saxon poetry. Both publish their first works with Fortune Press. Later, John Wain, another future member of the Movement, appeared on the English literary scene, who was attracted by the sobriety, synthetic style and Englishness of the two young writers. Also in the 1940s, in Cambridge, D. J. Enright, Donald Davie and Thom Gunn adopted the values of clarity, dedication and discipline, appreciating the Augustan literary models that could serve as examples in dealing with everyday events. Two anthologies, Poets of the Fifties, published in 1955 by D. J. Enright and New Lines by Robert Conquest, clearly define the Movement. The same eight poets appear in the two collections: Enright, Wain, Conquest, Larkin, Davie, Holloway, Amis, Jennings, while Gunn is only represented on New Lines. The most prominent figure in the Movement is that of Philip Larkin (1922-1985), who has been described, according to recent studies, as a misogynist, scornful of the working class, chauvinist, onanist, pornographer and perhaps an admirer (in his father’s footsteps) of Hitler’s Germany. The typical setting of his poems is the industrial province, with pubs, Georgian hotels, rooms for rent, hospital wards, fairs and suburban churches. Its anti-heroes are selfish subjects obsessed with their own death, bureaucrats victims of the work routine, inept in love, middle-aged men who envy the energy of young people, denigrators of life and nostalgic for that power.Despite this, they are unable to move away from the world they belong to to to face the unknown, in fact Larkin himself did not want to move away from his England, because he argued that sooner or later he would have to return
John Howard delivers inaugural Asia Lecture
No full textThe former Prime Minister delivered a compelling analysis in an hour-long speech at the Queensland Conservatorium in the first Asia Lecture hosted by the Griffith Asia Institute. Author Stephen O\u27Grady reviewed a speech by the Honourable John Howard OM AC at Griffith University. 
Dispelling the Myths Behind First-author Citation Counts
No full textWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
13th Annual John Perkins Lecture
No full textDr. John Perkins returns to campus for the Thirteenth John Perkins Lecture Series. Joining the Tuesday annual lecture and chapel, will be Dr. Michael Emerson, scholar and author on race and religion and provost of North Park University in Chicago. Dr. Perkins and Dr. Emerson will host a discussion on faith, race, and evangelicalism
Paradoxical solitude in the life, letters, and poetry of John Keats, 1814-1818
No full textThis thesis proposes two distinct but connected ideas: that John Keats’s idiom of friendship was haunted by “sequestered” longings and that he ultimately valued specific, one-on-one partnerships as a basis for his poetical character. The Introduction places the thesis within its critical context and outlines “paradoxical solitude,” a concept the poet expressed by joining a “kindred spirit” in a wilderness retreat in “O, Solitude.”
I begin by examining the evolving role of solitude in Keats’s literary predecessors (Chapter I). I then trace the development of ideas of creativity and solitude from his 1814-1815 verse, including his first association with a coterie and the influence of Wordsworth (Chapter II). Building on these findings, I explore the poet’s introduction to the Hunt circle in 1816, assessing his relationships with its members and their overstated roles in the production of Poems (Chapter III). I then discuss how Keats regarded the composition of Endymion in 1817 as a poetic “test,” specifically tailored to reinforce his identity as a solitary poet (Chapter IV).
I contend that Keats engaged in a dialogue of independence with Reynolds, adapted the theories of Hazlitt, and restlessly travelled throughout England as a means of rejecting the highly social periods of 1818 (Chapter V). I then consider the creative gains of his northern expedition with Brown in the summer of 1818. I argue that Keats exaggerated his development into a “post-Wordsworthian” poet, positioning himself outside both the coterie’s sphere and the reach of Blackwood’s criticism, and inspiring the theme of Hyperion (Chapter VI).
In closing, I analyze Keats’s advice to Shelley to be a selfish creator of his poetic identity. Only through paradoxical solitude, I argue, was Keats able to construct the poetic identity that led him to compose the poems on which his fame rests in the 1820 volume
John Cage e a poética do silêncio
No full textTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-graduação em LiteraturaEsta tese se propõe a analisar o silêncio a partir da obra de John Cage (especialmente a literária e a musical). Esse silêncio, inicialmente compreendido por Cage como um empírico (a pausa em música), revela-se gradualmente um transcendente: não mais uma substância nem a simples ausência de som, mas um modo da ação (modo de silêncio), aparecendo como estilo, profundidade, aura, dimensão, verticalidade, densidade. Esse silêncio implica modos de percepção e temporalidade próprios, descritos aqui a partir das noções de Gelassenheit (Heidegger) e Awareness (Gestalt) e estabelecendo conexões com as noções de Invisível em Merleau-Ponty e de Nada no Zen-budismo
Henri Matisse Drawing: An Eye-Hand Interaction Study Based on Archival Film.
No full textHenri Matisse (1869-1954) attached fundamental importance to his drawings, in particular to the famous Themes et Variations series. These were accomplished following a precise method, starting with arduous life studies and evolving into brilliant spontaneous drawings. A 1946 archival documentary film showing the artist drawing four portraits of his grandson Gerard was shot in such a way as to allow the present author to undertake a detailed eye-hand interaction analysis of the drawing process.
It was found that Matisse’s temporal working rhythm and use of motor memory resulted in a more direct approach than that used by most painters. Taken together with remarks the artist made throughout his lifetime, these results provide a cognitive interpretation of his drawing method
John Leslie speaking behind a podium.
No full textJohn O. Leslie, Governor Allain, Naofumi Hayakawa, Masa Hashimoto and Yasuo Satohttps://egrove.olemiss.edu/leslie/1108/thumbnail.jp
- …
