1,827,420 research outputs found
M. B. Mayfield
No full textM. B. Mayfield (1923-2005), a young African American painter in nearby Ecru, MS, was hired as a janitor by Stuart Purser, chair of the newly-established UM Art Department in October 1949.
After Mayfield finished his chores each day, he would retire to a broom closet off Purser’s classroom. With the door ajar and an easel set up, Mayfield would listen to the lectures and complete the assignments just as the official students did. The other students gave him encouragement, supplies, and sometimes friendship. The shy Mayfield enjoyed working in the closet, which he called “my little private one-student classroom.” Years later, he painted a picture of himself painting in the classroom closet. That and other images from youth and childhood, including his father’s funeral, became the principal subject of his art. He called these depictions “memory scenes.” He also painted fine landscapes, portraits, and still lifes. Mayfield worked and painted at the university for two and a half years. ... Mayfield died of a heart attack on 3 June 2005 in Ecru. Although proud of his artistic abilities, Mayfield shunned the spotlight and did not enjoy parties or large gatherings, even in his honor. He dismissed the idea that he had integrated the University of Mississippi. Speaking of James Meredith, who in 1962 became the first African American to register as a student at the university, Mayfield said, “I didn’t accomplish the things he did. He was the one who took the punishment.” The two men never met. --Mississippi Encyclopedia
Photo of M. B. Mayfield in the 1980s provided by the M. B. Mayfield Foundation.
Also in eGrove: M. B. Mayfield Collectionhttps://egrove.olemiss.edu/afram_timeline/1093/thumbnail.jp
[Letter from Meyer Bodanksy to M. B. Shimkim - December 1938]
No full textLetter from Dr. Meyer Bodansky to Dr. M. B. Shimkin in response to a previous letter from Dr. Shimkin giving Dr. Bodansky an update on his career status. Dr. Bodansky gives an update on his career and several changes on his budget and number of research assistants
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Affidavit of M. B. Lewis, 1861
No full textAn affidavit of Sub Agent M. B. Lewis of Fresno Indian Agency regarding the claims by L. G. Hughes, Lewis Leach, Gomer Evans, Hunt & Co. for goods and supplies furnished to the reservation
Invitation to S. B. Simmons from M. B. Albright
No full textInvitation to S. B. Simmons from M. B. Albright
Variations on the Author
Full text link“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
Letter from M. B. Albright to S. B. Simmons
No full textLetter from M. B. Albright to S. B. Simmons, sending him his 1953-1954 teaching schedule
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