9,968 research outputs found
Interview with Patrick Hughes, Jr.
No full textIn this interview, Patrick Hughes recounts his family history, including his father's controversial work as a preacher that resulted in him being run out of Birmingham, Alabama. Hughes tells the story of his father's call to preaching, how he lived in Virginia and West Virginia before moving the family to Birmingham. He explains how his father's preaching got him in trouble. He told the black women in his congregation to stop having sex with their white bosses, and the women reported this to their bosses. The white men came after Hughes's father to lynch him, so he and a friend holed up in the friend's hardware store and protected themselves with shotguns. After this incident, the friend advised Hughes's father to leave Birmingham, so he moved to Colorado. [Tape also contains musical clips whose lyrics are not provided, but which are summarized in the transcript as the following: 1) about being a Klansman and fighting for glory and liberty, 2) about making cowboys and niggers our new game, and 3) an anti-LBJ voice to 'Dixie' instrumental]
Patrick Hughes
No full textPhotograph shows a studio portrait of Victoria County rancher Patrick Hughes
A Tripartite Post-Recession Rebalancing
No full textIn this latest Advance & Rutgers Report, entitled “A Tripartite Post-Recession Rebalancing,” Dean James W. Hughes and Professor Joseph J. Seneca deliver an incisive assessment of the current market conditions and obstacles in the path of our economic recovery. They offer a statistical cautionary tale that the private and public sector need to hear and acknowledge in order for the economy to make continued progress.This report was published as Issue Paper Number 7, November 2011, in Advance & Rutgers Report
George Brecht's Fluxus score "Solo for Violin, Viola or Contrabass" performed by Patrick Farmer and Sarah Hughes, 2011
No full textGeorge Brecht's Fluxus score (1962) "Solo for Violin, Viola or Contrabass" states: "polishing". Patrick Farmer and Sarah Hughes created a realisation of this work during the launch event for Audiograft 2011
The elegies of Ted Hughes
Get PDFThe purpose of this study is to make the case that Ted Hughes (1930-1998) is one of the pre-eminent elegists writing in English in the latter half of the twentieth century. Whilst his poetry has been widely criticised for its apparent preoccupation with violence and death, it is puzzling that the links these topics have in common with elegy have never been clearly verified. This might be because Hughes's elegies do not appear to bear the characteristics frequently associated with traditional poetic laments; however, as this study shows, closer scrutiny reveals not only many similarities, but also acts of resistance within the broader scope of elegy. Drawing on both established and contemporary critical debates surrounding Hughes and elegy, this study undertakes a comprehensive reading of the poet's major works from The Hawk in the Rain to Birthday Letters, whilst also paying attention to limited editions of his verse, including Recklings, Capriccio and Howls & Whispers. Posthumous publications, including the Collected Poems. Selected Translations and Letters of Ted Hughes, are accounted for. so that (alongside the chronological reading of the poems) Hughes's development as an elegist is fully realised. One of the aims of the thesis is to demonstrate that the poet's elegies are unified in presenting what I term the ‘actual'; that is to say, that Hughes does not fabricate sensations or forge experiences that purport to be beyond the realm of recognisable human endeavour. This I term his 'unfalsifying dream’. This is striking because quite often traditional elegies appear to present the opposite: a language which is ๐mate and images which are close to beatifying the deceased, putting them at a remove from human experience and existence. 'The Hawk in the Rain' is used to illustrate Hughes's theoretical position, especially in the case of his earlier war elegies and the circumstances of Remains of Elmet and Moortown Diary. He is both the observational, seemingly dispassionate poet (the hawk), capable of a detaching himself from the experience he wishes to relay in his verse, and yet, he is also the wanderer 'in the rain, one who is immersed in the momentous instant of his own language and experience. Like his personas, Hughes is divided. He is complicit with many of elegy's practices and traditions, but he is also a reformer and renovator of elegy, writing invigorating verse which brings the realities of mortality closer to the reader. In doing so, he reaffirms the significance of life and how this life might be better lived in closer harmony to poetry and contemporary ecological urgencies. 'The Elegies of Ted Hughes' aims to prove that far from being just a 'poet of nature', Hughes has been an exemplary elegist in our own time
Third nature: making space and time in the Great Limpopo Conservation Area
No full textIn Southern Africa’s “Great Limpopo Transboundary Conservation Area,” potential nature, envisioned as ideal habitats for wildlife, may outweigh actual nature. I refer to this notion of conditional biodiversity as “third nature,” distinguishing it from the equally anthropogenic, but tangible, second nature (“nature” as including human habitation). Conservationists and investors are inventing nature on a new scale that crosses national boundaries in elaborate ventures to develop ecotourism in the Great Limpopo zone. They now imagine a continentwide field for (white) tourists to be created by fencing out local populations of (black) peasants. Few observers appreciate the structural racism involved in the profound material consequences of these dreams of third nature.Peer reviewedThis is the final author version of the article published in Cultural Anthropology. The published version is available at http://onlinelibrary.wiley.com/doi/10.1525/can.2005.20.2.157/abstrac
Art, Biography, Sexuality: Patrick Procktor and Keith Vaughan
No full textThis critical review forms a reflection on the research published within the following publications:
Patrick Procktor: Art and Life (Unicorn Press, 2010)
Keith Vaughan: The Mature Oils 1946-1977, (Sansom & Co., 2012)
The research is on two artists, Patrick Procktor (1936-2003), and Keith Vaughan (1912-1977). The monograph on Procktor – previously one of the least documented of the generation of artists who came to prominence in London in the Sixties – positions him in a history of art from which he had been notably absent. The research on Vaughan asserts a new reading of his work, one that is both deeper and more nuanced in its analysis of the ways in which personal experience and sexuality are encoded autobiographically within his work. Crucially, in both artists biography and work are symbiotically linked; the research therefore examines the links between life and art.
Revisionary in intent, the work examines trajectories of experience of gay British (or rather, English) artists in the twentieth century, artists who sought to express themselves and forge careers within the constraints of a heteronormative society, albeit one in which attitudes to sexuality were undergoing change. As gay men, both were constrained by the social mores of their times, and each used painting as a means to affirm personal and sexual identities. A key research interest is in the ways in which sexuality and persona are reflected in critical responses to the artist’s work: in Vaughan, Procktor and other gay male artists of the period. The writing on both Procktor and Vaughan examines the relationship between their personal and professional/artistic lives, framed within a broader socio-political and art historical context. It asserts the place of biography as a means to understand and form new readings of the work. The work adds substantially to the literature and wider discourse on post-war British painting and social history
Letting in the Trojan mouse: Using an eportfolio system to re-think pedagogy.
Get PDFCopyright statement: Copyright 2008 Julie Hughes. The author assigns to ascilite and educational non-profit institutions a non-exclusive licence to use this document for personal use and in courses of instruction provided that the article is used in full and this copyright statement is reproduced. The author also grants a non-exclusive licence to ascilite to publish this document on the ascilite web site and in other formats for Proceedings ascilite Melbourne 2008. Any other use is prohibited without the express permission of the author.E-learning research, as an emergent field in the UK, is highly political in nature (Conole & Oliver, 2007, p.6) occupying a complex landscape which houses policy-makers, researchers and practitioners. Increasingly and more interestingly, the landscape is being shaped by the narratives and experiences of the learners themselves (Creanor et al., 2006, Conole et al., 2006) and the use of Web 2.0 technologies. However, as Laurillard (2007, p.xv) reminds us we still, ‘tend to use technology to support traditional modes of teaching’ and ‘we scarcely have the infrastructure, the training, the habits or the access to the new technology, to be optimising its use just yet’ (p.48). Web 2.0 spaces, literacies and practices offer the possibility for new models of education (Mayes & de Freitas, 2007, p.13) which support iterative and integrative learning but as educators and higher educational establishments are we prepared and ready to re-think our pedagogies and re-do (Beetham & Sharpe 2007, p.3) our practices? This concise paper will reflect upon how the use of new learning landscapes such as eportfolios might offer us the opportunity to reflect upon the implications of letting in the e-learning eportfolio Trojan mouse (Sharpe & Oliver, 2007, p.49)
Further Empirical Evidence on Patrick Hughes’ Reverspectives: A Pilot Study
Get PDFopen access articleReverspectives are paintings created by the English artist Patrick Hughes. They are 3D structures, for example, pyramids or prisms, which elicit an illusory depth perception that corresponds to the reverse of the physical depth layout. Rogers and Gyani state that “the perspective information provided by a simple grid of vertical and horizontal lines on a slanting surface can be just as powerful as the information provided by a rich, naturalistic scene”. The present experiment was aimed to further investigate this perspective reversal. Three independent variables were manipulated: (1) texture components (i.e., vertical, horizontal, and oblique lines components), (2) texture spatial arrangement (i.e., Hughes-type “perspective” grid vs. equidistant “no perspective” grid), and (3) illumination direction (i.e., homogeneous illumination, light from above, and light from below). The dependent variable was the “critical distance”, namely, the distance between an approaching observer and the stimulus at which the illusory depth perception of concavity/convexity switched to the actual perception of convexity/concavity. The results showed that a stronger illusion is elicited by: (a) a Hughes-type texture spatial arrangement; (b) a complete grid texture composition, having both vertical and horizontal, and oblique components; and (c) illumination from below, as opposed to the condition in which light is coming from above
Patrick Hughes (c. 1980-1984)
No full textThis is a portrait of Springfield College alumnus and wrestler Patrick Hughes (class of 1984), who majored in Health Education.During his junior year at Springfield College, he earned All-American honors at the NCAA Division II National Wrestling Championships at North Dakota State University. He finished second in the NCAA Division II Eastern Regional Tournament. During that year, he finished the regular seasons with a 14-6 overall record and 13-3 in dual meets
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