1,721,534 research outputs found
Patrick White and Manoly Lascaris, Martin Road, Sydney, 1989 [picture] /
No full textTitle devised by cataloguer based on inscription.; Part of the collection: Patrick White and his circle, 1977-1989.; Inscriptions: "Patrick White and Manoly Lascaris, Martin Road. William Yang 1989 3/10"--In ink below image. Photographer's stamp lower left.; Also available online at: http://nla.gov.au/nla.pic-vn5788176; Purchased from the photographer, 2012
Luciana Arrighi and Patrick White on the set of The night, the prowler, Sydney, 1978 [picture] /
No full textTitle devised by cataloguer based on inscription.; Part of the collection: Patrick White and his circle, 1977-1989.; Inscriptions: "Luciana Arrighi and Patrick White. Set of The Night of [sic] the Prowler. William Yang 1978 3/10"--In ink below image. Photographer's stamp lower left.; Also available online at: http://nla.gov.au/nla.pic-vn5788115; Purchased from the photographer, 2012.; Exhibited: "The Life of Patrick White", National Library of Australia, 13 April - 8 July 2012, State Library of New South Wales, 20 August to 28 October 2012
The folly of Patrick White, St. Vincent's Hospital, Sydney, 1985 [picture] /
No full textTitle devised by cataloguer based on inscription.; Part of the collection: Patrick White and his circle, 1977-1989.; Inscriptions: "He wanted to do a death scene, not as himself, but as his alter-ego, Alex Xenophon Demirjian Gray, a female character he'd created in his book "Memoirs of Many in One". Alex died with blood trickling out of her mouth. Patrick was in hospital at the time and he'd been staring at the wall imagining the scene- the crucifix would stay, the ledges and TV sets could be dressed with archangels, icons and cats. (In the book, Alex liked cats, but Patrick preferred dogs.) So I took the photo and collaged in the props, the only trouble was it didn't look like Alex, it looked like Patrick."--Upper edge of image 1; "The Folly of Patrick White St. Vincent's Hospital 1985 William Yang 1/10"--Lower left of image 2; Photographer's stamp upper right.; Also available online at: http://nla.gov.au/nla.pic-vn5787932; Purchased from the photographer, 2012
Patrick White
No full textMedium: pen and inksigned."Patrick White" [1980.2042.000.000], Kahan, LouisExtent: shee
Patrick White
No full textMedium: Felt Tip pendrawingssigned."Patrick White" [2020.0078.000.000], Kahan, LouisExtent: shee
Patrick White in Focus
No full textUTS curated, in cooperation with the National Library of Australia, a focused exhibit on Australian Nobel Laureate Patrick White (1973). The exhibit was designed to introduce to new audiences the idea that White's somewhat difficult prose matches the complexity of the psychological and social conflict he describes. McNeil was the Host Curator of the Nobel Museum Visiting Exhibit and involved for six months with the pre-planning preparation. He was the academic curator of the Patrick White focus exhibit and he worked with a professional exhibition designer, Kate Richards. He selected the materials from the National Library of Australia collection in order to elucidate this complex figure, did the final cut and edit, wrote a series of detailed text panels in plain English (attached), liaised with the designers and media, spoke at the event and chaired the related Panel. Patrick White is considered perhaps the greatest Australian novelist, actively involved with the arts and, in later life, political activism. A series of recently discovered letters in the collection of NLA, as well as a facsimile MS, notebook, correspondence and photographic material, were selected and re-contextualized by McNeil in order to create new insights into White's creative process. McNeil sets a critical framework for interpreting the work of Patrick White through social and cultural theory and historical methods. McNeil's interpretive method has been developed over long standing work on his historical interpretation of cultural artefacts. The exhibition presented new Patrick White archival material interpreted by McNeil through a contemporary theoretical contextual framework
The symbol in Patrick White
No full textThis essay has two parts. In the first I will offer some contexts for an understanding of the ‘symbol’ and how it was used in practice by modernist writers, with specific examples being drawn from Yeats and Joyce. In the second, I will connect this contextual background to a reading of White’s The solid mandala and Riders in the chariot. My purpose in doing this is not to elucidate the kinds of symbols White uses; rather I am interested in the function of the symbol in these works. That is, I am interested in what a symbol might be thought to be, and what White does to this object, which, in short, will be identified with the idea of ‘the meaningful’ itself. I will suggest that White treats the symbol differently from his predecessors, placing a peculiar stress upon it
(Patrick White and contemporary Australian literary criticism)
No full textThe publication of Simon During’s book Patrick White(1996) indicates that Australia’s only Nobel laureate continues to generate controversies in contemporary Australian literary criticism. This essay argues that such critiques arose in part as a result of attempts on the part of various neo-Marxist cultural studies programs in the 1980s to reevaluate the Australian canon to begin with. In the 1990s these subversive author studies turned in the hands of literary institutional studies into massive subversive reexaminations of the mid-20th century Australian context in which White had written. It is contended that, towards the end of the last century, During’s criticism of White should also be understood as a renewed gesture of the leftists in their positioning in the Australian culture wars of which the Patrick White debate formed a part. Thanks to the power afforded him by the Nobel Prize, White’s status as one of Australia’s greatest writers was further consolidated after During’s departure for the United States
Lunch at Kate's, Kings Cross, Sydney, 1980 [picture] /
No full textTitle devised by cataloguer based on inscription.; Part of the collection: Patrick White and his circle, 1977-1989.; Inscriptions: "Patrick White, Wendy Whiteley, Joel Elenberg, Brett Whiteley, Kate Fitzpatrick, Manoly Lascaris, Lunch at Kate's, Kings X. William Yang 1980 3/10"--In ink below image. Photographer's stamp lower right.; Also available online at: http://nla.gov.au/nla.pic-vn5787617; Purchased from the photographer, 2012
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