2,625 research outputs found
Letter from Samuel Connor to Alden Partridge, 29 December 1836.
No full textEncloses funds to pay the expenses of his son, Robert Connor, at the University.Recipient city and state assumed. Transcription by John S. Hitz. Transcriptions may be subject to human error
Letter from Samuel Connor to James B. Finley
No full textSamuel Conner entered the itinerancy a year ago and is currently in debt after purchasing his horse. He has received 80. He would like to get out of debt and move to the west, but does not want to leave the itinerant ranks. He asks for Finley\u27s advice. Abstract Number - 203https://digitalcommons.owu.edu/finley-letters/1202/thumbnail.jp
[Letter] 1975 June 9, Washington (D.C.) [to] Samuel I. Connor, Bethlehem (Pa.) / Peter W. Rodino, Jr.
No full textLetter is typed on House of Representatives letterhead, personalized for Rodino\u27s New Jersey district; for biography and guide to research collections, see also (http://bioguide.congress.gov/scripts/biodisplay.pl?index=R000374).Rodino thanks Connor for the clippings from the _Bethlehem Globe-Times_ ; he states that Mrs. Rodino enjoyed her visit and they both hope to return to the University someday
Craft so long to learn
No full textSpeech delivered by George Connor, identified by the author as "one of the 2 or 3 most signifcant speeches in my career.
Craft so long to learn
No full textSpeech delivered by George Connor, identified by the author as "one of the 2 or 3 most signifcant speeches in my career.
Jere Nash Interview with Peggy Connor
No full textInterview conducted by author Jere Nash with Peggy Connor as research for Mississippi Politics: The Struggle for Power, 1976-2006. Connor was the lead plaintiff in the case Connor v. Johnson on legislative voting districts in Mississippi. Topics covered include Connor\u27s family, background, and her participation in the civil rights movement; Fannie Lou Hamer; attempting to integrate precinct meeting and registering to vote; Mississippi Freedom Democratic Party; 1964 Democratic National Convention; Connor v. Johnson lawsuit; and civil rights demonstrations in Hattiesburg, Mississippi
Writing and the rights of reality: usurpation and potentiality in Derrida, Plato, Nietzsche, and Beckett
No full textThe thesis critically evaluates Jacques Derrida's conferral of the rights of reality on writing, focussing on his theory of an arche-text in light of the speculative nature of this theory. The theory is initially considered in the context of Derrida's elucidation of the usurpatory status of writing within the Platonic and Nietzschean texts. This consideration reveals an admission of writing's usurpatory status by both writers while at the same time demonstrating their awareness of the intrinsically speculative nature of this view, the significance of writing lying in its ability to exteriorise the radically indeterminate status of consciousness m relation to reality rather than its ability to displace consciousness or reality The analyses, therefore, not only bring the Derridean hypothesis of a repressive or phonocentric metaphysical episteme into question but also exhibit the historical and philosophical role of potentiality in relation to writing, writing's ultimate significance lying in its capacity to exteriorise our existence as a mode of potentiality. Accordingly, in the second half of the thesis the Derridean theory of writing is countered with a specifically Aristotelian theory of the text as it is exhibited in the prose of Samuel Beckett, an author whose significance lies in his close alignment with Derridean theory within contemporary criticism. It is demonstrated that this identification has obviated an awareness of the significance of potentiality within the Beckettian text, his work consequently being appraised in the previously neglected context of Aristotelian metaphysics
Ohio impromptu, genre and Beckett on film
No full textSamuel Beckett’s choice of the title Ohio Impromptu to name the play first performed to an audience of academics and scholars at Columbus Ohio in 1981 is one manifestation of its author’s interest in the question of literary genre; more generally, in Beckett’s dramatic works one encounters a meticulous attention to the activity of categorisation, even if the energy is often directed toward the creation of phantom genres for spectral exemplars. This essay concerns itself with Ohio Impromptu in particular because by means of elements specific to this play (including the context in which it was first performed) it comments upon its own very failure to occupy its designated genre co-ordinates (these include its identity both as a play and as an ‘impromptu’). This play, which is so apt to incorporate other genres, however, is presided over by a stage direction which locates it firmly in the theatrical context. It is in its deliberate failure to attend to this stage direction that the Beckett on Film version of the play goes beyond the mere treacherous fidelity that is inevitably a feature of any adaptation. In arguing this, the essay analyses the foregrounding in the play of questions that can be said to pertain to genre (in several senses). Its more specific intention is to suggest that, via a combination of casting and special effects, the adaptation succeeds not only in cancelling the critical reflection on the ‘genre gesture’ that is lodged in Ohio Impromptu, but also in eradicating the very disjunction between Reader and Listener upon which the play depends
Samuel Beckett and the Writers of Port-Royal
No full textIt has been observed that ‘the literary influences on Beckett have been far more important than has been acknowledged, and more important indeed, than the philosophical influences’ (Smith 2002: 3). The truth of this statement is evidenced by the description that scholars have given of Samuel Beckett’s relationship to seventeenth century French classicism. To date, critical interest has been limited for the most part to the figure of the philosopher René Descartes on the (fragile) grounds that Beckett was exclusively concerned with the Cartesian imperative of clarity and order, the fundamental dualism between body and mind, and Nominalism.
Together with the assumption that Beckett’s vision was essentially Cartesian, his literary filiation with Pascal was suggested by critics, but only in terms of Beckett’s formal approach to the theatre. In his short article on En attendant Godot in 1953, the playwright Jean Anouilh was among the first reviewers to suggest that Beckett’s drama synthesizes the encounter between ‘classicism’ and a ‘modern’ form of art. It is well known that Beckett retained a lifelong admiration for Pascal – indeed, Pascal was one of his ‘old chestnuts’ (Knowlson 1997: 653). Little attention has been paid, however, to the originality of Pascal’s thought, the specific nature of his prose, and the impact these might have had upon Beckett’s mature work, especially the trilogy and the subsequent short prose. Yet, in the literary and philosophical context of post-war France, Beckett’s filiation with Pascal, their corresponding preoccupations, were evident to his contemporaries, who identified Pascal as an underlying presence in his works
Cutting'aesthetic teeth' : Flannery O'Connor's habit of art
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e ExpressãoEste trabalho foi sugerido pela afirmação de Flannery O'Connor que sua "dedicação estética" nasceu através do contato com Art and Scholasticism de Jacques Maritain. O propósito foi chegar a uma interpretação do sentido da frase. Uma investigação detalhada foi feita do conteúdo de Art and Scholasticism, posteriormente contrastada com os resultados de uma pesquisa feita em seus ensaios e suas cartas, o que revelou numerosos ecos de diversos trechos constando no texto de Maritain. Três pontos principais foram escolhidos como critérios na análise do hábito artístico de O'Connor: 1) a prática de arte implica uma luta; 2) a arte somente pode ser percebida pelos sentidos; e 3) a prática de arte exige do artista a dedicação indivisa à obra nascente. O estudo conclui que, para O'Connor, o brotar da dentição estética, através da leitura de Art and Scholasticism, significou que, ao perceber na análise da natureza da arte algo com que podia concordar, ela reconheceu tanto sua própria capacidade de tornar-se uma artista literária, quanto sua vontade de assumir a tarefa de desenvolver em sua pessoa o hábito de arte
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