16,266 research outputs found
New Orleans Attempted Slave Revolt Letter, 1812
No full textOne letter written by Robert Stevens, Jr. to his parents in Newport, Rhode Island concerning an attempted slave revolt and a devastating storm in New Orleans, Louisiana on August 19, 1812
George Stevens, Jr., Yvonne Stevens, and George Stevens, ca. late 1940s
No full textFrom left: George Stevens, Jr., Yvonne Stevens, and George Stevens, ca. late 1940s. 8x10 b&w photographic print
The reduction of metaphysics and the play of violence in the poetry of Wallace Stevens
No full textPhDThe thesis demonstrates how Wallace Stevens' poetry utilises pre-Socratic philosophy in overcoming post-Kantian dislocation from the 'thing-in-itself'. I initially consider Stevens’ poetry in terms of Hans-Georg Gadamer's ontological conception of the 'play' of art, an interactive existence overlooked by Kant. Through the ‘play’ of Stevens’ poems the reading audience are implicated in their reduction to being. The origin of this conception leads Gadamer back to Parmenides who Stevens had read. I argue that Stevens’ poetry ‘plays’ its audience into an ontological ground in an effort to show that his ‘reduction of metaphysics’ is not dry philosophical imposition, but is enacted by our encounter with the poems themselves. Through an analysis of how the language and form of Stevens’ poems attempt to reduce mind and world to concepts that parallel Parmenides’ poetic sense of being, and Heraclitus’ notion of becoming, the thesis uncovers the ground in which Stevens attempts a reconnection with the ‘thing-in-itself’. It is through the experience of reconnecting to an ontological centre, which his poetry presents as the human project, that Stevens’ poetry also presents itself as a means of replacing religion.From here we turn to Emmanuel Levinas and Jacques Derrida for an exposition of how such a reduction reduces the ‘Other’ to ‘otherness’ and their worry that this reduction legitimates violence within the thought of Martin Heidegger and Parmenides. From this I make a case for how such reductions are connected to what I refer to as 'the play of violence' in Stevens' poetry, and to refer this violence back to the mythology Stevens' poetry shares with certain pre-Socratics and with Greek tragedy. This shows how such mythic rhythms are apparent within the work of Friedrich Nietzsche, Heidegger and Gadamer, and how these rhythms release a poetic understanding of the violence of a ‘reduction of metaphysics’
Portrait of director George Stevens and son George Stevens, Jr., undated
No full textPortrait of director George Stevens and son George Stevens, Jr. 35mm b&w photographic print
George Stevens, Jr., Elizabeth Taylor, James Dean, and George Stevens during production of GIANT, 1956
No full textLeft to right: George Stevens, Jr., Elizabeth Taylor, James Dean, and producer-director George Stevens during production of GIANT, 1956. 11x14 b&w photographic print
Samuel E. Howe, Jr. standing, at age 6
No full textSamuel E. Howe, Jr. Purdue 1907 Aged 6 1885-1924, buried Logansport. Circa 1891. On frame: Stevens, Logansport, Ind
John Wayne, George Stevens, and George Stevens, Jr. during production of THE GREATEST STORY EVER TOLD
No full textLeft to right: John Wayne, producer-director George Stevens, and associate producer George Stevens, Jr. during production of THE GREATEST STORY EVER TOLD, 1965. 8x10 b&w photographic print
Castle Point gate entrance to the residence of the late E.A. Stevens, Esq.
No full textPhoto shows old wall which was to the left of the gate entrance prior to 1905. (Edwin A. Stevens Jr. died 1918
Boswell Stevens and W. K. Love, Jr.
No full textW. K. Love, Jr., President of the New York Cotton Exchange. Poster is hanging on front of desk that reads \u27It\u27s cotton time U.S.A.\u27https://scholarsjunction.msstate.edu/mss-stevens-papers/1026/thumbnail.jp
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