Out on His Shield

Author(s):  
Alan K. Rode
Keyword(s):  

Curtiz separated from Bess before leaving for Italy to direct Francis of Assisi (1961). The Encino ranch was sold, and Curtiz continued keeping company with Ann Stuart, aka Anitra Stevens. Francis of Assisi was highlighted by a memorable Curtiz meltdown that indicated he might be becoming senile.He was assigned to direct The Commancheros (1962), starring John Wayne, at Fox.While they were on location in Utah, Curtiz’s behavior became erratic and he was physically debilitated. He eventually fell, injuring his leg, and Wayne directedmore than half of the picture. It was discovered that Curtiz was riddled with cancer and had only months to live. Bess and his doctor had known he’d had cancer since his 1958 appendectomy but had kept it from him so he could continue working.Curtiz died on April 10, 1962, at seventy-five. His will left half his estate to Ann Stuart, including land and his movie residuals. He also reneged on a previously executed support agreement for his daughter by Jill Gerrard (who sued Curtiz’s estate and won) and left nothing to any of his children other than Kitty. The chapter concludes by summarizing his life and those of his key intimates, noting that Curtiz’s films remain a rich legacy.

2014 ◽  
Author(s):  
Latifah Troncelliti
Keyword(s):  

2014 ◽  
Vol 14 (2) ◽  
pp. 105
Author(s):  
José María Salvador González

As is well known, St. Francis of Assisi heroically embraced evangelical poverty, renouncing material goods and living in abject poverty, in imitation of Jesus Christ. Furthermore, through his writings and oral testimonies collected by his disciples, the saint fervently urged Christians to live to some degree voluntary poverty , of which Christ was the perfect model. By basing this reading on some Poverello’s quotations, this paper intends to show the potential impact that these exhortations from San Francisco to poverty may have had in the late medieval Spanish painting, in some iconographic themes so significantly Franciscan as the Nativity and the Passion of the Redeemer. Through the analysis of a large set of paintings representing both issues, we will attempt to put into light if the teachings of St. Francis on evangelical poverty are reflected somehow in Spanish painting of the late Middle Ages.


Author(s):  
Emma Mason

This chapter locates Rossetti in the context of the book’s ecotheological argument, which traces an ecological love command in her writing through her engagement with Tractarianism, the Pre-Raphaelite Brotherhood, the Church Fathers, and Francis of Assisi. It establishes her Anglo-Catholic imagining of the cosmos as a fabric of participation and communal experience embodied in Christ. The first section reads Rossetti in the context of current Victorian ecocriticism, which underplays the role of Christianity in the development of nineteenth-century environmentalism. The next sections question critical readings of Rossetti as a reclusive thinker and argue instead for an educated and politicized Christian for whom indifference to the spiritual is complicit with an environmental crisis in which the weak and vulnerable suffer most. This introduction also refers to the wider field of Rossetti studies and introduces her reading of grace and apocalypse as a major contribution to the intradiscipline of Christianity and ecology.


2020 ◽  
Vol 78 (1) ◽  
pp. 275-288
Author(s):  
Willem Marie Speelman

Theology ◽  
1925 ◽  
Vol 11 (64) ◽  
pp. 214-223
Author(s):  
G. J. Inglis
Keyword(s):  

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