Bringing Essanay’s “Special Eastern” to Ithaca

Author(s):  
Barbara Tepa Lupack

This chapter describes Ted Wharton's brief stay in Ithaca, wherein he shot Football Days at Cornell (1912), the picture that would prove to be a turning point in his career. Convinced that the town would be an ideal location for a full season of summer shooting, he pressed George K. Spoor, cofounder of Essanay, to allow him to establish a temporary Ithaca studio facility. Spoor agreed to authorize the venture, and in May of 1913, Ted returned to Ithaca with the “Special Eastern,” a complete company of some twenty crew members and photoplayers, including the studio's biggest star, Francis X. Bushman, and his frequent leading lady Beverly Bayne. The Hermit of Lonely Gulch was the first of the pictures the “Special Eastern” would produce that season, and it proved to be an excellent start. Other pictures produced that season include Sunlight, For Old Time's Sake, A Woman Scorned, Tony the Fiddler, and Dear Old Girl. The chapter then considers assistant director Archer MacMackin, who—working under Ted's close supervision—kept himself and the company busy throughout the summer with rehearsals and production. The Toll of the Marshes would be the last picture filmed by Ted's Essanay “Special Eastern.” After the company decided against opening a permanent eastern studio, Ted terminated his contractual association with Essanay and moved to Ithaca to form his own independent production company.

Author(s):  
V. O. Artiukh

Within the article, an attempt is made to trace the process of creating quasi-religious Taras Shevchenko’s cult on the territory of the Sumy region at the turning point of history for the Ukrainian nation - national liberation struggle during 1917-1921. The fact is admitted that within Taras Shevchenko’s cult the ways of the reality mythical perception manifest distinctly. Its main methods of functioning are identified: celebrating holidays and holding demonstrations, erecting the monuments, naming natural and cultural objects after the Kobzar, using his image in book publishing. Shevchenko’s holiday phenomenon is reconstructed on the example of celebrations in the towns of Sumy and Konotop, also in the villages of Perekopivka and Vedmezhe (Romny county). The point is stressed that erecting the monuments (busts) to Shevchenko and performing sacred rituals of worshipping nearby constitute a symbolic action of forming the sense of collective unity of Ukrainians. As an example, the history of creating the monument to the Kobzar in the town of Romny and the bust in the township of Voronizh is considered. The attention is paid to the precedents of naming after Shevchenko numerous new points of the cultural landscape during the period of reconstructing the symbolic space at the time of the Revolution on the territory of the Sumy region. Specific examples in the sphere of toponymy are cited. The role of “Prosvita” fellowship centres is emphasized. They played the part of either organizers or participants of the majority of commemorative practices for honoring the figure of Shevchenko. Some facts of establishing the book publishing by “Prosvita” fellowship centers in the Sumy region are given. The Kobzar’s figure and creative heritage were often popularized by means of those books and brochures (Konotop, Okhtyrka, and Pidlypne). The specificities of Shevchenko’s image interpretation within the Bolshevik ideology are covered in the article. Unlike Ukrainians, who paid more attention to the national character of Shevchenko’s creative heritage, the Bolsheviks underscored its class and revolutionary features. The absence of antagonistic differences and the presence of numerous points of agreement in Kobzar’s image interpretation by “nationalists” and communists should also be emphasized. The conclusion is drawn about the importance of Shevchenko’s cult on the territory of the present-day Sumy region for spreading Ukrainian national and Socialist ideologies in broad masses’ consciousness. Keywords: Taras Shevchenko, cult, the Sumy region, national identity


1969 ◽  
Vol 3 (2) ◽  
pp. 131-150 ◽  
Author(s):  
R. B. Smith

The years 1916–17 were something of a turning-point in the development of Vietnamese nationalism. In Cochinchina an abortive attack on Saigon central prison in February 1916 was followed by a great many arrests and the virtual destruction, for the time being, of the network of secret societies which had grown up in many of the colony's provinces during the previous decade. Many members of such societies were brought before special military tribunals (justified by the fact that France was at war in Europe) and sentenced to death, exile, or long terms of imprisonment. In Annam another abortive plot, probably quite separate, was hatched at Huê in May 1916, involving the kidnapping of the boy-emperor Duy-Tân; but he was found by the French two years later, before a projected rising in the provinces of Quang-Nam and Quang-Ngai could get under way. The leader of the plot, Trân Cao Vân, was executed along with three others, and the deposed emperor was exiled to the island of Réunion.2 These events in Cochinchina and Annam brought to a halt, for a time at least, the activities of secret nationalist groups which, drawing their initial inspiration from Japan, had been increasing in strength since about 1905. In Tongking there were also secret associations, mostly acknowledging the leadership of Phan Bôi Châu who was then in exile at Canton, and strongly influenced by the revolutionary methods of Sun Yat-sen. But there also, their last important operation for several years occurred in September 1917, when Luong Ngoc Quyên escaped from prison at Thai-Nguyen and was able to control the town for a week, before being driven out and committing suicide.3 Phan Bôi Châu himself was arrested by the Chinese the following year.


Author(s):  
A. E. Dunaev

In the history of the German written language, the XVXVI centuries became a turning point: in the sphere of both administrative writing and informative literature, new genres and types of texts are developing, and relations within the genre system are being rebuilt. Chronicle texts, including town chronicles, become one of the most popular textotypes. According to researchers, their primary function is legitimization of the respective town as a political and legal entity. This legitimation was based primarily on the rights and privileges granted to the town by its former or current lord. Accordingly, the semiotic space of chronicle texts is organized around the concept of freiheit meaning privilege, right, freedom. The purpose of the article is to analyze the nominative field of the concept freiheit and to conclude on the semantics and functioning of lexical units in the text that verbalize this concept. Over hundred text examples extracted from the chronicles of Bern (the first third of the XV century) and Worms (the second half of the XVI century) were used as the research material. The core of the concept freiheit, its nominate is built by the homonymic lexeme, whereby the lexeme recht also belongs to the nuclear part of the field. Based on the analysis of text examples, five components of meaning of freiheit were identified, which form the slots of the corresponding concept. The largest number of concept nominations is concentrated in the slot right, privilege: these are the lexemes gerechtigkeit the right to adjudicate, herrlichkeit with a similar meaning, obrigkeit the right of possession, indult temporary privilege, erlaubung permission. On the periphery of the concept freiheit lie the lexemes herkommen and gewohnheit in the meaning of legal customs. The analysis of material allows us to conclude that in the view of chroniclers, urban legal customs were as important for the legitimization of town as its privileges. It is worth saying that the lexeme freiheit is often used as a collective one, without specifying the content of a specific right or privilege. Obviously, for the chroniclers, the very existence of rights in their totality was of paramount importance, since this determined the status and power of their town.


2002 ◽  
Vol 21 ◽  
pp. 117-173
Author(s):  
Christian Thomas Leitmeir

After decades of suffering and agony, Catholicism in Augsburg entered a phase of gradual recovery around 1550. The first half of the sixteenth century was characterised by the rapid expansion of the Reformation and the marginalisation of the Catholics in the town. At the zenith of Protestant predominance, the Lutherans even managed to force the entire Catholic clergy into exile from 1537 to 1547 and for a few months in 1552. The episcopate of Cardinal Otto Truchsess von Waldburg (1543-73), however, marked a turning point for Catholics in Augsburg. The Peace of Augsburg (1555) conceded political parity to the Catholic minority in town. Due to Otto von Waldburg's zealous activities, his severely decimated flock even managed to grow again slowly over the years.


2017 ◽  
Vol 38 ◽  
pp. 91-104
Author(s):  
Christopher Garbowski

In 1989 the iconic figure of Marshall Will Kane from the classic Western High Noon was effectively used by the Solidarity opposition for aposter during the campaign for the historic June 4 elections of that year. Almost aquarter of acentury later, Andrzej Wajda released his Wałęsa: Man of Hope 2013, which more or less concludes at that historic turning point. One thing that relates Wajda’s film to Fred Zinnemann’s is that both can be considered foundation myths. In this article foundation myths from classic Westerns in general and Wajda’s film in particular are analyzed on the basis of their relationship to Isaiah Berlin’s distinction of negative and positive freedom. Typically the classic Western deals with the problem of positive freedom, especially in the town-tamer subgenre to which High Noon belongs. Conversely, Wajda’s Wałęsa is concerned with the problem of negative freedom. Both positive and negative freedom myths within the examined film narratives cope with the problem of the hero in relation to political psychology and shed light on the issue of political realism.W SAMO POŁUDNIE W CORRALU SOLIDARNOŚCI — WAŁĘSA WAJDY A KLASYCZNY WESTERNW 1989 roku ikoniczna postać szeryfa Willa Kane’a z klasycznego westernu W samo południe była skutecznie używana przez solidarnościową opozycję na plakatach podczas kampanii poprzedzającej historyczne wybory 4 czerwca tego roku. Prawie ćwierć wieku później Andrzej Wajda zrealizował film Wałęsa: człowiek z nadziei 2013, który mniej więcej reasumuje ten historyczny zwrot. Jedna rzecz, która nawiązuje w filmie Wajdy do utworu Zinnemanna, to iż oba filmy mogą być postrzegane jako fundamenty mitów. W niniejszym szkicu fundamenty mitów z klasycznych westernów w ogóle i w filmie Wajdy w szczególności są analizowane na podstawie ich powiązań z rozróżnieniem pozytywnej i negatywnej wolności przez Isaiaha Berlina. Typowy klasyczny western podejmuje wątek pozytywnej wolności, szczególnie w odmianie town-tamer, do której należy W samo południe. Film Wajdy o Wałęsie — odwrotnie — podejmuje problem wolności negatywnej. Zarówno mit pozytywnej, jak i negatywnej wolności w ramach badanych opowieści obejmują problematykę bohatera w relacji do politycznej psychologii i rzucają światło na zagadnienie politycznego realizmu.                                                                                              Przeł. Kordian Bobowski


2009 ◽  
Vol 122 (1) ◽  
pp. 43-63
Author(s):  
Ben Broos

AbstractDuring the six years before her marriage in 1634, Rembrandt's wife, Saskia Uylenburgh, lived in Sint Annaparochie (Het Bildt) with her sister Hiskia and her guardian, the town clerk Gerrit van Loo (ca 1580-1641). The Memorijen by Dirck Jansz. (ca 1579-1636) provide insight into the particulars of daily life in this Frisian county. Gerrit lived in comfort in the Regthuys, where Rembrandt's wedding celebration would later take place (fig. 1). In 1627 Gerrit, a widower, married Hiskia Uylenburgh, daughter of Rombertus Uylenburgh, a former mayor of Leeuwarden (fig. 2). Gerrit's first son was named Rombertus after his late grandfather. Johannes Maccovius (fig. 3), a Franeker professor, was witness to the baptism.In 1632, riots broke out in Het Bildt and Gerrit's family fled to Leeuwarden, taking Saskia with them. That was a turning point in her life. It was then that she probably first met her cousin Hendrick Uylenburgh, who ran a branch of his art dealership there. He had paintings by and after Rembrandt for sale there, including a 'Head of an Oriental Woman', which was also a portrait of Hendrick's wife, Maria van Eyck (fig. 4). Saskia decided to visit Maria and Hendrick in Amsterdam, and also looked up their cousin Aeltje Uylenburgh, who sat for a portrait by Rembrandt in 1632, when she was 62 years old (fig. 5). While in Amsterdam, Saskia met the painter at her cousin Hendrick's home. Three days after the baptism of Gerrit's daughter Sophia on 5 June 1633, Saskia became engaged to Rembrandt in Sint Annaparochie. It was then that Rembrandt drew her in silverpoint on parchment (fig. 6). Recent physical examination has demonstrated that the drawing of Saskia and the inscription beneath it were done at the same time and with the identical implement.After the death of her sister Antje in November of 1633, Saskia lived in Franeker with her brother-in-law, the widower Maccovius. Rombertus Ockema, the son of her oldest sister Jelcke, was studying in Franeker at the time. In his album amicorum, this nephew kept a calendar of all the Uylenburgh dates of death. This is concrete evidence for the close ties within this family, which meant more to Rembrandt than his own relatives from Leiden. In connection with her engagement to Rembrandt, Saskia requested and received a declaration of majority (venia aetatis). In March of 1634, Saskia's godmother, Sas Uylenburgh, passed on in Leeuwarden. She had earlier made Jelcke her heiress, instead of her goddaughter Saskia. The family took legal steps to challenge this decision, with Gerrit representing Saskia as 'curator'. He was repeatedly to fill this role later on, even when he was no longer her guardian.Presumably Saskia remained in Friesland from the time of her engagement until her wedding on 22 June 1634. Rembrandt did not even know her exact address. He engraved her portrait in what appears to be bridal dress (fig. 8). One month later, Rembrandt gave power of attorney, via a Rotterdam notary, to Gerrit van Loo, so that he could collect outstanding debts for Saskia in Friesland. In similar fashion, Gerrit organized the sale of a family farm for Saskia cum suis in 1634. In 1635, Saskia (visibly pregnant and therefore probably accompanied by Rembrandt) was witness to the baptism of Gerrit's fourth child, Antje (fig. 9).When Saskia drew up her first will in 1635, Hiskia was to be compensated for services rendered with a generous bequest. In 1638, Gerrit once again assisted Saskia with the sale of a farm, 'Ulenburghs Sate' in Nijemirdum. The legal proceedings against Jelcke over the inheritance of aunt Sas apparently turned out well; Hendrick Uylenburgh and Rembrandt wrote nearly identical letters to the notary in Leeuwarden, demanding their portion. Gerrit van Loo was one of the witnesses at the baptism of Titus on 22 September 1641. Gerrit passed away on 26 December of that year, as duly noted by cousin Ockema. In the spring of the following year, Saskia fell critically ill and had a second will drawn up. Once again, Hiskia was promised the bulk of her (greatly increased) fortune. Rombertus Ockema also recorded Saskia's death on 14 June 1642 (fig. 10).Rembrandt remained in touch with Gerrit's widow, Hiskia Uylenburgh, whom he turns out to have owed money in 1656. One year earlier, at the instigation of his father, Titus had altered Saskia's will to the detriment of her family. Titus married Gerrit's niece Magdalena van Loo in 1668. In his request for venia aetatis, he provided proof of his baptism, on which Gerrit van Loo is named as his former godfather. Beside Johannes Maccovius ('the professor') and François Coopal ('the commissioner'), Gerrit van Loo ('the secretary') turns out to have been the third brother-in-law to give meaning and colour to hitherto obscure aspects Rembrandt's life. They were the academics among Rembrandt's next of kin, all four alumni of Franeker University and longtime acquaintances.


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