Sargent, Elizabeth, Collection, 1983-1984

A collection of letters from Elizabeth Sargent to Gene DeGruson discussing writing and the Little Balkans Review. It also includes some of her work. Elizabeth Sargent was a poet, artist, and composer who lived and worked in New York City. She was born to a mining family in 1920, adopted by a Quaker family at 16 months old, and grew up in Shaker Heights, Ohio where she adopted the surname Sargent from an encouraging teacher. Sargent studied theater at the Carnegie Institute of Technology where she met her first husband, Hans Freund, whom she married in 1940. They divorced after World War II and Sargent was briefly wed to a man in Argentina before marrying her third husband, Allan Roberts, in the mid-1950s. Sargent reviewed books for The Dallas Morning News until she and her husband moved to New Jersey. In 1963, Sargent published her first book of poetry, African Boy. A year later, she separated from, but did not divorce, her husband and moved to Carnegie Hall where she lived until 2010. Her studio in New York is where she wrote works like Love Poems by Elizabeth Sargent, A Woman in Love, and The Magic Book of Love Exercises. Sargent had some of her poems published in the Little Balkans Review and she became friends with Gene DeGruson, the founder. In 2010, Sargent and other tenants were evicted from their apartments above Carnegie Hall. She was the last tenant forced out after receiving a $2 million settlement. According to friends, she stopped writing after the move. Sargent passed in 2017.https://digitalcommons.pittstate.edu/fa/1308/thumbnail.jp

Performing Identities in the art of John Singer Sargent

In the elegant society portraits by John Singer Sargent, body language created social identities. The fallen dress strap and obvious makeup in Madame X, for example, declared her a “professional beauty”; the costume of Charles Stewart proclaimed him a British lord. Critics often conflated appearance and character in Sargent\u27s images, yet Sargent used theatre and masquerade in numerous works to problematize essentialist links between appearance and character that were fundamental to turn-of-the-century class, gender, and racial stereotypes. This dissertation concentrates on the art Sargent produced after Madame X, as he recovered from the scandal it provoked in 1884 and as he established his patron base in England and America. Many of Sargent\u27s later works can be seen as a response to the issues raised by Madame X concerning the relationship between appearance and character. An analysis of theatrical elements in Sargent\u27s paintings elucidates the function of these images in variously maintaining and challenging notions of social identity. Chapter One discusses the critical reception of Sargent\u27s art in the context of a turn-of-the-century culture engaged in classification and performance activities. These activities are interpreted as strategic responses to a pervasive anxiety about the instability of class, gender, and racial identities resulting from modern conditions. This chapter looks specifically at the celebration of Sargent as a skilled delineator of “racial” types, the varied analyses of his own “national” identity, the debate over his artistic merit, and the concern about his “artifice.” Chapters Two through Four consider how Sargent responded to the discourses about his art through his portrayals of Ellen Terry as Lady Macbeth (Chapter Two), Jewish and aristocratic patrons (Chapter Three), and costumed family members and friends (Chapter Four). The visual structures of the paintings, in relation to evidence about the social culture in which Sargent painted and exhibited, suggest his artistic intentions even if Sargent himself rarely spoke of them. Through his work, Sargent called attention to the dialectic between reality and artifice and, consequently, the constructed nature of art and identity

Letter from Thomas F. Sargent to James B. Finley

Rev. Sargent is in the process of transferring to the Ohio Conference. He will leave Philadelphia around the 1st of October. He has written to Brother Spencer asking him to procure housing for he and his family. Sargent is counting on Finley vouching for his character within the Conference and with Brother Spencer. He looks forward to serving alongside Finley in ministry. Sargent has received word that his son William, now living in Cincinnati, has become a member of the MEC. [Note: T.F. Sargent transfers to the Ohio Conference as a supernumerary preacher. He is appointed to the Cincinnati station with Finley for the 1833-34 conference year. Unfortunately, he dies in the pulpit on December 29, 1833]. Abstract Number - 129https://digitalcommons.owu.edu/finley-letters/1127/thumbnail.jp

Supplementary Offense Report, August 1, 1954, Bay Village Police Department

Supplemental report regarding false confession by Louis Winner. Louis Winner confessed to killing Marilyn Sheppard. Sargent Hubach followed up with Winner\u27s family members who alibied him. When confronted, Winner admitted he was lying and said that he was an old man and he felt sorry for Sam

Supplementary Offense Report, August 1, 1954, Bay Village Police Department

Supplemental report regarding false confession by Louis Winner. Louis Winner confessed to killing Marilyn Sheppard. Sargent Hubach followed up with Winner\u27s family members who alibied him. When confronted, Winner admitted he was lying and said that he was an old man and he felt sorry for Sam

Robert B. Reed Papers, 1955-1960

Typed summary of first interview (12 leaves) with Leonard Sackett includes mention of the Chaffee family, Helendale Farm, description of a round grain elevator at Amenia, handling grain, his uncle, Cornelius Reed, who worked at the Amenia grain elevator, plows and grain binders used at Amenia and Sharon, Amenia store, description of various sections of Amenia and Sharon land, Robert and John Reed buying cattle and sheep, raising sheep at the Amenia and Sharon, the Reed-Sargent farm partnership (John and Robert Reed, E.C. and Frank Sargent), and Billy Sunday. Second interview (2 leaves) with corrections concerns Allie Power, a roommate of Robert Reed when they attended North Dakota Agricultural College. Includes a brief mention of J.B. Power's Shorthorn cattle, Allie Power's funeral, and firewood from Helendale Farm. Also includes a reminiscence (2 leaves) of an 1898 cattle drive, two clippings, and a list of names of the first North Dakota Agricultural College football team, identified from a photograph (held in Institute collections)

Are sexual media exposure, parental restrictions on media use and co-viewing TV and DVDs with parents and friends associated with teenagers' early sexual behaviour?

Sexual content in teenagers' media diets is known to predict early sexual behaviour. Research on sexual content has not allowed for the social context of media use, which may affect selection and processing of content. This study investigated whether sexual media content and/or contextual factors (co-viewing, parental media restrictions) were associated with early sexual behaviour using 2251 14–15 year-olds from Scotland, UK. A third (<i>n</i> = 733) reported sexual intercourse. In multivariable analysis the likelihood of intercourse was lower with parental restriction of sexual media and same-sex peer co-viewing; but higher with mixed-sex peer co-viewing. Parental co-viewing, other parental restrictions on media and sexual film content exposure were not associated with intercourse. Findings suggest the context of media use may influence early sexual behaviour. Specific parental restrictions on sexual media may offer more protection against early sex than other restrictions or parental co-viewing. Further research is required to establish causal mechanisms

Alison\u27s House (2022) | Program

Performed: 11-14 November 2022; Susan Glaspell\u27s Alison\u27s House is a three act play about the family of a poet, the family home where the poetry is written, and the last night the family spend in the home. The director was Michael Long, scenic designer was Jennifer Luck, lighting designer was Alli Angel, costume designer was Freddy Clements, sound designers were Kylie Sargent and El Hataway, dramaturg was Marija Reiff, assistant director was Stanton Yarboro, assistant dramaturg was Maggie Williams, assistant scenic designer/props was Erin Rose Pempel, production stage manager was Ellen Peck, stage manager Addie Zaner, assistant stage manager Leah Bussey, technical director John A. Davis, costume shop supervisor Megan Brightwell, scenic charge artist Jess Collier, assistant scenic charge Grayson Singleton, scenic painter Nicol Benson.https://digitalcommons.jsu.edu/productions_all/1107/thumbnail.jp

The relationship between frontotemporal effective connectivity during picture naming, behavior, and preserved cortical tissue in chronic aphasia

NIH National Institute on Deafness and Other Communication Disorders (NIDCD) grant 1P50DC01228