Persons Are Forever

Roll 15. Freshman Week II. Image 12 of 17. (10 September 1952) [PHO 1.15.15]The Boleslaus Lukaszewski (Father Luke) Photographs contain more than 28,000 images of Saint Louis University people, activities, and events between 1951 and 1970. The photographs were taken by Boleslaus Lukaszewski (Father Luke), a Jesuit priest and member of the University's Philosophy Department faculty

The Good Soldier by Ford Madox Ford

This is an edition of Ford's modernist masterpiece, a novel that was an inspiration for many later, distinguished writers, including Graham Greene. Set before the First World War, it tells the tale of two wealthy and sophisticated couples, one English, one American, as they travel, socialise, and take the waters in the spa towns of Europe. They are 'playing the game' in style. That game has begun to unravel, however. With compelling attention to the tragic (and comic) results, the American narrator - a model of the 'unreliable' kind - reveals his growing awareness of the sexual intrigues and emotional betrayals that lie behind its facade. The introduction (6000 words) and notes cover such issues as critical reception, biographical and historical context, and form and style, also explaining Ford's many references - to Conrad's writing, for example, and the Bible in particular

[Review of] Alain LeRoy Locke (Jeffrey C. Stewart, ed.). Race Contacts and Interracial Relations: Lectures on the Theory and Practice of Race

Scholars of the history of race and race relations social science should be deeply indebted to Jeffrey C. Stewart for uncovering and meticulously reconstructing these extant lectures by the philosopher better known for his later contributions to the Harlem Renaissance than his social scientific theorizing: Alain LeRoy Locke. The book is an invaluable source on the thought of an African American intellectual on the subject of the nature of race relations during the Progressive Era and on its relationship to ethnic and class relations as well. So fecund are these lectures with insights and hypotheses which deserve further investigation and analysis that it would require a work of equal length to do justice to this collection of lectures. As a consequence, this review focuses only on Locke\u27s treatment of race, race prejudice, and race relations

Then-now A guide to the radio programme

This guide to the ‘radio-poem’ – ‘Then-Now’ includes the complete text of Seán Street’s poetic narrative used in the programme and a short commentary on the thinking behind the production of this experimental feature. You certainly don’t need to follow this guide to enjoy the ‘radio-poem’ it merely attempts to explain some of the ideas behind the production of the programme and how the recorded minutes were used. And, of course, it might help all the people who recorded a minute of their day at 6pm on November 9th last year to find their own recording within the layers of sound. Without all those wonderful volunteers this programme would not have been possible – many, many thanks to you all. When all the ‘minutes’ started to arrive at the Soundscape Productions office by email, post and by hand I began to hear a highly eclectic mix of recordings, both in terms of content and audio quality, but I was determined to use every recording submitted - a total of 120 minutes. With such a diverse range of material there were hundreds of ways in which I could have combining the sounds – I could have made many different programmes out of the same material. [Having heard the programme on transmission tonight there are many things I could/would change!] Initially I divided the material into various themes – based on what people were doing at that time of day – working, commuting, cooking, playing and socialising/meetings. I like to think that making a radio feature is rather like composing a piece of music – you introduce ideas, develop them add new opinions develop these and see how all the various views interact with one another. I decided that the ‘radio-poem’ should have a musical structure – a ‘symphony of sound’ in seven movements with an ‘overture’ and a ‘coda’. Seán’s poem was written at the same time as I was listening and editing and we became increasingly excited about the project through a series of long-distance phone conversations – bouncing ideas off one another. We gave ourselves a self-imposed deadline of 9th December to complete the process of editing and record the linking poetic narrative. This meant that the programme was recorded on the 9th, compiled on the 9th and transmitted on the 9th of three consecutive months. And that’s the only reason we chose the 9th November as the recording date. We did think about the idea of recording on a significant date – Bonfire night, Halloween etc. but, as Seán said, that would have made the recordings like posed photographs and not snap-shots of life – which was what we wanted. The poem and the whole of Seán’s introduction to the programme [the script of which can also be downloaded] was recorded and mixed at Gemini Audio Productions in London by Lance England and most of the editing and final mastering was completed by Warwick Pilmer at Clipstore in Leeds. So thanks are also due to them for their patience and understanding. Again thanks to everyone in involved in the project from BBC Radio 4 to all our contributors who gave a minute of their day to be part of this radio-experiment – ‘Then-Now

Travel Seminar reflection: experiencing the incredible India

This article was originally published in The Prophet -- a journal created by and for the students at the Boston University School of Theology (BUSTH) to amplify the voices of STH students by promoting and sharing a range of perspectives on matters of concern including, but not limited to, spiritual practices, faith communities and society, the nature of theology, and current affairs. It serves as a platform for STH students to share their academic work, theological reflections, and life experiences with one another and the wider community."This past winter break I was fortunate to have the opportunity to take the travel seminar to India... " [EXCERPT

DEIXIS IN THE SONG LYRICS GOODBYE’S (THE SADDEST WORD) BY CELINE DION

Deixis is used in most conversations or in writing literary works, including song lyrics. The purpose of this research is to reveal the use of deixis in the lyrics of Celine Dion's Goodbye's (The Saddest Word). In this study, the descriptive-qualitative method was used to collect the data. The procedure used to analyze the data starts with collecting data, using deixis, identifying the classification of data usage from person deixis, spatial deixis, and temporal deixis, and making conclusions on the use of deixis data. The theory proposed by Yule was used to analyze and classify the types of deixis. The results showed that the three types of deixis, namely person deixis, spatial deixis, and temporal deixis, are found in the song lyrics, with details of 47 person deixis, 8 spatial deixis, and 8 temporal deixis

Poor Old Horse: Tragicomedy and The Good Soldier

Senior Project submitted to The Division of Languages and Literature of Bard College

Writing the saddest chronicle: Ford Madox Ford's "The Good Soldier"

The Good Soldier está contada por John Dowell, uno de los narradores poco fiables más famosos de la literatura inglesa. Dowell reflexiona sobre un periodo de tiempo (1904-1913) y sobre los traumas y miedos de una generación: los hombres temían a las mujeres y se resentían de la progresiva pérdida de poder masculino. Ford Madox Ford asocia la desintegración de la vida de dos parejas con el curso de la historia Mi objetivo en este ensayo es ofrecer una lectura de esta obra como crónica modemista. La crónica como género incluye rasgos de la historia, de los subgéneros comprendidos en lo que hoy se denomina "life-writing" y de la crónica periodística. Podemos encontrar también una mezcla de ficción y autobiografía en las crónicas modernistas. Carecen de la autoridad de la escritura histórica, pero manifiestan la autoridad del escritor/observador desde su óptica personal, y añaden un sentido de modernidad debida a la subversión de la forma y de los límites genéricos, la falta de "closure" en su narración y la inclusión de desvíos y digresiones.The Good Soldier is told by John Dowell, one of the most famous unreliable narrators in English literature. Dowell reflects on a period of time (1904-1913) and on the traumas and fears of his generation: they were afraid of women and of the loss of masculine power. Ford Madox Ford associates the disintegration of two couples' lives with the wide course of history. My aim in this paper is to interpret this novel as a modernist chronicle. The chronicle as a genre includes features of the writing of history, the subgenre of "life-writing" and the journalistic chronicle. We may also find a mixture of fiction and autobiography in modernist chronicles. They lack the authority of historical writing, but display the authority of the writer/observer from his/her personal perspective, and add a sense of modernity through the formal subversion of narrative codes and generic limits, the absence of narrative closure, and the inclusion of digressions