Shāhnāmah : manuscript, 1718-1721

Written in a professional taʻlīq script in black ink, rubricated in red, 20 lines per page in 4 gold-ruled columns. Contains 115 miniatures portraying various scenes from the poem.

On old and new inventions for keeping pictorial works of art : with addenda : prepared to be read before the Society of Arts /

Caption title: On old and new inventions for preserving pictorial works of art.

Idiomatic Différance: Reflections on Intranslatability in the Works of Gerhard Richter

Translatability of a work of art, according to Walter Benjamin, is an essential ability to allow a translation to take on »a specific significance inherent in the original« so that it will retain a close relationship to the original. In contrast, Gerhard Richter's photo-based paintings show such an auratic significance of the original in its innate deficiency or intranslatability. As Rosemary Hawker puts it, the striking effect of blur in his paintings represents itself at once as a unique photographic idiom and a distinctive shortcoming of photography which impedes the medium from providing viewers with clearly perceivable images; the blur creates a site of différance in which both media come to a common understanding of one another’s idioms by telling what those idioms always fail to achieve. In this short essay, I will examine ways in which Richter’s photographic and pictorial works, including early monochrome paintings and recent abstract works based on microscopic photographs of molecular structures, attempt to untranslate photographic idioms in order to see painting’s (in)abilities simultaneously. In doing so, I intend to observe in the artist’s pictorial practice an actual phenomenon that the image can designate certain facts or truths only through its inherent plurality, faultiness, and partiality.

Idiomatic Différance: Reflections on Intranslatability in the Works of Gerhard Richter

Translatability of a work of art, according to Walter Benjamin, is an essential ability to allow a translation to take on »a specific significance inherent in the original« so that it will retain a close relationship to the original. In contrast, Gerhard Richter's photo-based paintings show such an auratic significance of the original in its innate deficiency or intranslatability. As Rosemary Hawker puts it, the striking effect of blur in his paintings represents itself at once as a unique photographic idiom and a distinctive shortcoming of photography which impedes the medium from providing viewers with clearly perceivable images; the blur creates a site of différance in which both media come to a common understanding of one another’s idioms by telling what those idioms always fail to achieve. In this short essay, I will examine ways in which Richter’s photographic and pictorial works, including early monochrome paintings and recent abstract works based on microscopic photographs of molecular structures, attempt to untranslate photographic idioms in order to see painting’s (in)abilities simultaneously. In doing so, I intend to observe in the artist’s pictorial practice an actual phenomenon that the image can designate certain facts or truths only through its inherent plurality, faultiness, and partiality.

Pintura e Ironía. La interrogación irónica en la expresión pictórica

Tesis con Mención de Doctor Internacional

Poéticas da visualidade em João Cabral de Melo Neto e Joan Miró: a poesia como crítica de arte

A tese focaliza alguns dos principais poemas de João Cabral de Melo Neto desenvolvidos como crítica poética. O mote da investigação é a construção de uma lírica crítico-discursiva, uma produção artística que avalia a arte com os termos, os instrumentos da própria arte. Esta perspectiva analítica é deflagrada pelos primeiros românticos (Schlegel e Novalis) e expande-se em duas direções: tanto o poema escrito a partir de uma reflexão sobre a arte ou a natureza (crítico em sua gênese), quanto a crítica, transmutada em poesia. A abordagem comparativa de estâncias do poeta com obras picturais nelas referenciadas evidencia o constante diálogo do poeta com as poéticas da visualidade e com as concepções estéticas da modernidade, mormente com a poética de Joan Miró. Através da abordagem comparativa, materializam-se dois caminhos privilegiados de experimentação estética: o percurso do poético ao plástico, em João Cabral; o caminho inverso, na obra do pintor catalão do plástico ao poético. Para ambos os artistas, os processos de exploração das linguagens artísticas ocasionam, como consequência extrema, a dissolução do plástico e do poético, rumo ao inefável na pintura e na poesia. Para Miró, os signos plásticos são poéticos, porque guardam em si um universo de possibilidades significativas que transcendem a ordem da própria coisa em si. E o alcance das transformações que a sua poética empreende afetará a poesia de modo análogo: os signos poéticos mostram-se plenamente poéticos, ao transcenderem a forma e o sentido, no âmbito da plasticidade da palavra. Se a palavra pode se tornar matéria (passar da abstração para a concreção), a matéria pintada pode ser poesia. Integram a constelação teórica desta investigação os principais filósofos que discutem o caráter crítico da poesia, desde os filósofos do primeiro romantismo (Schlegel e Novalis), até aqueles cujo pensamento está relacionado à modernidade ou à pós-modernidade (Benjamin, Adorno, Lyotard, Blumenberg e Agamben)

Bax and the 'Celtic North'

A feature of scholarship on Arnold Bax is his indebtedness, in his early works, to the Irish literary revival (particularly in the mythology-suffused works of 'AE' and early Yeats) and, in his later works, to the music of Jean Sibelius, and the relationship between these periods. I argue that this relationship, which I summarize by using Bax's portmanteau term of 'Celtic North', is underpinned by the stimulus of landscape, which, as well as being a means by which to return to the Romantic idea of the sublime, also provides a means by which Bax critiques the more modernist relationship with landscape that underpins the English pastoral school of the 1920s. Thus the 'Celtic North' is the antithesis to the English 'south land' of Vaughan Williams and others.

Brown's gift shop

This is a photo of Brown's Guif Shop in Cheraw, S.C. The building was designed by V. H. Kendell, Jr, the contractor was H. J. Roshing, and the building was completed in April 1952.

House in Cheraw, SC

This is a photo of an unknown house in Cheraw S.C., approximate date of 1950s.

Education building, First Methodist Church, Cheraw, SC

This is a mounted photo of the education building of First Methodist Church, Cheraw S.C. The building was designed by Graves & Toy in Charlotte, contractor was Haynsworth Construction Co in Florence, and the building was completed September 1953.

Office building for J.N. Stricklin, Jr., Cheraw, SC

This is a mounted photo of the office building for J.N. Stricklin, Jr. in Cheraw, S.C. The building was designed by V.H. Kendall, Jr., contractor was H. J. Rushing, and the building was completed October 1953.

David Skene-Melvin papers, 1918, 1995, n.d.

David Skene-Melvin, literary historian and bibliographer, donated his extensive collection of books on Crime, Mystery and Detective fiction to the Popular Culture Program at Brock University in July 2001. The donation forms a significant part of the Skene-Melvin Collection of Crime, Mystery and Detective Fiction, James A. Gibson Library, Brock University.

Anne McPherson family fonds, 1852-2011 [non-inclusive]

Frank C. (Case) McCordick (1873-1946) was the son of William Henry (1849-1930) and Emily D. Howell (1851-1927) McCordick. William H. McCordick was in the coal business. The McCordick family included Frank Case, Mabel Gertrude, Ethel Howell and Arthur Stanley. Frank C. McCordick was educated in St. Catharines, and worked with his father in the coal business and eventually opened up a leather tanning operation. McCordick was active in the Lincoln Regiment and in 1906 was promoted to captain and in command of Company A, 19th Regiment. He was promoted to major and at the outbreak of war he was sent overseas as a commander of the 35th Battalion of the Canadian Expeditionary Forces (CEF). Upon arrival in France he was made officer commanding the 15th Battalion, King’s Own Yorkshire Light Infantry (KOYLI). After the war and his return to Canada he continued to play an active role in the local military units in the area as well as in Hamilton. After his retirement from the military in 1927 McCordick served as alderman and then mayor of St. Catharines from 1930 to 1931. He was a member of a large number of civic clubs, including St. Catharines Chamber of Commerce, Y.M.C.A., Lion’s Club, St. Catharines Golf Club, Detroit Boat Club, the St Catharines Club, as well as a member of several Masonic lodges. He continued to operate McCordick Tannery and other local investments. In 1903 Frank C. McCordick married May Beatrice Simson, daughter of Thomas E. Simson of Thorold. They had three children, E. (Edward) Frank McCordick, Bruce McCordick and (Margaret) Doris McCordick (m. Hubert Grigaut, d. 1977). The McCordick family resided at 82 Yates Street, near Adams Street. May Simson McCordick (b. 1873) was the daughter of Thomas Edward (1836-1908) and Julia Headlam (1844-1887) Simson of Thorold. Her siblings included: Edward, Frances, John, Augusta, Georgia and Gertrude. E. (Edward) Frank McCordick (1904-1980) was born in St. Catharines, Ont., attended Lake Lodge School in Grimsby, Ridley College in St. Catharines, Beechmont Preparatory School in England, Upper Canada College in Toronto and graduated from Royal Military College in Kingston, Ont. in 1925. Upon graduation he was made a lieutenant in the 10th (St. Catharines) Field Battery. In 1929 he married Helen Stanley Smith, daughter of Stanley George and Mary Walker Smith of St. Catharines. Col. McCordick, now promoted to Major, played an active role in the 10th (St. Catharines) Field Battery, being officer commanding the battery. In late 1939 McCordick headed to England for artillery tactical training and on December 6, 1939 the battery began the long trek overseas. McCordick saw action in Italy and in Holland. Upon his return to Canada at the end of the war he was the Liberal candidate in the federal election for Lincoln County. He remained active in the local military serving as honorary lieutenant-colonel of the 56th Field Regiment (ARCA) and in 1976 as the honorary colonel of the regiment. Col. McCordick held the Efficiency Decoration, the Order of the British Empire, granted in 1945 and was made an officer in the Order of St. John in 1978. He continued to serve his community in various capacities, including the Unemployment Insurance Canada Board, Royal Trust Company and the St. John Ambulance Society. He remained an active member of the alumni of Royal Military College, editing and compiling a newsletter and organizing reunion weekends. He kept in close contact with many of his classmates. Helen Stanley Smith McCordick lived in St. Catharines, Ont., attended Robertson School, and graduated from the University of Toronto in 1926 with a Bachelor of Arts degree in Modern Languages. During the war years (1939-1945) Helen was active in the Transport division of the local branch of the Canadian Red Cross and the Women’s Auxiliary of the 10th Field Battery. In 1932 E. Frank and Helen McCordick welcomed their only child, (Catharine) Anne McCordick. Helen continued to play an active role in her community until her passing in 1997. Stanley George Smith (1865-1960) was born in St. Catharines, Ont., the only child of William Smith (d. June 16, 1876) a native of Edinburgh, Scotland and his wife Hannah Louisa Maria Bulkeley a native of Fairfield, Connecticut. Stanley George Smith married Mary Walker of Guelph, Ont.(d. 1956) Mary was the daughter of Hugh and Elizabeth (d. 1924) Walker. Her siblings included Margaret, Agnes, Jessie, Isabella, Lorne, Ada, Alice, Eva, Alexander and George. Hugh Walker was a prominent fruit and vegetable merchant in Guelph. On 1904 their only child, Helen Stanley Smith was born. He was a post office clerk, and the treasurer for the James D. Tait Co. Ltd., a clothing and dry goods retailer in St. Catharines. The family lived at 39 Church Street in St. Catharines, Ont.

Niagara Postcards, 1902, 1908, 1910, undated.

Consists of 33 postcards featuring various scenes and landmarks in the Niagara region. The postcards feature the Great Gorge Route, the Niagara River and Falls, Queenston Heights, Ridley College, military camps in Niagara-on-the-Lake, and a Catholic Church in Port Colborne. Most of the postcards are blank, but four have been postmarked. One of these is addressed to Miss Ada Misner, Espanola, Ont., from M.G. and is postmarked August 18, 1908. Another postcard is addressed to Mr. Alfred H. Smith, Stamford Hill, London N., from Hedley Smith, France and is postmarked 1902. Another is addressed to Miss Annabel Bishop, Buffalo, N.Y. from Irene Lalour(?), and is postmarked April 30, 1908. The last postcard is addressed to Miss Edna Lackie, Toronto, from R.M. and is postmarked August 1, 1910.