Realistic Portrait Research Articles

A new kind of likeness

Britain's National Portrait Gallery, which has recently acquired a striking new wing, has this autumn also obtained a very new kind of portrait. Artist Marc Quinn has created a ‘genomic portrait’ of Sir John Sulston, former director of the Wellcome Trust's Sanger Centre near Cambridge, who led the UK arm of the human genome project which announced completion of the first draft last year. As the first entirely conceptual portrait to be shown at the gallery, it presents a detail of Sulston's genome. “While abstract in the aesthetic sense, it provides a representation of the sitter and precisely captures what is unique about him,” says Quinn. “In fact it is the most realistic portrait in the gallery since it carries the actual instructions that led to the creation of John.” “I like that it makes the invisible visible, and brings the inside out… we are the first generation to be able to see the instructions for making ourselves,” says Quinn.

"The Short Way of Saying Mexicano": Patrolling the Borders of Mario Suarez's Fiction

Literary critics agree that Mario fiction holds an important place in of Chicano/a literature. Charles Tatum argues that colorful vignettes of postwar life in Tucson bridge transition between Mexican American and Contemporary Period (244); Raymund Paredes points out that texts cross a watershed in Mexican-American history (41); and in North of Rio Grande, stories are described as the first literary efforts of an American of Mexican decent, writing in English, to [publish] in a prestigious U.S. journal [the Arizona Quarterly]. Indeed, they are first works that offer a predominantly Anglo audience a compelling and realistic portrait of [the] life of Mexican-American [sic] (93). But aside from an occasional nod to historical significance of work, few critics have explored his texts in any detail. And perhaps because interconnected stories of life in Tucson's Barrio Hoyo, published in a variety of journals and literary magazines, have yet to be collected in one accessible volume, his work has never been discussed as an integrated corpus. (1) Instead, those scholars who have taken time to examine fiction have only tackled one or two of his numerous stories, and, as a result, scholarship that does exist tends to be both preliminary and contradictory. Raymund Paredes, for example, reads Suarez as a writer who understood that Chicano was a group apart, now embarked on a bumpy road towards delineation and articulation of a version of Mexican-American identity, [an identity that is] urban, bilingual and profoundly influenced by American popular culture (41-42). What Paredes fails to mention in his albeit brief analysis is that texts repeatedly censure those characters--especially zoot-suited pachucos--who have adopted this revised cultural identity. In his work on pachuco, Arturo Madrid-Barela correctly identifies Suarez's mocking of zoot suiters, but he explains this vision vis-a-vis author's desire to assimilate into a American, middle-class culture, a desire that has been jeopardized by pachuco's behavior and attitudes: represents parasitic if not mythic model of Pachuco. At best he is simpleminded and unambitious, at worst he suffers from arrested development.... Whatever Pachuco may have been in Tucson, Arizona, mocking vision was perfectly attuned to historical moment.... In Tucson, Arizona, Mexican community rejected Pachuco who frequented Kaiser's Shoeshine Parlor on Meyer Street and Pastime Penny Arcade. America's Mexican middle-class, besides rebelling against being Pachuco's butt, had learned lesson of conformity well and were more than disposed to apply it to their own in order to assure their own second acceptance in American white society. (48) Madrid-Barela's assimilationist reading of this single Suarez story does not, however, account for nostalgia that patterns so many of author's Tucson vignettes. Instead of longing for a more conformist and Americanized middle class life for Mexican-Americans, vignettes lament passing of a time when Mexican Americans were more attuned to traditional Mexican culture. Most recently, Wilson Neate uses often-anthologized story El to illustrate subversive potentialities of minority literature. Neate's Lacanian/Bakhtinian approach designates Hoyo a carnivalesque space that accommodates, rather than eschews, Otherness: El Hoyo is a multiple and extending play of racial and cultural signifiers with no closure or left-over as it constantly takes in that Otherness or that `something more' (Unwelcome 32). Although, as I'll argue later, El certainly invites such a reading, one wonders whether Neate has read Kid Zopilote or Las Comadres, texts which graphically illustrate how Hoyo polices, as well as extends, its communal boundaries from perceived threat of gender and cultural difference. …

Understanding Internet Valuations

With E-business evolving at a lightning pace, fads fading in and out of avor, and corporate valuations rising and falling someimes on as little as a whispered rumor, how is an investor to determine the real, underlying value of an internet company? Steven Rosner suggests that by discounting expected cash flows, one can achieve a more realistic portrait of current valuation - but one which may be vastly different from that painted by Wall Street. Three benchmark firms with different business models and strategies are considered, and from their lessons one may be able to fine-tune conclusions about internet valuations.

Facilitating Self-Determination Abilities In Adults with LLD

Two overarching goals for adults with language-learning disorders (LLD) are the achievement of a realistic portrait of themselves and an ability to communicate effectively in different settings. These goals require the development of self-determination, which enables individuals to take responsibility for their lives by defining and accomplishing goals. A case study of a graduate student with LLD is used to demonstrate the development of self-determination abilities. Academic and communication interventions were used to foster the development of the student's self-knowing and self-valuing as the basis for becoming a self-determined individual.

Is America breaking apart?

Is the United States a nation of materialistic loners whose politics are dictated by ethnic, racial, religious, or sexual identities? This is what America has become in the eyes of many commentators. Americans seem to fear that their society is breaking apart, but how accurate is this portrayal and how justified is the fear? Introducing a balanced viewpoint into this intense debate, John Hall and Charles Lindholm demonstrate that such alarm is unfounded. Here they explore the institutional structures of American society, emphasizing its ability to accommodate difference and reduce conflict. The culture, too, comes under scrutiny: influenced by Calvinistic beliefs, Americans place faith in the individual but demand high moral commitment to the community. Broad in scope and ambition, this short book draws a realistic portrait of a society that is among the most powerful and stable in the world, yet is perennially shaken by self-doubt. Concern over the cohesiveness of American society, Hall and Lindholm argue, is actually a product of a shared cultural belief in human distinctiveness and equality. They find that this shared belief paradoxically leads Americans to exaggerated worries about disunity, since they are afraid that disagreements among co-equals will rend apart a fragile community based solely on consensus and caring. While there is little dissent among Americans over essential values, racism still abounds. Here the authors predict that the homogenizing force of economic participation might still be the key to mending the wounds of racial turmoil. By combining history, sociology, and anthropology, the authors cover a wide range of past and recent challenges to the stability of American society: from the history of unions to affirmative action, from McCarthyism to militant distrust of government, from early prejudice toward Irish and Italian immigrants to current treatment of African Americans. Hall and Lindholm do not skirt the internal contradictions and moral tensions of American society but nonetheless recognize the strength and promise of its institutions and culture. Their book is a vivid, sweeping response to the doomsayers in the reassessment of our society.

Insiders, Outsiders, and the Question of Authenticity: Who Shall Write for African American Children?

Let Portmans go to Ireland, but as you know nothing of Manners there, you had better not go with them. You will be in danger of giving false impressions. Stick to Bath & Foresters. There you will be quite at home. (Jane Austen [from a letter to Austen's niece, who had sent her manuscript of a novel], qtd. in Mercer 307) This romance was sketched out during a residence of considerable length in Italy, and has been rewritten and prepared for press in England. The author proposed to himself merely to write a fanciful story, evolving a thoughtful moral, and did not purpose attempting a portraiture of Italian manners and character. He has lived too long abroad not to be aware that a foreigner seldom acquires that knowledge of a country, at once flexible and profound, which may justify him in endeavoring to idealize its traits. Italy, as site of his romance, was chiefly valuable to him as affording a sort of poetic or fairy precinct.... (Nathaniel Hawthorne, Preface to The Marble Faun vi) My themes are universal. And because black people are people I know, and part of group that I am, that is my center, so to speak, so my characters are black. Most of time.... But it's very difficult when you're a black writer to write outside of black experience. People don't allow it; critics won't allow it. If I would do a book that didn't have blacks, people would say, Oh, what is Virginia Hamilton doing? Yet a white writer can write about anything. (Virginia Hamilton, qtd. in Rochman 1021) This is a popular Japanese folktale and tells story of a devoted pair of wild ducks. The illustrations in this beautiful book are subtle and suggestive but also an education in dress, hairstyles, hierarchical levels of society, homes, customs and, not least, in eighteenth-century Japanese art. (I have been told that there are inaccuracies in representations; cummerbunds of ladies are wrong width and upper-class ladies sport hair styles of courtesans. And Japanese never wear shoes in house. This doesn't lessen my bonding with this book and, indeed, makes me want to find out more.) (Judith Graham [commenting on The Tale of Mandarin Ducks, retold by Katherine Paterson and illustrated by Leo and Diane Dillon] 24) One central concern of scholars, literary historians, and critics these days is matter of authenticity, especially authenticity of cross-cultural and multicultural stories, and ensuing conflict or question, Who will produce literature of parallel cultures? An author of character's own particular culture - or anyone? And for those who feel it doesn't matter (that anyone who can tell a good story should do so), we must ask, What makes a story good? Replicating reality to fullest? Getting facts and feelings right? Suppressing or distorting reality to make us think and feel differently? (Giving us new images to think with - and about?) But good for whom? Writers who want or need freedom of expression? Publishers who want story to sell? Readers who want to find themselves in a book? Readers who want to find others in a book? And which readers? Those closest to author's own reality? Or those with different background experiences? Can a really story be good if it does not derive its material from traditions (the memories, beliefs, preoccupations, and concerns) of an author whose cultural origins are shared by those of story's characters? Jane Austen, with her concern for social realism, did not think so. And remark she made about the little bit (two inches wide) of ivory on which I work with so fine a brush (qtd. in Tanner 1) has now become legendary. Nathaniel Hawthorne agreed in principle, and that is why he decided to make his story The Marble Faun, set in Italy, a fantasy and why he took great pains to sidestep a realistic portrait of his Italian characters. Virginia Hamilton protests fact that she does not have liberty of white authors, who either ignore Austen's advice or follow Hawthorne's example. …

A modelling analysis of non-isothermal bubble column reactors

A generalized mathematical model has been developed to simulate the non-isothermal performance of bubble column reactors. Steady-state reactor behavior is rigorously described without limitations on the extent of macro-mixing, flow configuration, absorption-reaction regime, and nature of reactive species. A parametric sensitivity analysis shows that the idealized lumped-distributed models do not offer a realistic portrait of the non-isothermal behavior of bubble column reactors. Implications on the possible occurrence of static bifurcations are discussed.

The Countrywoman de Paul Smith : représentation du paupérisme dublinois dans les années 1920,

In The Countrywoman, Paul Smith draws first the realistic portrait of a family living in the Dublin slums in the 1920s. Molly Baines, the heroine, suffers from a whole set of misfortunes : miserable housing, a consumptive daughter, a very scanty income, a violent drunkard of a husband. Far from helping her, the Church offers nothing but resignation. The reader is taken from the slums to the workhouse and from the workhouse to the graveyard. Far from revelling in the sordid aspects of life, Paul Smith often draws this realistic material towards the fantastic through his brilliant use of language.

The Black Image in Film

Rollins I Introduction to Special In-Depth Section Peter C. Rollins Editor-in-Chief The Black Image in Film y \^_^/ he recent awards presented by the Academy of Motion PictureArts and Sciences ("the Oscars") were reprehended by many because black filmmakers, actors, and technicians did not receive expected recognition. Anti-semitic comments by such celebrities as Marlon Brando (on the LarryKing Show) did not advance the cause of understanding or encourage positive recognition. We have much to learn about the black image in film and television-not only in relation to past images, but how the current images are woven into the attitudes of contemporary America. In the opening essay for this section, Prof. Mark Winoker explores the background and fallout of the images in a specific film, The Green Pastures (1936). His understanding of the available myths and stereotypes, together with close reading, reveals The Green Pastures paradox-it is at once a forum for black culture and a perpetuation of anachronistic stereotypes of the state of the black church in America. The black contribution to America's fighting forces has been of great interest during the recent celebrations of our great victory in World War II. Documentaries about the Tuskeegee airmen, plus an HBO docudrama, have reminded Americans of the essential contribution of blacks to the victory. For example, we now know that, during the Battle of the Bulge, the infusion of fresh troops was essential to stopping the German offensive and, under the command of General Patton, black soldiers recorded some major accomplishments. Just this spring, those contributions were recognized by President Clinton in the presentation of Medal of Honor medals-for the first time-to black heroes. One of them came from a small Oklahoma town not far from my home. In the Fall, we will have a special "massing of the colors" ceremony to commemorate the sacrifice of Staff Sergeant Ruben Rivers, a man who fought and died at the very tip of Patton's mechanized arrow. 4 I Film & History The Black Image in Film | Special In-Depth Section Liberators (1992) was a documentary designed to honor the black contribution in WWII, but the film went beyond the facts. In her scholarly study, Pamela Calvert places the production in its 1990s context and shows how the forces at work in the pressure-cooker environment of New York City affected the work of the two collaborators. Calvert's article also reminds us of the need to have real historians-as opposed to media typesdirectly involved in the entire range of production. We of Film & History have been reminded of this need many times over the years-in articles by Patrick Griffin, Richard Raack, and Peter Rollins—but continuing violations of basic historical methodology demand scholarly whistle-blowing. At the present time, Liberators-bolh the film and the book versions-have been withdrawn from circulation by the publisher and the network involved. This action settles the immediate problem; yet the danger in all this controversy is that we lose perspective on the real issue: there are no standards in the vast wasteland of television when it comes to historical films. Too often, the need for funding and ratings dictates that drama wins out over information. A Soldier's Story(1984) is a fine, tense film which explores the story within the story for black soldiers in WWII-and at other times. During our history, minorities have often gambled on the possibility that their willingness to fight for the nation would win them recognition and acceptance. Anyone who has been in combat training or in war knows the tensions and stresses of the role; scholar Jerome Long (a US Army veteran of the Korean era) argues that the virtue of this film is its exploration of the "second front" for blacks, the humiliation of service in a military strictly segregated. Frank Capra's film The Negro Soldier (1944) puts the best possible face on the hopes of the nation and its blacks for equity, but A Soldier's Story is a more realistic portrait of the inner struggle for America's blacks in uniform. All three essays are models of research and committed scholarship; together, they...

Presidents on the textbook presidency

Recent research shows that idealized accounts of the presidency still dominate pre-college textbooks on American government. Little attention has been given to presidential presentations of the office and their relationship to the textbook presidency, despite the symbolic significance of the presidency and a president's opportunity to further define or refine the institution through rhetoric. This study compares the presentation of the presidency by three post-Watergate presidents to the textbook presidency. This study finds that while presidents do present a more realistic portrait of a president's economic and legislative leadership, they describe life in the White House, and their roles as Chief of State, Publicly Accountable Leader, and Commander in Chief, in ways that more frequently support than modify the textbook version of the presidency.

Cara David and the ‘truths’ of her ‘unscientific' travellers’ tales in Australia and the South Pacific

Nineteenth century middle-class female travellers and adventurers are usually presented as amazingly different to their stay-at-home peers or are ignored altogether. This article takes the view that for a realistic portrait of women as independent travellers to be painted, the concepts of travel and adventure need to be re-conceptualised relative to the traditional domestic role Victorian middle class women invariably had to occupy. Through the life of an Australian woman, Cara David, the complexity of both the travelling and how that ‘travellers' tale’ might be told is explored. The study concludes that there is a rich field of inquiry for feminist researchers in the lives of so-called ‘ordinary’ women who do not readily fit the stereotype of the great, the extraordinary, the victimised or the strikingly politically active in some of the yet untold stories about women, travel, adventure, domesticity, and travellers' tales.

Anne Bradstreet and Elizabeth Bishop: Nature, Culture and Gender in “Contemplations” and “At the Fishhouses”

Written in and for a patriarchal community that valued its solidarity, Anne Bradstreet's “Contemplations” does not try to render an accurate, realistic portrait of nature in the New World. Rather, it employs what Leo Marx calls “ecological images…displaying the essence of a system of value” and subordinates these images to the reformed Judeo-Christian myth. “Contemplations” argues that God is the source of order, meaning, and history, and that the natural world, whether beneficent or hostile, reflects His omnipotence. But in delineating a predominantly masculine world view, Bradstreet also sets aside her own aspirations as a woman poet. Although the song of the female bird Philomel represents a kind of art that is free of Puritanism's monolithic expectations, Bradstreet's speaker cannot liberate herself to sing with Philomel. Instead, she stifles her own song for a practical poetic craft that serves her struggling community.

Frederic Remington—Selected Letters ed. by Allen P. Splete, Marilyn D. Splete

Reviews 373 What delights, then, is not so much the subject of Foote’s art as it is the artistry of his depiction. “Since the early 1940s,” Wood says, “the plays of Horton Foote have been praised for the truthfulness of their language and characterization, for their realistic portrait of the Coastal Southeast Texas he knows so well. They have been favorably compared with the dramas of Strindberg, Ibsen and Chekhov . . .” (xiii). Amen! JAMES H. MAGUIRE Boise State University Frederic Remington— Selected Letters. Edited by Allen P. Splete and Marilyn D. Splete. (New York: Abbeville Press, 1988. 487 pages, $29.95.) The title of one of Remington’s own books, Men With the Bark On (1900), is better suited to this collection of letters to and from the artist-author than the accurate but unimaginative title it bears. The more than five hundred letters included in the volume give a vivid sense of the man in his times, from his boyhood to his death in 1909. Even as a youth, Remington was a prolific correspondent, and the letters selected, ranging from business letters and pro forma notes to relatives to others uproariously personal and uninhibited, do, indeed, show him with the bark on. Making their choices from over a thousand extant letters, the Spletes organize the materials into seven chapters: “The Formative Years 1861-1884,” “Visions of the West 1884-1889,” “The Recognized Illustrator and Beyond 1889-1894,” “Getting to See a War 1894-1899,” “Visible at Last 1894-1902,” “Fame 1900-1907,” and “A Brief Last Hurrah 1907-1909.” Each chapter opens with a historical narrative placing the letters in context, while footnotes gloss allusions or references; letters themselves occur more or less chronologic­ ally, but are clustered in groups when a particular development (e.g., Rem­ ington’s exchanges with Owen Wister as they work on “The Evolution of the Cowpuncher” [1895]) merits following in sequence. In the letters we see the self-consciously professional artist-illustrator at work, roaming the West in cold-blooded search of materials and imploring his correspondents to send him details and photographs. We see the political and military figure discussing frontier tactics with Lieutenant Powhatan Clarke, exchanging views with Theodore Roosevelt and blithely suggesting improve­ ments in military materiel to General Nelson A. Miles. And, more than any­ thing else, we see the living person in his element, wrestling constantly with problems of drink and his waistline (his wife endearingly refers to the threehundred -pound Remington as “Darlin” ), relishing the good things that fame brings, and dashing off unbuttoned, ill-spelled, irreverent letters to friends everywhere. Frederic Remington— Selected Letters, in short, is not a book to read at a sitting, but it is one worth repeated sampling. With all it reveals about Remington in his times, it belongs in the library of every student of western art and letters. FRED ERISMAN Texas Christian University ...

Selected One-Act Plays of Horton Foote ed. by Gerald C. Wood

372 Western American Literature the reader as sometimes they may lie to themselves.” Yet even her self-deluding, untrustworthy, damaged or ambivalent narrators manage to uncover truths. Atwood, as trickster-author, likes disguises, mystery, witchcraft; she wants her readers to do a bit of sleuthing. This does not mean that the reader must wade through obscure symbols and esoteric language. It is more like solving a mystery or a puzzle, more like Jungian analysis of complex layers of person­ ality, more like unearthing strata of meaning as in an archeological dig. Even language itself is suspect; “the true story is vicious / and multiple and untrue / after a ll. . .” Atwood writes in True Stories. Rigney never loses sight of the fact that she is dealing with a shrewd author—one who likes disguises for her characters and also for herself, “. . . that’s me in the dark,” writes Atwood in Murder in the Dark. “Just remember this when the scream has ended and you’ve turned out the lights: by the rules of the game I must always lie.” There is a mystery element in all that Atwood writes, and Rigney—she is a good detective. HELEN CANNON Utah State University Selected One-Act Plays of Horton Foote. Edited by Gerald C. Wood. (Dallas: Southern Methodist University Press, 1989. xxviii+507 pages, $29.95/$14.95.) Horton Foote has become the foremost playwright of Texas and one of the most important dramatists in the United States. Probably best known for his successful screenplays—To Kill a Mockingbird (1962), Baby, the Rain Must Fall (1964), Tomorrow (1972), Tender Mercies (1983), The Trip to Bountiful (1985), and The Story of a Marriage (1987) — Foote also wrote for television during the 1950s and early 1960s. Of the seventeen one-act dramas that Gerald Wood has selected for this collection, Foote had completed eight before 1955 and he wrote the other nine in the 1980s. Together, these plays justify the laudatory general introduction by Wood, who also provides a per­ ceptive brief introduction for each play. A chronology, a selected bibliography, and a brief but informative “Author’s Preface” help to make the volume a reader’s delight. Yet even though some of the plays might be called comedies and all of them are enjoyable to read, Foote never gives a happy-ever-after ending, and his vision is insistently realistic, almost naturalistic in some of his more recent work. In “The One-Armed Man” (1985), for example, Ned McHenry shoots and kills C. W. Rowe, his former employer, because Rowe can’t return the arm that Ned lost while working in Rowe’s cotton gin. Except for the lost souls of that play and a few of the others, the best of Foote’s characters, as Wood notes, “face themselves and their life situations, which are never ideal or even just, with realism and courage” (234). If the more recent plays are angrier, it is because, Wood says, “Like Chekhov, Foote dramatizes worlds in transition, and his sympathies are clearly with the more orderly and traditional ways which are fast dying out” (393). Reviews 373 What delights, then, is not so much the subject of Foote’s art as it is the artistry of his depiction. “Since the early 1940s,” Wood says, “the plays of Horton Foote have been praised for the truthfulness of their language and characterization, for their realistic portrait of the Coastal Southeast Texas he knows so well. They have been favorably compared with the dramas of Strindberg, Ibsen and Chekhov . . .” (xiii). Amen! JAMES H. MAGUIRE Boise State University Frederic Remington— Selected Letters. Edited by Allen P. Splete and Marilyn D. Splete. (New York: Abbeville Press, 1988. 487 pages, $29.95.) The title of one of Remington’s own books, Men With the Bark On (1900), is better suited to this collection of letters to and from the artist-author than the accurate but unimaginative title it bears. The more than five hundred letters included in the volume give a vivid sense of the man in his times, from his boyhood to his death in 1909. Even as a youth, Remington was a prolific correspondent, and the letters selected, ranging from business...

'De eer des vaderlands te handhaven': Costerbeelden als argumenten in de strijd

'De eer des vaderlands te handhaven': Costerbeelden als argumenten in de strijd

Picasso's Visual Metaphors

From time I first saw a photograph of Picasso's Bull's Head (fig. 1), a remarkably realistic portrait made from a bicycle seat and handlebars, I was struck by its wry humor and mongrel nature of its medium. Once I even made up a departmental exam tentatively likening Picasso's sculpture to literary metaphor (the question was later deleted by a more orthodox colleague). But it wasn't until I happened upon an article by V. C. Aldrich on Visual Metaphor' that my bloodhound instincts were aroused. His article began with an intriguing quote from Picasso himself: My sculptures are plastic metaphors. It's same principle in painting.2 There it was! Picasso himself had verified my long-standing suspicion that there was such a thing as visual metaphor, and his Bull's Head was a prime instance. This article will explore definition and function of visual metaphor in selected paintings and sculptures from Picasso's works. Before rushing headlong into quicksand of interarts analogies, however, it would be wise at outset to mention at least three potential problems and my tentative solutions. First, quotation Aldrich draws on comes from a widely used but largely discredited biography of Picasso by his former mistress, Franqoise Gilot, and her art-journalist friend, Carlton Lake.3 Dore Ashton excluded Picasso quotations found in Gilot's biography from her own anthology of Picasso quotations, saying that the mixture of possible authentic statement and artful paraphrase seems to me to be of dubious value.4 Nevertheless, there is a grain of truth even in a self-serving or distorted paraphrase. Even forty-four distinguished artists who lodged public protest and supported Picasso's unsuccessful libel suit did not dismiss

The Limits of Legal Realism

This article will address some criticisms of legal realism, primarily those of H.L.A. Hart, that have been unanswered in the literature and have appeared to discredit the realist approach to law. The article will also articulate what I believe to be more difficult problems with legal realism. Tags: Legal realism, positivism, judicial decisions, H.L.A. Hart [pg468]** Holmes launched the highly successful American school of legal realism with his remark that consists of prophecies of what the courts will do in fact. [FN1] Later writers amended this proposition to include all officials, since decisions by judges constitute only a fraction of authoritative decisionmaking. [FN2] In its heyday, realism stimulated many proposals for legal reform and social change; [FN3] it also alerted students of the law to the effectiveness of arguments appealing to values, even if such arguments were not to be found in the decisions of appellate courts or in other materials traditionally used in law schools. The liberating perspective on legal processes offered by realism can still excite students of law. This article, however, will not restate the tenets of legal realism or reevaluate it from traditional perspectives. [FN4] Rather, it will address some recent criticisms of legal realism, primarily those of H.L.A. Hart, that have been unanswered in the literature and have appeared to discredit the realist approach to law. The article will also articulate what I believe to be more difficult problems with legal realism. Thus I shall attempt first to give realism its due by extending it to the limits of its logic. I shall then explore whether that extension can carry us to a full understanding of or whether other limiting considerations intervene before that point can be reached. I. A Realist's World View A. Rules and Reasons 1. What the Puzzled Man Wants to Know The first step is to sketch a thoroughly realistic portrait of a legal system. Start with a person, call him K, who lives in any country in the [pg469] world. As he looks around, he notices that the public order is maintained by people who either wear official uniforms or who proclaim themselves, in some manner that the public recognizes and accepts, as agents of the state. These agents often have a license to carry firearms, and all of the agents constitute the firearmslicensing authority. Some wear robes and sit as judges; some wear civilian clothes and sit behind desks in government buildings. As a group they control various institutions that have the power to investigate facts, to confiscate property, to question, arrest, incarcerate, and (in certain cases) execute citizens, and to engage in other forceful acts without fear of punishment from any higher or stronger group within the same territory. These agents of the state may be called officials or hirelings or co-conspirators. Since they control the physical power of the state, K naturally would like to know how to conduct his affairs so that the officials will not oppose, and perhaps will even cooperate with, his plans. These state officials are characteristically present in any modern nation. They may have just

Julian Sorell Huxley, 22 June 1887 - 14 February 1975

To the general public of many countries, Julian Huxley was among the best-known people of his day. John Hunter, the famous anatomist and surgeon of the eighteenth century, made a remark that is relevant here. ‘There never was a man’, he said, ‘that wanted to be a great man ever was a great man.’ Julian Huxley certainly achieved distinction in many different fields. Did he achieve greatness ? And if so, did his career disprove Hunter’s dictum, so characteristic alike of his down-to-earth directness and his disregard for the niceties of the English language ? These questions will not be answered in the pages that follow, but the attempt will be made to paint a realistic portrait, that may perhaps help some readers to form their own judgements. First of all, then, what kind of a person was he ? A stimulating person, certainly—one who made things seem important, largely because he could throw himself, and could enjoy throwing himself, into whatever was being discussed. He participated readily in the give-and-take of conversations between scientific colleagues, and it must be admitted that he may sometimes have failed to acknowledge his debt to others in this respect; but some of those who have called attention to this matter may not have realized fully how much they and others have owed to him. Anyone who feels strongly on this subject should refer to two of his papers on dines (60, 66), or to that on ‘Morphism and evolution’ (88), or to the Preface to his book on Evolution, the modern synthesis (73), in all of which he makes full acknowledgement of information supplied to him in the course of conversations.

Lords of the Loom: The Cotton Whigs and the Coming of the Civil War (review)

82CIVIL WAR HISTORY Rather, he has given us a realistic portrait of a humorless man, dedicated to a cause, evidently at the expense of a warm and close relationship with his wife and children. Well written and exhaustively researched, Professor Wyatt-Brown's biography is a noteworthy addition to the literature on the antislavery movement. August Meier Kent State University Lords of the Loom: The Cotton Whigs and the Coming of the Civil War. By Thomas H. O'Connor. (New York: Charles Scribner's Sons, 1968. Pp. ix, 214. $7.50.) This is a generally sympathetic account of the leading Massachusetts Cotton Whigs, primarily the Lawrences. The author sketches the background of these textile magnates' rise, starting with the effects of the Embargo on the Massachusetts economy; he then picks up the thread of political history in the 1830's, and carries it down to the Civil War. The material will be familiar to readers of Josephson's Golden Threads, Brauer's Cotton versus Conscience, and Donald's Charles Sumner, although the emphasis on the Lawrence family and the gentle and approving handling of the moderate men of the center are factors which make the work swim against most recent historiographical currents. Too many of the pages, however, dwell in overlong fashion on thoroughly well-known details, recounting such episodes as the Boston anti-Garrison riot in 1835, and the effects of Harrison's death on Whig politics six years later. There are some errors (Channing is made to appear anti-antislavery, and Emerson is made an abolitionist too soon), and one real blooper: the assertion that Clay's omnibus bill passed in 1850. O'Connor cites Philip Foner's Business and Slavery several times in order to bolster his principal thesis: that important segments of the northern business community were not hostile to the South, and that these capitalists did not provoke a conflict with the agrarian slaveholders . It is true that the Lawrences and Appletons were leading "doughfaces," discounting Amos A. Lawrence's involvement in the emigrant societies organized to keep slavery out of Kansas. But for all their prestige and power (more economic than political), these Cotton Whigs, like the New York merchants who transported the southern cotton , may have been pro-southern islands on the American business map. O'Connor does not discuss other Massachusetts businessmen's reactions to the 'coming of the Civil War; nor does he examine the other side of his coin, the reactions of leading southerners to the textile magnates. New York shippers and New England textile manufacturers had nothing to BOOK REVIEWS83 complain about; they were milking the underdeveloped South. Resolutions of the many southern commercial conventions amply demonstrate that the colonials thought they had serious sectional grievances and that a real economic conflict existed in their minds, despite the sweet-talk of prosperous Yankee mill owners. Frank Otto Gatell University of California, Los Angeles Antebellum Natchez. By D. Clayton James. (Baton Rouge: Louisiana State University Press, 1968. Pp. 344. $10.00.) Local history (especially municipal history) emphasizing the social and economic developments of a particular society, but not at the expense of the political details, has been given a tremendous boost by the publication of Antebellum Natchez. Professor James is to be commended also for not concentrating all his attention on the grand and romantic aspects of the Old South and its landed gentry. He focuses much of his attention on the Natchez of ordinary citizens, small businessmen, and free Negroes, and the Natchez-under-the-Hill of brawling boatmen, professional gamblers, and bold-faced strumpets. He traces the history of the settlement from the days of the Natchez Indians through the plotting and intrigue of the French, British, Spanish , and Americans. The first seventy-six pages are as clear and concise an explanation of the French, British, and Spanish periods in the Lower Mississippi Valley as one is likely to find anywhere. Professor James has a most impressive bibliography of primary and secondary sources. In fact this is, in the opinion of this reviewer, the most praiseworthy feature of this volume. The author has not neglected to consult any possible source of information relating to Natchez before the Civil...

Naming Paintings

Until the late nineteenth century in Western culture the names of paintings almost always directed attention to or were descriptions of the subject matter, the objects and events represented. Whistler began the break from this tradition. Although his paintings depict objects and events, he used titles such as “arrangements,” “symphonies,” and “nocturnes,” as if his works were as abstract as music. Thus Whistler submitted a realistic portrait to the International Exhibition at South Kensington in 1872 as Variations in Flesh Colour, Blue, and Grey, and in the “Programme of Reception” he explained that the picture was “the complete result of harmonies obtained by employing the infinite tones and variations of a limited number of colours.” The public, including the informed, was not convinced, and the work became known as The Princess.