Dr. Robert J. Wickenheiser, 1942-2015, Our Late Chairman of the Williamsburg Circle, 19th president of St. Bonaventure, is remembered for various important advancements during his nine-year tenure. He worked successfully to solve the grave financial problems faced by the university when he took office and he is credited with leading the university out of financial exigency.
He also began an era of new construction designed to meet important needs, including most notably new apartments for students and a new art center and theater joined by a new state-of-the-art museum. The latter two facilities gained wide acclaim for the university’s commitment to the arts and for is advancement of new programs in art, music and dance.A new school of journalism was established drawing increased recognition for its focus and its programs of study as a department. Broadcast journalism was also incorporated into the new school building upon an already highly successful emphasis on written journalism in prior years.
Dr. Wickenheiser was a driving force leading the University into the 21st century. From the outset he supported the development of Clare College, the new core curriculum introduced by the faculty in 1998. Experts (National Endowment for Humanities) have called the curriculum “ground breaking” and referred to it as “a national model”. Dr. Wickenheiser also played a key role in revitalizing the Franciscan values of the university and expanding University Ministries. He was also influential in helping to establish the Franciscan Center for Social Concern.
Karen Karbiener, Vice Chairman of the Williamsburg Circle, PhD Columbia University, Professor New York University
Teaching Statement: As a scholar of nineteenth century American literature and culture with a special interest in Walt Whitman and his beloved New York, I am delighted to live and teach in the place that inspires me most (and just happens to be my hometown). I enthusiastically embrace the opportunity to use the city’s rich cultural history and vast, ever-changing resources as part of my students’ learning experience. In “American Outlaw: Walt Whitman’s Radical Cultural Legacy”, my sophomore seminar investigating Whitman’s epoch-shaping ideas of race, gender, politics and art, I take students on guided literary tours and assign projects involving New York City archives and historic sites. Students in my seminar “Art of the Book in America” designed, printed and bound their own books at the Center for Book Arts, a world-class facility in Chelsea. This semester in the “Cultural Foundations” sequence, my students and I viewed and critiqued an exhibition of Michelangelo’s and Vasari’s works at the Morgan Library (to follow up our study of Vasari’s Lives of the Artists) and attended a new production of the “Barber of Seville” at the Metropolitan Opera (to enhance our discussion of Rossini’s libretto and score). We will end the semester with a reading of Whitman’s poem “Crossing Brooklyn Ferry” as we cross the Brooklyn Bridge. And thus, in Seneca’s words, “homines dum docent discunt”: I continue to find remarkably fertile ground for my growth as teacher and scholar within—and just outside—the classrooms of NYU.
Dr. Hugh Macrae RICHMOND, Director, Shakespeare Program, University of California, Berkeley, from 1973 to present; EDUCATION: Cambridge University B.A.1954 (First Class Honors, English Tripos) Wadham College, Oxford U. (U.K.):1955-57, D.Phil., 1957 in English: Thesis “Traditional Themes in 17th Century Love Poetry”. Diplomas: in Italian, Univ. of Florence, Italy (1952); in German, Univ. of Munich (1956). Among many other things, Dr Richmond was a
Lieutenant, Royal Artillery,1950-51 , and Director, Education Division, Shakespeare Globe, U.S.A.. AWARDS Include:
United Kingdom State Scholarship in History, 1948;
Open Scholarship (English), Emmanuel Coll., Cambridge,1949;
Senior Exhibition, Emmanuel College, 1953; Tripos Prize, 1954;
Goldsmiths’ Co. Exhibition, Wadham College, Oxford,1957.
A.C.L.S. Fellowship,1964-5; U.C. Research Professor,1968,1975;
U.C. Humanities Institute Awards, 1973, 1976, 1987;
U.C. Regents Teaching Grants, 1973, 1974, 1976-78;
U.C.B. Teaching Grants, 1975, 1979, 1983, 1985, 1995;
Nat. Endowment for Humanities Educ. Grants,1976-8,1984-6;
N.E.H. Research Fellowships, 1977, 1988;
U.C.B. Senate Award for Distinguished Teaching, 1979;
U.C.B. Humanities Center Grant, 1993;
California Council for Humanities Grants, 1999, 2000;
U.C.B. Instructional Improvement Grant, 2007.
PUBLICATIONS:
Literary & Theatre Studies:
THE SCHOOL OF LOVE: THE EVOLUTION OF THE STUART LOVE LYRIC, Princeton University Press, 1964.
SHAKESPEARE’S POLITICAL PLAYS, Random House, 1967;
Reprinted by Peter Smith, 1977;
SHAKESPEARE’S SEXUAL COMEDY, Bobbs-Merrill, 1971;
Questia Media Inc., Internet Reprint, 2001.
RENAISSANCE LANDSCAPES: ENGLISH LYRICS IN A EUROPEAN TRADITION, Mouton, 1973.
THE CHRISTIAN REVOLUTIONARY: JOHN MILTON, University of California Press, 1974.
PURITANS & LIBERTINES: ANGLO-FRENCH LITERARY RELATIONS IN THE REFORMATION, University of California Press, 1981.
SHAKESPEARE IN PERFORMANCE: “KING RICHARD III”, Manchester University Press (U.K.), 1990; Reprinted 1991.
SHAKESPEARE IN PERFORMANCE: “KING HENRY VIII”, Manchester University Press (U.K.), 1994.
Arthur Coleman Danto. 1924-2013 Danto laid the groundwork for an institutional definition of art that sought to answer the questions raised by the emerging phenomenon of twentieth century art. The definition of the term “art” is a subject of constant contention and many books and journal articles have been published arguing over the answer to the question, What is Art? Definitions can be categorized into conventional and non-conventional definitions. Non-conventional definitions take a concept like the aesthetic as an intrinsic characteristic in order to account for the phenomena of art. Conventional definitions reject this connection to aesthetic, formal, or expressive properties as essential to defining art but rather, in either an institutional or historical sense, say that “art” is basically a sociological category. In terms of classificatory disputes about art, Danto takes a conventional approach. His “institutional definition of art” considers whatever art schools, museums, and artists get away with, regardless of formal definitions. Danto has written on this subject in several of his recent works and a detailed treatment is to be found in Transfiguration of the Commonplace.
Dr. Carter Kaplan is a professor, writer and editor. He has pioneered the application of poetry and fiction to the study of analytic philosophy, as presented in his book Critical Synoptics: Menippean Satire and the Analysis of Intellectual Mythology (Fairleigh-Dickinson, 2000). In addition to a number of academic articles and reviews, he is the author of the novel Tally-Ho, Cornelius! (Mustard Lid, 2008), and the Aristophanic comedy Diogenes (International Authors, 2011). He is the point-of-contact for International Authors, a consortium of professionals, artists and scholars dedicated to publishing books that exhibit outstanding literary merit. He is the editor of Emanations, International Author’s annual anthology of fiction, poetry and essays. An on-going account of his adventures can be found in his blog, Highbrow.
John Geraghty is a rare book and art collector specializing in 17th century English literature with an emphasis on John Milton. His collection numbers in the thousands of titles and includes over 50 first editions of works of John Milton, including all 17th century editions of Paradise Lost. His collection of 18th century editions includes the rare first American edition of Paradise Lost published by Robert Bell in 1777. He has a Masters in English Literature from the University of Washington and spent 2 years in the Ph.D. Program there before leaving to accept a position at Microsoft in the early 1990’s. He has personally digitized and freely shared much of his 17th century collection with scholars and aficionados. Through his generosity, tens of thousands of his digitized books and images have been downloaded worldwide. The 1651 folio copy of his Defensio was consulted for the upcoming Oxford Complete Works of John Milton. Many of his titles can be accessed and downloaded. His collection of Miltoniana includes artwork of Terrance Lindall, busts of Milton in parian and alabaster, a copy of the Milton Shield, and various commemorative medallions. He currently lives in Alexandria Virginia with his wife and two young daughters. His wife currently serves as a political appointee in the Executive Office of the President, enthusiastically serving and supporting the Obama administration.
Terrance Lindall is an American artist who was born in Minneapolis, Minnesota in 1944. Lindall attended the University of Minnesota and graduated magna cum laude from Hunter College in New York City in 1970, with a double major in Philosophy and English and a double minor in Psychology and Physical Anthropology. He was in the Doctor of Philosophy program in philosophy at New York University from 1970 to 1973. He is listed in Marquis Who’s Who in America 2006. Information about this artist is also on file in the Smithsonian Institution Library Collection. Lindall’s art has been on the covers of numerous books and magazines and has been exhibited at many galleries and museums, including the Brooklyn Museum, Hudson River Museum, the Museum of the Surreal and Fantastic and the Society of Illustrators Museum. There is an artists file on Lindall in the Thomas J. Watson Library of the Metropolitan Museum of Art. [1] Lindall is also considered by many world-wide to be the preeminent authority on contemporary surrealism. He is also considered to be one of the foremost illustrators of John Milton’s Paradise Lost.
Yuko Nii is an artist, and philosopher who founded the Williamsburg Art & Historical Center in Brooklyn in 1996, which has since received international acclaim. Her work has been shown at numerous museums, art galleries and universities in the U.S.A. and Japan, including one person shows at The Berkshire Museum, MA, Monique Knowlton Gallery, Haber Theodore Gallery (both in New York City), NY, Vered International Gallery, Easthamton, NY, Elaine Benson Gallery, Bridgehampton, NY, Fairleigh Dickinson University, NJ, The International Monetary Fund, Washington DC, Ginza Kaiga-kan, Tokyo, Japan, and including many group shows in such venues as The Brooklyn Museum, NY, The Bronx Museum, NY, The Hudson River Museum, NY, The Parish Museum, Southhampton, NY, The Guild Hall, Easthampton. NY, The World Trade Center, Lincoln Center and The United Nations General Assembly Building (all in N.Y.C, NY), and more.
Peter William Dizozza, music composer who also produces supplemental material as a writer, pianist, performer, photographer, and filmmaker. Since 2000 he has been the director of the WAH Theater at the Williamsburg Art & Historical Center. He attended Queens College, graduating with a Humanities Degree in Music, English, and Philosophy.Subsequently he attended St. John’s Law School, graduating in 1986. Dizozza began directing music at the Bronx community theatre and became enamored with it. His monthly piano/singer/songwriter shows began in November 1995 at—and because of—an open-stage anti-hoot organized and hosted by Lach at SideWalk Bar-Restaurant.Since 1964 Dizozza has produced a steady output of primarily musical original material. To contain and administer his creative catalogue, he registered in 1996 a D/B/A and started a website under the name Cinema VII, reviving a collective founded in 1972 by a high school friend, Mike Lindsay.
Dr. Horace Jeffery Hodges, Universal Intellectual Blogger and Commentator at Large: Teaches at Ewha Womans University, Seoul. Studied at University of California, Berkeley, Masters Degree in History of Science, Doctorate in History. Tuebingen, Germany: late 1980s, Fulbright Scholar; early 1990s, Friedrich Naumann Scholar. Postdoctoral positions in Australia and Jerusalem — on Australian Research Council and Golda Meir fellowships, respectively. “Gypsy Scholar” career in South Korea as a professor teaching a variety of subjects, including literature, religious studies, theology, history, and political science, along with essay composition and research methods. Publications in same variety of subjects, with particular emphasis upon John Milton. Also editing and translation work. And lots of blogging! “As the mode of transportation for this ‘local’ work, I use my bare or socked feet, which early in the morning get me from my bed to my desk, but in my imagination, I sprout wings and fly off on a variety of wide-ranging and adventuresome intellectual journeys . . .
Robert Parigi. Robert has worked on many famous TV titles such as Agents of S.H.I.E.L.D. (TV Series), Beavis and Butt-Head (TV Series), Neighbors from Hell (TV Series), King of the Hill (TV Series), Night Stalker (TV Series) and Tales from the Crypt (TV series).
Bienvenido “Bones” Banez, Jr. is a Filipino surrealist painter born on June 7, 1962 in Davao City, Philippines.[1] He is the only Filipino surreal artist included in the Lexikon der phantastischen Künstler (Encyclopedia of Fantastic & Surrealistic & Symbolist & Visionary Artists). He produced a major folio of philosophical verse, THE SATANIC VERSES OF BONES BANEZ, now in the collection of the Yuko Nii Foundation. He is considered by many to be one of the foremost international surrealists.
Source: https://sites.google.com/site/williamsburgcircle/our-members