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Ving Rhames
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Ving Rhames
Rhames in 2014
Born
Irving Rameses Rhames
(1959-05-12) May 12, 1959 (age 58)
New York City, New York, U.S.
Education
State University of New York, Purchase
Juilliard School (BFA)
Occupation
Actor
Years active
1984–present
Spouse(s)
Valerie Scott (m. 1994; div. 1999)
Deborah Reed (m. 2000)
Children
3
Irving Rameses "Ving" Rhames (born May 12, 1959) is an American actor known for his roles in I Now Pronounce You Chuck & Larry, Bringing Out the Dead, Pulp Fiction, Out of Sight, Baby Boy, Dark Blue , Don King: Only in America, Dawn of the Dead, Rosewood, Con Air, Dave, and as Luther Stickell in the Mission: Impossible film series.
Contents
[hide]
1 Early life and education
2 Career
3 Filmography
4 Awards and nominations
5 References
6 External links
Early life and education[edit]
Rhames was born in Harlem, New York City, New York, the son of Reather, a homemaker, and Ernest Rhames, an auto mechanic.[1][2] His parents were raised as sharecroppers in South Carolina.[2][3] Named after the late NBC journalist, Irving R. Levine,[4] Irving Rhames also grew up in Harlem.
He entered New York's High School of Performing Arts, where he discovered his love of acting. After high school, he studied drama at SUNY Purchase, where fellow acting student Stanley Tucci gave him his nickname "Ving". Rhames later transferred to the Juilliard School's Drama Division (Group 12: 1979–1983)[5] where he graduated with a Bachelor of Fine Arts degree in 1983.[6]
Career[edit]
Rhames first appeared on Broadway in the play The Boys of Winter in 1984. He started out in film in Wes Craven's The People Under the Stairs (1991) as Leroy; he watched over Kevin Kline as Secret Service agent Duane Stevensen in Dave (1993); and he played Marsellus Wallace in Pulp Fiction (1994).
Rhames played Dr. Peter Benton's brother-in-law on the TV medical drama ER, a recurring role he filled for three seasons. He played ace computer hacker Luther Stickell opposite Tom Cruise in Brian De Palma's Mission: Impossible (1996). In 1997 Rhames portrayed the character of Nathan 'Diamond Dog' Jones in the popular film Con Air. and Muki in the Ice Cube film Dangerous Ground.
Rhames won a Golden Globe in 1998 for Best Actor – Miniseries or Television Film in HBO's Don King: Only in America. At the ceremony Rhames gave his award to fellow nominee Jack Lemmon, saying, "I feel that being an artist is about giving, and I'd like to give this to you." Lemmon was clearly touched by the gesture as was the celebrity audience who gave Lemmon a standing ovation. Lemmon, who tried unsuccessfully to give the award back to Rhames, said it was "one of the nicest, sweetest moments I've ever known in my life." The Hollywood Foreign Press Association announced later that they would have a duplicate award prepared for Rhames. That moment was #98 on E!'s 101 Awesome Moments in Entertainment.[7][8][9] The New York Times lauded Rhames for the act, writing that in doing so he "demonstrated his capacity for abundant generosity."[9]
Rhames appeared in Striptease (1996) as the wisecracking bodyguard Shad, Bringing Out the Dead (1999), then reprised his Luther Stickell role for Mission: Impossible 2 (2000). He played Johnnie Cochran in American Tragedy (2000), the ex-con boyfriend of Jodie's mother in the John Singleton film Baby Boy, portrayed a gay drag queen in the television movie Holiday Heart, contributed his voice for the character of Cobra Bubbles in Lilo & Stitch (2002) and the subsequent TV series, and played a stoic cop fighting zombie hordes in Dawn of the Dead (2004) and Day of the Dead (2008) remakes. Rhames has also appeared in a series of television commercials for RadioShack, usually performing with Vanessa L. Williams.
In March 2005, Rhames played the lead role on a new Kojak series, on the USA Network cable channel (and on ITV4 in the UK). The bald head, lollipops, and "Who loves ya, baby?" catchphrase remained intact, but little else remained from the Savalas original.
Rhames voiced the part of Tobias Jones in the computer game Driver 3.
Rhames reprised his role in Mission: Impossible III (2006), had a cameo appearance in Mission: Impossible – Ghost Protocol (2011), and played a major role in the fifth film, Mission: Impossible – Rogue Nation (2015).[10] He is the only actor besides Tom Cruise to appear in all five Mission: Impossible films. It was announced that he would have a role in the Aquaman-based show Mercy Reef, however due to the integration of The WB and UPN for the new network, CW, Mercy Reef was not picked up. Rhames played a homosexual, possibly also homicidal, firefighter who comes out of the closet in I Now Pronounce You Chuck and Larry. He narrates the BET television series American Gangster.
In the 2008 film Saving God, he played an ex-con who is released from prison a changed man looking to take over his father's former church congregation in a deteriorating neighborhood. Rhames stars in Phantom Punch, a biopic of boxer Sonny Liston released directly to DVD as well as The Tournament portraying a fighter out to win a no-rules tournament.
Rhames makes an appearance in Ludacris's song "Southern Gangstas" on his album Theater of the Mind. Rappers Playaz Circle and Rick Ross are also featured on the track.
In 2010, he filed a lawsuit against the producer of a film titled Red Canvas,[11] claiming that he had only been paid $175,000 of a $200,000 contract.
He filmed the movie Submission with Ernie Reyes, Jr. and UFC lightweight contender Gray Maynard and Randy Couture.
In 2015, he filmed a series of commercials for The ADT Corporation.
Rhames is one of the narrators for UFC.
Rhames introduced the New England Patriots and the Atlanta Falcons in the 2017 Super Bowl LI (51).
Rhames's deep voice is the center of many recent (2015-2017) Arby's commercials, with the catchline 'Arby's, we have the meats!'
Filmography[edit]
Film
Year
Title
Role
Notes
1984 Go Tell It on the Mountain Young Gabriel Grimes
1986 Native Son Jack
1988 Patty Hearst Cinque Mtume
1989 Casualties of War Lt. Reilly
1990 The Long Walk Home Herbert Cotter
1990 Jacob's Ladder George
1991 Flight of the Intruder CPO Frank McRae
1991 Homicide Robert Randolph
1991 The People Under the Stairs Leroy
1992 Stop! Or My Mom Will Shoot Mr. Stereo
1993 Blood in Blood Out Ivan
1993 Dave Duane Stevenson
1993 The Saint of Fort Washington Little Leroy
1994 Pulp Fiction Marsellus Wallace
1994 Drop Squad Garvey
1995 Kiss of Death Omar
1996 Mission: Impossible Luther Stickell
1996 Striptease Shad
1997 Dangerous Ground Muki
1997 Rosewood Mann
1997 Con Air Nathan 'Diamond Dog' Jones
1998 Body Count Pike
1998 Out of Sight Buddy Bragg
1999 Entrapment Aaron Thibadeaux Nominated—Blockbuster Entertainment Award for Best Supporting Actor – Action
1999 Bringing Out the Dead Marcus Nominated—Satellite Award for Best Supporting Actor
2000 Mission: Impossible 2 Luther Stickell
2001 Baby Boy Melvin Nominated—Black Reel Award for Best Supporting Actor
2001 Final Fantasy: The Spirits Within Ryan Whittaker
2002 Undisputed George "Iceman" Chambers
2002 Lilo & Stitch Cobra Bubbles Voice only
2002 Dark Blue Arthur Holland Nominated—Black Reel Award for Best Supporting Actor
2003 Stitch! The Movie Cobra Bubbles Voice only
2003 Sin Eddie Burns
2004 Dawn of the Dead Sgt. Kenneth Hall
2005 Back in the Day Joseph "J-Bone" Brown
2005 Animal James "Animal" Allen
2005 Shooting Gallery Cue Ball Carl Bridgers
2006 Mission: Impossible III Luther Stickell
2006 Idlewild Spats
2006 Leroy & Stitch Cobra Bubbles
2007 I Now Pronounce You Chuck and Larry Fred G. Duncan
2008 Animal 2 James "Animal" Allen
2008 A Broken Life Vet
2008 Day of the Dead Capt. Rhodes
2008 Saving God Armstrong Cane
2008 Phantom Punch Sonny Liston
2009 Echelon Conspiracy Agent Dave Grant
2009 The Bridge to Nowhere Nate
2009 Evil Angel Carruthers
2009 The Tournament Joshua Harlow
2009 The Goods: Live Hard, Sell Hard Jibby Newsome
2009 Surrogates The Prophet
2009 Give 'Em Hell, Malone Boulder
2010 Operation: Endgame Judgement
2010 Caged Animal Miles "Cain" Skinner
2010 Master Harold...and the Boys Sam
2010 Piranha 3D Deputy Fallon
2010 Red Canvas[11] Himself
2010 King of the Avenue Norman De'Sha
2010 Death Race 2 R.H. Weyland
2011 Julia X The Man
2011 Pimp Bullies Miguel
2011 Soldiers of Fortune Grimaud Torneur
2011 The River Murders Captain Langley
2011 Mission: Impossible – Ghost Protocol Luther Stickell Cameo
2011 Zombie Apocalypse Henry
2011 Mafia Renzo Wes
2012 Seven Below Jack
2012 Piranha 3DD Deputy Fallon
2012 Won't Back Down Principal Thompson
2013 Death Race 3: Inferno R.H. Weyland
2013 Force of Execution Ice Man
2014 Jamesy Boy Conrad
2015 Mission: Impossible – Rogue Nation Luther Stickell
2017 Guardians of the Galaxy Vol. 2 Charlie-27 Cameo
2017 The Star Thaddeus Voice only; post-production
2017 Father Figures Rod Hamilton Completed
2018 Mission: Impossible 6 Luther Stickell Filming
Television
Year
Title
Role
Notes
1985 Miami Vice Georges Episode: "The Maze"
1986 Crime Story Hector Lincoln Episode: "Abrams for the Defense"
1987 Miami Vice Walker Monroe Episode: "Child's Play"
1987 Tour of Duty SP4 Tucker Episode: "Burn Baby, Burn"
1988 Spenser: For Hire Henry Brown Episode: "McAllister"
1989 Men Charlie Hazard 6 episodes
1989 The Equalizer Luther Paxton Episode: "Suicide Squad"
1990 When You Remember Me Leon TV film
1994–1996 ER Walter Robbins 8 episodes
1995 Ed McBain's 87th Precinct: Lightning Detective Artie Brown TV film
1995 New York Undercover Max Villareal Episode: "Olde Thyme Religion"
1995 Deadly Whispers Det. Jackson TV film
1997 Don King: Only in America Don King TV film
Golden Globe Award for Best Actor – Miniseries or Television Film
Nominated—Primetime Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie
Nominated—Satellite Award for Best Actor – Miniseries or Television Film
Nominated—Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Miniseries or Television Movie
2000 American Tragedy Johnnie Cochran TV film
2000 Holiday Heart Holiday Heart TV film
Nominated—Black Reel Award for Best Actor on Television
2001 UC: Undercover Quito Real 3 episodes
2002 Sins of the Father Garrick Jones TV film
Nominated—Black Reel Award for Best Actor on Television
2002 Little John John Morgan TV film
2002 RFK Judge Jones TV film
2002 The Proud Family Garrett Krebs Episode: "A Hero for Halloween"
2002–2003 The District Attorney General Troy Hatcher 5 episodes
2003 Lilo & Stitch: The Series Cobra Bubbles Voice only
2003 Jimmy Neutron Chief Episode: "Operation: Rescue Jet Fusion"
2005 Kojak Theo Kojak 9 episodes
Nominated—Black Reel Award for Best Actor on Television
2006 Aquaman McCaffery TV pilot
2007 Football Wives Frank Wallingford TV pilot
2010 Gravity Dogg McFee 10 episodes
2011 Black Jack Black Jack TV film
2013 Monday Mornings Dr. Jorge Villanueva 10 episodes
2014 A Day Late and a Dollar Short Cecil Price TV film
Video games
Year
Title
Role
Notes
2003 Mission: Impossible – Operation Surma Luther Stickel Voice only
2004 Driver 3 Tobias Jones Voice only
2017 Call of Duty: WWII Jefferson Potts Voice only
Awards and nominations[edit]
Year
Award
Category
Work
Result
Ref.
1998 Golden Globe Awards Best Actor in Mini-Series or Motion Picture Don King: Only in America Won [12]
Primetime Emmy Awards Best Actor in Mini-Series or Movie Don King: Only in America Nominated
Acalpulco Black Film Festival Best Actor Rosewood Nominated
Image Awards Outstanding Actor in Motion Picture Rosewood Nominated
Outstanding Actor in Television or Mini-Series Don King: Only in America Nominated
Satellite Awards Best Actor - Mini-Series or TV Film Don King: Only in America Nominated
Screen Actors Guild Awards Best Actor - Mini-Series or TV Film Don King: Only in America Nominated
2000 Blockbuster Entertainment Awards Best Supporting Actor - Action Entrapment Nominated
Satellite Awards Best Supporting Actor - Comedy or Music Bringing out the Dead Nominated
ShoWest Convention Best Supporting Actor Won [13]
2001 Black Reel Awards Best Actor - Network Holiday Heart Nominated
Image Awards Best Supporting Actor - Motion Picture Mission: Impossible 2 Nominated
Locarno International Film Festival Special Mention Baby Boy Won
2002 Black Reel Awards Best Supporting Actor Baby Boy Nominated
Image Awards Outstanding Actor in a Drama Series UC: Undercover Nominated
Supporting Actor in a Motion Picture Baby Boy Nominated
2003 Black Reel Awards Best Actor - Mini-Series Sins of the Father Nominated
Image Awards Best Supporting Actor - Comedy The Proud Family Nominated
Best Actor - Mini-Series or TV Film Sins of the Father Nominated
2004 Black Reel Awards Best Supporting Actor Dark Blue Nominated
2006 Black Reel Awards Best Actor - Television Kojak Nominated
2015 Black Reel Awards Best Actor - Television A Day Late and a Dollar Short Nominated
Image Awards Best Actor - Television Nominated
References[edit]
Jump up ^ Mills, Bart (October 17, 1999). "Ving And A Prayer Faith Is The Cornerstone Of Rhames' Life — And His Character's In Scorsese's 'Bringing Out The Dead'". New York Daily News.
^ Jump up to: a b Charles, Nick (June 23, 1996). "Nursery Rhames ... 'Mission Impossible' And 'Pulp Fiction' Star Ving Learned His Values At His Mother's Knee". New York Daily News.
Jump up ^ WHO LOVES YA, BABY? 'KOJAK'S' BACK – AND THIS TIME, HE'S BLACK
Jump up ^ Newsmakers – Newsweek Entertainment – MSNBC.com
Jump up ^ "Alumni News". The Juilliard School. April 2010. Archived from the original on 2011-11-11.
Jump up ^ "Ving Rhames". All Movie Guide. The New York Times. Retrieved April 4, 2012.
Jump up ^ Riché Richardson (2007). Black masculinity and the U.S. South: from Uncle Tom to gangsta. University of Georgia Press. ISBN 0-8203-2890-1. Retrieved February 24, 2011.
Jump up ^ Marlene Calvin (2010). Diasporic Lives: Alienation and Violence as Themes in African American Jamaican Cultural Texts. LIT Verlag Münster. ISBN 3-643-10574-6. Retrieved February 24, 2011.
^ Jump up to: a b Gerston, Jill. "Ving Rhames – About This Person". The New York Times. Retrieved February 24, 2011.
Jump up ^ "Ving Rhames Returns for Mission: Impossible 5". www.superherohype.com. August 17, 2014. Retrieved August 17, 2014.
^ Jump up to: a b Ving Rhames to Producer: Do I Look Like a Bitch?. TMZ.com. Retrieved on 2010-08-28.
Jump up ^ "1998 Golden Globes Award". Ropeofsilicon. Retrieved 2015-02-12.
Jump up ^ Jones, Anderson (2000-03-10). "ShoWest 2000 Signs Off". Eonline.com. Retrieved 2015-02-12.
External links[edit]
Biography portal
Ving Rhames on IMDb
Ving Rhames at the Internet Broadway Database
[hide]
v
t
e
Golden Globe Award for Best Actor – Miniseries or Television Film
Mickey Rooney (1981)
Anthony Andrews (1982)
Richard Chamberlain (1983)
Ted Danson (1984)
Dustin Hoffman (1985)
James Woods (1986)
Randy Quaid (1987)
Michael Caine/Stacy Keach (1988)
Robert Duvall (1989)
James Garner (1990)
Beau Bridges (1991)
Robert Duvall (1992)
James Garner (1993)
Raúl Juliá (1994)
Gary Sinise (1995)
Alan Rickman (1996)
Ving Rhames (1997)
Stanley Tucci (1998)
Jack Lemmon (1999)
Brian Dennehy (2000)
James Franco (2001)
Albert Finney (2002)
Al Pacino (2003)
Geoffrey Rush (2004)
Jonathan Rhys Meyers (2005)
Bill Nighy (2006)
Jim Broadbent (2007)
Paul Giamatti (2008)
Kevin Bacon (2009)
Al Pacino (2010)
Idris Elba (2011)
Kevin Costner (2012)
Michael Douglas (2013)
Billy Bob Thornton (2014)
Oscar Isaac (2015)
Tom Hiddleston (2016)
Authority control
WorldCat Identities
VIAF: 85656416
LCCN: no96020609
ISNI: 0000 0001 1681 4963
GND: 143814125
SUDOC: 06664352X
BNF: cb142202183 (data)
MusicBrainz: 47c3d1cd-933a-4557-a3c0-e45d27924e54
BNE: XX1276771
IATH: w60w29vg
Retrieved from "https://en.wikipedia.org/w/index.php?title=Ving_Rhames&oldid=808023615"
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text:
First language
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For the journal, see First Language (journal).
"Mother tongue", "Native speaker", "Native tongue", and "Father tongue" redirect here. For the novel, see Native Tongue (Carl Hiaasen novel). For the theory that proposes that humans tend to speak their fathers' language, see Father Tongue hypothesis. For other uses, see Mother tongue (disambiguation) and Native Speaker (disambiguation).
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2008) (Learn how and when to remove this template message)
The monument for the mother tongue ("Ana dili") in Nakhchivan, Azerbaijan
A first language, native language or mother/father tongue (also known as arterial language or L1) is a language that a person has been exposed to from birth[1] or within the critical period. In some countries, the term native language or mother tongue refers to the language of one's ethnic group rather than one's first language.[2] Children brought up speaking more than one language can have more than one native language, and be bilingual or multilingual. By contrast, a second language is any language that one speaks other than one's first language.
Contents
[hide]
1 Terminology
1.1 Mother tongue
2 Significance
3 Multilingualism
3.1 Defining native language
3.2 Defining "native speaker"
4 See also
5 References
Terminology[edit]
A lesson at Kituwah Academy on the Qualla Boundary in North Carolina. The language immersion school, operated by the Eastern Band of Cherokee Indians, teaches the same curriculum as other American primary schools, but Cherokee is the medium of instruction from preschool onward, and students learn it as a first language. Such schools have proven instrumental in the preservation and perpetuation of Cherokee.
One of the more widely accepted definitions of native speakers is that they were born in a particular country raised to speak the language of that country during the critical period of their development,[3] The person qualifies as a "native speaker" of a language by being born and immersed in the language during youth, in a family in which the adults shared a similar language experience as the child.[4] Native speakers are considered to be an authority on their given language because of their natural acquisition process regarding the language, as opposed to having learned the language later in life. That is achieved by personal interaction with the language and speakers of the language. Native speakers will not necessarily be knowledgeable about every grammatical rule of the language, but they will have good "intuition" of the rules through their experience with the language.[4]
Sometimes, the term "mother tongue" or "mother language" is used for the language that a person learned as a child at home (usually from their parents). Children growing up in bilingual homes can, according to this definition, have more than one mother tongue or native language.
In the context of population censuses conducted on the Canadian population, Statistics Canada defines mother tongue as "the first language learned at home in childhood and still understood by the individual at the time of the census."[5] It is quite possible that the first language learned is no longer a speaker's dominant language. That includes young immigrant children whose families have moved to a new linguistic environment as well as people who learned their mother tongue as a young child at home (rather than the language of the majority of the community), who may have lost, in part or in totality, the language they first acquired (see language attrition).
Mother tongue[edit]
International Mother Language Day Monument in Sydney, Australia, unveiling ceremony, 19 February 2006
According to Ivan Illich, the term "mother tongue" was first used by Catholic monks to designate a particular language they used, instead of Latin, when they are "speaking from the pulpit". That is, the "holy mother the Church" introduced this term and colonies inherited it from Christianity as a part of colonialism.[6][7]
In some countries, such as Kenya, India, and various East Asian countries, "mother language" or "native language" is used to indicate the language of one's ethnic group in both common and journalistic parlance ("I have no apologies for not learning my mother tongue"), rather than one's first language. Also, in Singapore, "mother tongue" refers to the language of one's ethnic group regardless of actual proficiency, and the "first language" refers to English, which was established on the island under the British Empire, which is the lingua franca for most post-independence Singaporeans because of its use as the language of instruction in government schools and as a working language.
J. R. R. Tolkien, in his 1955 lecture "English and Welsh," distinguishes the "native tongue" from the "cradle tongue." The latter is the language one happens to learn during early childhood, and one's true "native tongue" may be different, possibly determined by an inherited linguistic taste and may later in life be discovered by a strong emotional affinity to a specific dialect (Tolkien personally confessed to such an affinity to the Middle English of the West Midlands in particular).
On 17 November 1999, UNESCO designated 21 February as International Mother Language Day.
Significance[edit]
The first language of a child is part of the personal, social and cultural identity.[8] Another impact of the first language is that it brings about the reflection and learning of successful social patterns of acting and speaking.[9] It is basically responsible for differentiating the linguistic competence of acting. While some argue that there is no such thing as "native speaker" or a "mother tongue," it is important to understand the key terms as well as understand what it means to be a "non-native" speaker and the implications that can have on one's life. Research suggest that while a non-native speaker may develop fluency in a targeted language after about two years of immersion, it can actually take between five and seven years for that child to be on the same working level as their native speaking counterparts. That has implications on the education of non-native speakers.[10]
The topic of native speaker also gives way to discussion about what exactly bilingualism is. One definition is that a person is bilingual by being equally proficient in both languages. A person who grows up speaking English and begins learning Spanish for four years is not necessarily bilingual unless he speaks the two languages with equal fluency. Pearl and Lambert were the first to test only “balanced” bilinguals—that is, children who are completely fluent in two languages and feel that neither is their “native” language because they grasp the two so perfectly. This study found the following: balanced bilinguals perform significantly better in tasks that require flexibility (they constantly shift between the two known languages depending on the situation/requires constant juggling), more aware of arbitrary nature of language and also that balanced bilinguals choose word associations based on logical rather than phonetic preferences.[11][12]
Multilingualism[edit]
One can have two or more native languages, thus being a native bilingual or indeed multilingual. The order in which these languages are learned is not necessarily the order of proficiency. For instance, if a French-speaking couple have a child who learned French first but then the child grew up in an English-speaking country, the child would likely be most proficient in English. Other examples are in India, Indonesia, Philippines, Malaysia, Singapore, and South Africa, where most people speak more than one language.
The designation "native language," in its general usage, is thought to be imprecise and subject to various interpretations that are biased linguistically, especially with respect to bilingual children from ethnic minority groups. Many scholars[citation needed] have given definitions of 'native language' based on common usage, the emotional relation of the speaker towards the language, and even its dominance in relation to the environment. However, all of three criteria lack precision. For many children whose home language differs from the language of the environment (the 'official' language), it is debatable which language is one's 'native language'.
Defining native language[edit]
Based on origin: the language(s) one learned first (the language(s) in which one has established the first long-lasting verbal contacts).
Based on internal identification: the language(s) one identifies with/as a speaker of;
Based on external identification: the language(s) one is identified with/as a speaker of, by others.
Based on competence: the language(s) one knows best.
Based on function: the language(s) one uses most.
Defining "native speaker"[edit]
The article titled “The Native Speaker: An Achievable Model?” published by the Asian EFL Journal[13] states that there are six general principles that relate to the definition of "native speaker". The principles, according to the study, are typically accepted by language experts across the scientific field. A native speaker is defined according to the guidelines as this:
The individual acquired the language in early childhood.
The individual has intuitive knowledge of the language.
The individual is able to produce fluent, spontaneous discourse.
The individual is competent in communication.
The individual identifies with or is identified by a language community.
The individual has a dialect accent (including the official dialect).
See also[edit]
Heritage language
Child of deaf adult
Human Speechome Project
Third culture kids
List of languages by number of native speakers
Statistical learning in language acquisition
Native speaker
Father Tongue hypothesis
References[edit]
Jump up ^ Bloomfield, Leonard. Language ISBN 81-208-1196-8
Jump up ^ "K*The Native Speaker: Myth and Reality By Alan Davies ISBN 1-85359-622-1[page needed]
Jump up ^ (cite http://www.ipedr.com/vol26/16-ICLLL%202011-L00033.pdf).
^ Jump up to: a b Love, Nigel, and Umberto Ansaldo. "The Native Speaker and the Mother Tongue." Language Sciences 32.6 (2010): 589-93. Print.
Jump up ^ "mother tongue". 2001 census. Retrieved 25 August 2008. [unreliable source?]
Jump up ^ [Ivan Illich] in Patttanayak, 1981:24 cited in "(M)other Tongue Syndrome: From Breast to Bottle"
Jump up ^ Ivan Illich, "Vernacular Values"
Jump up ^ Terri Hirst: The Importance of Maintaining a Childs First Language
Jump up ^ "Archived copy" (PDF). Archived from the original (PDF) on 10 May 2013. Retrieved 17 September 2013.
Jump up ^ Second Language Acquisition Essential Information: Professor J. Cumminshttp://esl.fis.edu/teachers/support/cummin.htm
Jump up ^ "Language Proficiency: Defining Levels Avoids Confusion". Alsintl.com. 2013-08-26. Retrieved 2013-11-13.
Jump up ^ http://faculty.ucmerced.edu/khakuta/research/publications/(1985)%20-%20THE%20RELATIONSHIP%20BETWEEN%20DEGREE%20OF%20BILINGUALISM%20AND.pdf
Jump up ^ Lee, Joseph. "The Native Speaker: An Achievable Model?". Asian EFL Journal. 7 (2). |access-date= requires |url= (help)
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A Sunday Afternoon on the Island of La Grande Jatte
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A Sunday Afternoon on the Island of La Grande Jatte
Artist
Georges-Pierre Seurat
Year
1884–1886
Medium
Oil on canvas
Subject
People relaxing at la Grande Jatte, Paris
Dimensions
207.6 cm × 308 cm (81.7 in × 121.25 in)
Location
Art Institute of Chicago[1]
A Sunday Afternoon on the Island of La Grande Jatte (French: Un dimanche après-midi à l'Île de la Grande Jatte) painted in 1884, is one of Georges Seurat's most famous works. It is a leading example of pointillist technique, executed on a large canvas. Seurat's composition includes a number of Parisians at a park on the banks of the River Seine.
Contents
[hide]
1 Background
2 Interpretation
3 Painting materials
4 Acquisition by the Art Institute of Chicago
5 In popular culture
6 Related works by Seurat
7 References
8 Further reading
9 External links
Background[edit]
In 1879 Georges Seurat enlisted as a soldier in the French army and was back home by 1880. Later, he ran a small painter’s studio in Paris, and in 1883 showed his work publicly for the first time. The following year, Seurat began to work on La Grande Jatte and exhibited the painting in the spring of 1886 with the Impressionists.[2] With La Grande Jatte, Seurat was immediately acknowledged as the leader of a new and rebellious form of Impressionism called Neo-Impressionism.[3]
Seurat painted A Sunday Afternoon between May 1884 and March 1885, and from October 1885 to May 1886,[4] focusing meticulously on the landscape of the park. He reworked the original and completed numerous preliminary drawings and oil sketches. He sat in the park, creating numerous sketches of the various figures in order to perfect their form. He concentrated on issues of colour, light, and form. The painting is approximately 2 by 3 meters (7 by 10 feet) in size.
Inspired by optical effects and perception inherent in the color theories of Michel Eugène Chevreul, Ogden Rood and others, Seurat adapted this scientific research to his painting.[5] Seurat contrasted miniature dots or small brushstrokes of colors that when unified optically in the human eye were perceived as a single shade or hue. He believed that this form of painting, called divisionism at the time but now known as pointillism, would make the colors more brilliant and powerful than standard brushstrokes. The use of dots of almost uniform size came in the second year of his work on the painting, 1885–86. To make the experience of the painting even more vivid, he surrounded it with a frame of painted dots, which in turn he enclosed with a pure white, wooden frame, which is how the painting is exhibited today at the Art Institute of Chicago.
La Grande Jatte, toward Clichy, 2006
The Island of la Grande Jatte is located at the very gates of Paris, lying in the Seine between Neuilly and Levallois-Perret, a short distance from where La Défense business district currently stands. Although for many years it was an industrial site, it is today the site of a public garden and a housing development. When Seurat began the painting in 1884, the island was a bucolic retreat far from the urban center.
The painting was first exhibited at the eighth Impressionist exhibition in May 1886, then in August 1886, dominating the second Salon of the Société des Artistes Indépendants, of which Seurat had been a founder in 1884.[6] Seurat was extremely disciplined, always serious, and private to the point of secretiveness—for the most part, steering his own steady course. As a painter, he wanted to make a difference in the history of art and with La Grand Jatte, succeeded.[7]
Interpretation[edit]
The left bank of working class Bathers at Asnières mirrors the right bank of the bourgeoisie on La Grande Jatte.
Seurat's painting was a mirror impression of his own painting, Bathers at Asnières, completed shortly before, in 1884. Whereas the bathers in that earlier painting are doused in light, almost every figure on La Grande Jatte appears to be cast in shadow, either under trees or an umbrella, or from another person. For Parisians, Sunday was the day to escape the heat of the city and head for the shade of the trees and the cool breezes that came off the river. And at first glance, the viewer sees many different people relaxing in a park by the river. On the right, a fashionable couple, the woman with the sunshade and the man in his top hat, are on a stroll. On the left, another woman who is also well dressed extends her fishing pole over the water. There is a small man with the black hat and thin cane looking at the river, and a white dog with a brown head, a woman knitting, a man playing a horn, two soldiers standing at attention as the musician plays, and a woman hunched under an orange umbrella. Seurat also painted a man with a pipe, a woman under a parasol in a boat filled with rowers, and a couple admiring their infant child.[8]
Some of the characters are doing curious things. The lady on the right side has a monkey on a leash. A lady on the left near the river bank is fishing. The area was known at the time as being a place to procure prostitutes among the bourgeoisie, a likely allusion of the otherwise odd "fishing" rod. In the painting's center stands a little girl dressed in white (who is not in a shadow), who stares directly at the viewer of the painting. This may be interpreted as someone who is silently questioning the audience: "What will become of these people and their class?" Seurat paints their prospects bleakly, cloaked as they are in shadow and suspicion of sin.[9]
In the 1950s, historian and Marxist philosopher Ernst Bloch drew social and political significance from Seurat’s La Grande Jatte. The historian’s focal point was Seurat’s mechanical use of the figures and what their static nature said about French society at the time. Afterward, the work received heavy criticism by many that centered on the artist’s mathematical and robotic interpretation of modernity in Paris.[8]
According to historian of Modernism William R. Everdell, "Seurat himself told a sympathetic critic, Gustave Kahn, that his model was the Panathenaic procession in the Parthenon frieze. But Seurat didn't want to paint ancient Athenians. He wanted 'to make the moderns file past ... in their essential form.' By 'moderns' he meant nothing very complicated. He wanted ordinary people as his subject, and ordinary life. He was a bit of a democract—a "Communard," as one of his friends remarked, referring to the left-wing revolutionaries of 1871; and he was fascinated by the way things distinct and different encountered each other: the city and the country, the farm and the factory, the bourgeois and the proletarian meeting at their edges in a sort of harmony of opposites."[10]
The border of the painting is, unusually, in inverted color, as if the world around them is also slowly inverting from the way of life they have known. Seen in this context, the boy who bathes on the other side of the river bank at Asnières appears to be calling out to them, as if to say, "We are the future. Come and join us".[9]
Painting materials[edit]
Seurat painted the La Grande Jatte in three distinct stages.[11] In the first stage, which was started in 1884, Seurat mixed his paints from several individual pigments and was still using dull earth pigments such as ochre or burnt sienna. In the second stage, during 1885 and 1886, Seurat dispensed with the earth pigments and also limited the number of individual pigments in his paints. This change in Seurat's palette was due to his application of the advanced color theories of his time. His intention was to paint small dots or strokes of pure color that would then mix on the retina of the beholder to achieve the desired color impression instead of the usual practice of mixing individual pigments.
Seurat's palette consisted of the usual pigments of his time[12][13] such as cobalt blue, emerald green and vermilion. Additionally, Seurat used then new pigment zinc yellow (zinc chromate), predominantly for yellow highlights in the sunlit grass in the middle of the painting but also in mixtures with orange and blue pigments. In the century and more since the painting's completion, the zinc yellow has darkened to brown—a color degeneration that was already showing in the painting in Seurat's lifetime.[14] The discoloration of the originally bright yellow zinc yellow (zinc chromate) to brownish color is due to the chemical reaction of the chromate ions to orange-colored dichromate ions.[15] In the third stage during 1888-89 Seurat added the colored borders to his composition.
The results of investigation into the discoloration of this painting have been ingeniously combined with further research into natural aging of paints to digitally rejuvenate the painting.[16][17]
Acquisition by the Art Institute of Chicago[edit]
On display at the Art Institute of Chicago
In 1923, Frederic Bartlett was appointed trustee of the Art Institute of Chicago. He and his second wife, Helen Birch Bartlett, loaned their collection of French Post-Impressionist and Modernist art to the museum. It was Mrs. Bartlett who had an interest in French and avant-garde artists and influenced her husband's collecting tastes. Sunday Afternoon on the Island of La Grande Jatte was purchased on the advice of the Art Institute of Chicago's curatorial staff in 1924.[18]
In conceptual artist Don Celender's 1974–5 book Observation and Scholarship Examination for Art Historians, Museum Directors, Artists, Dealers and Collectors, it is claimed that the institute paid $24,000 for the work[18][19] (over $328,000 in 2013 Dollars[20]).
In 1958, the painting was loaned out for the only time: to the Museum of Modern Art in New York. On 15 April 1958, a fire there, which killed one person on the second floor of the museum, forced the evacuation of the painting, which had been on a floor above the fire in the Whitney Museum, which adjoined MoMA at the time.[21]
In popular culture[edit]
The May 1976 issue of Playboy magazine featured Nancy Cameron—Playmate of the Month in January 1974—on its cover, superimposed on the painting in similar style. The often hidden bunny logo was disguised as one of the millions of dots.[22]
The painting and the life of its artist were the basis for the 1984 Broadway musical Sunday in the Park with George by Stephen Sondheim and James Lapine. Subsequently, the painting is sometimes referred to by the misnomer "Sunday in the Park".
The painting is prominently featured in the 1986 comedy film Ferris Bueller's Day Off. Such use is parodied, among others, in Looney Tunes: Back in Action and an episode of Family Guy.
In the Simpsons episode "Mom and Pop Art" (10x19), Barney Gumble offers to pay for a beer with a handmade reproduction of the painting.
At the Old Deaf School Park in Columbus, Ohio, sculptor James T. Mason re-created the painting in topiary form;[23] the installation was completed in 1989.
The painting was the inspiration for a commemorative poster printed for the 1993 Detroit Belle Isle Grand Prix, with racing cars and the Detroit skyline added.
In 2011, the cast of the US version of The Office re-created the painting for a poster to promote the show's seventh-season finale.[24]
The cover photo of the June 2014 edition of San Francisco magazine, "The Oakland Issue: Special Edition", features a scene on the shore of Lake Merritt that re-creates the poses of the figures in Seurat's painting.[25]
Related works by Seurat[edit]
Study for La Grand Jatte, 1884 Zoom[permanent dead link]
Figures assises, 1884
Die Insel La Grande Jatte mit Ausflüglern, 1884
Paysage et personnages, 1884–85
Groupe de personnages, 1884–85
Esquisse d'ensemble, 1884–85
Femmes au bord de l'eau, 1885–86
Nakedness, 1888
References[edit]
Jump up ^ Roch, Christine L. "From "Rube Town" to Modern Metropolis:".
Jump up ^ Janis Tomlinson, ed., Readings in Nineteenth-Century Art, 1996
Jump up ^ Petra ten-Doesschate Chu, Nineteenth-Century European Art, 2012 (3rd Edition)
Jump up ^ H. Dorra and J. Rewald, Seurat, Paris, 1960, p. 156.
Jump up ^ Robert Herbert, Neo-Impressionism, Solomon R. Guggenheim Foundation, New York, 1968, Library of Congress Card Catalogue Number: 68-16803
Jump up ^ Exhibition History
Jump up ^ Herbert, Robert L., Neil Harris, and Georges Seurat. Seurat and the making of La Grande Jatte. Chicago: Art Institute of Chicago in association with the University of California Press, 2004. Print.
^ Jump up to: a b Burleigh, Robert, Seurat and La Grande Jatte: connecting the dots, New York: H.N. Abrams in association with the Art Institute of Chicago, 2004. Print
^ Jump up to: a b BBC, The Private Life of a Masterpiece (2005) Series 4, Georges Seurat: A Sunday Afternoon on the Island of La Grande Jatte.
Jump up ^ William R. Everdell, The First Moderns: Profiles in the Origins of Twentieth Century Thought (Chicago: University of Chicago Press), 66-7.
Jump up ^ Inge Fiedler, La Grande Jatte: A Study of the Painting Materials, in Robert L. Herbert, Douglas W. Druick, Gloria Groom, Seurat and the Making of La Grande Jatte, University of California, 2004
Jump up ^ Inge Fiedler, A Technical Evaluation of the Grande Jatte, Art Institute of Chicago Museum Studies, Vol. 14, No. 2, The Grande Jatte at 100 (1989), pp. 173-179+244-245
Jump up ^ Georges Seurat, 'Sunday afternoon on La Grande Jatte', ColourLex
Jump up ^ Gage, John (1993). Color and Culture: Practice and Meaning from Antiquity to Abstraction. Boston: Little, Brown. pp. 220, 224. .
Jump up ^ Casadio, F., I. Fiedler, K. A. Gray, and R. Warta. Deterioration of zinc potassium chromate pigments: elucidating the effects of paint composition and environmental conditions on chromatic alteration. In ICOM-CC 15th Triennial Conference Preprints, New Delhi, 22–26 September 2008, ed. J. Bridgland, 572–580. Paris: International Council of Museums.
Jump up ^ Berns, Roy S. (2006). "Rejuvenating the color palette of Georges Seurat'sA Sunday on La Grande Jatte—1884: A simulation". Color Research & Application. 31: 278–293. doi:10.1002/col.20223.
Jump up ^ Berns, R.S. Rejuvenating Seurat’s Palette Using Color and Imaging Science: A Simulation, Website of R.S. Berns at Rochester Institute of Technology
^ Jump up to: a b The Art Institute of Chicago, A Sunday on La Grande Jatte, 1884
Jump up ^ Celender, Don (1974–75). Observation and Scholarship Examination for Art Historians, Museum Directors, Artists, Dealers, and Collectors. Publication was produced for an exhibition held at the O.K. Harris Gallery, 383 West Broadway, New York, from 7 to 28 December 1974. pp. Question: Page 5, Answer: Page 23.
Jump up ^ CPI Inflation Calculator
Jump up ^ New York Times, Fire in Modern Museum; Most Art Safe; 6 Canvases Burned, Seurat's Removed, 16 April 1958
Jump up ^ Lucass Pivey, Stagerism Alert: Seurat
Jump up ^ The Topiary Park: A Unique Interpretation of a Painting Archived 20 October 2013 at the Wayback Machine.
Jump up ^ "First Look: NBC's amazing new 'The Office' poster". Entertainment Weekly. Archived from the original on 26 October 2015.
Jump up ^ "The Oakland Issue". San Francisco Magazine.
Further reading[edit]
O'Neill, J, ed. (1991). Georges Seurat, 1859-1891. New York: The Metropolitan Museum of Art.
William R. Everdell, The First Moderns: Profiles in the Origins of Twentieth Century Thought (Chicago: University of Chicago Press).
Life magazine, article on the MOMA fire with a picture of the painting being covered by workers.
External links[edit]
Wikimedia Commons has media related to Un dimanche après-midi à l'Île de la Grande Jatte (studies).
External video
Georges Seurat, A Sunday on La Grande Jatte - 1884, 1884-86, Smarthistory[1]
Seurat and the Making of La Grande Jatte
La Grande Jatte – Inspiration, Analysis and Critical Reception
About this Artwork, Art Institute of Chicago
Georges Seurat, 1859–1891, MoMA exhibition catalog
Georges Seurat, Sunday Afternoon at La Grande Jatte, ColourLex
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Georges Seurat
Paintings
Bathers at Asnières (1884)
A Sunday Afternoon on the Island of La Grande Jatte (1884–86)
Parade de cirque (1887-88)
Young Woman Powdering Herself (1889-90)
Le Chahut (1889-90)
The Channel of Gravelines, Petit Fort Philippe (1890)
The Circus (1890-91)
Related
Sunday in the Park with George (1984 musical)
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BNF: cb119504589 (data)
Jump up ^ "Seurat, A Sunday on La Grande Jatte". Smarthistory at Khan Academy. Retrieved April 23, 2016.
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values: 'n Sondagmiddag op die eiland La Grande Jatte – Afrikaans

values: Qrand-Jatt adasında bazar günü – Azerbaijani

values: Tarda de diumenge a l'illa de la Grande Jatte – Catalan

values: Ein Sonntagnachmittag auf der Insel La Grande Jatte – German

values: Pühapäeva pärastlõuna Grande-Jatte'i saarel – Estonian

values: Tarde de domingo en la isla de la Grande Jatte – Spanish

values: Igande arratsaldea La Grande Jatte uhartean – Basque

values: بعدازظهر یکشنبه در جزیره گراند ژات – Persian

values: Un dimanche après-midi à l'Île de la Grande Jatte – French

values: Tarde de domingo na illa da Grande Jatte – Galician

values: 그랑드자트섬의 일요일 오후 – Korean

values: Կիրակնօրյա կեսօրը Գրանդ Ժատ կղզում – Armenian

values: Nedjeljno poslijepodne na otoku La Grande Jatte – Croatian

values: Una domenica pomeriggio sull'isola della Grande-Jatte – Italian

values: Dimanche d'été à la Grande Jatte – Dutch

values: グランド・ジャット島の日曜日の午後 – Japanese

values: Niedzielne popołudnie na wyspie Grande Jatte – Polish

values: Uma Tarde de Domingo na Ilha de Grande Jatte – Portuguese

values: Воскресный день на острове Гранд-Жатт – Russian

values: Nedjeljno poslijepodne na otoku La Grande Jatte – Serbo-Croatian

values: லா கிரான்டே ஜாட் தீவில் ஒரு ஞாயிற்றுக்கிழமை பின்னேரம் – Tamil

values: บ่ายวันอาทิตย์บนเกาะลากร็องด์ฌัต – Thai

values: Grande Jatte Adası'nda Bir Pazar Öğleden Sonrası – Turkish

values: Chiều Chủ nhật trên đảo Grande Jatte – Vietnamese

values: 大碗岛的星期天下午 – Chinese

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