Bibliographic record
Abstract
Within this analysis of Kate Braid's poetic discourse as response to Emily Carr's paintings in text To This Cedar Fountain, this essay demonstrates how painter and poet subvert matter/spirit binary to articulate fundamental connection among spirituality, creativity, and material conditions of women's lives. ... sould of painting [is] poetry... Samuel Richardson, Clarissa ********** Like that of Georgia O'Keeffe and Frida Kahlo, Emily Carr's personal mythology was deeply rooted in spiritual (Udall 235). Carr's biographers, art historians, and scholars, such as Paula Blanchard, Doris Shadbolt, Sharon Rohlfsen Udall, and Stephanie Kirkwood Walker, agree that Carr's friendship with Lawren Harris, who was practising theosophist as well as artist, signalled major transformation in her artistic practice. Harris believed that artistic work was sacramental act, one that made spirit in universe visible (Blanchard 178). Carr's friendship with Harris was characterized by discussions about sacred in art; indeed it was Harris who encouraged Carr to immerse herself in natural world of British Columbia, believing as he did that the whole visible universe was living body of inexpressibly beautiful and benevolent spiritual force (172). In 1930, Carr was deeply moved when she saw paintings of Wassily Kandinsky (1866-1944), abstract art pioneer who had publishe d text in 1928 that was widely read in avant-garde circles (218-19). Concerning Spiritual in Art argues that abstract art should be understood as an attempt to discover reality behind surface appearance (or matter) and that arts are leading way to spiritual revolution in twentieth century (Macleod 205). Linking notions of self to wonders in hidden realm was aim of many modernists who turned away from constraints of Christian thought to embrace primitivism, unconscious and occult (Walker 113). The avant-garde placed spirit at heart of creativity, positioning that is central to understanding Carr's writing and painting. The purpose of her practice was to rise above external and temporary to real of eternal reality, to express 'I am,' or God, in all life, in all growth, for there is nothing but (Carr 32). In To This Cedar Fountain, published in 1995, Kate Braid, Vancouver poet, feminist, academic, and carpenter, engages unflinchingly with spiritual dimension in Carr's paintings. Her collection of thirty-six poems responds to Carr's modernist achievement with earthy, concrete images that offer readers visceral, experiential connection to Carr's spiritually rich oeuvre. Braid joins long (predominantly male) tradition of poets whose encounters with paintings inspire and inform their work. The tradition, begun in modern times with Baudelaire, includes contemporary Irish poet Paul Durcan, whose presence in gallery, like Braid's, animates paintings they love and admire. Braid moves her readers around art galleries and vast forests of British Columbia where intangible power awaits, such as patch on heaven (Totem By The Ghost Rock, Cedar 11) or a hallelujah chorus of greens (Rushing Undergrowth 51). In her poems, Braid subverts dualistic categories of matter and spirit to emb race Simone de Beauvoir's definition of women's metaphysical wisdom as double allegiance to both carnal and poetic, and combination of immanent and transcendent (Thomas). Braid's poetic approach complements existing Carr scholarship that analyzes artist's desire to paint God that she experienced as a great breathing among trees (Blanchard 105), image that invokes origin of spirit in Latin word spiritus 'breath' (Ayto 494). Braid responds to Carr's instinctive animism with poet's (in) sight into what Doris Shadbolt calls Carr's primal spirit affinity with all forms of creation (142). …
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.001 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.002 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".