The Ukrainian Weekly 1983, No.11
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Terrorism and the Media (Including the Internet): an Extensive Bibliography
Perspectives on Terrorism Volume 7, Issue 1, Supplement Terrorism and the Media (including the Internet): an Extensive Bibliography Compiled and selected by Judith Tinnes Introduction This bibliography is intended to serve as an extensive up-to-date resource for studying and researching the multi-faceted relationships between terrorism and the media, including the Internet. It contains over 2.200 records covering academic or professional journal articles (most of them peer-reviewed), book chapters, reports, conference contributions, books, theses and other text publications, mainly in English and German. To keep the bibliography manageable, smaller, more informal publications, e.g., blog posts, research briefs, commentaries, newspaper articles, or newsletters, were not considered – with a few exceptions of contributions containing ideas or subjects that were underrepresented in long-form academic or professional literature. The vast majority of resources included date from the 21st century, as after 9/11 – the biggest single media event in history – the amount of publications on the relationship between terrorism and the media has increased considerably. However, terrorist use of the media is as old as terrorism itself and has been researched since the beginning of terrorism studies. Therefore, this bibliography is not restricted to a particular time period and covers publications up to early February 2013. Thematically, the bibliography covers many aspects of the relationship between terrorism and the media, including these: • terrorist use of the traditional media (TV, radio, newspapers); • terrorist use of the new media, especially the Internet (E-Jihad, Cyberterrorism); • online radicalization; • 9/11 as a media event; • media-oriented counter-terrorism measures; • the psychological impact of media exposure to terrorist attacks; • the portrayal of Islam and Muslims after 9/11; • the depiction of terrorism in literature, movies and the arts; • media-oriented hostage-takings. -
Dance Photograph Collection
http://oac.cdlib.org/findaid/ark:/13030/tf8q2nb58d No online items Guide to the Dance Photograph Collection Processed by Emma Kheradyar. Special Collections and Archives The UCI Libraries P.O. Box 19557 University of California Irvine, California 92623-9557 Phone: (949) 824-3947 Fax: (949) 824-2472 Email: [email protected] URL: http://www.lib.uci.edu/rrsc/speccoll.html © 1997 The Regents of the University of California. All rights reserved. Guide to the Dance Photograph MS-P021 1 Collection Guide to the Dance Photograph Collection Collection number: MS-P021 Special Collections and Archives The UCI Libraries University of California Irvine, California Contact Information Special Collections and Archives The UCI Libraries P.O. Box 19557 University of California Irvine, California 92623-9557 Phone: (949) 824-3947 Fax: (949) 824-2472 Email: [email protected] URL: http://www.lib.uci.edu/rrsc/speccoll.html Processed by: Emma Kheradyar Date Completed: July 1997 Encoded by: James Ryan © 1997 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Dance Photograph Collection, Date (inclusive): 1906-1970 Collection number: MS-P021 Extent: Number of containers: 5 document boxes Linear feet: 2 Repository: University of California, Irvine. Library. Dept. of Special Collections Irvine, California 92623-9557 Abstract: The Dance Photograph Collection is comprised of publicity images, taken by commercial photographers and stamped with credit lines. Items date from 1906 to 1970. The images, all silver gelatin, document the repertoires of six major companies; choreographers' original works, primarily in modern and post-modern dance; and individual, internationally known dancers in some of their significant roles. -
The Elliott School of INTERNATIONAL AFFAIRS
THE ELLIOtt SCHOOL OF INTERNATIONAL AFFAIRS ANNUAL REPORT 2006/2007 MISSION THE MISSION OF THE ELLIOTT SCHOOL OF INTERNATIONAL AFFAIRS IS: • To educate the next generation of international leaders • To conduct research and produce scholarship that advances understanding of important global issues • To engage the public and the policy community in the United States and around the world, thereby fostering international dialogue and shaping policy solutions Our mission is to create knowledge, share wisdom and inspire action to make our world a better place. A MESSAGE FROM THE DEAN recent survey of scholars ranked the Elliott School’s undergraduate and graduate programs in the top 10. Only five schools in the world were ranked this highly in A both categories. It’s an impressive club. It’s also an important club. The issues we study at the Elliott School—ranging from war and peace to poverty and development—affect the lives of billions of our fellow human beings. Powerful international dynamics—population growth, rising levels of resource consumption, the expansion of the global economy, mounting environmental challenges—will shape the world in the decades ahead. Wise policy and effective international cooperation will be more important than ever. At the Elliott School, the study of international affairs is not an abstract exercise. Our aim is to make our world a better place. The Elliott School is in a unique position to make a difference. Our location in the heart of Washington, DC—just steps from some of the most influential U.S., international and non- governmental organizations in the world—enriches our teaching and research, and it provides us with unmatched opportunities to engage the U.S. -
News from the Jerome Robbins Foundation Vol
NEWS FROM THE JEROME ROBBINS FOUNDATION VOL. 6, NO. 1 (2019) The Jerome Robbins Dance Division: 75 Years of Innovation and Advocacy for Dance by Arlene Yu, Collections Manager, Jerome Robbins Dance Division Scenario for Salvatore Taglioni's Atlanta ed Ippomene in Balli di Salvatore Taglioni, 1814–65. Isadora Duncan, 1915–18. Photo by Arnold Genthe. Black Fiddler: Prejudice and the Negro, aired on ABC-TV on August 7, 1969. New York Public Library for the Performing Arts, Jerome Robbins Dance Division, “backstage.” With this issue, we celebrate the 75th anniversary of the Jerome Robbins History Dance Division of the New York Public Library for the Performing Arts. In 1944, an enterprising young librarian at The New York Public Library named One of New York City’s great cultural treasures, it is the largest and Genevieve Oswald was asked to manage a small collection of dance materials most diverse dance archive in the world. It offers the public free access in the Music Division. By 1947, her title had officially changed to Curator and the to dance history through its letters, manuscripts, books, periodicals, Jerome Robbins Dance Division, known simply as the Dance Collection for many prints, photographs, videos, films, oral history recordings, programs and years, has since grown to include tens of thousands of books; tens of thousands clippings. It offers a wide variety of programs and exhibitions through- of reels of moving image materials, original performance documentations, audio, out the year. Additionally, through its Dance Education Coordinator, it and oral histories; hundreds of thousands of loose photographs and negatives; reaches many in public and private schools and the branch libraries. -
NATIVE AMERICAN CONNECTIONS at JACOB's PILLOW a Summary Of
NATIONAL MEDAL OF ARTS | NATIONAL HISTORIC LANDMARK NATIVE AMERICAN CONNECTIONS AT JACOB’S PILLOW A summary of the intersections between the Pillow and Indigenous peoples and traditions of the Americas, compiled by Jacob’s Pillow Director of Preservation Norton Owen. According to the chapter titled “Indians in Becket” by Pillow neighbor Ruth I. Derby in A Bicentennial History of Becket, the Mohicans camped in Becket during the summer months, hunting moose, deer, and bear, as well as otter, raccoons, beaver, foxes, and other small fur-bearing animals. A later Becket history identified descendants of the Muckhaneek, Narragansett, and Pequot tribes. They collected and dried food for the winter and skins for clothing. They also made maple syrup and sugar and taught settlers to do this. They sold the land to settlers in 1736, though the plans weren’t accurate and Chief Konkapot was upset that traditional hunting grounds were inadvertently included in the property transfer. This discrepancy was later settled with an additional payment that covered all lands west of the Westfield River. There are reportedly Indian burial grounds off George Carter Road, near Jacob’s Pillow. 1933 – During its first summer of Pillow performances, the repertory of Ted Shawn and His Men Dancers includes the Osage-Pawnee Dance of Greeting and a Shawn solo, Invocation to the Thunderbird. 1934 – Ted Shawn revives his Hopi Indian Eagle Dance, originally part of his full-length 1923 production, Feather of the Dawn. A new group work, Ponca Indian Dance, is presented for the first time. 1936 – The first act of a full-evening work, O Libertad!, opens with a section titled Noche Triste de Moctezuma and also includes other sections about Native Americans of the Southwest. -
Y University Library
Y university library Fortuno≠ Video Archive for Holocaust Testimonies professor timothy snyder Advisor PO Box 208240 New Haven CT 06520-8240 t 203 432-1879 web.library.yale.edu/testimonies Episode 6 — Renee Hartman Episode Notes by Dr. Samuel Kassow Renee Glassner Hartman was born in 1933 in Bratislava (Pressburg in German, Poszonyi in Hungarian). She had a younger sister, Herta, born in 1935. Their parents, like Herta, were deaF. Their father was a jeweler. This is the story oF two young children who were raised in a loving, religiously observant home and who experienced the traumatic and sudden destruction oF their childhood, the loss oF their parents, and their own deportation to the notorious Bergen-Belsen concentration camp, from which they were liberated by the British in 1945. As they struggled to stay alive, Renee and Herta were inseparable. No matter how depressed and distraught she became, Renee never forgot that her younger sister, unable to hear, totally depended on her. Together they survived a long nightmare that included betrayal, physical violence, liFe-threatening disease, and hunger. During the time when Renee and Herta were born, the Jews oF Bratislava lived in relative peace and security. BeFore World War I, most Jews in Bratislava had spoken Magyar or German (German was the language in Renee’s home). Between the wars they also had to learn Slovak as Bratislava, formerly under Hungarian administration, became part oF the new Czechoslovak state, which was founded in 1918. Under the leadership oF President Thomas Masaryk, Czechoslovakia was a democracy, and somewhat more prosperous than countries like Poland and Hungary. -
The Use and Abuse of Holocaust Memory
http://www.aei.org/publications/pubID.23492/pub_detail.asp Print Mail The Use and Abuse of Holocaust Memory Bradley Lecture By Walter Reich Posted: Monday, November 28, 2005 SPEECHES AEI Online Publication Date: November 14, 2005 I’m very grateful to Chris DeMuth and to the AEI for inviting me to give this Bradley Lecture. It’s a privilege to speak about a subject that means a lot to me before an audience that means a lot to me. This is a case in which the seriousness of the topic is matched and deepened by the seriousness of those who’ve come here to engage it. For this opportunity I thank you, Chris, I thank the AEI and I thank the Bradley Foundation. The Irony of Holocaust Memory: Even as It Grows Stronger, It Grows More Vulnerable to Distortion and Misuse This talk is about Holocaust memory, and I want to be clear, at the outset, about what I mean by that term. By “Holocaust memory” I mean the public’s consciousness of the Holocaust in the years since the event--that is, what the public has known, or at least what it has thought it has known, about the Holocaust. And that consciousness, in turn, has depended on a number of factors that have changed radically over time. Those factors have included the readiness of Holocaust survivors to talk about the Holocaust; the readiness of Jewish communities around the world to talk about it or to have it be talked about; the readiness of governments, the media and the general public to focus on it; and, once the Holocaust did become the focus of general interest some thirty years after the event, the ways in which it has been presented to the public, both accurately and, too often, inaccurately, and what the public has absorbed from those presentations. -
Marcus Belgrave, Trumpet Perry Huilhes, Guita Joan Belllrave, Vocals Geor!!Eshirley, T{!Nor' A
HILL AUD ITOR IU M I 100 YEARS ~" \11' UMS PROGRAM BOOK W INTER 20ll I UNI VER SITY O F M I CHI GAN, A NN AR B O R A high quality of life is critical to attract talent, entrepreneurs and business growth. We're partnering with communities to create the kind of places where workers, entrepreneurs, and businesses want to locate, invest and expand. Find your sense of place in Pure Michigan. PUR~ICHIGAN · Michill. Economic Oenlopment Corporation driving a brighter future Ford M Ol or C omp a n y ~ For opening minds and engaging the co mmunity, Ford salutes the Uni versity Musical Society Edu cation and Co mmunity Engagem ent Program . www.comml.lnity.ford.com WELCOME. " Welcome to this UMS performance. Since 1879, the people of southeast Michigan, includinl our students, faculty, and staff, have experienced remar1table moments through UMS's presentations 01 the world's fin est perlormers of music, theater, and dance. This season. we are proud to celebrate 100 years of UMS presentations in Hill Auditorium, a historic and prized venue on our campus. Enjoy the performance." 11\.., k.... dt., • Mary Sue Coleman President, University of MicJtigan " With ellceptional performances, the centenary of Hill Auditorium. and an amazing array 01 events that w e hope will transfOfm, elevate, and transcend. this 134th season of UMS is something truly sp ecial. Thank you for bein. present," Jf~ Kenneth C. Fischer UMS President ~ l ' m deUented to welcome you to this UMS performance as chair of the UMS Board of Directors. We thank you for being here and encoura(eyou to get even more involved with UMS throuah participation in our educational opportunities, by maleinc a elft, or by adding more UMS events to your calendar. -
NEA Chronology Final
THE NATIONAL ENDOWMENT FOR THE ARTS 1965 2000 A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS President Johnson signs the National Foundation on the Arts and the Humanities Act, establishing the National Endowment for the Arts and the National Endowment for the Humanities, on September 29, 1965. Foreword he National Foundation on the Arts and the Humanities Act The thirty-five year public investment in the arts has paid tremen Twas passed by Congress and signed into law by President dous dividends. Since 1965, the Endowment has awarded more Johnson in 1965. It states, “While no government can call a great than 111,000 grants to arts organizations and artists in all 50 states artist or scholar into existence, it is necessary and appropriate for and the six U.S. jurisdictions. The number of state and jurisdic the Federal Government to help create and sustain not only a tional arts agencies has grown from 5 to 56. Local arts agencies climate encouraging freedom of thought, imagination, and now number over 4,000 – up from 400. Nonprofit theaters have inquiry, but also the material conditions facilitating the release of grown from 56 to 340, symphony orchestras have nearly doubled this creative talent.” On September 29 of that year, the National in number from 980 to 1,800, opera companies have multiplied Endowment for the Arts – a new public agency dedicated to from 27 to 113, and now there are 18 times as many dance com strengthening the artistic life of this country – was created. panies as there were in 1965. -
Library of Congress Magazine September/October 2014
INSIDE Tracing the Music of a Movement Mark Twain & Copyright PLUS Warren Harding's Love Letters Anatomy of a Glass Flute History of an Anthem LIBRARY OF CONGRESS MAGAZINE SEPTEMBER/OCTOBER 2014 DocumentingThe Dance Making of APPALACHIAN SPRING WWW.LOC.GOV In This Issue SEPTEMBER/OCTOBER 2014 LIBRARY OF CONGRESS MAGAZINE FEATURES Library of Congress Magazine Vol. 3 No. 5: September/October 2014 Mission of the Library of Congress Tracing the Music of a Movement 8 From its origins in gospel to its reinvention in folk music, “We Shall The mission of the Library is to support the Overcome” became the anthem of the Civil Rights Movement. Congress in fulfilling its constitutional duties and to further the progress of knowledge and creativity for the benefit of the American people. The Making of “Appalachian Spring” 10 A group of artistic titans collaborated on this archetypical American Library of Congress Magazine is issued ballet, commissioned by and premiered at the Library of Congress. bimonthly by the Office of Communications of the Library of Congress and distributed free of charge to publicly supported libraries and Mark Twain & Copyright research institutions, donors, academic libraries, 4 learned societies and allied organizations in 16 Samuel Clemens fought the good fight for intellectual property rights Glass Flute the United States. Research institutions and that helped protect authors at home and abroad. educational organizations in other countries may arrange to receive Library of Congress Magazine on an exchange basis by applying in writing to the Library’s Director for Acquisitions and Bibliographic Access, 101 Independence Ave. S.E., Washington DC 20540-4100. -
ADF-Timeline.Pdf
Timeline 1934 • ADF, then known as the Bennington School of Dance, is founded at Bennington College in Bennington, Vermont. The first six-week session attracts 103 students (68 of whom were dance teachers) from 26 states, the District of Columbia, Canada and Spain. Their ages range from 15 to 49. • Martha Hill and Mary Josephine Shelly are Co-Directors. Martha Graham, Doris Humphrey, Charles Weidman, and Hanya Holm, also known as "The Big Four,” are recruited to be faculty. They each teach for a week in succession. 1935 • Martha Graham premieres Panorama with Alexander Calder mobiles (his first dance collaboration). • Doris Humphrey premieres New Dance. • The "Big Four" overlap teaching during the six weeks. 1936 • Betty Ford (Elizabeth Bloomer) is a student. • Humphrey completes her New Dance Trilogy with premiere of With My Red Fires; Weidman creates Quest. • World debut of Lincoln Kirstein's Ballet Caravan. Kirstein delivers lectures on classical ballet. 1937 • Anna Sokolow, José Limón, and Esther Junger are the first Bennington Fellows. • Premieres of Holm's Trend, Limón's Danza de la Muerte, Sokolow's Facade-Esposizione Italiana. • Alwin Nikolais is a student. • Graham premieres two solos. 1938 • Premieres are Graham's American Document, Holm's Dance of Work and Play and Dance Sonata, Humphrey's Passacaglia in C Minor, and Weidman's Opus 51. • Anna Halprin and Alwin Nikolais are students. 1939 • Bennington School of Dance spends summer at Mills College in Oakland, CA. • Merce Cunningham is a student. • Limón premieres 5-part solo, Danza Mexicanas. • John Cage gives concert of percussion music. 1940 • School of Dance returns to Bennington and is incorporated under The School of the Arts to foster relationships with the other arts. -
Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C
DOCUMENT RESUME ED 301 906 C3 506 492 AUTHOR Newsom, Iris, Ed. TITLE Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C. REPORT NO ISBN-0-8444-0570-1; ISBN-0887-8234 PUB DATE 87 NOTE 189p. AVAILABLE FROMSuperintendent of Documents, U.S. Government Printing Office, Washington, DC 20402 (Ztock No. 030-001-00120-2, $21.00). PUB TYPE Collected Works - General (020) EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Cultural Activities; *Dance; *Film Industry; *Films; Music; *Television; *Theater Arts IDENTIFIERS *Library of Congress; *Screenwriters ABSTRACT Liberally illustrated with photographs and drawings, this book is comprised of articles on the history of the performing arts at the Library of Congress. The articles, listed with their authors, are (1) "Stranger in Paradise: The Writer in Hollywood" (Virginia M. Clark); (2) "Live Television Is Alive and Well at the Library of Congress" (Robert Saudek); (3) "Color and Music and Movement: The Federal Theatre Project Lives on in the Pages of Its Production Bulletins" (Ruth B. Kerns);(4) "A Gift of Love through Music: The Legacy of Elizabeth Sprague Coolidge" (Elise K. Kirk); (5) "Ballet for Martha: The Commissioning of 'Appalachian Spring" (Wayne D. Shirley); (6) "With Villa North of the Border--On Location" (Aurelio de los Reyes); and (7) "All the Presidents' Movies" (Karen Jaehne). Performances at the library during the 1986-87season, research facilities, and performing arts publications of the library are also covered. (MS) * Reproductions supplied by EDRS are the best that can be made * from the original document. 1 U $ DEPARTMENT OP EDUCATION Office of Educational Research and Improvement 411.111....