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A Return to Cuba Helps Eduardo Machado Find Home and Inspiration
C olumbia U niversity RECORD November 9, 2001 3 OFF CAMPUS A Return to Cuba Helps Eduardo Machado Find Home and Inspiration BY KRISTIN STERLING “Did they throw me out, or did I walk away from my country?” This question plagues many Cuban exiles and resonates throughout Eduardo Machado’s “Havana is Waiting.” The play is a semi-autobio- graphical drama inspired by Machado’s own emotion-filled return to Cuba in 1999. At the age of nine, Machado’s parents put him and his younger brother on a “Peter Pan” flight to the U.S., a decision that Machado, like many others, has questioned and resented all of his life. Over 13,000 Cuban children made similar flights during the early 1960s, as their parents feared Communist indoctrination and the revolutionary government under Fidel Castro. Machado, an associate profes- sor in the Theatre Arts Division of the School of the Arts, describes his return to Cuba as “the most important experience of my adult life… that trip opened up a whole world of things that I yearn for.” PHOTO BY CAROL ROSEGG, COURTESY OF SPRINGER/CHICOINE PUBLIC RELATIONS Machado reveals much of him- Felix Solis, left, Bruce MacVittie, center, and Ed Vassalo, right, take a journey home in Eduardo Machado’s play, “Havana is Waiting.” The self in this very personal, production will run through Dec. 31 at the Cherry Lane Theatre. thoughtful and political work. He uses both humor and drama to Gonzalez, is found on the shores Machado’s signature comic style Drowns in Sand,” to great but more importantly Havana, or address the issues that arise. -
One of a Kind, Unique Artist's Books Heide
ONE OF A KIND ONE OF A KIND Unique Artist’s Books curated by Heide Hatry Pierre Menard Gallery Cambridge, MA 2011 ConTenTS © 2011, Pierre Menard Gallery Foreword 10 Arrow Street, Cambridge, MA 02138 by John Wronoski 6 Paul* M. Kaestner 74 617 868 20033 / www.pierremenardgallery.com Kahn & Selesnick 78 Editing: Heide Hatry Curator’s Statement Ulrich Klieber 66 Design: Heide Hatry, Joanna Seitz by Heide Hatry 7 Bill Knott 82 All images © the artist Bodo Korsig 84 Foreword © 2011 John Wronoski The Artist’s Book: Rich Kostelanetz 88 Curator’s Statement © 2011 Heide Hatry A Matter of Self-Reflection Christina Kruse 90 The Artist’s Book: A Matter of Self-Reflection © 2011 Thyrza Nichols Goodeve by Thyrza Nichols Goodeve 8 Andrea Lange 92 All rights reserved Nick Lawrence 94 No part of this catalogue Jean-Jacques Lebel 96 may be reproduced in any form Roberta Allen 18 Gregg LeFevre 98 by electronic or mechanical means, including photocopying, recording, or information storage retrieval Tatjana Bergelt 20 Annette Lemieux 100 without permission in writing from the publisher Elena Berriolo 24 Stephen Lipman 102 Star Black 26 Larry Miller 104 Christine Bofinger 28 Kate Millett 108 Curator’s Acknowledgements Dianne Bowen 30 Roberta Paul 110 My deepest gratitude belongs to Pierre Menard Gallery, the most generous gallery I’ve ever worked with Ian Boyden 32 Jim Peters 112 Dove Bradshaw 36 Raquel Rabinovich 116 I want to acknowledge the writers who have contributed text for the artist’s books Eli Brown 38 Aviva Rahmani 118 Jorge Accame, Walter Abish, Samuel Beckett, Paul Celan, Max Frisch, Sam Hamill, Friedrich Hoelderin, John Keats, Robert Kelly Inge Bruggeman 40 Osmo Rauhala 120 Andreas Koziol, Stéphane Mallarmé, Herbert Niemann, Johann P. -
CELIA and FIDEL the Cuban Revolution Profile: Fidel Castro Profile: Celia Sánchez Cuba-U.S
ARENA’S PAGE STUDY GUIDE THE PLAY Meet the Playwright Key Terms CELIA AND FIDEL The Cuban Revolution Profile: Fidel Castro Profile: Celia Sánchez Cuba-U.S. Relations Asylum-Seekers at the Peruvian Embassy and the Mariel Boatlift Three Big Questions Resources THE PLAY Fidel Castro, the political leader of Cuba and its revolution, is celebrating. Cuba’s support of the socialists in Angola (see article) is succeeding and, to him, it represents Cuba’s growing influence and power in the world. Celia Sánchez, his fellow revolutionary and most trusted political advisor, wants him to focus on his upcoming speech to the United Nations. She also urges him to face the realities in Cuba, where the people are clamoring for change and freedom. Fidel refuses. BY Consuelo, a spy and Fidel’s protégée, EDUARDO MACHADO arrives. She tells Fidel that Manolo, DIRECTED BY MOLLY SMITH a former revolutionary, is in Havana to meet with him. Manolo now works NOW PLAYING IN THE KOGOD CRADLE | FEBRUARY 28 - APRIL 12, 2020 for the U.S. government and is in Cuba on behalf of President Carter to discuss ending the trade embargo. “But, things are changing. People that grew up under our revolution are Their meeting is interrupted with unhappy. I think we have not given them enough things to dream and work for. startling news: hundreds of Cubans have stormed the Peruvian embassy They know about the world. And they want their own voice.” in Havana, asking the Peruvian — Celia Sánchez, Celia and Fidel government to help them leave Cuba. Will Fidel be able to cooperate with Celia, Manolo and Consuelo Celia and Fidel was generously commissioned by Drs. -
No·Ta Be·Ne News from the Yale Library
no·ta be·ne News from the Yale Library volume xxvi, number 2, fall/winter 2011 Opening in January: The New Center for Science and Social Science Information In January 2012, the new Center for Science and Social Science Information (CSSSI), a collaboration between the Yale University Library and Yale Information Technology Services (ITS), will formally open in its new home at 219 Prospect Street in the Kline Biology Tower. Located in a fully renovated space, the former location of the Kline Science Library, the Center will incorporate the services of the Kline Science Library, the Social Science Library and the ITS StatLab. The CSSSI represents a new level of partnership between ITS and the Library and will provide state-of-the-art information services in a technology-rich environment. The CSSSI will open for business on January 3rd, 2012, and will host an Open House for the Yale Community on January 11th from 4–6pm. All members of the Yale community are invited to the opening celebration, where refreshments will be served and mementos given to mark the occasion. University Librarian, Susan Gibbons, noted, “For many of our students and faculty, library resources and technology are closely intertwined in their academic work practices. CSSSI is the opportunity to now explore how the Library and ITS can intertwine their services to provide expanded and comprehensive information services to the Yale community”. Exterior photo of the Kline Biology Tower While the CSSSI renovations are underway, the services of both the Science and Social Science Libraries remain based at 140 Prospect until December 16th, when the library and StatLab begin the move to the new CSSSI space in the Kline Biology Tower. -
James S. Jaffe Rare Books Llc
JAMES S. JAFFE RARE BOOKS LLC OCCASIONAL LIST: NEW YORK ANTIQUARIAN BOOK FAIR 2020 P. O. Box 930 Deep River, CT 06417 Tel: 212-988-8042 Email: [email protected] Website: www.jamesjaffe.com Member Antiquarian Booksellers Association of America / International League of Antiquarian Booksellers All items are offered subject to prior sale. Libraries will be billed to suit their budgets. Digital images are available upon request. WITH AN ORIGINAL PHOTOGRAPH 1. [ART – BURCKHARDT] KATZ, Vincent & Rudy BURCKHARDT. Boulevard Transportation. Tall 8vo, illustrated with photographs by Rudy Burkhardt, original pictorial wrappers. N.Y.: Tibor de Nagy Editions, 1997. First edition. One of 26 lettered copies signed by the artist and poet, and with an original photographic print by Burckhardt, signed with the title “Rain Pavement” and dated 1995 in pencil on the back, tipped in as a frontispiece. The image “Rain Pavement” is not one of the images reproduced in the book. A fine copy. $3,500.00 2. [ART – CELMINS] CELMINS, Vija. Drawings of the Night Sky. Oblong folio, illustrated, original linen, in publisher’s card slipcase. London: Anthony d’Offay, (2001). First edition. Limited to 480 copies signed by Celmins. Comprises portraits of the artist by Hendrika Sonnenberg and Leo Holub, reproductions of drawings by Celmins, and an essay entitled “Night Skies: The Distance Between Things” and an interview with the artist by Adrian Searle. Laid in is a separately printed insert with a portrait of the artist by James Lingwood and, on the verso, William Butler Yeats’s poem “The Lake Isle of Inisfree.” As new. $500.00 INSCRIBED BY KANDINSKY TO JAMES JOHNSON SWEENEY 3. -
Written Somewhere: the Social Space of Text Written Somewhere: the Social Space of Text
WRITTEN SOMEWHERE: THE SOCIAL SPACE OF TEXT WRITTEN SOMEWHERE: THE SOCIAL SPACE OF TEXT BY DAVID WILLIAM COUGHLAN DEPARTMENT OF ENGLISH GOLDSMITHS' COLLEGE THESIS SUBMITTED FOR THE AWARD OF PHD TO THE UNIVERSITY OF LONDON MARCH 2002 SUPERVISOR DR JOSH COHEN Abstract This thesis is concerned with the space of text, with the composition of that space, its form and substance, and also with the perception and experience of that space. The argument takes in existing theoretical attempts to explain the spatiality of texts, particularly Joseph Frank's 1945 essay "Spatial Form in Modem Literature," and tests their ideas against literary texts which, it will be argued, make a vital contribution to our comprehension oftextual space. The keys texts studied are John Banville's Kepler, Paul Auster's City of Glass, Kazuo Ishiguro's The Unconsoled, and the works of Thomas Pynchon. As an understanding of the space of text develops, the work of Henri Lefebvre, and especially his 1974 text The Production of Space, comes increasingly to the fore. Criticising traditional philosophical concepts of space, which tend to view space in either purely physical or mental terms, Lefebvre's work enables us to place the discussion on textual space within a wider context. Textual space is seen to emerge as a social space, and thus a social product, capable of being employed in different ways within society, as a representation of space, aligned with mental space, or as a representational space, allied to lived spaces. The final sections of the thesis explore the reader's experience of this lived textual space, and question the role and place oftextual space in the social realm. -
Moving Metres: Hilda Morley and Gestural Abstraction “After Reading
Moving Metres: Hilda Morley and Gestural Abstraction “After reading Hilda Morley’s mainly unpublished poems,” Denise Levertov remarked sometime in the late 1960s, “I find myself shaking my head at the strangeness of what used to be called fate, a word currently out of fashion” (Light Up 265). The “fate” of Hilda Morley (1916-1998)—friend of H.D. in the 1930s, guest of the abstract expressionist Eighth Street Club in New York, teacher at Black Mountain College alongside Charles Olson and Robert Creeley—Levertov summed up briefly: “alive and unpublished at fifty” (Light Up 268). Levertov was reluctant to apportion blame, but some have been less willing to attribute the belated publication of Morley’s poems to the fact of her “keeping them up her sleeve” (Light Up 265). Reviewing Morley’s first collection, A Blessing Outside Us (1976), for instance, Hayden Carruth suspected that her neglect should be “ascribed to sexism” (103): “How else can one explain her consistent rejection for twenty-five years or more when so many less talented poets, chiefly men, have been accepted and acclaimed?” (103). Carruth’s conclusion, blunt as it was, accurately reflected the inequitable process of recognition and acceptance within the early postwar American avant-garde. Of the forty-four poets collected in Donald Allen’s landmark anthology The New American Poetry 1945-1960 (1960), only four—Levertov, Helen Adam, Madeline Gleason and Barbara Guest—were women. And the problem was not simply one of representation. Many texts in the anthology—Olson’s essay “Projective Verse” (1950), Jonathan Williams’s “A Little Tumescence” (1954), and Jack Kerouac’s “230th Chorus” (1955), for instance—frankly imagine the New American poem as a theatre of male sexual experience, upon whose stage women enter either as an emblem of the ineffable— Kerouac’s “Damema, Mother of Buddhas” (175) for example—or simply as the “woman in my bed” (89), whose absence Paul Carroll laments in “Father” (1959). -
RIVISITANDO LO SCENARIO POETICO DEL BLACK MOUNTAIN COLLEGE: SESSANT’ANNI DOPO Marina Morbiducci Doi: 10.7359/780-2016-Morb
RIVISITANDO LO SCENARIO POETICO DEL BLACK MOUNTAIN COLLEGE: SESSANT’ANNI DOPO Marina Morbiducci doi: 10.7359/780-2016-morb How long to be here wherever it is. R. Creeley (1995, 42) It was the largest city I’ll ever know, the swiftest. Ch. Olson (cit. in von Hallberg 1978, 56) 1. Quale scenario? Quale Black Mountain? Forse non è esattamente per l’attraente bellezza della Buncombe County in North Carolina – fra le montagne del Blue Ridge 1 – che nel 1933 fu fon- dato, immerso in quel pittoresco scenario naturale, il Black Mountain Col- lege 2, luogo da cui scaturì ben presto una portentosa avanguardia tale da rinnovare su più fronti il panorama artistico coevo. Tuttavia, le particolari caratteristiche paesaggistiche – tendenti al sublime – potrebbero aver favo- rito il clima di libertà espressiva e originalità creativa che ivi prosperarono: «[l]ocated in the midst of the beautiful North Carolina mountains near Asheville, the secluded environment fostered a strong sense of individual- ity and creative intensity within the small College community» 3. 1 Chi non conoscesse le attrattive paesaggistiche del luogo, può farsene un’idea anche dal sito turistico del Blue Ridge Mountains: «Discover the Blue Ridge Mountains from our region. Explore a wilderness trail or paddle a pristine river. Enjoy the latest in canopy tours and zip line experiences. Take a vineyard or brewery tour and taste the latest from our area’s winemakers and brewmasters. Hike, bike, run, kayak, flyfish – or take a spa day. […] This beautiful land of soaring peaks, lush green valleys, rushing streams, valley lakes, and stately forest beckons you. -
Volume Six 2018 a Literary Resource for Teachers
VOLUME SIX 2018 ENL*GHT A LITERARY RESOURCE FOR TEACHERS A PUBLICATION OF THE LITERATURE DIVISION OF THE ENGLISH LANGUAGE AND LITERATURE ACADEMIC GROUP NATIONAL INSTITUTE OF EDUCATION, SINGAPORE enl*ght is a publication of the Literature Division of the English Language and Literature Academic Group at the National Institute of Education, Singapore. Signature programmes at NIE for Literature teachers include the following: The NTU-NIE Teaching Scholars Programme The MEd (English) programme offered by NIE (TSP), a prestigious four-year programme aims to equip Literature and English Language for outstanding persons with a passion teachers with a repertoire of critical, aesthetic, and calling to be professional leaders in cultural and multimodal literacies in relation to education. It aims to produce graduates with English education. intellectual rigor, strong leadership, and global For more information, please go to https:// perspective to make significant contributions www.nie.edu.sg/our-people/academic- to education. For more information, please groups/ell/programmes/higher-degree- check out tsp.nie.edu.sg programmes/master-of-education-in-english The Postgraduate Diploma in Education (Secondary) or PGDE (Sec) in NIE is a 16-month programme which aims to equip university graduates with the skills and knowledge to teach two subjects at the secondary level. For past issues of enl*ght, please visit bitly.com/enlightELL or scan the following QR code 2 enl*ght EDITORIAL Dr Loh Chin Ee Assistant Professor, English Language and Literature National Education of Institute [email protected] Photo by Wan Zhong Hao Loh Chin Ee is founder The first issue of enl*ght was published in January 2011 and as I reflect on of enl*ght and the editorial for this sixth issue, I am struck by the time and effort our many assistant professor volunteers have put into sharing their ideas, expertise and research with other at the National literature educators. -
Ii Table of Contents GENERAL INTRODUCTION to THE
Table of Contents GENERAL INTRODUCTION TO THE PROGRAM 1.0 EXECUTIVE SUMMARY 1.1 Brief History of the Program ………………………………………..1-2 1.2 Brief Synopsis of Previous Program Review Recommendations……2-5 1.3 Summary of How Program Meets the Standards…………………….6-7 1.4 Summary of Present Program Review Recommendations…………..7-8 2.0 PROFILE OF THE PROGRAMS AND DISCIPLINES 2.1 Overview of the Programs and Disciplines…………………………8-17 2.2 The Programs in the Context of the Academic Unit………………..17-22 HOW PROGRAM MEETS UNIVERSITY WIDE INDICATORS AND STANDARDS 3.0 ADMISSIONS REQUIREMENTS 3.1 Evidence of Prior Academic Success……………………………….22 3.2 Evidence of Competent Writing…………………………………….22 3.3 English Preparation of Non-Native Speakers……………………….23 3.4 Overview of Program Admissions Policy…………………………..23 4.0 PROGRAM REQUIREMENTS 4.1 Number of Course Offerings………………………………………..24 4.2 Frequency of Course Offerings…………………………………….24 4.3 Path to Graduation………………………………………………….24 4.4 Course Distribution on ATC………………………………………..25 4.5 Class Size…………………………………………………………...25 4.6 Number of Graduates……………………………………………….25 4.7 Overview of Program Quality and Sustainability Indicators……….25-26 5.0 FACULTY REQUIREMENTS 5.1 Number of Faculty in Graduate Programs…………………………..26-27 5.2 Number of Faculty per Concentration……………………………....27 6.0 PROGRAM PLANNING AND QUALITY IMPROVEMENT PROCESS…27-29 7.0 THE STUDENT EXPERIENCE 7.1 Student Statistics……………………………………………………29-31 7.2 Assessment of Student Learning……………………………………31-34 7.3 Advising…………………………………………………………….34-35 7.4 Writing Proficiency…………………………………………………35 -
1 All That Is Lovely in Jazz: the Creeley-Rice Collaboration For
1 All That Is Lovely in Jazz: The Creeley-Rice Collaboration for Jargon 10 During their time at Black Mountain College, Robert Creeley and Dan Rice collaborated on one of the most significant, if undervalued, works of postmodern poetry and art. All That Is Lovely in Men, published by Jonathan Williams as Jargon 10, marks the first appearance in book form of many of Creeley’s best known works, including his oft-cited and most commonly anthologized poem, “I Know a Man.” Similarly, Rice’s minimalist, suggestive drawings, exemplify some of his best work from the period, work that impressed the likes of Franz Kline and Robert Rauschenberg, among others, and would continue to be a hallmark of his practice as an illustrator through the 1970s. Printed in a run of only 200 copies, however, the book has remained out of reach for most scholars, and so has not enjoyed the recognition it deserves. In addition to the tiny circulation and rare status of the work, Rice's limited reputation compared to Creeley's, since leaving Black Mountain, may also account for the omission. As Creeley recalled in a 1976 interview, he and Rice "moved in very different ways" soon after the College's closure: "Dan really went the trip of the 'starving artist' . I remember the time when he was passing out in the street, surviving thanks to the affection of people like 1 Rauschenberg." In the early 1960s, Rice would retire from this scene to a studio in Connecticut, where, compared to Creeley's ever-increasing fame, he would work quietly 2 for the next forty years, far from the attention of scholars and critical acclaim. -
An Interview with Joseph Bathanti by Marina Morbiducci
RSA JOURNAL 28/2017 An Interview with Joseph Bathanti BY MARINA MORBIDUCCI We are grateful to Joseph Bathanti, contemporary poet closely connected to the Black Mountain College experience, for generously contributing some unpublished poems to this issue of RSA. The interview that follows serves as an introduction, by way of questions, to his work. MM: Do you acknowledge any deep relationship with the practice of poetry as performed at BMC and your own writing? JB: I discovered Black Mountain College about a decade after I first started writing seriously, simultaneously, almost, with the publication of my first book of poems. I’d like to think the Black Mountain influence was lurking in me all along, and maybe it was – in the vein of Harold Bloom’s “anxiety of influence.” But I was innocent – I’m deliberately avoiding the perhaps more appropriate word, ignorant – of the leviathan I now think of as Black Mountain College. I came to BMC through Martin Duberman’s Black Mountain College: An Exploration in Community. A very prominent poet named Ron Bayes, my Literary Godfather, put Duberman’s book in my hands one day in 1987, after I had been teaching ten years and had been under the impression even longer that I was well-educated. The book changed my life and redirected my consciousness in subtle, yet meaningful ways. Initially, I was caught up in the phenomenon of BMC, the mere fact that it had existed in North Carolina, where I had by then been living for eleven years, and that no one I had encountered, up to that point, other than Ron – who had been intimates with a number of the poets there – had even heard of it.