Designing Society Through Art
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With One Voice Community Choir Program
WITH ONE VOICE COMMUNITY CHOIR PROGRAM We hope being part of this choir program will bring you great joy, new connections, friendships, opportunities, new skills and an improved sense of wellbeing and even a job if you need one! You will also feel the creative satisfaction of performing at some wonderful festivals and events. If you have any friends, family or colleagues who would also like to get involved, please give them Creativity Australia’s details, which can be found on the inside of the front cover of this booklet. We hope the choir will grow to be a part of your life for many years. Also, do let us know of any performance or event opportunities for the choir so we can help them come to fruition. We would like to thank all our partners and supporters and ask that you will consider supporting the participation of others in your choir. Published by Creativity Australia. Please give us your email address and we will send you regular choir updates. Prepared by: Shaun Islip – With One Voice Conductor In the meantime, don’t forget to check out our website: www. Kym Dillon – With One Voice Conductor creativityaustralia.org.au Bridget a’Beckett – With One Voice Conductor Andrea Khoza – With One Voice Conductor Thank you for your participation and we are looking forward to a very Marianne Black – With One Voice Conductor exciting and rewarding creative journey together! Tania de Jong – Creativity Australia, Founder & Chair Ewan McEoin – Creativity Australia, General Manager Yours in song, Amy Scott – Creativity Australia, Program Coordinator -
THE COLLECTED POEMS of HENRIK IBSEN Translated by John Northam
1 THE COLLECTED POEMS OF HENRIK IBSEN Translated by John Northam 2 PREFACE With the exception of a relatively small number of pieces, Ibsen’s copious output as a poet has been little regarded, even in Norway. The English-reading public has been denied access to the whole corpus. That is regrettable, because in it can be traced interesting developments, in style, material and ideas related to the later prose works, and there are several poems, witty, moving, thought provoking, that are attractive in their own right. The earliest poems, written in Grimstad, where Ibsen worked as an assistant to the local apothecary, are what one would expect of a novice. Resignation, Doubt and Hope, Moonlight Voyage on the Sea are, as their titles suggest, exercises in the conventional, introverted melancholy of the unrecognised young poet. Moonlight Mood, To the Star express a yearning for the typically ethereal, unattainable beloved. In The Giant Oak and To Hungary Ibsen exhorts Norway and Hungary to resist the actual and immediate threat of Prussian aggression, but does so in the entirely conventional imagery of the heroic Viking past. From early on, however, signs begin to appear of a more personal and immediate engagement with real life. There is, for instance, a telling juxtaposition of two poems, each of them inspired by a female visitation. It is Over is undeviatingly an exercise in romantic glamour: the poet, wandering by moonlight mid the ruins of a great palace, is visited by the wraith of the noble lady once its occupant; whereupon the ruins are restored to their old splendour. -
The Generalife Gardens, Alhambra, Granada, 1991
A N I mortar rake glove sausan broom basin sansui First Book, Three Gardens of Andalucfa by Gerry Shikatani mortar rake glove sausan broom basin sansui The title of this book employs one Arabic and one Japanese word: the Arabic sausan (white lily); and Japanese sansui (beautiful landscape). forEsther y Andres Joaquin y Bonnie Editor Sharon Thesen Managing Editor Carol L. Hamshaw Manuscript Editors Daphne Marlatt Steven Ross Smith Contributing Editors Pierre Coupey Ryan Knighton Jason LeHeup Katrina Sedaros George Stanley Cover Design Marion Llewellyn The CapilanoReview is published by The Capilano Press Society. Canadian subscription rates for one year are $25 CST included for individuals. Institutional rates are $30 plus CST. Address correspondence to The Capilano Review, 2055 Purcell Way, North Vancouver, British Columbia V7J 3H5. Subscribe online at www.capcollege.bc.ca/ dept/TCR or through the CMPA at magOmania, www.magomania.com. The Capilano Reviewdoes not accept simultaneous submissions or previously pub lished work. U.S. submissions should be sent with Canadian postage stamps, international reply coupons, or funds for return postage - not U.S. postage stamps. The Capilano Reviewdoes not take responsibility for unsolicited manuscripts. Copyright remains the property of the author or artist. No portion of this publication may be reproduced without the permission of the author or artist. The Capilano Reviewgratefully acknowledges the financial assistance of the Capilano College, the Canada Council forthe Arts, and its Friends and Benefactors. The Capilano Reviewis a member of the Canadian Magazine Publishers Association and the BC Association of Magazine Publishers. TCR is listed with the Canadian Periodical Index, with the American Humanities Index, and available online through InfoGlobe. -
Mathemaku No. 4C
Mathemaku No. 4c chestnuts park ) autumn zzle 0 2 > o 74470 R78fl4 ~ New Orleans Review Summer 1995 Volume 21, Number 2 Editor Associate Editors Ralph Adamo Sophia Stone Cover: poem, "Mathemaku 4c," by Bob Grumman. Michelle Fredette Art Editor Douglas MacCash New Orleans Review is published quarterly by Loyola University, New Orleans, Louisiana 70118, United States. Copyright© 1995 by Loyola Book Review Editor Copy Editor University. Mary A. McCay T.R. Mooney New Orleans Review accepts submissions of poetry, short fiction, essays, and black and white art work or photography. Translations are also welcome but must be accompanied by the work in its original language. All submis Typographer sions must be accompanied by a self-addressed stamped envelope. Al John T. Phan though reasonable care is taken, NOR assumes no responsibility for the loss of unsolicited material. Send submissions to: New Orleans Review, Box 195, Loyola University, New Orleans, Louisiana 70118. Advisory/Contributing Editors John Biguenet Subscription rates: Individuals: $}8.00 Bruce Henricksen Institutions: $21.00 William Lavender Foreign: $32.00 Peggy McCormack Back Issues: $9.00 apiece Marcus Smith Contents listed in the PMLA Bibliography and the Index of American Periodical Verse. Founding Editor US ISSN 0028-6400 Miller Williams New Orleans Review is distributed by: Ingram Periodicals-1226 Heil Quaker Blvd., LaVergne, TN 37086-7000 •1-800-627-6247 DeBoer-113 East Centre St., Nutley, NJ 07110 •1-201-667-9300 Thanks to Julia McSherry, Maria Marcello, Lisa Rose, Mary Degnan, and Susan Barker Adamo. Loyola University is a charter member of the Association of Jesuit University Presses (AJUP). -
Scholarworks@UNO Lost
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Spring 5-19-2017 Lost Nathaniel Kostar the university of new orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Part of the Poetry Commons Recommended Citation Kostar, Nathaniel, "Lost" (2017). University of New Orleans Theses and Dissertations. 2332. https://scholarworks.uno.edu/td/2332 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Lost A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Fine Arts in Creative Writing Poetry by Nathaniel Kostar B.A. Rutgers University, 2008 May 2017 Copyright 2017, Nathaniel Kostar. ii ACKNOWLEDGEMENTS Thank you to John Gery for your advice and mentorship throughout this process, and to Peter Thompson and Kay Murphy for serving on my thesis committee. Thanks also to my family—who never questioned why I roamed, to the musicians I’ve had the chance to work with in New Orleans, and the venues that let us play their stages. -
Diversity of K-Pop: a Focus on Race, Language, and Musical Genre
DIVERSITY OF K-POP: A FOCUS ON RACE, LANGUAGE, AND MUSICAL GENRE Wonseok Lee A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2018 Committee: Jeremy Wallach, Advisor Esther Clinton Kristen Rudisill © 2018 Wonseok Lee All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Since the end of the 1990s, Korean popular culture, known as Hallyu, has spread to the world. As the most significant part of Hallyu, Korean popular music, K-pop, captivates global audiences. From a typical K-pop artist, Psy, to a recent sensation of global popular music, BTS, K-pop enthusiasts all around the world prove that K-pop is an ongoing global cultural flow. Despite the fact that the term K-pop explicitly indicates a certain ethnicity and language, as K- pop expanded and became influential to the world, it developed distinct features that did not exist in it before. This thesis examines these distinct features of K-pop focusing on race, language, and musical genre: it reveals how K-pop groups today consist of non-Korean musicians, what makes K-pop groups consisting of all Korean musicians sing in non-Korean languages, what kind of diverse musical genres exists in the K-pop field with two case studies, and what these features mean in terms of the discourse of K-pop today. By looking at the diversity of K-pop, I emphasize that K-pop is not merely a dance- oriented musical genre sung by Koreans in the Korean language. -
He Courier-Gazette Thursday
Issued TVesdav Thursday Thurs ner Issue Saturday he Courier-gazette Entered u Second Claas Mall Matter THREE CENTS A COPY Established January, 1846. By The Courier-Gazette, 465 Main St. Rockland, Maine, Thursday, November 25, 1937 Volume 92.................. Number 141. The Courier-Gazette HE WANTS TO KNOW TIIREE-TIMES-A-WEEK If Representative Smith of Maine A SHORTAGE OF CLAMS COUNTED THE FIRE ALARM ONE BIG HAPPY DAY Editor cannot get a satisfactory reason from WM. O. FULLER tne Social Security Board why fed Associate Editor eral contribution to the needy blind Com’r Feyler Says Situation Is Acute and Hints Then Charlie Taylor Went At His Subject Like a Camden Outing Club Hasn’t Overlooked a Single FRANK A WINSLOW In Maine are not being made, he will Subscriptions S3 oo per year payable ln seek a resolution of inquiry, he said, advance; single copies three cents. At Stern Measures House Afire—Crusade Nearing Its Climax Bet For Next Wednesday Advertising rates based upon circula- He has communicated this position tion and very »to the Social Secuity Board in Wash- NEWSPAPEB HISTORY ' Thc RocXland oazette was established 'r'8t°ni. D. C., saying that he has A shortage of clams available for ing a long time clam program and “Let us stop and count the num mean to take up the cross and fol Next Wednesday, Dec. are from the merchants’ new Christ- in 1346 in 1874 the Courier was estau- always been interested in old age the canning factories in Washington, that he hoped to offer some construc- 1, Camden Commandery mas stock, and each winner will re- Ilshed and consolidated with the Oazette . -
The Perfect Mango
the perfect mango Before you start to read this book, take this moment to think about making a donation to punctum books, an independent non-profit press @ https://punctumbooks.com/support If you’re reading the e-book, you can click on the image below to go directly to our donations site. Any amount, no matter the size, is appreciated and will help us to keep our ship of fools afloat. Contributions from dedi- cated readers will also help us to keep our commons open and to cultivate new work that can’t find a wel- coming port elsewhere. Our adventure is not possible without your support. Vive la Open Access. Fig. 1. Hieronymus Bosch, Ship of Fools (1490–1500) the perfect mango. Copyright © 1994, 2019 by Erin Manning. This work carries a Creative Commons BY-NC-Sa 4.0 International license, which means that you are free to copy and redistribute the material in any medium or format, and you may also remix, transform and build upon the material, as long as you clearly attribute the work to the au- thors (but not in a way that suggests the authors or punctum books endorses you and your work), you do not use this work for commercial gain in any form whatsoever, and that for any remixing and transfor- mation, you distribute your rebuild under the same license. http://cre- ativecommons.org/licenses/by-nc-sa/4.0/ First published in 2019 by 3Ecologies Books/Immediations, an imprint of punctum books. https://punctumbooks.com ISBn-13: 978-1-950192-13-7 (print) ISBn-13: 978-1-950192-14-4 (epDf) lccn: 2019932679 Library of Congress Cataloging Data is available from the Library of Congress Book design: Vincent W.J. -
Central Florida Future, Vol. 15 No. 20, February 18, 1983
University of Central Florida STARS Central Florida Future University Archives 2-18-1983 Central Florida Future, Vol. 15 No. 20, February 18, 1983 Part of the Mass Communication Commons, Organizational Communication Commons, Publishing Commons, and the Social Influence and oliticalP Communication Commons Find similar works at: https://stars.library.ucf.edu/centralfloridafuture University of Central Florida Libraries http://library.ucf.edu This Newsletter is brought to you for free and open access by the University Archives at STARS. It has been accepted for inclusion in Central Florida Future by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation "Central Florida Future, Vol. 15 No. 20, February 18, 1983" (1983). Central Florida Future. 498. https://stars.library.ucf.edu/centralfloridafuture/498 E ll BRAR~ ARCHIVES D Analyzing cults, see page 3 D UCF baseball swinging into season, see Sportsweek, page 15 FUTURE D TV talk: Wayne Starr views two new series, see Encore, page 11 Serving the UCF Community for 15 Years • Advisement, 0-Team threatened by Michael Griffin outlook for the coming year "is not tivity and Service Fees to pay for Editor In chief very bright." th~ progr.am. The 0-Team is Peer Advisement's traditional operating now at a deficit of $10,100 Federal and state budget cuts will funding through UCF's Financial accorcling to Jimmie Ferrell, Stu force the cancellation of UCF's Aid Office will be cut next year due dent Center director. Orientation Team and Peer Advise to the Reagan Admin\stration's cuts · ·"There are enough people in SG . -
Sever Pederson
Westland Writes … 2012 Poetry and stories from local writers, as collected by the Westland Public Library. Editors: Andy Schuck Cheryl Vatcher-Martin Westland Public Library 6123 Central City Parkway Westland, MI 48185 www.westlandlibrary.org Westland Writes … 2012 Westland Writes … is in its 4th annual installment. We include new poets every year and have our cherished regulars. Poems are accepted during National Poetry Month (April) every year, so if you did not have a chance to include your work in this year’s book, please look for submission notices in the library next April. The rights of each poem and story in this collection revert back to the author. Poems included are in Century Gothic font. Poet names are in Brittanic Bold. 2 Westland Writes … 2012 Table of Contents Poems Eric Alder Haiku 10 Ode to a Wrecking Ball 10 LeeAnne Baumdraher This is a Party, But I’m not a Pinata 12 A Pugilist’s Pain 12 Regan Byers Dear Mary 14 My choice, my body 15 Tisha Cole Nature Haiku 17 Spanish Cinquain 17 Jesse Ewing Happiness 18 Escape 19 3 Westland Writes … 2012 Patrick Franks MUNDANE MIRACLES 20 GET AWAY 20 Rick Gallmeyer From all this … 22 Julissa 23 James Jeziorowski Finding Work 25 Tornado 25 John Kelly FATE 27 The Lovers in the Wind 28 Ralph Koschnitzke All about her 30 Why? 31 Tom Kozma Dreaming of You 32 Six Words 33 4 Westland Writes … 2012 Catherine McKenzie FAREWELL’S SIGH 35 DRIVIN’ DOWN GEDDES ROAD 35 Blair Miller Seussaholic 37 You 38 Julie Moffit PERCEPTION 39 ILLUSIONS 39 Tobi Nelson The Hurt Will Go Away 41 Even Though 41 Casheena -
Guide to the Melba Liston Collection
Columbia College Chicago Digital Commons @ Columbia College Chicago CBMR Collection Guides / Finding Aids Center for Black Music Research 2020 Guide to the Melba Liston Collection Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cmbr_guides Part of the History Commons, and the Music Commons Columbia COLLEGE CHICAGO CENTER FOR BLACK MUSIC RESEARCH COLLECTION The Melba Liston Collection, 1941-1999 EXTENT 44 boxes, 81.6 linear feet COLLECTION SUMMARY The Melba Liston Collection primarily documents her careers as arranger, composer, and educator rather than her accomplishments as a trombonist. It contains lead sheets to her own and other people’s compositions and manuscript scores of many of her arrangements for Duke Ellington, Dizzy Gillespie, Clark Terry, and Mary Lou Williams, among others. One extensive series contains numerous arrangements for Randy Weston, and her late computer scores for him are also present. PROCESSING INFORMATION The collection was processed, and a finding aid created, by Kristin McGee in 2000 and the finding aid was updated by Laurie Lee Moses in 2010 and Heidi Marshall in 2020. BIOGRAPHICAL NOTE Melba Liston was a jazz composer, arranger, and performer born in 1926. She was a trombonist during an era (1942–1985) when few women played brass instruments and even fewer toured with jazz bands. She played in the bands of several important jazz musicians, including Count Basie, Dexter Gordon, Dizzy Gillespie, Charles Mingus, Randy Weston, and Quincy Jones. Liston had an active career as an arranger for important jazz composers as well as popular music record labels. She also worked with youth orchestras in the troubled neighborhood of Watts, California, leaving the United States to teach at the Jamaica Institute of Music for six years (1973–1979). -
Show Perusal
BKLYN THE MUSICAL BY MARK SCHOENFELD & BARRI MCPHERSON SHOW PERUSAL 02/06/19 Brooklyn The Musical Copyright © 2019 By Mark Schoenfeld & Barri McPherson ALL RIGHTS RESERVED Copyright Protection. This play (the “Play”) is fully protected under the copyright laws of the United States of America and all countries with which the United States has reciprocal copyright relations, whether through bilateral or multilateral treaties or otherwise, and including, but not limited to, all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, and the Berne Convention. Reservation of Rights. All rights to this Play are strictly reserved, including, without limitation, professional and amateur stage performance rights; motion picture, recitation, lecturing, public reading, radio broadcasting, television, video, and sound recording rights; rights to all other forms of mechanical or electronic reproduction now known or yet to be invented, such as CD-ROM, CD-I, DVD, photocopying, and information storage and retrieval systems; and the rights of translation into non-English languages. Performance Licensing and Royalty Payments. Amateur and stock performance rights to this Play are controlled exclusively by Broadway Licensing. No amateur or stock production groups or individuals may perform this Play without obtaining advance written permission from Broadway Licensing. Such royalty fees may be subject to change without notice. Although this book may have been obtained for a particular licensed performance, such performance rights, if any, are not transferable. Required royalties must be paid every time the Play is performed before any audience, whether or not concerning amateur and stock performance rights should be addressed to Broadway Licensing (see contact information on opposite page).