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230-Newsletter.Pdf
$5? The Poetry Project Newsletter Editor: Paul Foster Johnson Design: Lewis Rawlings Distribution: Small Press Distribution, 1341 Seventh Street, Berkeley, CA 94710 The Poetry Project, Ltd. Staff Artistic Director: Stacy Szymaszek Program Coordinator: Arlo Quint Program Assistant: Nicole Wallace Monday Night Coordinator: Macgregor Card Monday Night Talk Series Coordinator: Josef Kaplan Wednesday Night Coordinator: Stacy Szymaszek Friday Night Coordinator: Brett Price Sound Technician: David Vogen Videographer: Andrea Cruz Bookkeeper: Stephen Rosenthal Archivist: Will Edmiston Box Office: Courtney Frederick, Vanessa Garver, Jeffrey Grunthaner Interns/Volunteers: Nina Freeman, Julia Santoli, Alex Duringer, Jim Behrle, Christa Quint, Judah Rubin, Erica Wessmann, Susan Landers, Douglas Rothschild, Alex Abelson, Aria Boutet, Tony Lancosta, Jessie Wheeler, Ariel Bornstein Board of Directors: Gillian McCain (President), Rosemary Carroll (Treasurer), Kimberly Lyons (Secretary), Todd Colby, Mónica de la Torre, Ted Greenwald, Tim Griffin, John S. Hall, Erica Hunt, Jonathan Morrill, Elinor Nauen, Evelyn Reilly, Christopher Stackhouse, Edwin Torres Friends Committee: Brooke Alexander, Dianne Benson, Raymond Foye, Michael Friedman, Steve Hamilton, Bob Holman, Viki Hudspith, Siri Hustvedt, Yvonne Jacquette, Patricia Spears Jones, Eileen Myles, Greg Masters, Ron Padgett, Paul Slovak, Michel de Konkoly Thege, Anne Waldman, Hal Willner, John Yau Funders: The Poetry Project’s programs are made possible, in part, with public funds from The National Endowment for the Arts. The Poetry Project’s programming is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; and are supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council. -
CASA ITALIANA, 1151-1161 Amsterdam Avenue, Borough of Manhattan
Landmarks Preservation Commission March 28, 1978, Designation List No. I 14 LP-0991 CASA ITALIANA, 1151-1161 Amsterdam Avenue, Borough of Manhattan. Bui It 1926-27; architects McKim, Mead & White. Landmark Site: Borough of Manhattan Tax Map Block 1961, Lot 37 . On March 14, 1978, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Casa ltaliana and the proposed designation of the related Landmark Site (Item No. I 1). The hearing had been duly advertised in accordance with the provisions of law. One witness spoke in favor of designation. There were no speakers in oppo sition to designation. Columbia University has expressed its support of the designation. The Commission has also received several letters in sup port of designation. DESCRIPTION AND ANALYSIS Casa ltal iana, a nee-Italian Renaissance style institutional building, was designed as a center for Italian studies by the prestigious architectural firm of McKim, Mead & White. Bui It in 1926-27, it is located on the Morningside Heights campus of Columbia University at Amsterdam Avenue and I 17th Street. €asa Ita I iana had its beginnings in 1914 when a group of students of Ita I ian descent organized an Ita I ian club at Columbia Col lege in an effort to promulgate knowledge of modern Italy. In 1920 a group of 25 students formalized themselves into the Circolo Italiano. Under the chairmanship of student Peter Riccio (later a professar of Ita I ian at Columbia), they began . seeking funds to establish .a CCi>llectionof books specializing in Italy's contribution to culture and learning and facilities to house the col taction. -
The Blue &White
THE UNDERGRADUATE MAGAZINE OF COLUMBIA UNIVERSITY, EST. 1890 THE BLUE & WHITE Vol. XVIII No. II April 2012 SIGNIFICANT OTHER Comparing the Core Curricula of Columbia and University of Chicago GROUP DYNAMICS Dissonance Within the A Capella Community ALSO INSIDE: WHAT’S IN A NAME? BRIAN WAGNER, SEAS ’13, Editor-in-Chief ZUZANA GIERTLOVA, BC ’14, Publisher SYLVIE KREKOW, BC ’13, Managing Editor MARK HAY, CC ’12, Editor Emeritus LIZ NAIDEN, CC ’12, Editor Emerita CONOR SKELDING, CC ’14, Culture Editor AMALIA SCOTT, CC ’13, Literary Editor SANJANA MALHOTRA, CC ’15, Layout Editor CINDY PAN, CC ’12, Graphics Editor LIZ LEE, CC ’12, Senior Illustrator ANNA BAHR, BC ’14, Senior Editor ALLIE CURRY, CC ’13, Senior Editor CLAIRE SABEL, CC ’13, Senior Editor Contributors Artists ALEXANDRA AVVOCATO, CC ’15 ASHLEY CHIN, CC ’12 BRIT BYRD, CC ’15 CELIA COOPER, CC ’15 CLAVA BRODSKY, CC ’13 MANUEL CORDERO, CC ’14 AUGUSTA HARRIS, BC ’15 SEVAN GATSBY, BC ’12 TUCKES KUMAN, CC’13 LILY KEANE, BC ’13 BRIANA LAST, CC ’14 MADDY KLOSS, CC ’12 ALEXANDRA SVOKOS, CC ’14 EMILY LAZERWITZ, CC ’14 ERICA WEAVER, CC ’12 LOUISE MCCUNE, CC ’13 VICTORIA WILLS, CC ’14 CHANTAL MCSTAY, CC ’15 ELOISE OWENS, BC ’12 Copy Editor EDUARDO SANTANA, CC ’13 HANNAH FORD, CC ’13 CHANTAL STEIN, CC ’13 JULIA STERN, BC ’14 ADELA YAWITZ, CC ’12 THE BLUE & WHITE Vol. XVIII FAMAM EXTENDIMUS FACTIS No. II COLUMNS 4 BLUEBOOK 6 BLUE NOTES 8 CAMPUS CHARACTERS 12 VERILY VERITAS 24 MEASURE FOR MEASURE 30 DIGITALIA COLUMbiANA 31 CAMPUS GOSSIP FEATURES Victoria Wills & Mark Hay 10 AT TWO SWORDS’ LENGTH: SHOULD YOU GET OFF AT 116TH? Our Monthly Prose and Cons. -
Broadcast Actions 5/29/2014
Federal Communications Commission 445 Twelfth Street SW PUBLIC NOTICE Washington, D.C. 20554 News media information 202 / 418-0500 Recorded listing of releases and texts 202 / 418-2222 REPORT NO. 48249 Broadcast Actions 5/29/2014 STATE FILE NUMBER E/P CALL LETTERS APPLICANT AND LOCATION N A T U R E O F A P P L I C A T I O N AM STATION APPLICATIONS FOR RENEWAL GRANTED NY BR-20140131ABV WENY 71510 SOUND COMMUNICATIONS, LLC Renewal of License. E 1230 KHZ NY ,ELMIRA Actions of: 04/29/2014 FM STATION APPLICATIONS FOR MODIFICATION OF LICENSE GRANTED OH BMLH-20140415ABD WPOS-FM THE MAUMEE VALLEY License to modify. 65946 BROADCASTING ASSOCIATION E 102.3 MHZ OH , HOLLAND Actions of: 05/23/2014 AM STATION APPLICATIONS FOR RENEWAL DISMISSED NY BR-20071114ABF WRIV 14647 CRYSTAL COAST Renewal of License. COMMUNICATIONS, INC. Dismissed as moot, see letter dated 5/5/2008. E 1390 KHZ NY , RIVERHEAD Page 1 of 199 Federal Communications Commission 445 Twelfth Street SW PUBLIC NOTICE Washington, D.C. 20554 News media information 202 / 418-0500 Recorded listing of releases and texts 202 / 418-2222 REPORT NO. 48249 Broadcast Actions 5/29/2014 STATE FILE NUMBER E/P CALL LETTERS APPLICANT AND LOCATION N A T U R E O F A P P L I C A T I O N Actions of: 05/23/2014 AM STATION APPLICATIONS FOR ASSIGNMENT OF LICENSE GRANTED NY BAL-20140212AEC WGGO 9409 PEMBROOK PINES, INC. Voluntary Assignment of License From: PEMBROOK PINES, INC. E 1590 KHZ NY , SALAMANCA To: SOUND COMMUNICATIONS, LLC Form 314 NY BAL-20140212AEE WOEN 19708 PEMBROOK PINES, INC. -
Reading Stephen King: Issues of Censorship, Student Choice, and Popular Literature
DOCUMENT RESUME ED 414 606 CS 216 137 AUTHOR Power, Brenda Miller, Ed.; Wilhelm, Jeffrey D., Ed.; Chandler, Kelly, Ed. TITLE Reading Stephen King: Issues of Censorship, Student Choice, and Popular Literature. INSTITUTION National Council of Teachers of English, Urbana, IL. ISBN ISBN-0-8141-3905-1 PUB DATE 1997-00-00 NOTE 246p. AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock No. 39051-0015: $14.95 members, $19.95 nonmembers). PUB TYPE Collected Works - General (020) Opinion Papers (120) EDRS PRICE MF01/PC10 Plus Postage. DESCRIPTORS *Censorship; Critical Thinking; *Fiction; Literature Appreciation; *Popular Culture; Public Schools; Reader Response; *Reading Material Selection; Reading Programs; Recreational Reading; Secondary Education; *Student Participation IDENTIFIERS *Contemporary Literature; Horror Fiction; *King (Stephen); Literary Canon; Response to Literature; Trade Books ABSTRACT This collection of essays grew out of the "Reading Stephen King Conference" held at the University of Mainin 1996. Stephen King's books have become a lightning rod for the tensions around issues of including "mass market" popular literature in middle and 1.i.gh school English classes and of who chooses what students read. King's fi'tion is among the most popular of "pop" literature, and among the most controversial. These essays spotlight the ways in which King's work intersects with the themes of the literary canon and its construction and maintenance, censorship in public schools, and the need for adolescent readers to be able to choose books in school reading programs. The essays and their authors are: (1) "Reading Stephen King: An Ethnography of an Event" (Brenda Miller Power); (2) "I Want to Be Typhoid Stevie" (Stephen King); (3) "King and Controversy in Classrooms: A Conversation between Teachers and Students" (Kelly Chandler and others); (4) "Of Cornflakes, Hot Dogs, Cabbages, and King" (Jeffrey D. -
Jazz and Radio in the United States: Mediation, Genre, and Patronage
Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition. -
Open Letter Expresses Its Gratitude to the Ontario Arts Council OPEN LETTER Tenth Series, No
Open Letter expresses its gratitude to the Ontario Arts Council OPEN LETTER Tenth Series, No. 4, Fall 1998 which last year awarded $5,500 bpNichol + 10 in support of its publications Open Letter acknowledges the support of the Canada Council for the Arts which last year invested $7,100 in our organization Open Letter remercie de son soutien le Conseil des Arts du Canada qui lui a accordé $7,100 l’an denier Contents bpNichol + 10 FRANK DAVEY 5 Coach House Letters DAVID ROSENBERG 14 st. Ink BILLY LITTLE 23 Nicholongings: because they is LORI EMERSON 27 False Portrait of bpNichol as Charles Lamb STEVE MCCAFFERY 34 A correction to David Rosenberg’s article “Crossing the Border: A Coach Argument for a Secular Martyrology House Memoir” (Open Letter Series 9, No. 9): David Rosenberg writes, DARREN WERSHLER-HENRY 37 “Abstract Expressionism was the movement I alluded to in ‘Crossing the The bpNichol Archive at Simon Fraser University Border: A Coach House Memoir.’ That it became ‘Im’ in print is a GENE BRIDWELL 48 Freudian slip: I was perhaps overly impressed with my point.” Sounding out the Difference: Orality and Repetition in bpNichol SCOTT POUND 50 flutterings for bpNichol STEVEN SMITH 59 Nickel Linoleum CHRISTIAN BÖK 62 Extreme Positions ROBERT HOGG 75 An Interview with Steve McCaffery on the TRG PETER JAEGER 77 for bpNichol: these re-memberings DOUGLAS BARBOUR 97 Artifacts of Ecological Mind: bp, Gertrude, Alice DAVID ROSENBERG 109 bpNichol is alive and well and living in Bowmanville, ON STEPHEN CAIN 115 “Turn this Page”: Journaling bpNichol’s The Martyrology and the Returns ROY MIKI 116 Contributors 134 6 Open Letter 10:4 Wittgenstein. -
Yiddish and the Avant-Garde in American Jewish Poetry Sarah
Yiddish and the Avant-Garde in American Jewish Poetry Sarah Ponichtera Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 ©2012 Sarah Ponichtera All rights reserved All Louis Zukofsky material Copyright Paul Zukofsky; the material may not be reproduced, quoted, or used in any manner whatsoever without the explicit and specific permission of the copyright holder. A fee will be charged. ABSTRACT Yiddish and the Avant-Garde in American Jewish Poetry Sarah Ponichtera This dissertation traces the evolution of a formalist literary strategy through the twentieth century in both Yiddish and English, through literary and historical analyses of poets and poetic groups from the turn of the century until the 1980s. It begins by exploring the ways in which the Yiddish poet Yehoash built on the contemporary interest in the primitive as he developed his aesthetics in the 1900s, then turns to the modernist poetic group In zikh (the Introspectivists) and their efforts to explore primitive states of consciousness in individual subjectivity. In the third chapter, the project turns to Louis Zukofsky's inclusion of Yehoash's Yiddish translations of Japanese poetry in his own English epic, written in dialogue with Ezra Pound. It concludes with an examination of the Language poets of the 1970s, particularly Charles Bernstein's experimental verse, which explores the way that language shapes consciousness through the use of critical and linguistic discourse. Each of these poets or poetic groups uses experimental poetry as a lens through which to peer at the intersections of language and consciousness, and each explicitly identifies Yiddish (whether as symbol or reality) as an essential component of their poetic technique. -
The Mid-Twentieth-Century American Poetic Speaker in the Works of Robert Lowell, Frank O’Hara, and George Oppen
“THE OCCASION OF THESE RUSES”: THE MID-TWENTIETH-CENTURY AMERICAN POETIC SPEAKER IN THE WORKS OF ROBERT LOWELL, FRANK O’HARA, AND GEORGE OPPEN A dissertation submitted by Matthew C. Nelson In partial fulfillment for the requirements for the degree of Doctor of Philosophy In English TUFTS UNIVERSITY May 2016 ADVISER: VIRGINIA JACKSON Abstract This dissertation argues for a new history of mid-twentieth-century American poetry shaped by the emergence of the figure of the poetic speaker as a default mode of reading. Now a central fiction of lyric reading, the figure of the poetic speaker developed gradually and unevenly over the course of the twentieth century. While the field of historical poetics draws attention to alternative, non-lyric modes of address, this dissertation examines how three poets writing in this period adapted the normative fiction of the poetic speaker in order to explore new modes of address. By choosing three mid-century poets who are rarely studied beside one another, this dissertation resists the aesthetic factionalism that structures most historical models of this period. My first chapter, “Robert Lowell’s Crisis of Reading: The Confessional Subject as the Culmination of the Romantic Tradition of Poetry,” examines the origins of M.L. Rosenthal’s phrase “confessional poetry” and analyzes how that the autobiographical effect of Robert Lowell’s poetry emerges from a strange, collage-like construction of multiple texts and non- autobiographical subjects. My second chapter reads Frank O’Hara’s poetry as a form of intentionally averted communication that treats the act of writing as a surrogate for the poet’s true object of desire. -
By Frank Davey
Rampike 15/1 _____________________________________________________________________________________________ INDEX Paul Dutton: “Narcissus A, 7” p. 2 Editorial p. 3 Frank Davey: Interview p. 4 Frank Davey: “Postcards from the Raj” p. 12 Jeanette Lynes: “Frank” p. 17 Michael & Linda Hutcheon: Interview p. 18 Joyce Carol Oates: “The Writer’s (Secret) Life” p. 22 Paul Hegedus: Two Poems p. 29 Darren Wershler-Henry: from The Iron Whim p. 30 Robert Dassanowsky: Three Poems p. 35 George Bowering: “Sworn to Secrecy” p. 36 Gregory Betts “The Geopoetics of Tish” p. 42 Jürgen O. Olbrich: Two Texts p. 55 rob mclennan “Notes on a Day Book” p. 56 Charles Bernstein: Argotist Interview p. 58 Brian Edwards: “Ce n’est pas la guerre!” p. 62 Penn Kemp: “Night Orchestra” p. 66 Matthew Holmes: Two Texts p. 68 Carl Peters: “Writing Should Not Sound Like Writing” p. 70 D. King: “Driving Wheel” p. 72 Louis Cabri: “Foamula” p. 74 Nicole Markotic: Two Poems p. 76 Sandra Alland: Six Poems p. 78 Stan Rogal: “The Celebrity Rag” p. 80 Tanis MacDonald “Practice Lessons” p. 82 Sarah Bonet: “VIP at liquid” p. 83 Anne Walker: 3 Poems p. 84 Lindsey Bannister: “The Tombstone Vandal” p. 85 Photos from the Conference p. 88 1 Rampike 15/1 _____________________________________________________________________________________________ ”NARCISSUS A, 7” BY PAUL DUTTON 2 Rampike 15/1 _____________________________________________________________________________________________ Editorial: This issue of Rampike is dedicated to Frank Davey in response to the conference on “Poetics and Popular Culture” held in his honour at the University of Western Ontario (2005). Keynote speakers at that gathering included Charles Bernstein, Lynette Hunter, and Smaro Kamboureli. -
UNIVERSITY of CALGARY the Kootenay School of Writing: History
UNIVERSITY OF CALGARY The Kootenay School of Writing: History, Community, Poetics Jason Wiens A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH CALGARY, ALBERTA SEPTEMBER, 200 1 O Jason Wiens 200 1 National Library Bibliothèque nationale 1+1 of canada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellingion Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON KIA ON4 Canada Canada Your lils Votre r6Orence Our file Notre rdfdtencs The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/^, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être implimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abstract Through a method which combines close readings of literary texts with archiva1 research, 1provide in this dissertation a critical history of the Kootenay School of Writing (KSW): an independent, writer-run centre established in Vancouver and Nelson, British Columbia in 1984. -
CHARLES BERNSTEIN & HANNAH WEINER Interview for Linebreak
CHARLES BERNSTEIN & HANNAH WEINER Interview for LINEbreak I was intrigued when I discovered, in the course of seeking permission to publish this transcript, that Hannah Weiner’s 1995 conversation with Charles Bernstein for the public radio program LINEbreak had been edited down for broadcast. The show’s producer, Martín Spinelli, replied quickly to my e-mail: “[Hannah’s] recording session was one of the longest we did for the series.” The raw tape of the session is preserved in Spi- nelli’s archive at the immense UB Poetry Collection, and runs about twenty minutes longer than the broadcast version ar- chived at http://writing.upenn.edu/pennsound/x/LINEbreak. html. In keeping with the spirit of Weiner’s own impusle to let her “nonliterary” surround in, I have transcribed all the conver- sation on the tape. — Robert Dewhurst One extremely hot summer afternoon in 1995 Charles Bern- stein and I drove across Manhattan to Hannah Weiner’s clut- tered but comfortable apartment to record her for our radio series LINEbreak. Charles and I had been recording other po- ets and writers for the series and Hannah was one of last (if not the last) to be taped. This would turn out to be her last broadcast interview before her death. As I set up the recording equipment we wondered about the noise coming in from the open windows and decided to close them for better acoustics. 141 WILD ORCHIDS But even as we sweated in her airless living room the noise from the street made it through and prompted me to stop a couple of times.