Commencement 2017
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Bowdoin College Catalogues
Bowdoin College Bowdoin Digital Commons Bowdoin College Catalogues 1-1-1973 Bowdoin College Catalogue (1972-1973) Bowdoin College Follow this and additional works at: https://digitalcommons.bowdoin.edu/course-catalogues Recommended Citation Bowdoin College, "Bowdoin College Catalogue (1972-1973)" (1973). Bowdoin College Catalogues. 254. https://digitalcommons.bowdoin.edu/course-catalogues/254 This Book is brought to you for free and open access by Bowdoin Digital Commons. It has been accepted for inclusion in Bowdoin College Catalogues by an authorized administrator of Bowdoin Digital Commons. For more information, please contact [email protected]. BOWDOIN COLLEGE BULLETIN CATALOGUE FOR 1972-1973 September 1972 BOWDOIN COLLEGE BULLETIN Catalogue for 1972-1973 BRUNSWICK, MAINE 2 'Wo test with respect to race, color, creed, national origin, or sex shall be imposed in the choice of Trustees, Overseers, officers, members of the Faculty, any other employees, or in the admission ." of students. —By-Laws of Bowdoin College The information in this catalogue was accurate at the time of original publication. The College reserves the right, however, to make changes in its course offerings, degree requirements, regula- tions and procedures, and charges as educational and financial considerations require. BOWDOIN COLLEGE BULLETIN Brunswick, Maine September igy Number 386 This Bulletin is published by Bowdoin College four times during the college year: September, December, March, and June. Second-class postage paid at Brunswick, Maine. CONTENTS COLLEGE -
Index of Authors
Index of Authors Abel, Richard 19, 20, 134, 135, 136, Alexander, David 441 Andre, Marle 92 Aros (= Alfred Rosenthal) 196, 225, 173 Alexander, lohn 274 Andres, Eduard P. 81 244, 249, 250 Abel, Viktor 400 Alexander, Scott 242, 325 Andrew, Geoff 4, 12, 176, 261,292 Aros, Andrew A. 9 Abercrombie, Nicholas 446 Alexander, William 73 Andrew, 1. Dudley 136, 246, 280, Aroseff, A. 155 Aberdeen, l.A. 183 Alexowitz, Myriam 292 330, 337, 367, 368 Arpe, Verner 4 Aberly, Rache! 233 Alfonsi, Laurence 315 Andrew, Paul 280 Arrabal, Fernando 202 About, Claude 318 Alkin, Glyn 393 Andrews, Bart 438 Arriens, Klaus 76 Abramson, Albert 436 Allan, Angela 6 Andrews, Nigel 306 Arrowsmith, William 201 Abusch, Alexander 121 Allan, Elkan 6 Andreychuk, Ed 38 Arroyo, lose 55 Achard, Maurice 245 Allan, Robin 227 Andriopoulos, Stefan 18 Arvidson, Linda 14 Achenbach, Michael 131 Allan, Sean 122 Andritzky, Christoph 429 Arzooni, Ora G. 165 Achternbusch, Herbert 195 Allardt-Nostitz, Felicitas 311 Anfang, Günther 414 Ascher, Steven 375 Ackbar, Abbas 325 Allen, Don 314 Ang, Ien 441, 446 Ash, Rene 1. 387 Acker, Ally 340 Allen, Jeanne Thomas 291 Angelopoulos, Theodoros 200 Ashbrook, lohn 220 Ackerknecht, Erwin 10, 415, 420 Allen, lerry C. 316 Angelucci, Gianfranco 238 Ashbury, Roy 193 Ackerman, Forrest }. 40, 42 Allen, Michael 249 Anger, Cedric 137 Ashby, lustine 144 Acre, Hector 279 Allen, Miriam Marx 277 Anger, Kenneth 169 Ashley, Leonard R.N. 46 Adair, Gilbert 5, 50, 328 Allen, Richard 254, 348, 370, 372 Angst-Nowik, Doris ll8 Asmus, Hans-Werner 7 Adam, Gerhard 58, 352 Allen, Robert C. -
GENERAL PHOTOGRAPHS File Subject Index
GENERAL PHOTOGRAPHS File Subject Index A (General) Abeokuta: the Alake of Abram, Morris B.: see A (General) Abruzzi: Duke of Absher, Franklin Roosevelt: see A (General) Adams, C.E.: see A (General) Adams, Charles, Dr. D.F., C.E., Laura Franklin Delano, Gladys, Dorothy Adams, Fred: see A (General) Adams, Frederick B. and Mrs. (Eilen W. Delano) Adams, Frederick B., Jr. Adams, William Adult Education Program Advertisements, Sears: see A (General) Advertising: Exhibits re: bill (1944) against false advertising Advertising: Seagram Distilleries Corporation Agresta, Fred Jr.: see A (General) Agriculture Agriculture: Cotton Production: Mexican Cotton Pickers Agriculture: Department of (photos by) Agriculture: Department of: Weather Bureau Agriculture: Dutchess County Agriculture: Farm Training Program Agriculture: Guayule Cultivation Agriculture: Holmes Foundry Company- Farm Plan, 1933 Agriculture: Land Sale Agriculture: Pig Slaughter Agriculture: Soil Conservation Agriculture: Surplus Commodities (Consumers' Guide) Aircraft (2) Aircraft, 1907- 1914 (2) Aircraft: Presidential Aircraft: World War II: see World War II: Aircraft Airmail Akihito, Crown Prince of Japan: Visit to Hyde Park, NY Akin, David Akiyama, Kunia: see A (General) Alabama Alaska Alaska, Matanuska Valley Albemarle Island Albert, Medora: see A (General) Albright, Catherine Isabelle: see A (General) Albright, Edward (Minister to Finland) Albright, Ethel Marie: see A (General) Albright, Joe Emma: see A (General) Alcantara, Heitormelo: see A (General) Alderson, Wrae: see A (General) Aldine, Charles: see A (General) Aldrich, Richard and Mrs. Margaret Chanler Alexander (son of Charles and Belva Alexander): see A (General) Alexander, John H. Alexitch, Vladimir Joseph Alford, Bradford: see A (General) Allen, Mrs. Idella: see A (General) 2 Allen, Mrs. Mary E.: see A (General) Allen, R.C. -
Peter Alexander B
parrasch heijnen gallery 1326 s. boyle avenue los angeles, ca, 90023 www.parraschheijnen.com 3 2 3 . 9 4 3 . 9 3 7 3 Peter Alexander b. 1939 in Los Angeles, California Lives in Santa Monica, California Education 1965-66 University of California, Los Angeles, CA, M.F.A. 1964-65 University of California, Los Angeles, CA, B.A. 1963-64 University of Southern California, Los Angeles, CA 1962-63 University of California, Berkeley, CA 1960-62 Architectural Association, London, England 1957-60 University of Pennsylvania, Philadelphia, PA Artist in Residence 2007 Pasadena City College, Pasadena, CA 1996 California State University Long Beach, Summer Arts Festival, Long Beach, CA 1983 Sarabhai Foundation, Ahmedabad, India 1982 Centrum Foundation, Port Townsend, WA 1981 University of Colorado, Boulder, CO 1976 California State University, Long Beach, CA 1970-71 California Institute of Technology, Pasadena, CA Select Solo Exhibitions 2020 Peter Alexander, Parrasch Heijnen Gallery, Los Angeles, CA 2018 Peter Alexander: Recent Work, Franklin Parrasch Gallery, New York, NY Thomas Zander Gallery, Cologne, Germany 2017 Peter Alexander: Pre-Dawn L.A., Franklin Parrasch Gallery, New York, NY 2016 Peter Alexander Sculpture 1966 – 2016: A Career Survey, Parrasch Heijnen Gallery, Los Angeles, CA 2015 Los Angeles Riots, Franklin Parrasch Gallery, New York, NY 2014 Peter Blake Gallery, Laguna Beach, CA The Color of Light, Brian Gross Fine Art, San Francisco, CA Laguna Art Museum, Laguna Beach, CA 2013 Nyehaus, New York, NY Quint Contemporary Art, La Jolla, CA -
M. Butterfly As Total Theatre
M. Butterfly as Total Theatre Mª Isabel Seguro Gómez Universitat de Barcelona [email protected] Abstract The aim of this article is to analyse David Henry Hwang’s M. Butterfly from the perspective of a semiotics on theatre, following the work of Elaine Aston and George Savona (1991). The reason for such an approach is that Hwang’s play has mostly been analysed as a critique of the interconnections between imperialism and sexism, neglecting its theatricality. My argument is that the theatrical techniques used by the playwright are also a fundamental aspect to be considered in the deconstruction of the Orient and the Other. In a 1988 interview, David Henry Hwang expressed what could be considered as his manifest on theatre whilst M. Butterfly was still being performed with great commercial success on Broadway:1 I am generally interested in ways to create total theatre, theatre which utilizes whatever the medium has to offer to create an effect—just to keep an audience interested—whether there’s dance or music or opera or comedy. All these things are very theatrical, even makeup changes and costumes—possibly because I grew up in a generation which isn’t that acquainted with theatre. For theatre to hold my interest, it needs to pull out all its stops and take advantage of everything it has— what it can do better than film and television. So it’s very important for me to exploit those elements.… (1989a: 152-53) From this perspective, I would like to analyse the theatricality of M. Butterfly as an aspect of the play to which, traditionally, not much attention has been paid to as to its content and plot. -
COMMENCEMENT Saturday,N May 25, 2019
n COMMENCEMENT Saturday,N May 25, 2019 Bowdoin College BOWDOIN COLLEGE COMMENCEMENT Saturday, May 25, 2019 n QVOD BONVM FELIX FAVSTVMQUE SIT INLVSTRISSIMAE JANET MILLS GVBERNATORI CONSILIARIIS ET SENATORIBUS QVI LITTERIS REI PVBLICAE MAINENSIS PROPRIE PRAESVNT SOCIISQVE CVRANTIBVS COLLEGI BOWDOINENSIS HONORANDIS ATQVE REVERENDIS CLARISSIMO CLAYTON ROSE PRAESIDI TOTI SENATVI ACADEMICO ECCLESIARVM PASTORIBVS VENERANDIS CVNCTIS DENIQVE VBIQVE GENTIVM HVMANITATIS FAVTORIBVS HASCE EXERCITATIONES IVVENES IN ARTIBVS INITIATI HVMILLIMI DEDICANT N HABITAS IN COMITIIS COLLEGI BOWDOINENSIS BRVNSVICI IN RE PVBLICA MAINENSI ANTE DIEM VIII KAL IUN ANNO SALUTIS MMMXVIX RERUMQUE PUBLICARUM FOEDERATARUM AMERICAE POTESTATIS CCXLIII 1 DEGREES This ancient formula is used by the President B in conferring degrees: The Latin text quoted on the preceding page has introduced Bowdoin’s Candidati pro gradu baccalaureali, assurgite. Commencement Program since August 21, 1822. The names of Femina honoranda, hosce iuvenes, quos censeo idoneos primum ad the twenty-four graduates of the Class of 1822 were, for the most gradum in artibus, nunc tibi offero, ut a te instructus, eos ad gradum part, also translated into Latin for the program. In the early years of istum admittam. Placetne? (Placet.) the College, each graduating senior was required to deliver a Commencement “part,” an oration on ancient or modern topics, Pro auctoritate mihi commissa, admitto vos ad primum gradum in which was frequently given in one of the classical languages, Latin, artibus, et dono et concedo omnia iura, privilegia, honores atque Greek, or Hebrew. The final Latin oration was given in 1893, but dignitates, ad gradum istum pertinentia. the tradition of Latin survives in the language used to dedicate the Commencement Exercises and to confer the bachelor of arts degree. -
The Miss Saigon Controversy
The Miss Saigon Controversy In 1990, theatre producer Cameron Mackintosh brought the musical Miss Saigon to Broadway following a highly successful run in London. Based on the opera Madame Butterfly, Miss Saigon takes place during the Vietnam War and focuses on a romance between an American soldier and a Vietnamese orphan named Kim. In the musical, Kim is forced to work at ‘Dreamland,’ a seedy bar owned by the half-French, half-Vietnamese character ‘the Engineer.’ The production was highly anticipated, generating millions of dollars in ticket sales before it had even opened. Controversy erupted, however, when producers revealed that Jonathan Pryce, a white British actor, would reprise his role as the Eurasian ‘Engineer.’ Asian American actor B.D. Wong argued that by casting a white actor in a role written for an Asian actor, the production supported the practice of “yellow-face.” Similar to “blackface” minstrel shows of the 19th and 20th centuries, “yellow-face” productions cast non-Asians in roles written for Asians, often relying on physical and cultural stereotypes to make broad comments about identity. Wong asked his union, Actors’ Equity Association, to “force Cameron Mackintosh and future producers to cast their productions with racial authenticity.” Actors’ Equity Association initially agreed and refused to let Pryce perform: “Equity believes the casting of Mr. Pryce as a Eurasian to be especially insensitive and an affront to the Asian community.” Moreover, many argued that the casting of Pryce further limited already scarce professional opportunities for Asian American actors. Frank Rich of The New York Times disagreed, sharply criticizing the union for prioritizing politics over talent: “A producer's job is to present the best show he can, and Mr. -
Fantasy, Narcissism and David Henry Hwang's M. Butterfly
Advances in Social Science, Education and Humanities Research, volume 554 Proceedings of the 7th International Conference on Humanities and Social Science Research (ICHSSR 2021) Fantasy, Narcissism and David Henry Hwang’s M. Butterfly Shu-Yuan Chang1 1School of Foreign Languages, Zhaoqing University, Zhaoqing 526061, China *Corresponding author. Email: [email protected] ABSTRACT David Henry Hwang’s M. Butterfly deconstructs Giacomo Puccini’s Madame Butterfly by entwining a fact happened in 1986 — a French diplomat Bernard Bouriscot who has a multi-year affair with a Chinese man disguised as a woman. Hwang displays how cultural imperialism and the stereotype of the Asian persona through the protagonist Gallimard who unconsciously perceives superiority of Western power over Eastern weakness, and the Western colonial male over the Asian female. Gallimard falls in love with the Chinese actress Song Liling to whom he projects his fantasy of a “perfect woman” without noticing the fact Song Liling is a man and a spy. His relationship with Song can be interpreted by concept of the Other in Western concept. This study discusses how Gallimard in M. Butterfly reflects the “Narcissus myth”, how “Othered self” and “selfed Other” work upon him as well as how Song, as a man, satisfies his Western superiority to the power of control and fantasy to an Oriental woman. Keywords: Cultural imperialism, Stereotype of the Asian persona, Superiority, Fantasy, Narcissus myth, The Other concluded that the diplomat [Bouriscot] must have fallen 1. INTRODUCTION in love not with a person but with a fantasy stereotype” When it comes to the issue of the East and the West, [1]. -
Alexander J. Ellis and His Place in the History of Ethnomusicology Author(S): Jonathan P
Alexander J. Ellis and His Place in the History of Ethnomusicology Author(s): Jonathan P. J. Stock Source: Ethnomusicology, Vol. 51, No. 2 (Spring/Summer, 2007), pp. 306-325 Published by: University of Illinois Press on behalf of Society for Ethnomusicology Stable URL: http://www.jstor.org/stable/20174527 . Accessed: 31/07/2014 09:18 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Illinois Press and Society for Ethnomusicology are collaborating with JSTOR to digitize, preserve and extend access to Ethnomusicology. http://www.jstor.org This content downloaded from 164.41.83.55 on Thu, 31 Jul 2014 09:18:11 AM All use subject to JSTOR Terms and Conditions Vol. 51, No. 2 Ethnomusicology Spring/Summer 2007 Alexander J. Ellis and His Place in the History of Ethnomusicology Jonathan P. J. Stock / University of Sheffield even The musical scale is not one, not "natural," not founded necessarily on the laws of the constitution ofmusical sound so beautifully worked out by Helmholtz, but very diverse, very artificial, and very capricious. Alexander J.Ellis (1885b:526) The Founder of Comparative Musicology? 25 March 1885, a 71-year-old Englishman named Alexander John Ellis On (Figure 1) read a paper "On the Musical Scales ofVarious Nations" at a meeting in London of the Society of Arts.1 At the end, Ellis received the Society's silvermedal, a distinguished award.With the aid of live demonstra tions, Ellis offered detailed statistical data by means of his recently devised cents system, a system which allowed the precise delineation of pitch mea surements expressed as hundredths of an equal-tempered semitone. -
From M. Butterfly to Madame Butterfly 從《蝴蝶君》到《蝴蝶夫人》: 逆寫帝國後殖民理論
Writing Back to the Empire: From M. Butterfly to Madame Butterfly 從《蝴蝶君》到《蝴蝶夫人》: 逆寫帝國後殖民理論 Presented in FILLM International Congress Re-imagining Language and Literature for the 21st Century at Assumption University, Bangkok, Thailand. August 18-23, 2002 Cecilia Hsueh Chen Liu 劉雪珍 English Department 英文系 Fu Jen University, Taiwan 輔仁大學 Abstract Keywords: parody 諧擬,travestism 性別反串、扮/變裝, hegemony 霸權, Dialogism 對話論,Bakhtinian concept 巴赫汀理論,Eurocentric ideology 歐洲中心論,colonial mimicry 殖民模仿,simulacrum 擬像, post-colonial theory 後殖民理論 Most critical concerns of David Henry Hwang's M. Butterfly center around the issues of gender, identity, ethnicity, theatricality, and subversions of the binary oppositions such as West vs. East, Male vs. Female, Master vs. Slave, Victor vs. Victim, Colonizer vs. Colonized, Reality vs. Fantasy, Mind vs. Body and so on. It is agreed that Hwang successfully parodies Madame Butterfly by means of transvestism and transformation of western male into the critical butterfly. The transformation of the characters, either Gallimard or Song, demonstrates the dynamics or ambivalence or destabilization of gender, identity and culture politics. Bakhtinian concept of dialogism is used to expound the textuality and meaning of the play, while Gransci’s hegemony is cited to describe the western cultural leadership. Edward Said’s Orientalism is applied to explain the Eurocentric ideology as well as misconception. Kathryn Remen makes good use of Michel Foucault’s concepts of discipline and punishment and presents a convincing case of reading M. Butterfly as “the theatre of punishment” in which we, Gallimard’s ideal audience, align ourselves with the punishing power and witness our prisoner Gallimard’s death penalty for his over-indulgence in the fantasy of the perfect woman. -
University of Cincinnati
UNIVERSITY OF CINCINNATI _____________ , 20 _____ I,______________________________________________, hereby submit this as part of the requirements for the degree of: ________________________________________________ in: ________________________________________________ It is entitled: ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ Approved by: ________________________ ________________________ ________________________ ________________________ ________________________ PUCCINI’S USE OF JAPANESE MELODIES IN MADAMA BUTTERFLY A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of MASTER OF MUSIC in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music 2003 by Kunio Hara B.M., University of Cincinnati, 2000 Committee Chair: Dr. Hilary Poriss ABSTRACT One of the more striking aspects of exoticism in Puccini’s Madama Butterfly is the extent to which the composer incorporated Japanese musical material in his score. From the earliest discussion of the work, musicologists have identified many Japanese melodies and musical characteristics that Puccini used in this work. Some have argued that this approach indicates Puccini’s preoccupation with creating an authentic Japanese setting within his opera; others have maintained that Puccini wanted to produce an exotic atmosphere -
Different Characterization of M. Butterfly in Play and the Film
ENGLISH DEPARTMENT, FU JEN CATHOLIC UNIVERSITY GRADUATION PROJECT 2016 Different Characterization of M. Butterfly in Play and the Film: Comparison and Contrast of Gallimard and Song in the Play and the Film Research Paper, English Composition III Julie Hu Hu 1 Julie Hu 400012085 Composition & Conversation III—Prof. Patrice Yang RP3 Different Characterization of M. Butterfly in Play and the Film: Comparison and Contrast of Gallimard and Song in the Play and the Film “Con onor muore/ chi non puo serbar/ vita con onore. Death with honor/ Is better than life/ Life with dishonor” (M. Butterfly). This is Cio cio san’s death scene in Puccini’s Madame Butterfly, in which her soliloquizes her realization of her tragic sacrifice for an unworthy lover. Madame Butterfly, the 1903 Puccini’s opera portraying a tragic love story, enforces the idea of an oriental and submissive woman sacrificing for her unworthy love toward an occidental man. Served as a subversion of Puccini’s Madame Butterfly, David Henry Hwang adapted from the true scandal of French diplomat, Bernard Boursicot’s affair with Chinese actor, Shi Pei-Pu in his M. Butterfly. Hwang’s M. Butterfly portrays a story that a French diplomat sacrifices for an unworthy “foreign devil,” a male Chinese spy. The play is a deconstructive work on the Oriental stereotype. This play not only brings out great success to David Henry Hwang with a Tony Award, but also has itself a film adaptation by David Cronenberg in1993. However, the characterization in M. Butterfly’s film adaptation differs from its original play text with clearly one victim as Gallimard and one villain as Song, while the play shows more ambiguity to serve who is a victim or a villain.