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Opac) Displays
GUIDELINES FOR ONLINE PUBLIC ACCESS CATALOGUE (OPAC) DISPLAYS IFLA Task Force on Guidelines for OPAC Displays [Draft] SEPTEMBER 30, 2003 DRAFT FOR WORLDWIDE REVIEW Guidelines for OPAC Displays – September 30, 2003 Draft for Worldwide Review Page 1 of 41 TASK FORCE ON GUIDELINES FOR OPAC DISPLAYS Members Françoise Bourdon Bibliothèque nationale de France Paris, France Kerstin Dahl Lund University Library Lund, Sweden Zlata Dimec National and University Library Ljubljana, Slovenia Assumpció Estivill Facultat de Biblioteconomia I Documentació Universitat de Barcelona Barcelona, Spain Friedrich Geisselmann Universitätsbibliothek Regensburg Regensburg, Germany Lynne C. Howarth (Chair 2001- ) Faculty of Information Studies University of Toronto Toronto, Canada Maria Inês Lopes Fundação Calouste Gulbenkian Biblioteca Geral de Arte Lisbon, Portugal Mona Madsen The Royal School of Library and Information Science Copenhagen, Denmark Dorothy McGarry (Chair 1997-2001) University of California, Los Angeles Los Angeles, USA Eeva Murtomaa Helsinki University Library/National Bibliography Helsinki, Finland Guidelines for OPAC Displays – September 30, 2003 Draft for Worldwide Review Page 2 of 41 Charlotte Pedersen (2000-) Danish National Library Authority Copenhagen, Denmark Gerhard Riesthuis (1999-2000) University of Amsterdam Amsterdam, Netherlands Maria Witt Mediathèque de la Cité des Sciences Paris, France Maja Žumer National and University Library Ljubljana, Slovenia Commentators: Round Table on User Education Martin Kesselman Rutgers University Library Media Services Piscataway, USA Section on Document Delivery and Interlending and Discussion Group on Reference Work Annsofie Oscarsson Umea University Library Umea, Sweden Section of Libraries for Children and Young Adults Rita Schmitt Deutsches Bibliothekinstitut Berlin, Germany Section of Libraries for the Blind (2000- ) Paivi Voutilainen Finnish Library for the Visually Impaired Helsinki, Finland Section for Libraries Serving Disadvantaged Persons Nancy Mary Panella Bolling Memorial Medical Library St. -
M OBAL IMTERPBETEB9S APPROACH to SELECTED
An oral interpreter's approach to selected poems by E. E. Cummings Item Type text; Thesis-Reproduction (electronic) Authors Holmes, Susanne Stanford, 1941- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 07/10/2021 02:44:40 Link to Item http://hdl.handle.net/10150/318940 m OBAL IMTERPBETEB9 S APPROACH TO SELECTED POEMS BY E, E. CUMMINGS "by Susanne Stanford Holmes A Thesis Submitted to the Faculty of the DEPARTMENT OF SPEECH In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS t- In The Graduate College THE UNIVERSITY OF ARIZONA 19 6 4 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable with out special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholar ship. In all other instances, however, permission must be obtained from the author. -
AN EXAMINATION of the SONNETS of E. E. CUMMINGS Jeremy
AN EXAMINATION OF THE SONNETS OF E. E. CUMMINGS Jeremy Francis Hughes THESIS Submitted in fulfilment of the requirements for the degree of MASTER OF ARTS of Rhodes University. February 1992. ERRATA 1) Page 27, line 20: the reference to Fowler designated a173 pertains to Alastair Fowler's "The Silva Tradition in Jonson's 'The Forrest'" from the volume Poetic Traditions of the English Renaissance. Ed, Maynard Mack and George deForest Lord. New Haven: Yale University Press, 1982: 163-80. All other references to Fowler are to Kinds of Literature: An Introduction to the Theory of Genres and Modes. Cambridge, Mass.: Harvard University Press, 1982. 2) Page 44, line 14: the reference to Kidder 17 pertains to Rushworth M. Kid der's E. E. Cummings: an Introduction to the Poetry. Columbia Introductions to Twentieth Century English Poetry. New York: Columbia University Press, 1979. 3) Page 93, line 7: Rossetti's definition of the sonnet appears in the first line of the liminal poem to The House of Life, in The Works of Dante Gabriel Rossetti. Ed. William M. Rossetti. London: Ellis, 1911: 74. ABSTRACT This dissertation examines E. E. Cummings's writings in the sonnet genre and in those genres to which the sonnet is related in various ways. Its fundamental point is that, despite the surface impression of poetic iconoclasm for which Cummings has a popular reputation, in choosing to write sonnets he engages in a traditional literary practice. He does this because his purpose is always to be an artist, as defined by the Aesthetic movement which influenced him. -
The Ee Cummings Collection
Q&B Quill & Brush (301) 874-3200 Fax: (301)874-0824 E-mail: [email protected] Home Page: http://www.qbbooks.com THE E. E. CUMMINGS COLLECTION OF JOHN T. ORDEMAN “ . the enclosed is what I happen to believe.” --E. E.Cummings (see page 22) Patricia and Allen Ahearn 1137 Sugarloaf Mountain Road, Dickerson, MD 20842 When I was a graduate student at Columbia in the mid-1950s, I had the good fortune to choose as a topic for my master's thesis a comparison of E. E. Cummings' painting and his poetry. Perhaps because few people were, at that time, much interested in Cummings' work in the visual arts, which he considered to be as significant as his literary work, he granted my request for an interview. I was invited to tea–laced with rum–at Patchin Place. I returned several times as work on my dissertation progressed, and I was tremendously pleased when both Cummings and his wife Marion offered to read the first draft of An Author of Pictures, A Draughtsman of Words. They made several useful suggestions for the text, Cummings corrected a few spelling and punctuation errors and Marion took photographs of several paintings for me to use as illustrations. I began collecting Cummings' books and pictures as soon as I was gainfully employed, and I have continually added to my collection as I have been able to find and afford new acquisitions. I was particularly glad to be able to purchase some books that had been inscribed as gifts to his great friends Sibley and Hildegarde Watson and a few pictures that he had given to other friends. -
Introduction
Notes Introduction 1. For a list of cabarets between 1911 and 1920, see table 1 in Lewis Erenberg’s Steppin’ Out, 120–121. 2. See Henry F. May’s The End of American Innocence: The First Years of Our Own Time, 1912–1917, 338. 3. Michael A. Lerner explains the origins of this term. “Likely derived from the ‘speak-softly shops’ of nineteenth-century England, where smuggled, untaxed liquor could be bought cheaply, the term ‘speak- easy’ served in New York as a catch-all phrase for illegal bars ranging from cellar dives peddling twenty-five-cent beers or fifty-cent glasses of ‘smoke,’ to fancy townhouses in midtown outfitted with multiple bars, dining areas, game rooms, and live entertainment . Whether these gathering places were tucked away in construction sites, hid- den in apartment back rooms, disguised behind receptionists’ desks in office buildings, or brazenly situated across from police precinct houses, New Yorkers delighted in discovering the locations of speak- easies as if it were all part of a game” (Lerner 138). 4. According to Lerner, the New York City Police Department “esti- mated the number of illegal drinking establishments [at the height of the Prohibition-era] to be as high as 35,000 with 2,200 in the Wall Street area alone” (138). 5. His Follies of 1907 ran for 70 performances. In the following year, his production had 120 performances. The 1910 and 1911 Follies ran for 88 and 80 performances respectively. For more, see Patinkin, 92–94. 6. While appropriating the Folies Bergère and other aspects of Parisian entertainment culture, such as the Moulin Rouge, Ziegfeld aligned his productions with European theatrical forms, but he frequently cast his girls in far more exotic roles. -
Edward Estlin Cummings
Classic Poetry Series Edward Estlin Cummings - 45 poems - Publication Date: 2012 Publisher: PoemHunter.Com - The World's Poetry Archive Edward Estlin Cummings (14 October 1894 - 3 September 1962) Edward Estlin Cummings, popularly known as E. E. Cummings, with the abbreviated form of his name often written by others in all lowercase letters as e. e. cummings, was an American poet, painter, essayist, author, and playwright. His body of work encompasses approximately 2,900 poems, an autobiographical novel, four plays and several essays, as well as numerous drawings and paintings. He is remembered as a preeminent voice of 20th century poetry, as well as one of the most popular. Birth and early years Cummings was born in Cambridge, Massachusetts, on October 14, 1894 to Edward and Rebecca Haswell Clarke Cummings. He was named after his father but his family called him by his middle name. Estlin's father was a professor of sociology and political science at Harvard University and later a Unitarian minister. Cummings described his father as a hero and a person who could accomplish anything that he wanted to. He was well skilled and was always working or repairing things. He and his son were close, and Edward was one of Cummings' most ardent supporters. His mother, Rebecca, never partook in stereotypically "womanly" things, though she loved poetry and reading to her children. Raised in a well-educated family, Cummings was a very smart boy and his mother encouraged Estlin to write more and more poetry every day. His first poem came when he was only three: "Oh little birdie oh oh oh, With your toe toe toe." His sister, Elizabeth, was born when he was six years old.