The Neocommunist Manifesto
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Stephen Hawking (1942–2018) World-Renowned Physicist Who Defied the Odds
COMMENT OBITUARY Stephen Hawking (1942–2018) World-renowned physicist who defied the odds. hen Stephen Hawking was speech synthesizer processed his words and diagnosed with motor-neuron generated the androidal accent that became disease at the age of 21, it wasn’t his trademark. In this way, he completed his Wclear that he would finish his PhD. Against best-selling book A Brief History of Time all expectations, he lived on for 55 years, (Bantam, 1988), which propelled him to becoming one of the world’s most celebrated celebrity status. IAN BERRY/MAGNUM scientists. Had Hawking achieved equal distinction Hawking, who died on 14 March 2018, was in any other branch of science besides cos- born in Oxford, UK, in 1942 to a medical- mology, it probably would not have had the researcher father and a philosophy-graduate same resonance with a worldwide public. As mother. After attending St Albans School I put it in The Telegraph newspaper in 2007, near London, he earned a first-class degree “the concept of an imprisoned mind roaming in physics from the University of Oxford. He the cosmos” grabbed people’s imagination. began his research career in 1962, enrolling In 1965, Stephen married Jane Wilde. as a graduate student in a group at the Uni- After 25 years of marriage, and three versity of Cambridge led by one of the fathers children, the strain of Stephen’s illness of modern cosmology, Dennis Sciama. and of sharing their home with a team of The general theory of relativity was at that nurses became too much and they sepa- time undergoing a renaissance, initiated in rated, divorcing in 1995. -
A.I.C.D. Borovansky Syllabus
A.I.C.D. Borovansky Syllabus The Australian Institute of Classical Dance Inc. ACN: 056 462 036 (NSW) Address: PO Box 193, WINSTON HILLS, NSW. 2153 Email: [email protected] Guidelines for Website: www.ballet.org.au Associate Diploma Applicants Table of Contents Suggested Reading BALLET HISTORY History of the A.I.C.D. 3 Andrews, Shirley, Take Your Partners - Traditional Dancing in Australia. Griffin Press Ltd, Netley, South Australia 1979. The Borovansky Syllabus 4 Bellew, Peter, Pioneering Ballet in Australia. Rationale of the Syllabus 5 Craftsman Bookshop, Sydney, 1945 ed. Brown, Ian F. The Australian Ballet. Aims of the Syllabus 6 Longmans of Australia Pty Ltd 1967. Teaching the Syllabus 7 Challingsworth, Nell, Australia's Dancing Heritage - Stories of the19th Century. Go Dancing Publications, Ringwood, Victoria, 1994. Requirements for Associate Diploma 8 Challingsworth, Nell, Dancing down the Years. The Romantic Century in Australia. Privileges of Associate Diploma 9 The Craftsman Press, Melbourne 1978. Attaining the Associate Diploma Pask, Edward H., Enter the Colonies Dancing. A History of Dance in Australia 1835-1940. Oxford University Press, Melbourne 1979. Through Assessment 10 Pask, Edward H., Ballet in Australia. The Second Act 1940-1980. Through Recognition of Prior Learning (RPL) 16 Oxford University Press, Melbourne 1982. Salter, Frank. Borovansky The Man Who Made Australian Ballet. Wildcat Press, Sydney1980. Suggested Reading 18 SAFE DANCE PRACTICE Arnheim, Daniel D. Dance Injuries, Their Prevention and Care. Third edition, Princeton Book Company, Princeton New Jersey 1991. Brinson, Peter, and Dick, Fiona, Fit to Dance? “The mediocre teacher tells. The good The Report of the National Inquiry into Dancers' Health and Injury. -
UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations
CORE Metadata, citation and similar papers at core.ac.uk Provided by eScholarship - University of California UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations Title The Modern Physis of Léonide Massine: Corporeality in a Postwar Era Permalink https://escholarship.org/uc/item/8vf939db Author Vallicella, Lauren Elda Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Santa Barbara The Modern Physis of Léonide Massine: Corporeality in a Postwar Era A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater Studies by Lauren Elda Vallicella Committee in charge: Professor Ninotchka D. Bennahum, Chair Professor Leo Cabranes-Grant Professor Anurima Banerji, University of California Los Angeles December 2018 The dissertation of Lauren Elda Vallicella is approved. _____________________________________________ Anurima Banerji _____________________________________________ Leo Cabranes-Grant _____________________________________________ Ninotchka D. Bennahum, Committee Chair December 2018 The Modern Physis of Léonide Massine: Corporeality in a Postwar Era Copyright © 2018 by Lauren Elda Vallicella iii ACNOWLEDGMENTS The writing and research of this dissertation would not have been possible without the guidance, support, knowledge, and encouragement of myriad individuals. Foremost, I give my deepest gratitude to my committee members Anurima Banerji, Leo Cabranes-Grant, and my Chair Ninotchka Bennahum. Through directed readings, graduate seminars, and numerous conversations, each committee member has shaped my understanding of Performance Studies and Dance History in relation to theories such as Post-Structuralism, Phenomenology, Psychoanalysis, Embodiment, the Post Human, Affect, and “Otherness.” Dr. Banerji has helped me to approach Western ideologies (like Modernism) with a critical lens, and to write with more nuance and cultural specificity. -
AHMED H. ZEWAIL 26 February 1946 . 2 August 2016
AHMED H. ZEWAIL 26 february 1946 . 2 august 2016 PROCEEDINGS OF THE AMERICAN PHILOSOPHICAL SOCIETY VOL. 162, NO. 2, JUNE 2018 biographical memoirs t is often proclaimed that a stylist is someone who does and says things in memorable ways. From an analysis of his experimental Iprowess, his written contributions, his lectures, and even from the details of the illustrations he used in his published papers or during his lectures to scientific and other audiences, Ahmed Zewail, by this or any other definition, was a stylist par excellence. For more than a quarter of a century, I interacted with Ahmed (and members of his family) very regularly. Sometimes he and I spoke several times a week during long-distance calls. Despite our totally different backgrounds we became the strongest of friends, and we got on with one another like the proverbial house on fire. We collaborated scientifi- cally and we adjudicated one another’s work, as well as that of others. We frequently exchanged culturally interesting stories. We each relished the challenge of delivering popular lectures. In common with very many others, I deem him to be unforgettable, for a variety of different reasons. He was one of the intellectually ablest persons that I have ever met. He possessed elemental energy. He executed a succession of brilliant experiments. And, almost single-handedly, he created the subject of femtochemistry, with all its magnificent manifestations and ramifications. From the time we first began to exchange ideas, I felt a growing affinity for his personality and attitude. This was reinforced when I told him that, ever since I was a teenager, I had developed a deep interest in Egyptology and a love for modern Egypt. -
Press Kit for Ballets Russes, Presented by Capri Releasing
PRESENTS BALLETS RUSSES A film by Dan Geller and Dayna Goldfine. A fifty-year journey through the lives of the revolutionary artists who transformed dance. Running Time: 120 Minutes Media Contact: Anna Maria Muccilli AM Public Relations 1200 Bay St., Suite 900 Toronto, Ontario, M5R 2A5 416.969.9930 x 231 [email protected] For photography, please visit: http://www.caprifilms.com/capri_pressmaterial.html Geller/Goldfine P R O D U C T I O N S Ballets Russes Synopsis Ego, politics, war, money, fame, glamour, love, betrayal, grace… and dance. Ballets Russes is a feature-length documentary covering more than fifty years in the lives of a group of revolutionary artists. It tells the story of the extraordinary blend of Russian, American, European and Latin American dancers who, in collaboration with the greatest choreographers, composers and designers of the first half of the 20th century, transformed ballet from mere music hall divertissement to a true art form. From 1909, when Russian impresario Serge Diaghilev premiered his legendary Ballet Russe company in Paris, to 1962 when Serge Denham’s Ballet Russe de Monte Carlo performed for the last time in Brooklyn, Ballets Russes companies brought their popular, groundbreaking and often controversial choreographies to big cities and small towns around the world. Along the way, these artistic visionaries left their mark on virtually every other area of art and culture – from stage design, painting and music to Hollywood and Broadway. Through their inclusive cosmopolitanism, they also put the first African-American and Native American ballerinas on the stage. Using intimate interviews with surviving members of the Ballets Russes companies (now in their 70s, 80s and 90s) as well as rare archival materials and motion picture footage, Ballets Russes is both an ensemble character film and an historical portrait of the birth of an art form. -
Feminist Scholarship Review: Women in Theater and Dance
Trinity College Trinity College Digital Repository Feminist Scholarship Review Women and Gender Resource Action Center Spring 1998 Feminist Scholarship Review: Women in Theater and Dance Katharine Power Trinity College Joshua Karter Trinity College Patricia Bunker Trinity College Susan Erickson Trinity College Marjorie Smith Trinity College Follow this and additional works at: https://digitalrepository.trincoll.edu/femreview Part of the Feminist, Gender, and Sexuality Studies Commons, and the Theatre and Performance Studies Commons Recommended Citation Power, Katharine; Karter, Joshua; Bunker, Patricia; Erickson, Susan; and Smith, Marjorie, "Feminist Scholarship Review: Women in Theater and Dance" (1998). Feminist Scholarship Review. 10. https://digitalrepository.trincoll.edu/femreview/10 Peminist Scfiofarsliip CR§view Women in rrlieater ana(])ance Hartford, CT, Spring 1998 Peminist ScfioCarsfiip CJ?.§view Creator: Deborah Rose O'Neal Visiting Lecturer in the Writing Center Trinity College, Hartford, Connecticut Editor: Kimberly Niadna Class of2000 Contributers: Katharine Power, Senior Lecturer ofTheater and Dance Joshua Kaner, Associate Professor of Theater and Dance Patricia Bunker, Reference Librarian Susan Erickson, Assistant to the Music and Media Services Librarian Marjorie Smith, Class of2000 Peminist Scfzo{a:rsnip 9.?eview is a project of the Trinity College Women's Center. For more information, call 1-860-297-2408 rr'a6fe of Contents Le.t ter Prom. the Editor . .. .. .... .. .... ....... pg. 1 Women Performing Women: The Body as Text ••.•....••..••••• 2 by Katharine Powe.r Only Trying to Move One Step Forward • •.•••.• • • ••• .• .• • ••• 5 by Marjorie Smith Approaches to the Gender Gap in Russian Theater .••••••••• 8 by Joshua Karter A Bibliography on Women in Theater and Dance ••••••••.••• 12 by Patricia Bunker Women in Dance: A Selected Videography .••• .•... -
Publications
Michelle Potter: Publications Michelle Potter: Publications Books and articles (peer reviewed works are marked with an asterisk *) ‘Robert Helpmann: Behind the scenes with the Australian Ballet, 1963–1965.’ Dance Research (Edinburgh), 34:1 (Summer 2016), forthcoming* ‘Elektra: Helpmann uninhibited.’ In Richard Cave and Anna Meadmore (eds),The many faces of Robert Helpmann (Alton: Dance Books, 2016), forthcoming Dame Maggie Scott: A Life in Dance (Melbourne: Text Publishing, 2014), 368 pp, colour and b & w illustrations, ISBN 9781922182388 (also published as a e-book ISBN 9781925095364) Meryl Tankard: an original voice (Canberra: Dance writing and research, 2012), 210 pp, unillustrated, ISBN 9780646591445 ‘Merce Cunningham’, ‘Rudolf Nureyev’. America’s Irreplaceable Dance Treasures (Washington, DC: Dance Heritage Coalition, 2012)* http://www.danceheritage.org/cunningham.html; http://www.danceheritage.org/nureyev.html ‘The Dandré-Levitoff Russian Ballet 1934–1935: Australia and beyond.’ Dance Research (Edinburgh), 29:1 (Summer 2011), pp. 61–96* ‘People, patronage and promotion: the Ballets Russes tours to Australia, 1936–1940.’ Ballets Russes: the art of costume (Canberra: National Gallery of Australia, 2010), pp. 182–193* ‘Tributes: Impressions—Irina Baronova; The fire and the rose—Valrene Tweedie.’ Brolga (Canberra), 29 (December 2008), pp. 6–16 ‘Archive bündeln: Das Beispiel Australien.’ trans. Franz Anton Cramer. Tanz und ArchivePerspectiven für ein kulturelles Erbe, ed. Madeline Ritter, series Jahresmitteilungen von Tanzplan Deutschland (Berlin: Tanzplan Deutschland, 2008), pp. 50–53* ‘Arnold Haskell in Australia: did connoisseurship or politics determine his role?’ Dance Research (Edinburgh), 24:1(Summer 2006), pp. 37–53* ‘Chapter 7: In the air: extracts from an interview with Chrissie Parrott.’ Thinking in Four Dimensions: Creativity and Cognition in Contemporary Dance, eds. -
M Ar C H 2019
FLIGHT March 2019 March A PUBLICATIONLINES OF THE SOUTHERN MUSEUM OF FLIGHT BIRMINGHAM, AL WWW.SOUTHERNMUSEUMOFFLIGHT.ORG Page 4 Page 5 Page 7 FLIGHTLINES Message From The Director Board Officers To the Members of the Southern Museum of Flight ‘s George Anderson Holly Roe Constituency Hank Collins Susan Shaw Paul Maupin Dr. Logan Smith Alan Moseley Jim Thompson Gary Nash Finance Director t is my honor and privilege to serve as a City of Birmingham I member of the Southern Museum of Flight’s leadership team. It is my sincerest wish that your involvement with the museum will be Members rewarding and enjoyable. Steve Allen, Jr. Fred McCallum In all we do, we investigate, preserve, and promote the rich stories of Al Allenback Billy McDonald, III Jay Miller Southern Aviation and provide enjoyable, experiential, and educational Ruby Archie William H. Barnes Jamie Moncus programming for people of all ages. Through our collaborative Dr. Brian Barsanti Dr. George Petznick partnerships within the community, we provide a continuum of J. Ronald Boyd Marlin Priest exhibitions, displays, and educational services with a sincere devotion Mary Alice Carmichael Charles Regan to cultural and historical literacy. We support skillful, reflective Chuck Conour Raymon Ross professionals who improve the quality of aviation education within the Ken Coupland Herb Rossmeisl museum setting, and we accomplish our mission within the confines of Whitney Debardelaben A. Page Sloss, Jr. Research and Development, Educational Programming, Tourism, and Steve Glenn Billy Strickland Aircraft Restoration. This along with our Core Values – Education, Dr. Jim Griffin (Emeritus) Clint Speegle Dr. Ed Stevenson Preservation, and Dedication, should be our compass by which all Richard Grimes Lee Hurley Thomas Talbot actions are measured. -
Remembering Edouard Borovansky and His Company 1939–1959
REMEMBERING EDOUARD BOROVANSKY AND HIS COMPANY 1939–1959 Marie Ada Couper Submitted in total fulfillment of the requirements of the degree of Doctor of Philosophy 2018 School of Culture and Communication The University of Melbourne 1 ABSTRACT This project sets out to establish that Edouard Borovansky, an ex-Ballets Russes danseur/ teacher/choreographer/producer, was ‘the father of Australian ballet’. With the backing of J. C. Williamson’s Theatres Limited, he created and maintained a professional ballet company which performed in commercial theatre for almost twenty years. This was a business arrangement, and he received no revenue from either government or private sources. The longevity of the Borovansky Australian Ballet company, under the direction of one person, was a remarkable achievement that has never been officially recognised. The principal intention of this undertaking is to define Borovansky’s proper place in the theatrical history of Australia. Although technically not the first Australian professional ballet company, the Borovansky Australian Ballet outlasted all its rivals until its transformation into the Australian Ballet in the early 1960s, with Borovansky remaining the sole person in charge until his death in 1959. In Australian theatre the 1930s was dominated by variety shows and musical comedies, which had replaced the pantomimes of the 19th century although the annual Christmas pantomime remained on the calendar for many years. Cinemas (referred to as ‘picture theatres’) had all but replaced live theatre as mass entertainment. The extremely rare event of a ballet performance was considered an exotic art reserved for the upper classes. ‘Culture’ was a word dismissed by many Australians as undefinable and generally unattainable because of our colonial heritage, which had long been the focus of English attitudes. -
Ballets Russes Press
A ZEITGEIST FILMS RELEASE THEY CAME. THEY DANCED. OUR WORLD WAS NEVER THE SAME. BALLETS RUSSES a film by Dayna Goldfine and Dan Geller Unearthing a treasure trove of archival footage, filmmakers Dan Geller and Dayna Goldfine have fashioned a dazzlingly entrancing ode to the rev- olutionary twentieth-century dance troupe known as the Ballets Russes. What began as a group of Russian refugees who never danced in Russia became not one but two rival dance troupes who fought the infamous “ballet battles” that consumed London society before World War II. BALLETS RUSSES maps the company’s Diaghilev-era beginnings in turn- of-the-century Paris—when artists such as Nijinsky, Balanchine, Picasso, Miró, Matisse, and Stravinsky united in an unparalleled collaboration—to its halcyon days of the 1930s and ’40s, when the Ballets Russes toured America, astonishing audiences schooled in vaudeville with artistry never before seen, to its demise in the 1950s and ’60s when rising costs, rock- eting egos, outside competition, and internal mismanagement ultimately brought this revered company to its knees. Directed with consummate invention and infused with juicy anecdotal interviews from many of the company’s glamorous stars, BALLETS RUSSES treats modern audiences to a rare glimpse of the singularly remarkable merger of Russian, American, European, and Latin American dancers, choreographers, composers, and designers that transformed the face of ballet for generations to come. — Sundance Film Festival 2005 FILMMAKERS’ STATEMENT AND PRODUCTION NOTES In January 2000, our Co-Producers, Robert Hawk and Douglas Blair Turnbaugh, came to us with the idea of filming what they described as a once-in-a-lifetime event. -
Read the Full Volume Here
– practice, education and research Volume 9(2), 2018 Contents Editorial .......................................................................................................................................................................................................................................................................................3 Research Articles Sarah Holmes: Bodily Text and the Written Word of Pilates: A Theoretical Approach to How the Ballerina’s Body Concealed and Revealed Problematic Ideologies in an Exercise Practice ...................................................................................................................4 Hanna Pohjola: Ruumiillinen erilaisuus: tanssi ammattina? ........................................................................................................................................24 Susanna Hannus: Dancing with the Turquoise Waters of Mexico– Embodied Experiences and Observations for Environmental Justice .........................................................................................................................38 Practice Oriented Article Marie Lykkemark: OBJECT.MIRROR.TEMPO ..................................................................................................................................................................................52 Debate Anette Sture Iversen: Aesthetic Competence and Life Skills .................................................................................................................................................64 -
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Yale university press Fall/Winter 2020 Marcus Carey Batchelor Bate Under the Red White A Little History of The Art of Solitude Radical Wordsworth and Blue Poetry Hardcover Hardcover Hardcover Hardcover 978-0-300-25093-0 978-0-300-16964-5 978-0-300-22890-8 978-0-300-23222-6 $23.00 $35.00 $26.00 $25.00 Unwin/Tipling Delbanco Leibovitz Campbell Flights of Passage Why Writing Matters Stan Lee Year of Peril Hardcover Hardcover Hardcover Hardcover 978-0-300-24744-2 978-0-300-24597-4 978-0-300-23034-5 978-0-300-23378-0 $40.00 $26.00 $26.00 $30.00 Van Engen Reynolds Taylor Musonius Rufus City on a Hill Allah Sons of the Waves That One Should Hardcover Hardcover Hardcover Disdain Hardships 978-0-300-22975-2 978-0-300-24658-2 978-0-300-24571-4 Hardcover $30.00 $30.00 $30.00 978-0-300-22603-4 $22.00 RECENT GENERAL INTEREST HIGHLIGHTS Yale university press FALL/WINTER 2020 GENERAL INTEREST 01 JEWISH LIVES® 24 MARGELLOS WORLD REPUBLIC OF LETTERS 26 SCHOLARLY AND ACADEMIC 56 PAPERBACK REPRINTS 73 ART + ARCHITECTURE A 1 front cover illustration: Via Roma, Genoa, Italy, ca. 1895. From Stories for the Years, page 28 “This book is superb, utterly FROM TAKE ARMS AGAINST A SEA OF TROUBLES: convincing, and absolutely invigorating. Bloom’s final argument with mortality What you read and how deeply you read matters almost as much as how you ultimately has a rejuvenating love, work, exercise, vote, practice charity, strive for social justice, cultivate effect upon the reader, kindness and courtesy, worship if you are capable of worship.