DOCSLIB.ORG

The College News, 1934-02-28, Vol. 20, No. 15 (Bryn Mawr, PA: Bryn Mawr College, 1934)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The College News, 1934-02-28, Vol. 20, No. 15 (Bryn Mawr, PA: Bryn Mawr College, 1934) Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Bryn Mawr College Publications, Special Bryn Mawr College News Collections, Digitized Books 1934 The olC lege News, 1934-02-28, Vol. 20, No. 15 Students of Bryn Mawr College Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/bmc_collegenews Custom Citation Students of Bryn Mawr College, The College News, 1934-02-28, Vol. 20, No. 15 (Bryn Mawr, PA: Bryn Mawr College, 1934). This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/bmc_collegenews/499 For more information, please contact [email protected]. " Th e, College = VOL. XX, No.1' • BRYN MAWR AND WAYNE, PA., WEDNESDAY, FEBRUARY 1934 PRICE 10 CEN-I 28, r, • Vienna Choir Gives C"'LENDAR Freshman Show Glorifies Bustle Era, Wins NU'J Try-Ouls The ew Wilhclt to ThUrs., March 1. Denn l\1an­ r Collelle N , a ra r a Delightful Conce t announce the opening of the ning will, speak in Chn�1. Enthusi stic P ise of Unc itic l Audience - competition for positions on the Goodhart at 8.40 A. M. - • 'Passiol1l�ss Clarity, Sweetness, Editorial Board for next year. Fri.. March 2. CIUK swim­ of M:Joctoas",,- M::lodrama-�. -- Emphasize Local Color •• 4.00 ?I'oduccrs Precision and Flexibility There will be a mccthlg tor ming meet Gym at M. Costuming and Scenzry True t'J Period-Plot Is 3. P. Sat., Mar. Varsity bas­ Are • Mark Singing those wi!5hing to try out, in the Background o Song and Danc.e J First f office. Thursday evening ketball va. Mt. oseph's. New, nnd second teams. Gym lit 10.00 o'c ock. DIRECTOR IS ARTIST at six J SOFHOMORES FAll TO DISCOVER CLAS ANIMAL ____________� __ A_ M_ . # IL Sun., March 4. The Rev. John • (E,�t!wllJl Contribllttd bJl Lalit Saturday c"cning the 1937 it of stage mccha hlm th t nlA e Mr War r $uter.. Jr., will speak in Chapci. b '! n a k Mr. Alwrne) . bu g Shows Music Room at 7.30 P. M. i"reshnHtn Show burst upon Ull nil the Freshman Show n delight to be- On Thursday last a very delightrul Mon., March 5. in Public Debt to Artist Mr. Reginald its rlpry or bustle! and peg-topped hold-Com'ention Dnd the school of concert was given by the famous Wie­ Pole will speak on TIu: Theatre trou'l'e�8, and even the most cynical. the druma mean nothing to 1he c1a�H been of the Futllre and th� Sig'I'�'1J '.J.. 'If'r Scmgerknllbl'fL who have it Art Education Should Teach 9phomore would be forted to adm of 1937, and th ey L..,...,_ ttcr th an most � Deanery at 5.00 M. 1\ ��tended our of the making very t Todlly. P. Mil Door dra t t whd::dpn i is the law of Cooperation of Collectors (IfM on., March 5. :Mr. ma is s to t. United States. This was the last Con­ Horace that. .Van Darf.:fl' o4uujll With Artists Alwynne, F.R.M.e.M., will give had much to recommend it. It hal'l the prophets. cert of a tour which has inclu ded fifty- piano recital. C o h n o d art ut alwa),!! been our contention that. the The mmlie mainly the work of taken them from coast .8.20 P. M. WDS fi\'e cities and PUBLIC IS I�SlNCERE Frcshm�n Show is a thing avort in Ruth Woodward. ond it. ('Ombin('d • e March 6. SUIIVllt to coast. The Choir, which consists of Tu s., 'r .. --=.:....- the theutre-unlque in that it should wilh the ehorusell. train('ti by After cop;n. with clubwomen anq School mooting. Deanery at 8. 18 boye at from 10 to 13 years" o( age, s (go P. M. be prai ed for itll nleritll rather than bel1e Seltzer, to len d a cli ti nction to collectors of lt.alian primlt(vcs wh� I ll must surely have aToused much envy March 8. t 7.ed IIhortcomings. the p t rTn still are ever ready wth question Thurs., Clayton cr ici (or er o ance �uil l its wh ch hUll 1Jl'C1I in the brealts o"l countless small boys i n H n i Iy i about the purpose and meaning at amil to w ll speak on'Tltc 1'f'/- i The one and only object of, thc lacking in many the pust. when it is remembered that their 1\1, M. e 4.30 e- shows of modern an, M·r. Edward War- D ane at f "shmen is to amus not to afrord liss Woodward "hawed a ven18tilily 10lU JlIt!f.:cf, ry r travels have taken them, not only burg returned to Bryn Mawr Sun- M. the audience a glimpse into-the trical P. a in composition which bctruyed an acros.s the American Continent, but speak U nOr day aCt.ernoon to about "Thc topia and no one who was present advanced knowledge of her medium Scandinavia, France, '- - also t.hrough in World l e dis - --- ----,---------' 1 Goodhnrt on could deny and produced in Low-III lAd Artist the Today." i Faculty Formulates in atuNin)' y 0 waltz Germany, Czecho-Slovakia, Austria, a cussed the artist's work (rom the that the frellhmen were dmirably in the best tradition, nnd then turned Italy and Greece. vnl'ying points-of-view the scholar, ComprehetiSiVes Plan succcs!\ful in achieving their object- to the modem sehool for her im�pira The bo)'1l, (ar from being ratigued 01 the critic, the dealer, and the public. --- ive. The succcss which rewarded tion for Thf' DUII(f' of with the ir travels (and all their jour­ o tll{l Cat,. ' and, in this connection, pointed. ut their efforttl i" even more remark bl(, The l tter was, in the Ob ect o E a a our opinion. neys in this country have been made e j f xams Will be to T cst thl.' e the necessity for a system of art du· in light of th facte that they hac! high j,oint of the perrOrmlll1('e. whe," in' a huge motor coach) .. expressed Students' Ability to Ap- A cation whereby the better artist might ne show lready in reheat1!al when the five cats appeared on the mil or \ themselves as being only regretful c a. ea, o be appreciated by his ontempor ri ply Knowledge the powers-that-be decided otherwise the orchestra pit, and led l\�i"s that theyluld-not had thtl opportunity --- rt by and not relegated to an attic to starve. on the lIubjl'f"t. an that two memlwr!' Relt7.cr. pt'Cl!ented u� with an impres to still of America. They bel!t t llee The artists are the most mis- IS PASSING GRADE of lh� ca" wel'e rorc('Ii at the III!!t �'ioni�tic picture or cal!! pillying in may m1t-e look like 80me of Raphaels cre­ 60 ___ erably treated because they are not minute to wHhdraw. the moonlight. It is a long ime since ations when they arc on the stag , de­ l e enticed. by the public to look down. The Faculty at a special mN.!tin�·, Written b\' R!)se and Leti iu !tuch nn ftmbitiolh bit of dancinll has murely attired in their cassocks and Edith l artist be original, 'he creates a c o m " If an M rch will probably be discu"l'ing n Brown, thl. "mf'lodious m l ra a u(I('n unrll'rtnken by freshmcn, and the lIurplices, but they are real boys just tc o something that is non-exis nt anti plnn for a final examination in the concerned thl' adventures of tittle "ucce"" with which it wa!i e ec utl'd the same, a� an)'one would have dis­ publ c to which : x consequently difficult for the i major lIubject. of followillg' Nell at Brr" M awr. whither she went is !!uHicient Ilroof thc !lbility of C!overed who happened to see them til\' (I( gra'l without clfort. His followerI'. S e e p is a brief· outline. a1 the beh '!!t or True Blue Hnrold, ?I1i:ls eltz r IU u duncer an d director After the Conc rt indulging in a snow dil'CCl l muy. on the other hand, get I-Nalm'f' of who lovl'd h'l" with u l)Ure white 11i('r four fellow cats had 11 better fight with lIonle or the Freshnlen re­ e. EXf,lI//JICltirm backing from th public, because they the h n The final examination in the majol' t at litt le edu· undcr,.tallding of rhythm then w e tUrning from a rehearsal ror Fresh­ flame, bllt ..till elt their master's idea l !m It f k w mid!iL make more I ahtt- bject is not to be est c l clltian would d her nO hllrm, To col- nc cxi!ltcd in our We wcre c iv t of gen rn man show, or playing every once ­ able. This la k apprecitltion, and wellt. ow l.'fi l r y c of illformution in the student's major legQ. she ith the con�ellt o( no d l it l able kind or a k pr n while donning interest, upon t.he part of the g1lneral s IItll'old.
Load more

Recommended publications
  • Who's Who at Metro-Goldwyn-Mayer (1939)
    W H LU * ★ M T R 0 G 0 L D W Y N LU ★ ★ M A Y R MyiWL- * METRO GOLDWYN ■ MAYER INDEX... UJluii STARS ... FEATURED PLAYERS DIRECTORS Astaire. Fred .... 12 Lynn, Leni. 66 Barrymore. Lionel . 13 Massey, Ilona .67 Beery Wallace 14 McPhail, Douglas 68 Cantor, Eddie . 15 Morgan, Frank 69 Crawford, Joan . 16 Morriss, Ann 70 Donat, Robert . 17 Murphy, George 71 Eddy, Nelson ... 18 Neal, Tom. 72 Gable, Clark . 19 O'Keefe, Dennis 73 Garbo, Greta . 20 O'Sullivan, Maureen 74 Garland, Judy. 21 Owen, Reginald 75 Garson, Greer. .... 22 Parker, Cecilia. 76 Lamarr, Hedy .... 23 Pendleton, Nat. 77 Loy, Myrna . 24 Pidgeon, Walter 78 MacDonald, Jeanette 25 Preisser, June 79 Marx Bros. —. 26 Reynolds, Gene. 80 Montgomery, Robert .... 27 Rice, Florence . 81 Powell, Eleanor . 28 Rutherford, Ann ... 82 Powell, William .... 29 Sothern, Ann. 83 Rainer Luise. .... 30 Stone, Lewis. 84 Rooney, Mickey . 31 Turner, Lana 85 Russell, Rosalind .... 32 Weidler, Virginia. 86 Shearer, Norma . 33 Weissmuller, John 87 Stewart, James .... 34 Young, Robert. 88 Sullavan, Margaret .... 35 Yule, Joe.. 89 Taylor, Robert . 36 Berkeley, Busby . 92 Tracy, Spencer . 37 Bucquet, Harold S. 93 Ayres, Lew. 40 Borzage, Frank 94 Bowman, Lee . 41 Brown, Clarence 95 Bruce, Virginia . 42 Buzzell, Eddie 96 Burke, Billie 43 Conway, Jack 97 Carroll, John 44 Cukor, George. 98 Carver, Lynne 45 Fenton, Leslie 99 Castle, Don 46 Fleming, Victor .100 Curtis, Alan 47 LeRoy, Mervyn 101 Day, Laraine 48 Lubitsch, Ernst.102 Douglas, Melvyn 49 McLeod, Norman Z. 103 Frants, Dalies . 50 Marin, Edwin L. .104 George, Florence 51 Potter, H.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 3I3n61-4700 800tS21-o600 FABRICATING IDENTITIES: DRESS IN AMERICAN REALIST NOVELS, 1880 - 1925 by Carolyn L. Mathews A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Greensboro 1996 UMI Number: 9715597 Copyright 1996 by Mathews, Carolyn Louise All rights reserved.
    [Show full text]
  • The Inventory of the Joan Fontaine Collection #570
    The Inventory of the Joan Fontaine Collection #570 Howard Gotlieb Archival Research Center TABLE OF CONTENTS Film and Video 1 Audio 3 Printed Material 5 Professional Material 10 Correspondence 13 Financial Material 50 Manuscripts 50 Photographs 51 Personal Memorabilia 65 Scrapbooks 67 Fontaine, Joan #570 Box 1 No Folder I. Film and Video. A. Video cassettes, all VHS format except where noted. In date order. 1. "No More Ladies," 1935; "Tell Me the Truth" [1 tape]. 2. "No More Ladies," 1935; "The Man Who Found Himself," 1937; "Maid's Night Out," 1938; "The Selznick Years," 1969 [1 tape]. 3. "Music for Madam," 1937; "Sky Giant," 1938; "Maid's Night Out," 1938 [1 tape]. 4. "Quality Street," 1937. 5. "A Damsel in Distress," 1937, 2 copies. 6. "The Man Who Found Himself," 1937. 7. "Maid's Night Out," 1938. 8. "The Duke ofWestpoint," 1938. 9. "Gunga Din," 1939, 2 copies. 10. "The Women," 1939, 3 copies [4 tapes; 1 version split over two tapes.] 11. "Rebecca," 1940, 3 copies. 12. "Suspicion," 1941, 4 copies. 13. "This Above All," 1942, 2 copies. 14. "The Constant Nymph," 1943. 15. "Frenchman's Creek," 1944. 16. "Jane Eyre," 1944, 3 copies. 2 Box 1 cont'd. 17. "Ivy," 1947, 2 copies. 18. "You Gotta Stay Happy," 1948. 19. "Kiss the Blood Off of My Hands," 1948. 20. "The Emperor Waltz," 1948. 21. "September Affair," 1950, 3 copies. 22. "Born to be Bad," 1950. 23. "Ivanhoe," 1952, 2 copies. 24. "The Bigamist," 1953, 2 copies. 25. "Decameron Nights," 1952, 2 copies. 26. "Casanova's Big Night," 1954, 2 copies.
    [Show full text]
  • Ecstatic Melancholic: Ambivalence, Electronic Music and Social Change Around the Fall of the Berlin Wall
    Ecstatic Melancholic: Ambivalence, Electronic Music and Social Change around the Fall of the Berlin Wall Ben Gook The Cold War’s end infused electronic music in Berlin after 1989 with an ecstatic intensity. Enthused communities came together to live out that energy and experiment in conditions informed by past suffering and hope for the future. This techno-scene became an ‘intimate public’ (Berlant) within an emergent ‘structure of feeling’ (Williams). Techno parties held out a promise of freedom while Germany’s re-unification quickly broke into disputes and mutual suspicion. Tracing the historical movement during the first years of re-unified Germany, this article adds to accounts of ecstasy by considering it in conjunction with melancholy, arguing for an ambivalent description of ecstatic experience – and of emotional life more broadly. Keywords: German re-unification, electronic dance music, structure of feeling, intimate publics, ambivalence. Everybody was happy Ecstasy shining down on me ... I’m raving, I’m raving But do I really feel the way I feel?1 In Germany around 1989, techno music coursed through a population already energised by the Fall of the Berlin Wall. The years 1989 and 1990 were optimistic for many in Germany and elsewhere. The Cold War’s end heralded a conclusion to various deadlocks. Young Germans acutely felt this release from stasis and rushed to the techno-scene.2 Similar scenes also flourished in neighbouring European countries, the United States and Britain around the 1 ‘Raving I’m Raving,’ Shut up and Dance (UK: Shut Up and Dance Records, 1992), vinyl. Funding from the ARC Centre of Excellence for the History of Emotions Associate Investigator (CE110001011) scheme helped with this work.
    [Show full text]
  • YASIIN BEY Formerly Known As “Mos Def”
    The Apollo Theater and the Kennedy Center Present Final U.S. Performances for Hip-Hop Legend YASIIN BEY Formerly Known as “Mos Def” The Apollo Theater Tuesday, December 21st, 2016 The Kennedy Center New Year’s Eve Celebration at the Kennedy Center Concert Hall Saturday, December 31st, 2016 – Monday, January 2, 2017 (Harlem, NY) – The Apollo Theater and The John F. Kennedy Center for the Performing Arts announced today that they will present the final U.S. performances of one of hip hop’s most influential artists - Yasiin Bey (formerly known as Mos Def). These special engagements follow Bey’s announcement earlier this year of his retirement from the music business and will kick-off at the Apollo Theater on Tuesday, December 21st, culminating at The Kennedy Center from Saturday, December 31st through Sunday, January 2, 2017. Every show will offer a unique musical experience for audiences with Bey performing songs from a different album each night including The New Danger, True Magic, The Ecstatic, and Black on Both Sides, alongside new material. He will also be joined by surprise special guests for each performance. Additionally, The Kennedy Center shows will serve as a New Years Eve celebration and will feature a post-show party in the Grand Foyer. Yasin Bey has appeared at both the Apollo Theater and Kennedy Center multiple times throughout his career. “We are so excited to collaborate with the Kennedy Center on what will be a milestone moment in not only hip-hop history but also in popular culture. The Apollo is the epicenter of African American culture and has always been a nurturer and supporter of innovation and artistic brilliance, so it is only fitting that Yasiin Bey have his final U.S.
    [Show full text]
  • The Spirit of Dancehall: Embodying a New Nomos in Jamaica Khytie K
    The Spirit of Dancehall: embodying a new nomos in Jamaica Khytie K. Brown Transition, Issue 125, 2017, pp. 17-31 (Article) Published by Indiana University Press For additional information about this article https://muse.jhu.edu/article/686008 Access provided by Harvard University (20 Feb 2018 17:21 GMT) The Spirit of Dancehall embodying a new nomos in Jamaica Khytie K. Brown As we approached the vicinity of the tent we heard the wailing voices, dominated by church women, singing old Jamaican spirituals. The heart beat riddim of the drums pulsed and reverberated, giving life to the chorus. “Alleluia!” “Praise God!” Indecipherable glossolalia punctu- ated the emphatic praise. The sounds were foreboding. Even at eleven years old, I held firmly to the disciplining of my body that my Catholic primary school so carefully cultivated. As people around me praised God and yelled obscenely in unknown tongues, giving their bodies over to the spirit in ecstatic dancing, marching, and rolling, it was imperative that I remained in control of my body. What if I too was suddenly overtaken by the spirit? It was par- ticularly disconcerting as I was not con- It was imperative that vinced that there was a qualitative difference between being “inna di spirit I remained in control [of God]” and possessed by other kinds of my body. What if of spirits. I too was suddenly In another ritual space, in the open air, lacking the shelter of a tent, heavy overtaken by the spirit? bass booms from sound boxes. The seis- mic tremors radiate from the center and can be felt early into the Kingston morning.
    [Show full text]
  • Final Corrected Diss4-28
    21ST CENTURY MOJO: THE PRACTICE OF RITUAL AND HIP HOP AMONG BRIGHT, BLACK UNIVERSITY STUDENTS AT A PREDOMINANTLY WHITE UNIVERSITY by J. SEAN CALLAHAN (Under the direction of Tarek C. Grantham and Elizabeth A. St. Pierre) ABSTRACT In this qualitative project, I interviewed eight Black male and female students, ages 22-30, to explore how they engage hip hop culture within the social, cultural, political, and historical conditions specific to the southeastern flagship university they attend. By focusing on their everyday lives and the interactions that are possible within the multiple social spaces of the university, my purpose was to better understand how these students use hip hop culture to make sense of their experiences on campus. More specifically, my dissertation locates the ritual practices that these students perform in the process of constructing and negotiating the socio-cultural terrain of the university; addresses the methodological issues that arise when conducting qualitative research that focuses on gifted, Black students; and explores the educative value of practicing hip hop. The significance of this work lies with its attention to the intersection where the processes of cultural production meet giftedness as well as its emphasis on the socio-emotional development of gifted and talented Black university students. INDEX WORDS: Interdisciplinary research, Hip hop, Culture, Gifted black students, Qualitative research, Ethnography, Gifted education, Curriculum, Performativity, Conjure, Rituals, Spirituality, Identity, Socio- emotional development 21ST CENTURY MOJO: THE PRACTICE OF RITUAL AND HIP HOP AMONG BRIGHT, BLACK UNIVERSITY STUDENTS AT A PREDOMINANTLY WHITE UNIVERSITY by J. SEAN CALLAHAN B.A., University of West Georgia, 1998 M.Ed., University of Georgia, 2004 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ATHENS, GEORGIA 2012 © 2012 J.
    [Show full text]
  • Little Theatre Society of Indiana
    LITTLE THEATRE SOCIETY OF INDIANA 1915-16 1919-20 1921-22 Polyxena Bernice Release A Killing Triangle Eugenically Speaking The Dragon The Glittering Gate Three Pills in a Bottle The Spring The Scheming Lieutenant Trespass A Nativity Play Dad The Angel Intrudes The Constant Lover A Christmas Miracle Play Trespass (2nd Production) Androcles & the Lion The Pretty Sabine Women The Shepherd in the Distance The Forest Ring Overtones The Star of Bethlehem Beyond the Horizon The Broken God Dierdre of the Sorrows Everyman Dad (2nd Production) The Jackdaw The Betrothal Cake At Steinberg’s Bushido Disarmament How He Lied to Her Husband A Woman’s Honor The Casino Gardens The Game of Chess Unspoken Children of the Moon The Kisses of Marjorie Moonshine Belinda Dawn Phoebe Louise Not According to Hoyle The Dark Lady of the Sonnets The Bank Robbery Mansions A Scrambled Romance Chicane The Dryad & the Deacon (silent film) The Groove Underneath A Shakespeare Revel Stingy 1922-23 Rococo The Trysting Place 1916-17 The Price of Coal A Civil War Pageant 1920-21 The Turtle Dove Night with Indiana Authors The Proposal Brothers Polly of Pogue’s Run In Hospital Two Dollars, Please! Laughing Gas Behind a Watteau Picture The Marriage Gown The Lost Silk Hat The Home of the Free Dad (3rd Production) The Farce of Pierre Patelin The Blind Sycamore Shadders Duty The Medicine Show Nocturne The Maker of Dreams Aria Da Capo Treason The Importance of Being Mary Broome Where Do We Go From Here? Earnest The Star of Bethlehem (2nd The Wish Fellow Lithuania Production) Father and the Boys Supressed Desires The Mollusc My Lady Make-Believe Cathleen Ni’Hoolihan Mary’s Lamb A Shakespeare Revel (2nd Spreading the News The Emperor Jones Production) The Rising of the Moon The Beauty Editor Sham 1923-24 1917-18 The Confession March Hares (No records survive) The Lotion of Love The Bountiful Lady The Wren 1918-19 The Doctor of Lonesome Folk A Pageant of Sunshine Why Marry? and Shadow Hidden Spirits The Murderer (a.k.a.
    [Show full text]
  • Ecstatic Encounters Ecstatic Encounters
    encounters ecstatic encounters ecstatic ecstatic encounters Bahian Candomblé and the Quest for the Really Real Mattijs van de Port AMSTERDAM UNIVERSITY PRESS Ecstatic Encounters Bahian Candomblé and the Quest for the Really Real Mattijs van de Port AMSTERDAM UNIVERSITY PRESS Layout: Maedium, Utrecht ISBN 978 90 8964 298 1 e-ISBN 978 90 4851 396 3 NUR 761 © Mattijs van de Port / Amsterdam University Press, Amsterdam 2011 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Contents PREFACE / 7 INTRODUCTION: Avenida Oceânica / 11 Candomblé, mystery and the-rest-of-what-is in processes of world-making 1 On Immersion / 47 Academics and the seductions of a baroque society 2 Mysteries are Invisible / 69 Understanding images in the Bahia of Dr Raimundo Nina Rodrigues 3 Re-encoding the Primitive / 99 Surrealist appreciations of Candomblé in a violence-ridden world 4 Abstracting Candomblé / 127 Defining the ‘public’ and the ‘particular’ dimensions of a spirit possession cult 5 Allegorical Worlds / 159 Baroque aesthetics and the notion of an ‘absent truth’ 6 Bafflement Politics / 183 Possessions, apparitions and the really real of Candomblé’s miracle productions 5 7 The Permeable Boundary / 215 Media imaginaries in Candomblé’s public performance of authenticity CONCLUSIONS Cracks in the Wall / 249 Invocations of the-rest-of-what-is in the anthropological study of world-making NOTES / 263 BIBLIOGRAPHY / 273 INDEX / 295 ECSTATIC ENCOUNTERS · 6 Preface Oh! Bahia da magia, dos feitiços e da fé.
    [Show full text]
  • Yasiin Bey Formerly Known As “Mos Def”
    **ANNOUNCEMENT** The Apollo Theater Announces a Second Show For yasiin bey Formerly Known as “Mos Def” Performances Are Among the Legendary Emcee’s Final US Shows The Apollo Theater Additional Date: Thursday, December 22nd, 2016 (Harlem, NY) – Due to popular demand, the Apollo Theater announced today that it has added a second show on Thursday, December 22nd for yasiin bey (formerly known as Mos Def), one of hip hop’s most influential artists. These special engagements follow bey’s announcement earlier this year of his retirement from the music business and will kick-off at the Apollo Theater on Wednesday, December 21st. Every show will offer a unique musical experience for audiences with bey performing songs from a different album each night including The New Danger, True Magic, The Ecstatic, and Black on Both Sides, alongside new material. He will also be joined by surprise special guests for each performance. Yasiin bey has appeared at the Apollo Theater multiple times throughout his career. Following his final U.S. performances, bey will venture to Africa to focus on his arts, culture, and lifestyle collective A Country Called Earth (ACCE). He will also continue to pursue his newly formed passions as a painter and his art, as well as that of various other ACCE artists, will be anonymously displayed at the Apollo Theater and the Kennedy Center. TICKET INFORMATION Tickets for the second show of yasiin bey at the Apollo go on sale to the public on Thursday, December 15th at 12 Noon. An online ticket pre-sale will be offered to the Apollo’s “A-list” email list beginning Wednesday, December 14th at 12 Noon.
    [Show full text]
  • Stardom: Industry of Desire 1
    STARDOM What makes a star? Why do we have stars? Do we want or need them? Newspapers, magazines, TV chat shows, record sleeves—all display a proliferation of film star images. In the past, we have tended to see stars as cogs in a mass entertainment industry selling desires and ideologies. But since the 1970s, new approaches have explored the active role of the star in producing meanings, pleasures and identities for a diversity of audiences. Stardom brings together some of the best recent writing which represents these new approaches. Drawn from film history, sociology, textual analysis, audience research, psychoanalysis and cultural politics, the essays raise important questions for the politics of representation, the impact of stars on society and the cultural limitations and possibilities of stars. STARDOM Industry of Desire Edited by Christine Gledhill LONDON AND NEW YORK First published 1991 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge a division of Routledge, Chapman and Hall, Inc. 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” © 1991 editorial matter, Christine Gledhill; individual articles © respective contributors All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.
    [Show full text]
  • Delphian1936.Pdf
    /fax rl^m m -e^>- rvre/'YTT'^ SSBB t ~ yy(fi m * Qa^ ° 'C o O t^ J b ^ x ^ . j y - - ^ > ^ ^ P r ✓ I ■ L j s j y ^ i « < v y x ^ fO : 1 'TnoA/ &>u £■ CctA.7^Ca o n f c y , > ?' '&m J y t / f , H i 1P§| q^xs* 1>;# | B y f < ^ \ TX- JPNP 0 ## m .4 n 1 ■SEP1* 1 THE OPENING NIGHT Presenting —— the de R E V IE W H APPE / CENTRAL H NEW PHILAD ROSEMARY McHALE EDITOR Lphian OF 1936 MINGS BH SCHOOL P H I A, OHIO RICHARD HARRIS BUS. MGR. Foreword We have chosen as our theme for this book the stage—“A stage where every man must play a part.” For after all, what is school, and indeed life, but a drama, enacted on the stage? Some of the players are deep-thinking, some shallow, some superficial, and some nondescript. Each one plays his part and when all is woven to­ gether, there is formed a wonderful drama— life. Dedication We, the class of nineteen hundred and thirty- six, dedicate this book to the memory of “Sunny” Schenk, our band director, who gave so liberally of his time, energy, and personality, to our school and town. In this way we show our appreciation for his constant interest and untiring efforts in our be­ half. Two' H B H j aMpSlttffiSf ‘'’KB D r . B u r r e l l R u s s e l l President C l e t u s A.
    [Show full text]