DOCSLIB.ORG

Adjunct Spotlight

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Adjunct Spotlight State University of New York at Fredonia The Issue No. 6, Volume XXV LeaderWednesday October 9, 2013 birdhaus gallery exhibits Visiting Artists student photography and Program welcomes sculpture Guy Laramee b-2 b-2 Anti-gay law does Drag not stop study Show abroad JOSEPH DRAKE gone Special to The Leader Next June, students from SUNY Fredonia will journey to Russia, where a powerful anti-gay law was recently created. The trip is a part of the Russian wild History and Culture course, run by Professor Anton Agafonov and Dr. Jack Croxton. Next June will be SUNY Fredonia’s sixth study abroad program in Russia but the first since Russia’s president, Vladimir Putin, began a wave of Andrea Adinolfe / Special to The Leader discrimination. The persecution Alumn of Fredonia, Tequila Mockingbird returns for this fall's drag show. of homosexuals and other sexual minorities stems largely from one REBECCA HALE transformed into a showroom complete with a offered dollar bills to tip the kings and queens. particular piece of legislation. Special to The Leader runway, DJ and a full lighting system. Students Some performers went wild, taking the bills with According to the Huffington began to form a line outside of the MPR as their mouths, dancing with audience members Post, Putin signed the bill in ques- Hundreds of screaming student fans crowded early as 7 p.m. to snatch a front-row view, but and even pulling a few onstage with them. tion on June 30. The bill illegalizes around a glitzy and colorful runway on Friday doors didn’t open until 7:30. “The crowd craved it,” said Waistline. the distribution of information night to watch in awe and to cheer on this This year, three queens and six kings “It was extravagant, amazing. You love it and regarding the LGBTQ community year’s drag kings and queens as they danced, competed for the titles of Mister and Miss Gay want to see something new, eclectic, different.” to youth. It also forbids public lip-synched and strutted their stuff. The event Fredonia 2013. Three alumni drag judges also Senior Brittany Fischer, who has attended demonstrations meant to rally turned out to be a huge hit, between the charis- performed, along with professional drag queen every drag show in the past five years, said support for the oppressed group. matic hostess, the choreographed routines and and hostess of the event, Anita Waistline. Each simply, “It was awesome.” “They’re trying to react to the jaw-dropping attire. contestant performed a dance and lip-synced In between acts, different members what they think is threatening the All of this contributed to a very diverse to a song or mash-up that they had prepared. of Pride Alliance took turns entertaining and children,” Agafonov explained. and energetic crowd who eagerly awaited the They also participated in a runway walk. bringing students up on stage to show their stuff. “You’re not supposed to kiss in moment when Kimmi Moore and Ben Eaton The crowd was alive with energy as students Students danced, strutted, and many twerked. public — especially if you’re a would be crowned Miss and Mister Gay Fredonia. danced and interacted with the performers as gay person.” The event took place inside Williams much as possible. They reached out to touch the Continued on page B-1 “You can get arrested for so Center Multi-Purpose Room, which had been performers as if they were famous, and some much as wearing a rainbow pin on your shirt,” said Kenneth Olsen, president of the Fredonia Pride Alliance. Adjunct Spotlight The upcoming study abroad program will take place from June 1 to June 18 of 2014 with an emphasis Davis brings practical approach to the classroom on experiencing Russian culture. Students will visit important sites CARL LAM bachelor’s was at [the] Chautauqua Institution State Behrend doing public relations and in the cities of St. Petersburg Staff Writer as an assistant editor/writer for their commu- marketing work. When this offer came up, I and Moscow, such as include the nications office,” Davis said. “I was able to just jumped at it. This was the opportunity I Catherine Palace and the Kremlin. It’s a building we’ve all walked past to go combine what I had gone to school for with was looking for,” Davis said. “I always hoped This trip will also provide downtown. It’s right at the corner of that traffic my love for theater and the arts.” that I would be able to get back to combining an opportunity for interaction light that never seems to be in sync with the A couple years later, Davis made the move what I had gone to school for with my passion between Russian students and next one at Main Street. The Fredonia Opera to the corporate world. During that time, he for the arts and culture.” participants in the study abroad House has been a local landmark since 1891, went back to earn his MBA from Wingate Davis always had an appreciation for the program. This allows Fredonia’s and the executive director, Rick Davis, still University. Additionally, Davis was also arts and he was able to trace it back to the days students to experience another finds the time to teach as an adjunct profes- teaching courses at the University of North of high school. culture firsthand. sor at SUNY Fredonia in the Department of Carolina at Charlotte in public relations and “I was always a drama club geek in high “With those students, when Theater and Dance. public speaking. school; I was a member of the show choir, was they ask questions, they actually Davis graduated from Utica College with Ironically enough, Davis had an interesting in the chorus, I sat at the band table for lunch get answers from the culture, from a bachelor’s degree in public relations and and rare decision to make. Two options with and that continued through college,” he said. the people,” said Agafanov. journalism. He recalls getting his first job in two very different lifestyles; the decision, for Chautauqua County at a prominent and well- Davis, was a simple one. known location. “A week before I was offered the opera Continued on page A-2 Continued on page A-2 “My first job after graduating with my house job, I had accepted a position at Penn A-2A-2 TheThe LeaderLeader,, WednesdayWednesday AprilOctober 11,2 20129, 2013 Adjunct Spotlight: Continued from page A-1 As the executive director of The 1891 tion to your bottom line, you’re not going to tance of the class Davis Fredonia Opera House, Davis is always survive,” he said. “That’s really the approach teaches. promoting upcoming shows, writing news that I try to take with the class that I’m “I personally think releases, negotiating contracts and community teaching. I tell the students that I’m going to that the economy and the outreach. He’s also responsible for financial teach this class from a practical perspective. direction of careers in transactions at the facility and said his busi- I tell them that they need to operate like a the arts are going is that ness degree has served him well. business and be attentive to your bottom students have to learn “I think having the business degree line and finances.” how to create their own and business background absolutely help. In The class that Davis teaches is so practi- work and market their today’s economic environment, you almost cal that students do something in 15 weeks own work. I think tak- really have to operate an arts organization that could normally take nearly six months ing that course and the as though it were a business,” Davis said. or more. service of that course, to “I think that the business degree and the “In the course that I teach, the biggest the department, is more practical experience that I gained over the part of the student’s grade comes from one important than it ever course of my career of managing projects and semester-long project. They create their used to be,” Loughlin promoting events helped me in this position.” own theater or art company. We spend a lot said. “Without a good However, when Davis accepted this of time early in the semester talking about idea of how to start a position, he gave the idea a considerable finding your niche,” Davis said. business, you’re going amount of thought. The opera house has been an iconic to start your career and “After I had been [in Fredonia] for a few landmark in Fredonia and Davis said he’s you’ll be floundering. So years, Steve Rees, former department chair, glad to be part of the place he calls home. that course is something asked if I would be interested in teaching a “Fredonia’s a wonderful community. I think is a tremendous theater management course, which is what People are very supportive of one another service to the depart- I was doing every day. I was very interested and of the opera house. I feel fortunate to ment.” because I had missed that interaction with be working in this community and interact- L oug h l i n h a s the students,” Davis said. ing with that type of people,” Davis said. worked with Davis on The choice wasn’t easy, especially con- “Personally, I love the pace of Chautauqua a couple projects at sidering that the opera house is much more County; there’s a little bit of a relaxed pace the opera house and is than just a full-time job.
Load more

Recommended publications
  • Chronology of Lolita
    Chronology of Lolita CHRONOLOGY OF LOLITA This chronology is based on information gathered from the text of Nabokov’s Lolita as well as from the chronological reconstructions prepared by Carl Proffer in his Keys to Lolita and Dieter Zimmer’s online chronology at <http://www.d-e-zimmer.de/LolitaUSA/LoChrono.htm> (last accessed on No- vember 13, 2008). For a discussion of the problems of chronology in the novel, see Zimmer’s site. The page numbers in parenthesis refer to passages in the text where the information on chronology can be found. 1910 Humbert Humbert born in Paris, France (9) 1911 Clare Quilty born in Ocean City, Maryland (31) 1913 Humbert’s mother dies from a lightning strike (10) 1923 Summer: Humbert and Annabel Leigh have romance (11) Autumn: Humbert attends lycée in Lyon (11) December (?): Annabel dies in Corfu (13) 1934 Charlotte Becker and Harold E. Haze honeymoon in Veracruz, Mexico; Dolores Haze conceived on this trip (57, 100) 1935 January 1: Dolores Haze born in Pisky, a town in the Midwest (65, 46) April: Humbert has brief relationship with Monique, a Parisian prostitute (23) Humbert marries Valeria Zborovski (25, 30) 1937 Dolly’s brother born (68) 1939 Dolly’s brother dies (68) Humbert receives inheritance from relative in America (27) Valeria discloses to Humbert that she is having an affair; divorce proceedings ensue (27, 32) xv Chronology of Lolita 1940 Winter: Humbert spends winter in Portugal (32) Spring: Humbert arrives in United States and takes up job devising and editing perfume ads (32) Over next two years
    [Show full text]
  • LOLITA Opéra Imaginaire D’Après La Roman De Vladimir Nabokov Composé Et Arrangé Par Joshua Fineberg
    LOLITA Opéra imaginaire d’après la roman de Vladimir Nabokov composé et arrangé par Joshua Fineberg 1. Argument Spectacle multi-média pour danseurs/acteurs, voix, ensemble, électronique et vidéo Mon travail a longtemps porté sur la question des sources (modèles) de la réalité et de leurs représentations (réalisations) dans les œuvres artistiques. C'est un thème central dans toute la musique spectrale, de la synthèse orchestrale d'un trombone dans Partiels de Grisey à l'analyse/re-synthèse en temps réel de l'ensemble instrumental dans ma propre pièce Empreintes. Ce rapport (du modèle à la représentation) est presque toujours destructif. Le modèle semble pauvre une fois que l'artifice l'a révélé dans une plus riche apparence. Un « original » qui devrait résonner dans sa « légitimité » est accablé par la force de sa transcription. Pour moi, c'est là la vraie histoire racontée par Lolita de Nabokov. L’œuvre de Nabokov a suscité beaucoup de polémiques et a été adaptée en diverses réalisations dramatiques (les plus notables étant deux grands films); cependant ces adaptations se sont toutes concentrées sur ce qui est peut-être l’aspect le moins intéressant du roman – son intrigue. Pour moi, l'idée vraiment essentielle de l’œuvre est la nature en soi destructive de la transcription artistique d'un personnage, d'un événement, d'une scène ou d'un son. Transposant une adolescente réelle en une vision sublimée Humbert la tue de fait et place un double à sa place (ironiquement il la détruit assez complètement dans la réalité). Le vrai personnage féminin est vu seulement de temps en temps et à travers des aperçus furtifs (comme ses yeux rougeoyants, brillant en de rares occasions derrière un masque ornemental).
    [Show full text]
  • The Convergence of Morality and Aesthetics in Nabokov's Lolita
    Georgia State University ScholarWorks @ Georgia State University English Theses Department of English 6-12-2006 Aesthetic Excuses and Moral Crimes: The Convergence of Morality and Aesthetics in Nabokov's Lolita Jennifer Elizabeth Green Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Part of the English Language and Literature Commons Recommended Citation Green, Jennifer Elizabeth, "Aesthetic Excuses and Moral Crimes: The Convergence of Morality and Aesthetics in Nabokov's Lolita." Thesis, Georgia State University, 2006. https://scholarworks.gsu.edu/english_theses/9 This Thesis is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. AESTHETIC EXCUSES AND MORAL CRIMES: THE CONVERGENCE OF MORALITY AND AESTHETICS IN NABOKOV”S LOLITA by JENNIFER ELIZABETH GREEN Under the Direction of Paul Schmidt ABSTRACT This thesis examines the debate between morality and aesthetics that is outlined by Nabokov in Lolita’s afterword. Incorporating a discussion of Lolita’s critical history in order to reveal how critics have chosen a single, limited side of the debate, either the moral or aesthetic, this thesis seeks to expose the complexities of the novel where morality and aesthetics intersect. First, the general moral and aesthetic features of Lolita are discussed. Finally, I address the two together, illustrating how Lolita cannot be categorized as immoral, amoral, or didactic. Instead, it is through the juxtaposition of form and content, parody and reality, that the intersection of aesthetics and morality appears, subverting and repudiating the voice of its own narrator and protagonist, evoking sympathy for an appropriated and abused child, and challenging readers to evaluate their own ethical boundaries.
    [Show full text]
  • Hunter Opera House Collection (2008.95)
    Guide to Hunter Opera House Collection – 2008.95 ______________________________________________________________________________ Reference code US CoGrCGM 2008.95 Title: Hunter Opera House Collection Processed by Patsy White Finding aid prepared by Patsy White Name and location of repository Hazel E Johnson Research Center Greeley History Museum 714 8th Street Greeley, CO 80631 Phone: (970)351-9219 Email: [email protected] URL: http://greeleymuseums.com/ Collection Summary Dates 1906-1907 Bulk dates 1906-1907 Level of description Subseries Extent .25 cubic feet . Creator(s) Marvin Woolf Administrative/Biographical History Brief History of the Hunter Opera House (Greeley Opera House) The Hunter Opera House, also called the Greeley Opera House, in Greeley, CO was opened in 1886. It was located on the second floor of the building at 8th and 8th. It was built to serve as a venue for theatrical and musical productions for the area between Cheyenne and Denver. Instrumental in bringing the theater to Greeley was S. D. Hunter, a local cattleman. He was a Partner in the Hunter and West Bank, which occupied the first floor of the building. The theater cost $85,000 and was the largest and finest in the state north of Denver. It seated 800 people and the stage was built by the carpenters from the Tabor Opera House in Denver. The theater featured traveling theater and companies and musicians, as well as local talent. The programs included admonitions to the audience such as: - Do not applaud with your feet. - Do not spit tobacco on the floor. 1 - Do not eat peanuts in the hall. - Do not whistle or shout in applauding.
    [Show full text]
  • Lolita Fashion, Like Other Japanese Subcultures, Developed As a Response a to Social Pressures and Anxieties Felt by Young Women and Men in the 1970S and 1980S
    Lolita: Dreaming, Despairing, Defying Lolita: D, D, D J New York University a p As it exists in Japan, Lolita Fashion, like other Japanese subcultures, developed as a response a to social pressures and anxieties felt by young women and men in the 1970s and 1980s. Rather than dealing with the difficult reality of rapid commercialization, destabilization of society, n a rigid social system, and an increasingly body-focused fashion norm, a select group of youth chose to find comfort in the over-the-top imaginary world of lace, frills, bows, tulle, and ribbons that is Lolita Fashion. However, the more gothic elements of the style reflect that behind this cute façade lurks the dark, sinister knowledge that this ploy will inevitably end, the real world unchanged. Background: What is Lolita Fashion? in black boots tied with pink ribbon. Her brown If one enters the basement of street fashion hair has been curled into soft waves and a small hub Laforet in Harajuku, Tokyo, one will come pink rose adorns her left ear. across a curious fashion creature found almost exclusively in Japan: an adult woman, usually Although the women (and occasionally men) in in her late teens or early twenties, dressed like Laforet look slightly different, they all share the a doll. Indeed, the frst store one enters, Angelic same basic elements in their appearance: long, Pretty, looks very much like a little girl’s dream curled hair, frilly dresses, delicate head-dresses doll house. The walls and furniture are pink or elaborate bonnets, knee-socks, round-toed and decorated with tea-sets, cookies, and teddy Mary Janes, round-collared blouses and pouffy, bears.
    [Show full text]
  • Longing in Lolita Emily Aucompaugh Submitted for Honors in English the University at Albany, SUNY Directed by Helen Elam (Date)
    To Speak Ghosts and See Echoes: Longing in Lolita Emily Aucompaugh Submitted for Honors in English The University at Albany, SUNY Directed by Helen Elam (Date) Chapter 1: Echoes and Ghosts A while ago, when I knew only that I wished to write something about Lolita, a friend sent me an internet article titled, “How Lolita seduces us all.” The author argues that the success of Vladimir Nabokov’s novel derives foremost from the “tiny Humbert’s” the text creates out of readers who avail themselves “of morally troubling pleasure.” Admittedly, when it comes to a novel like Lolita, which explores the extreme taboo of a middle-aged intellect in a sexual relationship with his twelve-year-old stepdaughter, the plot often tempts the reader to measure his or her own moral standing based on the degree to which they sympathize with Humbert Humbert and enjoy his story. Of course, examining the moral implications of the text in relation to one’s own empathetic response to a murderous pedophile is an important, indeed a necessary, component when analyzing a text such as Lolita. I remember reading the novel in my freshman year of college, and making the mistake of stating to one of my English professors that I liked Humbert Humbert. She without hesitation corrected my assertion by distancing me from my emotional response. With a slight sneer of disgust, she said, “You don’t like Humbert. You mean he interests you.” I did not mean then, and do not mean now, that Humbert merely interested me, like a spectacle to be observed only through the scientific lens of a biologist.
    [Show full text]
  • Credits and Works 2015
    Ciaran Hope CREDIT and WORK LIST 2015 01.825.5566 Select Film Composing Credits Movie Title Film Format Production Information The Letters Feature Film 20th Century Fox/ Disney Bluesky Keynote Presentation Corporate Presentation The Walt Disney Company Joni and Friends TV Series The TBN, & NRB Networks End of the Innocents Short Feature Dir. Deborah Chesher Truth about Kerry Feature Film O’ Sullivan Films Fresh Suicide Short Feature Dir. Anupam Barve Surf School ** Feature Film Dir. Joel Silverman Buffy the Vampire Slayer ** TV Series The WB Network Manfast * Feature Film Raleigh Studios Childhoods End Animation Dir. Raul Guerra The Man in the Iron Mask * Feature Film Dir. William Richert When Angels Cry Short Feature Dir. Narendra Reddy Velvet Feature Film Dir. Philip Curry The Groom Short Feature Dir. Victor Cardenas Toxin Short Feature Dir. Philip Curry New York Gauchos Industrial Film Clearstream Films Screw Cupid Feature Film Dir. Sanjeev Sirpal Little Star Short Feature Dir. David Plane Hollywood Horror Feature Film Elliot Kastner, Producer HERE Family Documentary Series HERE! Network All In Feature Film Jack High Films The Healing Short Feature Dir. Nancy Hendrickson Grace Feature Film Dir. Anthony Scarpa The Insider *** Feature Film Composer Lisa Gerrard * [additional music credit] **[Song Credit] *** [Orchestrations - Golden Globe Nomination] Movie Title Film Festival Selections The Letters WINNER Audience Award for BEST OF FESTIVAL at the Sedona International Film Festival 2014, WINNER Best Actress and Best Director at the 2014
    [Show full text]
  • Dossier Pédagogique Lulu
    de Frank Wedekind Conception graphique : Atelier ter Bekke & Behage / Licence n° 1-103 58 14 mise en scène Stéphane Braunschweig www.colline.fr 01 44 62 52 52 15 rue Malte-Brun, Paris 20e Grand Théâtre du 4 novembre au 23 décembre 2010 Dossier pédagogique Une tragédie -monstre Introduction par Stéphane Braunschweig 4 Résumé 5 Personnages et analyse 6 Choix des textes traduits 8 Les titre s: La Boîte de Pandore et L’Esprit de la terre 9 Mélanges dramatiques 10 Le projet de mise en scène L’érotisme de Frank Wedekind, C. Quiquer 12 Lolita, Vladimir Nabokov 13 Le théâtre du fantasme, entretien avec Stéphane Braunschweig 14 La ménagerie de Wedekind, Cécile Schenck 16 Le cirque, Jonny Ebstein, Frank Wedekind 17 Bibliographie 19 Lulu, une femme sur la scène de la transgression ... Extrait de Lulu (Acte I, scène 2) 20 Le sexe et l’argent, Edward Bond 23 De la “Schauertragôdie” de Wedekind à la Lulu de Berg : une adaptation exemplaire, Laurent Mulheisen 25 Apologie de la femme, Karl Kraus 26 Confession, Frank Wedekind 27 Lulu et Nana, Jean -Louis Besson 28 Extraits de Nana , Émile Zola 29 Article sur la Loulou de Pabst, Jeanine Boissonnouse 30 Frank Wedekind Journal 8 septembre 1893, Frank Wedekind 31 Wedekind ou la lutte de l’individu contre les structures répressives de la vie quotidienne, Peter Jelavich et P. Blanchard 35 Repères biographiques 36 1 de Frank Wedekind mise en scène et scénographie Stéphane Braunschweig collaboration artistique Anne-Françoise Benhamou costumes Thibault Vancraenenbroeck lumières Marion Hewlett son Xavier Jacquot
    [Show full text]
  • Vladimir Nabokov's Lolita, Edited by Harold Bloom, 13-33
    Journal of the Research Society of Pakistan Volume No. 57, Issue No. 1 (January – June, 2020) Amna Umer Cheema * Vladimir Nabokov’s Lolita: Humbert Humbert’s Psychological Transition from Desire to Remorse Abstract This research paper is an evaluation of the psychological transition in Humbert Humbert's character - the protagonist of Vladimir Nabokov’s Lolita. Humbert is initially driven by his obsessive desire for nymphets. His untamed lust results in the victimization of his stepdaughter. The research attempts to explore the behavioural and emotional change in Humbert's character. This change is analyzed with respect to the conflicting emotions of 'desire' and 'remorse' which, according to Humbert, are the characteristic features of his personality. By establishing the narcissistic element as the defining factor of Humbert's character, it has been deduced that he is incapable of remorse. Introduction This paper is an examination of Humbert's psychological journey from desire to remorse. The aim of the research is to delineate the thought processes which stimulate Humbert's obsession with Lolita, alias, Dolores Haze to undergo a transformation, and to unravel how his conscience reprimands him. The objective is to establish that Humbert's journey in the novel is an emotional and behavioural movement from a lustful obsession to self-admonition. Apart from this, there is emphasis on the obtruding nature of his desire for Lolita, and it has been inferred how his compulsively preoccupied yearning for the young child ironically results in the shattering and debilitation of his own personality. Humbert's character has proved feasible in comprehending the dilemma which engulfs pedophiles, particularly those haunted by the ‘Lolita Complex’ - the perverse infatuation of adult males with very young female children.
    [Show full text]
  • Music and Songs in ''Lolita'', Novel and Film
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Scientific Publications of the University of Toulouse II Le Mirail Music and Songs in "Lolita", novel and film Marie Bouchet To cite this version: Marie Bouchet. Music and Songs in "Lolita", novel and film. Miranda, 2010, http://www.miranda-ejournal.fr/1/miranda/article.xsp?numero=3&id article=article 11-455. <hal-00712136> HAL Id: hal-00712136 https://hal-univ-tlse2.archives-ouvertes.fr/hal-00712136 Submitted on 26 Jun 2012 HAL is a multi-disciplinary open access L'archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destin´eeau d´ep^otet `ala diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publi´esou non, lished or not. The documents may come from ´emanant des ´etablissements d'enseignement et de teaching and research institutions in France or recherche fran¸caisou ´etrangers,des laboratoires abroad, or from public or private research centers. publics ou priv´es. Music and Songs in Lolita, novel and film Marie BOUCHET, Maître de Conférences - Université Toulouse 2 _ Le Mirail [email protected] Cette étude s'attache à souligner l'importance de la musique et des chansons dans Lolita, tant dans le roman de Nabokov (1955) que dans l'adaptation filmique qu'en réalisa Stanley Kubrick en 1962. En effet, comme l'explique Linda Hutcheon (Hutcheon 7), l'adaptation met en œuvre un processus de transcodage du code écrit au code filmique, qui est lui-même multisémiotique, puisqu'un film associe images mouvantes et fixes, langage et naturellement musique.
    [Show full text]
  • 2005 Western Minstrel
    P AGE 3 THE WESTERN MINSTREL Western Kentucky University Department of Music Summer 2005 Volume 5, Issue 1 Bowling Green, Kentucky The Gift of Music Recital Groom’s Graffiti 2004-2005 Scholarship Recipients Big Events for This Year: the Wind Ensemble has traveled to Russia; we have added a new di- mension to our faculty with a new position in Choral Music Educa- tion; we have invested consider- able time and expense in the De- partment of Music website and recruiting CD; new scholarships At the Scholarship Recital; Mitzi have been endowed; and more Groom, Sue Pauli, Laura Lee, Potter alumni are staying in touch. College Dean David Lee The music faculty continue to amaze me with their breadth of performance skills, their pursuit of educationally, creative ideas, and their ability to identify quality men- tors for our students’ musical growth. They have again spon- sored recitals, concerts and mas- The Fourth Annual Scholarship Recital was presented on April 16, terclasses numbering well above 130 for this past year, and this list 2005, at The Ivan Wilson Fine Arts Center Recital Hall. Twenty- 2005 Big Red Basketball Band three scholarship recipients were presented at this recital, which has includes the following guest artists: come to represent some of the finest talent we have in the music de- Michael Alvey (Gordon’s Music partment. This year’s recipients were (L to R): Seated, Jennifer Learning Theory); Sandip Bur- man (tabla); Sandra Cameron Gottfried, BG, KY; Brandon Jones, Bremen, KY; Brittany Jarboe, Please come and join your fellow North Vernon, IN; Janie Weiter, Louisville, KY; Natalie Riley, BG, (violin); Sidney King (double bass); Oklahoma Brass Quintet; music alums for a Homecoming KY; Mary Alice Ratzlaff, Orland, CA; (L to R): Standing, Katie Go- Celebration on October 15, forth, Chattanooga, TN; Rebecca Hurst, Somerset, KY; Steven Lopez, Regi Wooten (guitar); Rhonda 2005, for lunch under the big Franklin, KY; Natalie Adcock, Central City, KY; Christina Napier, Larson and Katherine Borst Jones tent on the South Lawn.
    [Show full text]
  • (And 'Saving' Humbert): Nabokov, Shchedrin and The
    Staging Lolita (and ‘Saving’ Humbert): Nabokov, Shchedrin and the Art of Adaptation BRYAN KARETNYK I dream of simple tender things: a moonlit road and tinkling bells. Ah, drearily the coachboy sings, but sadness into beauty swells… (Vladimir Sirine)1 Introduction Recalling the arduous composition and publication history of Lolita (1955), Vladimir Nabokov wrote that his ‘famous and infamous novel’ had been ‘a painful birth, a difficult baby’.2 The same might have been said almost forty years on from Lolita’s first publication, in 1993, when Rodion Shchedrin, one of Russia’s leading composers and former head of the Union of Russian Composers, was completing work on an operatic adaptation of that same novel. Initially beset by an array of troubles ranging from the Bryan Karetnyk is a Wolfson postgraduate scholar at the School of Slavonic and East European Studies, University College London. The publisher and the author would like to thank Schott for their kind permission to reprint the musical extracts included in this article. The author would like to thank further his two anonymous peer reviewers for their insightful comments, which improved the article greatly, and also the following individuals for making available materials without which the research of this article would have been a far more toilsome task: Gary Kahn and his colleagues at the Perm Opera House, Yvonne Stern-Campo and Lena Kleinschmidt of Schott publishers, and Leonid Peleshev of the International Rodion Shchedrin and Maya Plisetskaya Foundation. 1 Vladimir Sirine [Nabokov], ‘The Russian Song’, in Vladimir Nabokov, Carrousel, Aartswoud, , p. 2 1987 25 Vladimir Nabokov, Speak, Memory, London, 2000, p.
    [Show full text]