Floor Debate August 13, 2020
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Where to Go Camping
There was a statement in an older version of the Boy Scout Handbook that said: “Have you ever dreamed of hiking the wilderness trails that were worn down under moccasins hundreds of years ago? Do you hear in your imagination the almost soundless dip, dip of Indian canoe paddles or the ring of the axe of an early pioneer hewing a home out of the American wilderness? Have you followed with you mind’s eye the covered wagon on the trek across our continent? Yes, it’s fun to be a Boy Scout! It’s fun to go hiking and camping with your best friends…..to swim, to dive, to paddle a canoe, to wield the axe…..to follow in the footsteps of the pioneers who led the way through the wilderness…..to stare into the glowing embers of the campfire and dream of the wonders of the lift that is in store for you…” This is the heart of Scouting, but we don’t always know the best place to go on these outings. How better can the Order of the Arrow fulfill a part of their responsibility of service to others than to make this camping guide available? A great guide to the best camping, boating, hiking and sightseeing both in and out of the Council, but, of course, one of the best places to do real camping is at one of the Council’s reservations. Richard A. Henson or Rodney Scout Reservation, both long term camping during the summer months, or weekends through the year, affords a maximum of program. -
Homer's Odyssey and the Image of Penelope in Renaissance Art Giancarlo FIORENZA
223 Homer's Odyssey and the Image of Penelope in Renaissance Art Giancarlo FIORENZA The epic heroine Penelope captured the Renaissance literary and artistic imagination, beginning with Petrarch and the recovery of Homer's poetry through its translation into Latin. Only a very small number of humanists in the 14'h century were able to read Homer in the Greek original, and Petrarch's friend Leontius Pilatus produced for him long-awaited Latin translations of the Iliad 1 and Odyssey in the 1360s • Profoundly moved by his ability to finally compre hend the two epics (albeit in translation), Petrarch composed a remarkable letter addressed to Homer in which he compares himself to Penelope: "Your Penelope cannot have waited longer nor with more eager expectation for her Ulysses than I did for you. At last, though, my hope was fading gradually away. Except for a few of the opening lines of certain books, from which there seemed to flash upon me the face of a friend whom I had been longing to behold, a momen tary glimpse, dim through the distance, or, rather, the sight of his streaming hair, as he vanished from my view- except for this no hint of a Latin Homer had come to me, and I had no hope of being able ever to see you face to face"'. The themes of anticipation and fulfillment, and longing and return that are associated with the figure of Penelope coincide with the rediscovery of ancient texts. To encounter Homer for the first time in a language with which one was 3 familiar was as much a personal as a literary experience • As Nancy Struever observes, Petrarch's Le Familiari, a collection of letters addressed to contemporary friends and ancient authors, values friendship and intimate exchange because 4 it leads to knowledge and affective reward • Books on their own (Le Familiari, XII, 6) constituted surrogate friends with whom Petrarch could correspond, con verse, exchange ideas, and share his affections. -
Simonetta Cattaneo Vespucci: Beauty. Politics, Literature and Art in Early Renaissance Florence
! ! ! ! ! ! ! SIMONETTA CATTANEO VESPUCCI: BEAUTY, POLITICS, LITERATURE AND ART IN EARLY RENAISSANCE FLORENCE ! by ! JUDITH RACHEL ALLAN ! ! ! ! ! ! ! A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Department of Modern Languages School of Languages, Cultures, Art History and Music College of Arts and Law University of Birmingham September 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT ! My thesis offers the first full exploration of the literature and art associated with the Genoese noblewoman Simonetta Cattaneo Vespucci (1453-1476). Simonetta has gone down in legend as a model of Sandro Botticelli, and most scholarly discussions of her significance are principally concerned with either proving or disproving this theory. My point of departure, rather, is the series of vernacular poems that were written about Simonetta just before and shortly after her early death. I use them to tell a new story, that of the transformation of the historical monna Simonetta into a cultural icon, a literary and visual construct who served the political, aesthetic and pecuniary agendas of her poets and artists. -
Charles Callahan Perkins: Early Italian Renaissance Art and British Museum Practice in Boston
Charles Callahan Perkins: early Italian Renaissance art and British museum practice in Boston Deborah Hartry Stein In previous scholarship on the origins of the Museum of Fine Arts, Boston (‘Boston Museum’) — incorporated in February, 1870 as one of the nation’s first public art museums — art historians have frequently pointed to its similarity with London’s South Kensington Museum (‘South Kensington’), particularly as regards its mission to elevate the educational level of the public and the industrial design of everyday objects.1 While scholars have attributed this shared mission to the influence of the pioneering art historian and fine arts museum expert Charles Callahan Perkins (1823–1886), there has been no systematic and in-depth probing of the specific South Kensington museum practices adopted by Perkins, nor of the precise form that they took under his all-encompassing direction.2 This article undertakes to fill this lacuna in the belief that such a detailed exploration sheds much light on the particular Acknowledgements: I would like to express my appreciation to Elizabeth Heath for inviting my contribution to this edition of the Journal of Art Historiography, for her very helpful editorial comments on my article, and for her generous sharing of archival documentation of George Scharf’s relationship with Charles Callahan Perkins from her own doctoral research. I would also like to thank Keith Morgan, Professor Emeritus, History of Art & Architecture and American & New England Studies at Boston University, for his incisive comments from which this article has considerably benefitted. Sincere thanks are also due to Corina Meyer and Susanna Avery-Quash for their careful reviews and most helpful commentaries. -
In This Issue
MICHIGAN SCOUTER Your resource for Scouting in the Mitten In this Issue 2017 Winter Edition Photo Credit: Alexandra Standal michigan crossroads council, BSA council staff Scout Executive Don Shepard Grant Writing Supervisor Alexandra Standal Grant Writer Angela Jarjis Membership Shared Services Coordinator (Registrar) Birdie Sisco Popcorn Sales Specialist Alanna Bonar MCC Staff Assistant Barb Campbell Chief Financial Officer Michael Chaffee Controller/Human Resources Deb Hartman Sr. Accountant Misty Schalk Photo Credit: Sarah Hotchkiss Accounting Specialist/Payroll Mary Ervin VIEW PAST EDITIONS OF THE MICHIGAN SCOUTER Accounting Specialist/Accounts Payable Lauri Rodgers Table of contents Director, Marketing/ Communications & STEM Program Page 3 Page 4 Kimberlee Manor Page 6 Public Relations Manager Page 7 Jane Parikh Page 8 Graphic Design Specialist Page 9 Ashley Kraft Page 10 Page 12 Marketing Assistant Page 13 Rosalie Petrouske Page 14 STEM Associate, East/Southeast Page 15 Eric Suender Page 16 Page 17 STEM Associate, Central Page 18 Hannah Meitzner Page 19 STEM Associate, West/Southwest Page 23 Bridget Knight Page 34 Page 43 Page 55 2 A message from the key 3 Dear Scouts and Scouters, On behalf of the Michigan Crossroads Council leadership we would like to extend a warm holiday greeting to you and your families this holiday season. 2017 has been a tremendous Scouting year with a wide array of activities, the National Jamboree, excellent summer camping programs and a Fall that blessed the Scouting program with so many new families to share the memories with in the future. We are grateful for your leadership, family involvement and investment in a Scouting program that is unparalleled thanks to each of you and your commitment. -
Edmund Burke's German Readers at the End of Enlightenment, 1790-1815 Jonathan Allen Green Trinity Hall, University of Cambridg
Edmund Burke’s German Readers at the End of Enlightenment, 1790-1815 Jonathan Allen Green Trinity Hall, University of Cambridge September 2017 This dissertation is submitted for the degree of Doctor of Philosophy. Declaration This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaborations except as declared in the Declaration and specified in the text. All translations, unless otherwise noted or published in anthologies, are my own. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University of similar institution except as declared in the Declaration and specified in the text. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Declaration and specified in the text. It does not exceed the prescribed word limit for the Faculty of History Degree Committee (80,000 words). Statement of Word Count: This dissertation comprises 79,363 words. 1 Acknowledgements Writing this dissertation was a challenge, and I am immensely grateful to the many friends and colleagues who helped me see it to completion. Thanks first of all are due to William O’Reilly, who supervised the start of this research during my MPhil in Political Thought and Intellectual History (2012-2013), and Christopher Meckstroth, who subsequently oversaw my work on this thesis. -
Studies in Burke and His Time, Volume 23
STUDIES IN BURKE AND HIS TIME AND HIS STUDIES IN BURKE I N THE N EXT I SS UE ... S TEVEN P. M ILLIE S STUDIES IN The Inner Light of Edmund Burke A N D REA R A D A S ANU Edmund Burke’s Anti-Rational Conservatism R O B ERT H . B ELL The Sentimental Romances of Lawrence Sterne AND HIS TIME J.D. C . C LARK A Rejoinder to Reviews of Clark’s Edition of Burke’s Reflections R EVIEW S O F M ICHAEL B ROWN The Meal at the Saracen’s Head: Edmund Burke F . P. L OCK Edmund Burke Volume II: 1784 – 1797 , andSamuel the Scottish Burgess Literati S EAN P ATRICK D ONLAN , Edmund Burke’s Irish Identities Edmund Burke, the Common Lawyers, M ICHAEL F UNK D ECKAR D and the Natural Law N EIL M C A RTHUR , David Hume’s Political Theory Wonder and Beauty in Burke’s Philosophical Enquiry E LIZA B ETH L A MB ERT , Edmund Burke of Beaconsfield NobuhikoR O B ERT HNakazawa. B ELL FoolReviewing for Love: EdmundThe Sentimental Burke’s Romances Concept of ofLaurence ‘Revolution’: Sterne An Overlooked AspectS TEVEN of theP. MBurke-PaineILLIE S Controversy The Inner Light of Edmund Burke: A Biographical Approach to Burke’s Religious Faith and Epistemology STUDIES IN Pawel Hanczewski ‘When Liberty and Order Kiss’: Edmund Burke VOLUME 22 2011 and the History Articles in the Annual Register REVIEWreviewsS OofF AND HIS TIME SamuelF.P. Burgess,LOCK, Edmund Edmund Burke: Burke’s Vol. Battle II, 1784–1797; with Liberalism: DANIEL I. -
Arts Capital Art in the DC Metropolitan Area NEA ARTS
NEA ARTS number 2 2010 Arts Capital Art in the DC MetropolitAn AreA NEA ARTS 3 6 8 rebuilt through art a glimpse of the world vamos a la Calle! The Studio Theatre Gives a Building THEARC in Anacostia Celebrating DC’s Latino Arts and Culture Neighborhood New Life by Paulette Beete by Adam Kampe by Michael Gallant CoNNeCtivity betweeN Cultures: The World According to Dana Tai Soon Burgess .......................................................................10 by Victoria Hutter positive ChaNge: The Sitar Arts Center ..............................................................................................................................................12 by Pepper Smith a riCh aNd vibraNt Culture: The District of Columbia Jewish Community Center ........................................................................ 20 by Pepper Smith art out loud: Public Art Takes Over DC ............................................................................................................................................. 22 by Liz Stark NatioNal CouNCil oN the arts about this issue Rocco Landesman, Chairman James Ballinger Twenty years ago, boarded-up buildings in the Penn Quarter neighborhood were a Miguel Campaneria legacy from the 1968 riots, while the area around U Street, NW—once known as “Black Ben Donenberg Broadway” for its plethora of theaters—was a high-crime area, mostly devoid of busi- JoAnn Falletta Lee Greenwood nesses. Today, both neighborhoods are thriving, in no small part thanks to the arts Joan Israelite organizations that call those neighborhoods home. In the Penn Quarter neighborhood, Charlotte Kessler for example, the Shakespeare Theatre has paved the way for other businesses, like res- Bret Lott taurants and retail stores, to move to the area. It has further committed to the neighbor- Irvin Mayfield, Jr. Stephen Porter hood by building its new multimillion dollar Sidney Harman Hall just a few blocks down Barbara Ernst Prey from its Landsburgh Theater space. -
The Choreographic Imagination in Renaissance Art
THE CHOREOGRAPHIC IMAGINATION IN RENAISSANCE ART Olivia Powell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Olivia Powell All Rights Reserved ABSTRACT The Choreographic Imagination in Renaissance Art Olivia Powell This dissertation studies the complex relationship between Italian Renaissance art and dance. Interdisciplinary scholarship has hitherto focused on Renaissance dance treatises, which often exhibit parallels with contemporary writings on painting and sculpture. My research goes beyond the textual parallels to focus instead on the mechanisms of figuration in the visual arts, and on the corporeal sensibility of the Renaissance image. I examine the ways in which figural patterns, interactions, and gestures can be understood in terms of choreography. At issue is the nature of figural composition and of the figure itself, the characteristics of the dancing body and the role of that body within the corporeal imagination of the artist. The fundamental thesis is that the Renaissance artist can be considered a choreographer in his own right. Chapter One (From Solo to Chorus) provides a framework for thinking about the artist as choreographer by discussing at length Leon Battista Alberti’s On Painting (1435/36). First, I show that Alberti’s definition of figural composition is essentially choreographic, in that it concerns the formal organization of bodies that move with expressive purpose. Secondly, I analyze Alberti’s emphasis upon the Calumny of Apelles and the Three Graces, themes from Antiquity that express an aesthetic held in tension between the poles of fury and grace. -
The New Saudi Educational Renaissance: in Between the “Capacity to Aspire” and the “Capacity to Remember”
Higher Education Studies; Vol. 4, No. 5; 2014 ISSN 1925-4741 E-ISSN 1925-475X Published by Canadian Center of Science and Education The New Saudi Educational Renaissance: In between the “Capacity to Aspire” and the “Capacity to Remember” Annalisa Pavan1 1 Department of Philosophy, Sociology, Education and Applied Psychology, University of Padova, Italy Correspondence: Annalisa Pavan, Dipartimento FISPPA, Università degli Studi di Padova, via B. Pellegrino 28, 35137 Padova, Italy. Tel: 0039-049-827-1709. E-mail: [email protected] Received: July 19, 2014 Accepted: August 27, 2014 Online Published: September 20, 2014 doi:10.5539/hes.v4n5p37 URL: http://dx.doi.org/10.5539/hes.v4n5p37 Abstract In the Kingdom of Saudi Arabia investments in higher education have increased exponentially in recent years, and the New Saudi Educational Renaissance is attracting the attention of international academia. The purpose of this study is to draw on Saudi sources, with the aim of allowing Saudi voices to introduce their strategies for the design of a Saudi Arabian way to knowledge society, which will be a product of the “capacity to aspire” and the “capacity to remember” (UNESCO, 2002) of the Saudi nation. Keywords: King Abdullah bin Abdulaziz International Centre for Interreligious and Intercultural Dialogue, King Abdullah scholarship program, Saudi Arabian knowledge society, Saudi educational renaissance 1. Introduction “Arm yourselves with knowledge” (King Faisal bin Abd Al- Aziz) In recent years, the Kingdom of Saudi Arabia has witnessed exponential increases in expenditure on education — and higher education in particular — indicative of the notion that a New Saudi Educational Renaissance is in the making. -
Teaching the Harlem Renaissance in the 21St Century
Curriculum Guide TEACHING THE HARLEM RENAISSANCE IN THE 21ST CENTURY 1 Introduction 5 CURRICULUM MODULES G R A D E S 6 – 8 GRADES 9–12 Home + Art: Hughes, Woodson, and Me 7 Harlem Renaissance Remixed: A Humanities Module 123 KATIE HARLAN ELLER MARGARET BANKS Then & Now: A Photographic Journey 31 Speaking Our Truths: Visualizing Then and Now 135 AYELET DANIELLE ALDOUBY AND ANNE LATTNER JUDITH BURTON IN COLLABORATION WITH ARTIST MAREN HASSINGER The Call to Action: The Harlem Renaissance Harlem Renaissance and the Threading of Meaning 47 and Community-Based Activism 143 STEPHANIE BOGGS AND CARINA MAYE MICHELLE GIBBS-SPENCER A Dream Book for Existing Otherwise 57 SARAH GERTH V.D. BERG, NANCY LESKO, RACHEL MEWES AND JACQUELINE SIMMONS Learning Objectives/Standards 166 Instruction Strategies 172 The Music of the Harlem Renaissance: Blues Performance Bibliography 174 and Analysis for Contemporary Young Musicians 83 Author Bios 184 MERCEDES YVONNE LYSAKER Exploring the Harlem and Italian Renaissance Periods Through Radio Plays 105 ELAINE PERLMAN 4 Introduction and exalts the experiences of Black Americans as an essential part of the call for and drive towards social change and transformation. While rooted in the history of the Harlem Renaissance, it illuminates points of contemporary connectivity for teachers and students who are looking to mobilize the past to better understand the present. In early 2020, after a university-wide meeting about the ongoing centennial of the Harlem Renaissance, we reflected on the far-reaching This project would not be possible without the dedication and hard work impact of the Harlem Renaissance as a vibrant artistic, political, of each of the module authors. -
Revealing the African Presence in Renaissance Europe Revealing the African Presence in Renaissance Europe
12.1mm 203mm revealing the african presence in renaissance europe presencerevealing the african in renaissance the walters art museum art the walters revealing the african presence in renaissance europe revealing the african presence in renaissance europe Revealing The Presence African Renaissance Europe edited by Joaneath Spicer contributions by Natalie Zemon Davis Kate Lowe Joaneath Spicer RevealingBen Vinson III revealing the african presence The Presencein renaissanceAfrican europe Renaissance the Europewalters art museum This publication has been generously supported by the Robert H. and Clarice Smith Publication Fund Published by the Walters Art Museum, Baltimore All rights reserved. © 2012 Trustees of the Walters Art Gallery No part of the contents of this book may be reproduced, Third printing, 2013 stored in a retrieval system, or transmitted in any form or by any means, including photocopy, recording, or other information and retrieval systems without the written permission of the Trustees of the Walters Art Gallery. This publication accompanies the exhibition Revealing All dimensions are in centimeters; height precedes width the African Presence in Renaissance Europe, held at the precedes depth unless otherwise indicated. Walters Art Museum from October 14, 2012, to January 21, The Walters Art Museum 2013, and at the Princeton University Art Museum from 600 North Charles Street February 16 to June 9, 2013. Baltimore, Maryland 21201 This exhibition is supported by a grant from the National thewalters.org Endowment for the Humanities and by an indemnity Produced by Marquand Books, Seattle from the Federal Council on the Arts and Humanities. marquand.com Library of Congress Cataloging-in-Publication Data Designed and typeset by Susan E.