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President's Message
President’s Message his is perhaps the most exciting academic year ever on Hofstra’s campus, as we prepare to host the third and final presidential debate of the 2008 Telection season on October 15, and again present Educate ’08, our unprecedented series of lectures, conferences, exhibitions and events focused on the presidency, history, politics and social issues. For the fall Educate ’08 series, we host nationally known figures such as Robert Rubin and Paul O’Neill, George Stephanopoulos, Dee Dee Myers and Ari Fleischer, Mario Cuomo and the Council on Foreign Relations’ Richard Haass, and many other scholars, journalists and policymakers. The Center for Civic Engagement presents its sixth Day of Dialogue, with nearly 50 sessions on critical issues of the day for Democracy in Performance, a live performance featuring actors portraying historic figures. Many of our academic departments and centers, such as the Peter S. Kalikow Center for the Study of the American Presidency, the National Center for Suburban Studies, and Hofstra Entertainment, will also present events with a presidential theme. The Hofstra Cultural Center’s popular Joseph G. Astman International Concert Series features All American Music, while the Hofstra Cultural Center joins the Hofstra University Museum in presenting a reunion of the directors of Hofstra’s series of renowned presidential conferences for On the Record: A Hofstra Presidential Conference Retrospective. In addition to our exciting political series, the Hofstra Cultural Center and the academic departments continue to present a variety of lectures, concerts, dramatic performances and events that will engage and delight the entire Hofstra and surrounding communities. -
Jack Johnson Versus Jim Crow Author(S): DEREK H
Jack Johnson versus Jim Crow Author(s): DEREK H. ALDERMAN, JOSHUA INWOOD and JAMES A. TYNER Source: Southeastern Geographer , Vol. 58, No. 3 (Fall 2018), pp. 227-249 Published by: University of North Carolina Press Stable URL: https://www.jstor.org/stable/10.2307/26510077 REFERENCES Linked references are available on JSTOR for this article: https://www.jstor.org/stable/10.2307/26510077?seq=1&cid=pdf- reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms University of North Carolina Press is collaborating with JSTOR to digitize, preserve and extend access to Southeastern Geographer This content downloaded from 152.33.50.165 on Fri, 17 Jul 2020 18:12:03 UTC All use subject to https://about.jstor.org/terms Jack Johnson versus Jim Crow Race, Reputation, and the Politics of Black Villainy: The Fight of the Century DEREK H. ALDERMAN University of Tennessee JOSHUA INWOOD Pennsylvania State University JAMES A. TYNER Kent State University Foundational to Jim Crow era segregation and Fundacional a la segregación Jim Crow y a discrimination in the United States was a “ra- la discriminación en los EE.UU. -
[email protected]. TA
THST S392/ENGL S361: Modern American Drama Prof. Marc Robinson Summer 2016 E-mail: [email protected]. TA: David Bruin. E-mail: [email protected] This seminar surveys American theater between World War I and 2000. We’ll begin with the pre-history to this century’s theater—its melodramas, temperance plays, panoramas, and other popular forms. This work laid the foundation for the startling innovations of the early twentieth century. Eugene O'Neill and Gertrude Stein both began writing plays in 1913—O’Neill consciously allying himself with European innovation, Stein working in a theatrical vacuum, inaugurating a tradition of her own. We read both writers before moving on to the third pillar of American theatrical modernism, Thornton Wilder—someone wrongly assumed to be an unthreatening, homely figure in our culture. We then re-read canonical works by Tennessee Williams and Arthur Miller in the light of the less familiar experiment of previous decades. What, beyond narrative and character, contributes to these plays’ enduring value? We’ll also look at an idiosyncratic writer—Jane Bowles—who addresses shifting ideas of marginality and sociability in her theater. The boldness of all these mid-century playwrights sets the stage for the explosion of theatrical experiment in the 1960s. After a consideration of Edward Albee’s theatrical vitriol and menace, we’ll move briskly through selected playwrights from the 1970s, 80s, and 90s—some of whom are mainstays of our theaters (Sam Shepard, David Mamet), while others are deserving of more attention (Maria Irene Fornes, Adrienne Kennedy). We’ll also consider three writers who are also radical performers— Spalding Gray, Anna Deavere Smith, and Wallace Shawn. -
PACKED HOUSE Overflow Crowd Weighs in on Downtown Plan
SATURDAY • FEBRUARY 21, 2004 Including Carroll Gardens-Cobble Hill Paper, The Downtown News, DUMBO and Fort Greene-Clinton Hill Paper Published every Saturday by Brooklyn Paper Publications Inc, 55 Washington Street, Suite 624, Brooklyn NY 11201. Phone 718-834-9350 • www.BrooklynPapers.com • © 2004 Brooklyn Paper Publications • 18 pages including GO BROOKLYN • Vol. 27, No. 7 BWN • Saturday, Feb. 21, 2004 • FREE COURT TOLD: HYNES PACKED HOUSE Overflow crowd weighs in on Downtown Plan TARGETS By Deborah Kolben lease space in New Jersey or elsewhere. The Brooklyn Papers Darnell Canada, leader of Brooklyn United for Innovative Development (BUILD), a sup- Several hundred Brooklynites packed NOT JUST NETS porter of the plan, quipped, “How high this Borough Hall Wednesday night to tell building is isn’t important to people who don’t Borough President Marty Markowitz THE NEW BROOKLYN have a job and are out there dodging bullets.” FOES just what they think about a city plan to Noting that the unemployment rate among resi- convert Downtown Brooklyn into a dents of the nearby Walt Whitman and Farragut By Neil Sloane More coverage on pages 16-17 housing projects was well over 65 percent, he The Brooklyn Papers mega-blocked, high-rise metropolis. While most such public hearings draw said, “There are a lot of people who need jobs.” Developer Bruce Ratner’s plan for the adja- ball team, which Ratner is acquiring. The At- Residents opposed to construction of Rat- A lawyer who once challenged District Attorney just a handful of concerned citizens, on Charles Hynes in a Democratic primary filed court cent Atlantic Yards would have the state seize lantic Yards and downtown plans overlap at the ner’s $2.5 billion Nets arena, office and apart- Wednesday night more than 100 people more than three square blocks of privately intersection of Flatbush and Atlantic avenues. -
The Representation of Reality and Fantasy in the Films of Powell and Pressburger: 1939-1946
The Representation of Reality and Fantasy In the Films of Powell and Pressburger 1939-1946 Valerie Wilson University College London PhD May 2001 ProQuest Number: U642581 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642581 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 The Representation of Reality and Fantasy In the Films of Powell and Pressburger: 1939-1946 This thesis will examine the films planned or made by Powell and Pressburger in this period, with these aims: to demonstrate the way the contemporary realities of wartime Britain (political, social, cultural, economic) are represented in these films, and how the realities of British history (together with information supplied by the Ministry of Information and other government ministries) form the basis of much of their propaganda. to chart the changes in the stylistic combination of realism, naturalism, expressionism and surrealism, to show that all of these films are neither purely realist nor seamless products of artifice but carefully constructed narratives which use fantasy genres (spy stories, rural myths, futuristic utopias, dreams and hallucinations) to convey their message. -
The Relevance of Tennessee Williams for the 21St- Century Actress
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2009 Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress Marcie Danae Bealer Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the American Film Studies Commons, and the Theatre and Performance Studies Commons Recommended Citation Bealer, Marcie Danae, "Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress" (2009). Honors Theses. 24. https://scholarlycommons.obu.edu/honors_theses/24 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress Marcie Danae Bealer Honors Thesis Ouachita Baptist University Spring 2009 Bealer 2 Finding a place to begin, discussing the role Tennessee Williams has played in the American Theatre is a daunting task. As a playwright Williams has "sustained dramatic power," which allow him to continue to be a large part of American Theatre, from small theatre groups to actor's workshops across the country. Williams holds a central location in the history of American Theatre (Roudane 1). Williams's impact is evidenced in that "there is no actress on earth who will not testify that Williams created the best women characters in the modem theatre" (Benedict, par 1). According to Gore Vidal, "it is widely believed that since Tennessee Williams liked to have sex with men (true), he hated women (untrue); as a result his women characters are thought to be malicious creatures, designed to subvert and destroy godly straightness" (Benedict, par. -
Heavyweight Champion Jack Johnson: His Omaha Image, a Public Reaction Study
Nebraska History posts materials online for your personal use. Please remember that the contents of Nebraska History are copyrighted by the Nebraska State Historical Society (except for materials credited to other institutions). The NSHS retains its copyrights even to materials it posts on the web. For permission to re-use materials or for photo ordering information, please see: http://www.nebraskahistory.org/magazine/permission.htm Nebraska State Historical Society members receive four issues of Nebraska History and four issues of Nebraska History News annually. For membership information, see: http://nebraskahistory.org/admin/members/index.htm Article Title: Heavyweight Champion Jack Johnson: His Omaha Image, A Public Reaction Study Full Citation: Randy Roberts, “Heavyweight Champion Jack Johnson: His Omaha Image, A Public Reaction Study,” Nebraska History 57 (1976): 226-241 URL of article: http://www.nebraskahistory.org/publish/publicat/history/full-text/NH1976 Jack_Johnson.pdf Date: 11/17/2010 Article Summary: Jack Johnson, the first black heavyweight boxing champion, played an important role in 20th century America, both as a sports figure and as a pawn in race relations. This article seeks to “correct” his popular image by presenting Omaha’s public response to his public and private life as reflected in the press. Cataloging Information: Names: Eldridge Cleaver, Muhammad Ali, Joe Louise, Adolph Hitler, Franklin D Roosevelt, Budd Schulberg, Jack Johnson, Stanley Ketchel, George Little, James Jeffries, Tex Rickard, John Lardner, William -
New Age, Vol. 18, No. 19, Mar. 9, 1016
NOTES OF THEWEEK . VICTORIA. By Alice Morning . FOREIGNAFFAIRS. By S. Verdad. Views AND REVIEWS : COLLECTIVEPSYCHOLOGY. UNEDITEDOPINIONS : THE CASE FOR GERMANY . By A. E. R. REVIEWS : YOUTH : A PLAY. By Miles Malleson. A PATHOLOGICALVIEW OF THE UNITEDSTATES-I. By E. A. B. THE RUSSIAN CAMPAIGN. By Stanley Washburn . LITTLEEPISTLES-I : To SIR OLIVER LODGE. BY National Guildsman . PASTICHE. By C. E. B., Ruth Pitter, W. Mears, P. Selver . MORE LETTERS TO My NEPHEW. By Anthony Farley . LETTERS TO THE EDITOR from C. S. M., Ernest Kempston, Oscar Levy, A. H. Murray, DRAMA. By John Francis Hope. Sheikh M. H. Kedwai of Gadia, B., BOUDOIR ECONOMY: A DUOLOGUE. By D. Leigh C. E. M. J., M. Bridges Adams, Claude Bennett . Askew, Alfred Willams, Huntly Carter, A. READERS ANDWRITERS. By R. H. C. Hanson . MAN AND MANNERS: AN OCCASIONALDIARY. PRESS CUTTINGS. that it is not only just that our wealthy men should NOTES OF THE WEEK pay for the war in actual loss of their capital, but, sooner or later, it will be necessary. Its justice may THOUGH no one would guess it who has the acquaintance be seen from the following considerations. In the first of daily journalists, and though, it must be said, place, it has always been the defence of private wealth they are modestly sceptical of it themselves, the power (maintained, be it remembered, by the whole constitutional of daily journalism is enormous. By its means authority) that its accumulation in this form (consistinglargely of repetition), not only are lies and half- ensured the nation an ample reserve for precisely such an truths concerning public affairs put and kept in emergency as a great war. -
Tennessee Williams's Dramatic World
ISSN 2411-9598 (Print) European Journal of September-December 2015 ISSN 2411-4103 (Online) Language and Literature Studies Volume 1 Issue 3 Tennessee Williams's Dramatic World Esmeralda Subashi, Ph.D Miranda Ostrosi Veliaj, Ph.D. University of Tirana Faculty of Foreign Languages English Language Department E-mail: [email protected] Abstract Tennessee Williams has been regarded as the greatest Southern dramatist and one of the most distinguished playwrights in the history of American drama. He is undoubtedly the most renowned American dramatist of the second half of the 20th Century. This paper addresses and explores some of the main features of his dramatic works. His drama was a lyric or poetic one, and that is why the critic and scholar Frank Durham referred to him as “Tennessee Williams, theater poet in prose”. When David Mamet describes William’s plays as “the greatest dramatic poetry in the American language”, he shares the widely accepted opinion that Williams brought to the language of the American theater a lyricism unequaled before or after. He infuses his dialogue with lyrical qualities so subtle that the reader or hearer, unaware, responds not to realistic speech but, instead, to speech heightened by such poetic effects as alliteration, rhythm, onomatopoeia, and assonance. As a Southern writer, Williams was attuned to the natural rhythm and melody of Southern speech, a melody, he says, heard especially in the voices of women. Characterization is one of Williams’s strongest achievements as a dramatist. His people are imaginatively conceived yet so convincing that it is tempting to take them out of context and theorize about their lives before and after the action of the play. -
David Mamet - Edited by Christopher Bigsby Excerpt More Information
Cambridge University Press 0521894689 - The Cambridge Companion to David Mamet - Edited by Christopher Bigsby Excerpt More information 1 CHRISTOPHER BIGSBY David Mamet In 1974, a play set in part in a singles bar, laced with obscene language and charged with a seemingly frenetic energy, was voted Best Chicago Play. Transferred to Off Off and Off Broadway it picked up an Obie Award. Sexual Perversity in Chicago was not David Mamet’s first play, but it did mark the beginning of a career that would astonish in both its range and depth. The following year American Buffalo opened at Chicago’s Goodman The- atre in an “alternative season.” It was well received and opened on Broadway fifteen months later where it won the New York Drama Critics Circle Award. It ran for 135 performances, hardly a failure but in the hit or miss world of New York, not a copper-bottomed success either. Nonetheless, in three years he had announced his arrival in unequivocal terms. David Mamet came as something of a shock, not least because his first public success, Sexual Perversity in Chicago, seemed brutally direct in terms of its language and subject, as did American Buffalo. But it was already clear to many that here was a distinctive talent, albeit one that some critics found difficult to assess, not least because of his characters’ scatological language and fractured syntax, along with the apparent absence, in his plays, of a conventional plot. They praised what they took to be his linguistic naturalism, as though his intent had been to offer an insight into the cultural lower depths while capturing the precise rhythms of contemporary speech (though he did invoke Gorky’s The Lower Depths as being, like a number of his own plays, a study in stasis). -
September, 2020 Dear Parent and Student: Baltimore School for the Arts Will Be Holding Auditions in Dance, Instrumental Music, V
September, 2020 Dear Parent and Student: Baltimore School for the Arts will be holding auditions in Dance, Instrumental Music, Vocal, Theatre, Stage Design & Production, Film & Visual Storytelling and Visual Arts for current 8th and 9th grades during January 19, 20, 21, 22, 25, 2021 for admission in September 2020. A student may audition in one or two art areas. Attached is information for each department concerning necessary preparation for the audition or the visual arts portfolio review and the application. Students are selected based solely on the audition. Baltimore School for the Arts does not consider recommendations or student records, nor are student records or recommendations consulted. The only information required for an audition is a completed and signed application. Completed applications must be returned to Baltimore School for the Arts by Wednesday, November 18, 2020. FAXED COPIES WILL NOT BE ACCEPTED. We are not able to confirm receipt of your application by phone. You may submit your paper application by scanning your application and emailing it to [email protected] and request a read receipt (photo copies will not be accepted, applications must be scanned) or by certified mail or regular mail or you may drop off at the school. If you have submitted an application online, you do NOT need to submit an additional paper application. ****** All audition appointment letters will be mailed by the last week of December, 2020. If your child has not received an audition appointment letter by January 4, 2021, please call 443.642.5167 between the hours of 8am and 2pm. Please do not leave messages on the school's answering system concerning auditions. -
FY 2016 Combined Behavioral Health Assessment and Plan A
PAGE 1 LOUISIANA FY 2016 Combined Behavioral Health Assessment and Plan A. Framework for Planning B. Planning Steps C. Environmental Factors and Plan PAGE 2 A. Framework for Planning – Mental Health and Substance Abuse Prevention and Treatment The Office of Behavioral Health (OBH) is the state program office within the Department of Health and Hospitals (DHH) responsible for managing and delivering the services and supports necessary to improve the quality of life for citizens with mental illness and addictive disorders. The agency oversees contractors in the provision of specialized behavioral health services provided in both hospital and community-based treatment settings for both Medicaid and non-Medicaid eligible populations. OBH was created by Act 384 of the 2009 Legislative Session which directed the consolidation of the offices of addictive disorders and mental health into the Office of Behavioral Health effective July 1, 2010 in order to streamline services and better address the needs of people with co-occurring mental illness and addictive disorders. The Department’s work in implementing Act 384 was guided by stakeholders and leaders in the behavioral health field from across Louisiana who participated in the Office of Behavioral Health Implementation Advisory Committee. The mission of OBH is to lead the effort to build and provide a comprehensive, integrated, person-centered system of prevention and treatment services that promote recovery and resilience for all citizens of Louisiana. OBH assures public behavioral health services are accessible, have a positive impact, are culturally and clinically competent and are delivered in partnership with all stakeholders. The OBH FY 2014 budget is $272,888,963.