DOCSLIB.ORG

Abbreviations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

A b b r e v i a t i o n s ACASC Amherst College Archives and Special Collections COCSC College of Charleston Special Collections (Addlestone Library, Charleston, SC) CUAC Columbia University Archives CUOHR Columbia University Oral History Research Office CURBM Columbia University Rare Book and Manuscript Library (Butler Library, New York, NY) IUMD Indiana University Manuscripts Department (Lilly Library, Bloomington, IN) JCA Juilliard College Archives LOCMD Library of Congress Manuscript Division LOCRS Library of Congress Recorded Sound Reference Center NLALAP Newberry Library Adeline Lobdell Atwater Papers (Chicago, IL) UPRBML University of Pennsylvania Annenberg Rare Book and Manuscript Library N o t e s Introduction 1 . Lloyd Morris, A Threshold in the Sun (New York: Harper and Brothers, 1943), 89–90. Also see Jerry E. Patterson, Fifth Avenue: The Best Address. (New York: Rizzoli International, 1998); and Francis Steegmuller, “Oldest Hotels,” The New Yorker, September 22, 1934, 18. 2 . Quoted in Oscar James Campbell, “The Department of English and Comparative Literature,” in The Faculty of Philosophy , ed. D. C. Miner (New York: Columbia University Press, 1957), 79. 3 . Morris, A Threshold in the Sun and John Erskine, The Memory of Certain Persons (Philadelphia, PA: J.P. Lippincott, 1947), 356. 4 . Quoted in Helen Huntington Smith, “Professor’s Progress,” The New Yorker , December 27, 1927, 28. 5 . Morris, A Threshold in the Sun , 90. 6 . Ibid. 7 . John Carter, “The Wit and Wisdom of Helen of Troy,” New York Times , November 9, 1925, 15. 8 . D. Laurance Chambers. Typescript memo to files, January 4, 1926. The Bobbs-Merrill Manuscript Collection (hereafter referred to as Bobbs-Merrill MSS), Box 48, IUMD. 9 . John Erskine to D. Laurance Chambers, April 20, 1926. John Erskine to D. Laurance Chambers, February 4, 1927. D. Laurance Chambers to John Erskine, February 23, 1927. Bobbs-Merrill MSS, Box 48, IUMD. 10 . John Erskine to D. Laurance Chambers, December 29, 1925. D. Laurance Chambers to John Erskine, February 23, 1927. Bobbs- Merrill MSS, Box 48, IUMD. 11 . Earlier popular academics and public intellectuals (e.g., Webster, Emerson, James) relied on lecture touring and writing to achieve widespread acclaim. Technological advances in printing and enter- tainment uses of radio, however, marked a new age for mass appeal among marketable personalities. 12 . Lionel Trilling, “Some Notes for an Autobiographical Lecture,” in The Last Decade: Essays and Reviews, 1965–1975, ed. D. Trilling 192 Notes (New York: Harcourt Brace, 1979), 234. Although Erskine first sug- gested a course in great books for all undergraduates in 1915, his colleagues turned it down. They reconsidered during the post–World War I impulse for Western foundations, but limited the audience to honors students. The reading list, modified regularly, was laden with Greek and Roman philosophers, as well as Western European authors such as Dante, Montaigne, Shakespeare, Voltaire, and Rousseau. 13 . Untitled typescript, course list, 1895. Erskine Papers, Uncatalogued, Box 7, CURBM (hereafter referred to as Erskine Papers). 14 . Joan Shelley Rubin, The Making of Middlebrow Culture (Chapel Hill: The University of North Carolina Press, 1992), 151. 15 . John Erskine, The Memory of Certain Persons (Philadelphia: J.B. Lippincott, 1947), 94. 16 . Ibid., 74. 17 . David J. Leese, “The Pragmatic Vision: Columbia College and the Progressive Reorganization of the Liberal Core—the Formative Years, 1880–1941” (PhD diss., Columbia University, 1987), 119. See also Robert A. McCaughey, Stand, Columbia: A History of Columbia University in the City of New York , 1754–2004 (New York: Columbia University Press, 2003). 18 . Frank Bowles, “Annual Report of the Director of University Admissions,” 1951, Central Records, Bowles folders, CUAC. 19 . J. David Hoeveler, The New Humanism: A Critique of Modern America, 1900–1940 (Charlottesville: University Press of Virginia, 1977), 3. 20 . Jacques Barzun, From Dawn to Decadence: 500 Years of Western Cultural Life (New York: Harper Collins, 2000), 606–607. 21 . Ibid., 5. 22 . Gerald Graff, Professing Literature: An Institutional History (Chicago: The University of Chicago Press, 1987), 55. 23 . Ibid., 94. 24 . Quoted in Randolph Bourne, “The Professor” in The History of a Literary Radical and Other Essays , ed. Van Wyck Brooks (New York: B.W. Heubsch, 1920), 94. 25 . See John Erskine, The Moral Obligation to be Intelligent (New York: Duffield and Company, 1915). 26 . Alan Willard Brown, “The Columbia College Colloquium on Important Books,” Journal of General Education (July 1, 1948): 278–286. 27 . Robert H. Wiebe, The Search for Order: 1877–1920 (New York: Hill and Wang, 1967), 287. 28 . John Erskine to Rhoda Erskine, January 14, 1919. Erskine Papers, Correspondence Files, Box 6, CURBM. Notes 193 29 . Barzun, From Dawn to Decadence , 714, 717. 30 . See, for example, David Riesman, Nathan Glazer, and Reuel Denney, The Lonely Crowd: A Study of the Changing American Character (New Haven: Yale University Press, 1950); Rubin, The Making of Middlebrow Culture ; and Warren I. Susman, Culture as History (New York: Pantheon, 1984). 31 . Erskine, The Memory , 343. 32 . Well received among Erskine’s published volumes by 1925 were: Actaeon and Other Poems (New York: J. Lane Co., 1907); Great American Writers (with W. P. Trent) (New York: Henry Holt, 1912); The Moral Obligation to be Intelligent (New York: Duffield and Company, 1915); The Kinds of Poetry and Other Essays (Port Washington, NY: Kennikat Press, 1920); Democracy and Ideals: A Definition (New York: George H. Doran, 1920); and The Literary Discipline (New York: Duffield and Company, 1923). He also coauthored with his sister, Helen Erskine, an English text book: Written English: A Guide to the Rules of Composition (New York: The Century Co., 1914). For reference to “presidencies,” see Erskine, The Memory , 341, and Anna Erskine Crouse, interview with the author, March 26, 2008. 33 . Erskine, The Memory , 357. 34 . See Dwight Macdonald, “Masscult and Midcult: I,” Partisan Review 27 (Spring 1960): 203–233 and “Masscult and Midcult: II,” Partisan Review 27 (Fall 1960): 589–631. Macdonald noted “midcult” as the more dangerous of the two, especially in terms of tendencies he viewed in its vulgarization of the arts. 35 . Janice Radway, “The Scandal of the Middlebrow: The Book-of-the- Month Club, Class Fracture, and Cultural Authority,” South Atlantic Quarterly 89 (Fall 1990): 714. 36 . Richard Hofstadter, Anti-Intellectualism in American Life (New York: Alfred Knopf, 1963). 37 . David O. Levine, The American Culture and the Culture of Aspiration, 1915–1940 (Ithaca, NY: Cornell University Press, 1986), 102. 38 . Helen Lefkowitz Horowitz, Campus Life: Undergraduate Cultures from the End of the Eighteenth Century to the Present (New York: Alfred A. Knopf, 1987). 39 . Rubin, The Making of Middlebrow Culture , 16. 40 . Ibid., 18. 41 . John Erskine, “Afterthoughts of Lady Godiva,” Cosmopolitan (March 1929), 10–35, 192. “The Candor of Don Juan,” Cosmopolitan (November 1931), 58–61, 122–126. 42 . See Erskine, The Memory and Erskine, My Life in Music (Westport, CT: Greenwood Press, 1950). 194 Notes 43 . Reviewer letter, N.A., n.d. Bobbs-Merrill MSS, Box 49, “Bachelor of Arts” Folder, IUMD. Jessica Mannon, internal memo, n.d. Bobbs-Merrill MSS, Box 49, “Forget if You Can” Folder, IUMD. Laurance Chambers to John Erskine, January 31, 1938. Bobbs- Merrill MSS, Box 48, IUMD. 44 . See Katherine R. Chaddock, “A Canon of Democratic Intent: Reinterpreting the Roots of the Great Books Movement,” The History of Higher Education Annual 22 (2003); and Hugh S. Moorhead, “The Great Books Movement” (PhD diss., University of Chicago, 1964). 45 . Helen H. Smith, “Professor’s Progress,” The New Yorker , December 19, 1927, 27. 46 . Edna Levey, “John Erskine Discourses Lightly on Art, Music Morals, and Female Intelligence,” unpublished typescript, January 22, 1931, 2. Bobbs-Merrill MSS, Box 48. 47 . William S. Knickerbocker, “John Erskine: Enough of His Mind to Explain His Art,” Sewanee Review 35 (April 1927): 155. 48 . Morris, A Threshold in the Sun , 85–86. 1 Gifted Boy of the Gilded Age 1 . John Erskine, The Memory of Certain Persons (Philadelphia, PA: J. P. Lippincott, 1947), 20. 2 . For family background and boyhood information, see the memoirs: Erskine, The Memory , 9–49; and John Erskine, My Life in Music (Westport, CT: Greenwood Press, 1950), 1–10. 3 . George Santayana, “The Genteel Tradition in American Philosophy (1911),” in Nine Essays by George Santayana , ed. Douglas L. Wilson (Cambridge: Harvard University Press, 1967), 39–41. 4 . John Erskine to Laurance Chambers, October 28, 1929. Bobbs- Merrill MSS, Box 48, IUMD. 5 . John Erskine, The Kinds of Poetry (New York: Duffield and Company, 1920), 44. 6 . John Erskine to “ Santa Claus ,” n.d., 1888. Erskine Biographical File, Box 4, CURBM. 7 . John Erskine, The Complete Life (New York: Jullian Messner, 1943), 125–128. 8 . Erskine, The Memory , 23. 9 . Erskine, The Complete Life , 78. Also see Erskine, My Life in Music , 2. 10 . Erskine, My Life in Music , 8. 11 . Ibid., 9. 12 . Horace Coon, Columbia: Colossus on the Hudson (New York: E.P. Dutton, 1947), 146–149. 13 . Erskine, The Memory , 62. Notes 195 14 . Melville Cane, All and Sundry: An Oblique Autobiography (New York: Harcourt, Brace & World, 1968), 169. 15 . John Erskine, handwritten notes. Erskine Papers, Uncatalogued, “Columbia” Folder, Box 7, CURBM. 16 . Erskine, The Memory , 63. 17 . Cane, All and Sundry , 170. 18 . Erskine, The Memory , 66. 19 . Cane, All and Sundry , 169. 20 . Erskine, The Memory , 67. 2 The Columbia Stamp 1 . Virginia Gildersleeve, Many a Good Crusade (New York: Macmillan, 1954), 42. 2 . Ludwig Lewisohn, Upstream: An American Chronicle (New York: Boni and Liveright, 1922), 104. 3 . Frederick P. Keppel, Columbia (New York: Oxford University Press, 1914), 80–81. 4 . Melville Cane, “Reminiscences,” typescript, 1956, 11, CUOHR. 5 . Gildersleeve, Many a Good Crusade , 42. 6 . Keppel, Columbia , 275–276. 7 . Melville Cane, All and Sundry: An Oblique Autobiography (New York: Harcourt, Brace & World, 1968), 103.
Recommended publications
  • Randolph Bourne on Education

    Randolph Bourne on Education

    Randolph Bourne on education Item Type text; Thesis-Reproduction (electronic) Authors Horsman, Susan Alice, 1937- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 18:30:39 Link to Item http://hdl.handle.net/10150/317858 RANDOLPH BOURNE ON EDUCATION by Susam Horsmam A Thesis Submitted t© the Faculty of the DEPARTMENT OF HISTORY In Partial Fulfillment of the.Requirements For the Degree of MASTER OF ARTS In the Graduate College THE. UNIVERSITY OF ARIZONA 19 6 5 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library0 Brief quotations from this, thesis are al­ lowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended.quotation from or re­ production of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below? . J.
  • Monteiro Lobato Acontece Na América: a Publicação De Brazilian Short

    Monteiro Lobato Acontece Na América: a Publicação De Brazilian Short

    ROSEMARY DE PAULA LEITE CARTER Monteiro Lobato acontece na América: Análise de duas transposições do conto “O Engraçado Arrependido” de Monteiro Lobato para o idioma inglês, respectivamente, em 1925 e 1947 e a relação intelectual do crítico literário Isaac Goldberg com o autor brasileiro Orientadora: Prof.ª Dr.ª Marisa Philbert Lajolo Universidade Presbiteriana Mackenzie São Paulo 2011 2 ROSEMARY DE PAULA LEITE CARTER Monteiro Lobato acontece na América: Análise de duas transposições do conto “O Engraçado Arrependido” de Monteiro Lobato para o idioma inglês, respectivamente, em 1925 e 1947 e a relação intelectual do crítico literário Isaac Goldberg com o autor brasileiro Tese apresentada ao Curso de Letras da Universidade Presbiteriana Mackenzie como pré- requisito para a obtenção do título de Doutor em Letras Orientadora: Prof.ª Dr.ª. Marisa Philbert Lajolo Universidade Presbiteriana Mackenzie São Paulo 2011 3 C325m Carter, Rosemary de Paula Leite. Monteiro Lobato acontece na América: análise de duas transposições do conto "O Engraçado Arrependido" de Monteiro Lobato para o idioma inglês, respectivamente, em 1925 e 1947 e a relação intelectual entre o crítico Isaac Goldberg e o autor brasileiro / Rosemary de Paula Leite Carter. - 365 f. : il. ; 30 cm. Tese (Doutorado em Letras) - Universidade Presbiteriana Mackenzie, São Paulo, 2012. Bibliografia: f. 280-289. 1. Monteiro Lobato, José Bento 2. Transposição 3.Goldberg, Isaac. I. Título. CDD 869.31 4 ROSEMARY DE PAULA LEITE CARTER Monteiro Lobato acontece na América: Análise de duas transposições
  • A Humble Protest a Literary Generation's Quest for The

    A Humble Protest a Literary Generation's Quest for The

    A HUMBLE PROTEST A LITERARY GENERATION’S QUEST FOR THE HEROIC SELF, 1917 – 1930 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jason A. Powell, M.A. * * * * * The Ohio State University 2008 Dissertation Committee: Approved by Professor Steven Conn, Adviser Professor Paula Baker Professor David Steigerwald _____________________ Adviser Professor George Cotkin History Graduate Program Copyright by Jason Powell 2008 ABSTRACT Through the life and works of novelist John Dos Passos this project reexamines the inter-war cultural phenomenon that we call the Lost Generation. The Great War had destroyed traditional models of heroism for twenties intellectuals such as Ernest Hemingway, Edmund Wilson, Malcolm Cowley, E. E. Cummings, Hart Crane, F. Scott Fitzgerald, and John Dos Passos, compelling them to create a new understanding of what I call the “heroic self.” Through a modernist, experience based, epistemology these writers deemed that the relationship between the heroic individual and the world consisted of a dialectical tension between irony and romance. The ironic interpretation, the view that the world is an antagonistic force out to suppress individual vitality, drove these intellectuals to adopt the Freudian conception of heroism as a revolt against social oppression. The Lost Generation rebelled against these pernicious forces which they believed existed in the forms of militarism, patriotism, progressivism, and absolutism. The
  • 150 Society, Education, and War: John Dewey and His

    150 Society, Education, and War: John Dewey and His

    SOCIETY, EDUCATION, AND WAR: JOHN DEWEY AND HIS STUDENT RANDOLPH BOURNE David Snelgrove, University of Central Oklahoma Introduction for example, to be dogmatic, holding that “economic John Dewey and Randolph Bourne took different forces present an inevitable and systematic change or positions on World War One. Although conflicted, evolution, of which state and church, art and literature, Dewey saw the war as an opportunity to expand a more science and philosophy are by-products.”3 German American style democracy into some of the as yet idealistic philosophy reflects the historic evolution and undemocratic states in Europe. Randolph Bourne, a organization “as an organic instrument of the former student of Dewey, on the other hand, believed accomplishment of an Absolute Will and Law. .” that the consequences of war created problems that (MW8:199-200) Outside of Germany,” he continues, would prevent significant change. This paper is a the career of the German idealistic philosophy has description of this disagreement as a means of analyzing been mainly professional and literary. It has the positions of both Dewey and Bourne on the issue of exercised considerable upon the teaching of the war and, further, it is an investigation of similarities philosophy in France, England and this country. of the rhetoric surrounding the American entrance into Beyond professorial circles, its influence has been World War I and our current situation. This is then used considerable in theological directions. Without a to generate some questions concerning the role of the doubt, it has modulated for many persons the intellectuals in a time of war – preemptive or otherwise.
  • Cave Without a Name June 6, 2020 at 7:30 PM

    Cave Without a Name June 6, 2020 at 7:30 PM

    Davy Crockett Productions and the Allegro Stage Co. present Roy Bumgarner Winner of 8 ATAC San Antonio Globe Awards for Best Actor starring in by Steve Warren Travel back to the Texas Revolution. It is November 10, 1835 and Davy Crockett is in a tavern in Memphis. In the morning he leaves for Texas, but tonight, friends and strangers are buying him drinks to keep him sharing his stories and his homespun humor one last time. With original songs by Tom Masinter and lyrics by June Rachelson-Ospa Cave Without a Name June 6, 2020 at 7:30 PM Roy Bumgarner (Davy Crockett) Roy is one of San Antonio’s favorite and most versatile lead actors. He has performed on nearly every theater stage in town, including The Majestic Theatre with San Antonio Symphony. He is loved for his roles in Jane Eyre (Rochester), Annie (Daddy Warbucks), Sweeny Todd (Sweeney), The King & I (King), My Fair Lady (Higgins), Evita (Che), Camelot (Arthur), West Side Story (Tony), Titantic (Andrews), Lend Me a Tenor (Max), Chicago (Billy), Into the Woods (Wolf, Cinderella’s Prince), Jekyll & Hyde (Jekyll/Hyde), The Crucible (John Proctor), Noises Off (Gary), Urinetown (Officer Lockston), Visiting Mr. Green (Ross), The Mystery of Edwin Drood (Jasper), Taming of the Shrew (Petrucchio), The Lion in Winter (Richard), State Fair (Pat Gilbert), The Pajama Game (Sid), Godspell (Jesus), Crazy For You, Some Like it Hot, Forever Plaid, Vexed, Forbidden Broadway and more. He has created lead rosles in the following original musicals: Gone to Texas (Bowie), Fire on the Bayou (Eduardo), Roads Courageous (Brinkley), and High Hair & Jalapenos.
  • 100 Years of Barzun by Donors Kraft and Campbell

    100 Years of Barzun by Donors Kraft and Campbell

    OPEN WIDE KARA WALKER SIEMENS Columbia Expands On Exhibit at SCIENCE DAY its Dental Plan | 5 The Whitney| 2 for Budding Scientists | 6 VOL. 33, NO. 04 NEWS AND IDEAS FOR THE COLUMBIA COMMUNITY OCTOBER 25, 2007 Athletic Goal: Climate Scientists Work To Battle $100 Million Disease By Bridget O’Brian By Clare Oh olumbia launched its $100 mil- lion campaign to transform the he International Research CUniversity’s athletics program, Institute for Climate and and in recognition of a $5 million Society (IRI), housed at gift, the playing field at Lawrence T Columbia’s Lamont campus A. Wien Stadium was named the in Palisades, New York, is Robert K. Kraft Field. Kraft is a 1963 graduate of Columbia College working with policy makers who now owns the New England in the nation of Colombia to Patriots. The field was renamed show how climate forecasts during homecoming weekend. can help communities better In addition to that gift, William prepare for climate-sensitive C. Campbell, chairman of the Uni- disease outbreaks. versity’s board of trustees and him- IRI scientists work around self a former captain and head coach the world to expand the knowl- of Lions football, pledged more than edge of climate and its rela- $10 million to the athletics initia- tionship to health, agriculture, tive. There were eight other gifts of water, and other sectors, $1 million or more. The Columbia Campaign for and help communities better Athletics: Achieving Excellence, adapt to changes that affect part of the University’s $4 billion their lives and livelihoods. capital campaign, has raised $46 Over the past three de- million so far.
  • Mark Twain's Theories of Morality. Frank C

    Mark Twain's Theories of Morality. Frank C

    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1941 Mark Twain's Theories of Morality. Frank C. Flowers Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Flowers, Frank C., "Mark Twain's Theories of Morality." (1941). LSU Historical Dissertations and Theses. 99. https://digitalcommons.lsu.edu/gradschool_disstheses/99 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. MARK TWAIN*S THEORIES OF MORALITY A dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College . in. partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English By Prank C. Flowers 33. A., Louisiana College, 1930 B. A., Stanford University, 193^ M. A., Louisiana State University, 1939 19^1 LIBRARY LOUISIANA STATE UNIVERSITY COPYRIGHTED BY FRANK C. FLOWERS March, 1942 R4 196 37 ACKNOWLEDGEMENT The author gratefully acknowledges his debt to Dr. Arlin Turner, under whose guidance and with whose help this investigation has been made. Thanks are due to Professors Olive and Bradsher for their helpful suggestions made during the reading of the manuscript, E. C»E* 3 7 ?. 7 ^ L r; 3 0 A. h - H ^ >" 3 ^ / (CABLE OF CONTENTS ABSTRACT . INTRODUCTION I. Mark Twain— philosopher— appropriateness of the epithet 1 A.
  • Booklet of Festival

    Booklet of Festival

    The St. Petersburg N. A. Rimsky-Korsakov State Conservatory (Russia) 23–30 ‘10 ‘2009 The Kazan Nazib Zhiganov State Conservatory (Russia) The Yerevan Komitas State Conservatory (Armenia) The Juilliard School of Music (New York, USA) F e s t i v a l Western Michigan University (Kalamazoo, USA) IX The Peabody Conservatory of The Johns Hopkins University (Baltimore, USA) University of Southern California (Los Angeles, USA) The Tianjin Conservatory of Music (People’s Republic of China) Royal College of Music (London, Great Britain) International Music Academy (Milan, Italy) The Queen Sofia College of Music (Madrid, Spain) The Royal Danish Academy of Music (Copenhagen, Denmark) Carl Nielsen Academy of Music (Odense, Denmark) Rotterdam Conservatory (The Netherlands) The Luxembourg Conservatory of Music (Grand Duchy of Luxembourg) Academy of Music and Theatre (Hamburg, Germany) The State University of Music and Performing Arts (Stuttgart, Germany) The University of Music (Wu_rzburg, Germany) Franz Liszt Academy of Music (Budapest, Hungary) Stanislaw Moniuszko Academy of Music (Gdansk, Poland) The Jerusalem Academy of Music and Dance (Israel) International Conservatory Week S t.Petersburg Официальные инструменты IХ фестиваля «Международная неделя консерватории»: концертный орган фирмы EULE концертные рояли фирмы Steinway & Sons Попечительский совет фестиваля Генеральное Генеральное Генеральное консульство Генеральное консульство Генеральное консульство Генеральное консульство США консульство Королевства Федеративной Венгерской Республики Республики
  • WASHINGTON, B.C. March 27, 1973. Jacques Barzun, Prominent

    WASHINGTON, B.C. March 27, 1973. Jacques Barzun, Prominent

    SIXTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 • 737-4215 extension 224 FOR IMMEDIATE RELEASE JACQUES BARZUN TO DELIVER 1973 MELLON LECTURES IN THE FINE ARTS WASHINGTON, B.C. March 27, 1973. Jacques Barzun, prominent educator, author and cultural historian, will deliver the 22nd annual Andrew W, Mellon Lectures in the Fine Arts at the National Gallery of Art beginning Sunday April 1. The title of Professor Barzun's Mellon Lectures is The Use and Abuse of Art, with subtitles in the six-part series ranging from "Why Art Must Be Challenged" and "The Rise of Art as Religion" to "Art and Its Tempter, Science" and "Art in the Vacuum of Belief." The other titles are "Art the Destroyer" and "Art the Redeemer." The lectures will be given on six consecutive Sundays at 4:00 p.m. from April 1 through May 6 in the National Gallery Auditorium. The series is open to the public without charge. Professor Barzun 1 s publications include The French Race, Romanticism and the Modern Ego, Darwin, Marx, Wagner, and Berlioz and His Century. Among his critical works are Teacher in America, The House of Intellect, and The American University: How It Runs, Where It is Going. A native of France, Professor Barzun received his B.A 0 degree from Columbia College in New York in 1927 and began to teach there the same year. He also received his M.A. (1928) and Ph.D. (1932) from Columbia, where he became a full professor in 1945, (more) JACQUES BARZUN TO DELIVER 1973 MELLON LECTURES IN THE FINE ARTS -2 specializing in comtemporary cultural history.
  • In 193X, Constance Rourke's Book American Humor Was Reviewed In

    In 193X, Constance Rourke's Book American Humor Was Reviewed In

    OUR LIVELY ARTS: AMERICAN CULTURE AS THEATRICAL CULTURE, 1922-1931 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jennifer Schlueter, M.A. ***** The Ohio State University 2007 Dissertation Committee: Approved by Professor Thomas Postlewait, Adviser Professor Lesley Ferris Adviser Associate Professor Alan Woods Graduate Program in Theatre Copyright by Jennifer Schlueter c. 2007 ABSTRACT In the first decades of the twentieth century, critics like H.L. Mencken and Van Wyck Brooks vociferously expounded a deep and profound disenchantment with American art and culture. At a time when American popular entertainments were expanding exponentially, and at a time when European high modernism was in full flower, American culture appeared to these critics to be at best a quagmire of philistinism and at worst an oxymoron. Today there is still general agreement that American arts “came of age” or “arrived” in the 1920s, thanks in part to this flogging criticism, but also because of the powerful influence of European modernism. Yet, this assessment was not, at the time, unanimous, and its conclusions should not, I argue, be taken as foregone. In this dissertation, I present crucial case studies of Constance Rourke (1885-1941) and Gilbert Seldes (1893-1970), two astute but understudied cultural critics who saw the same popular culture denigrated by Brooks or Mencken as vibrant evidence of exactly the modern American culture they were seeking. In their writings of the 1920s and 1930s, Rourke and Seldes argued that our “lively arts” (Seldes’ formulation) of performance—vaudeville, minstrelsy, burlesque, jazz, radio, and film—contained both the roots of our own unique culture as well as the seeds of a burgeoning modernism.
  • The Universite of Oklahoma Graduate College M

    The Universite of Oklahoma Graduate College M

    THE UNIVERSITE OF OKLAHOMA GRADUATE COLLEGE M ANALYSIS OF JOHN DOS PASSOS’ U.S.A. A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHE BE F. UILLIAIl NELSON Norman, Oklahoma 1957 All ANALÏSIS OF JOHN DOS PASSOS' U.S.A. APPROVED 3Ï ijl^4 DISSERTATION COmTTEE TABLE OF CONTENTS Chapter Page I. THE CRITICS....................................... 1 II. THE CAST .......................................... III. CLOSE-UP .......................................... ho IV. DOCUMENTARY ....................................... 63 V. MONTAGE........................................... 91 VI. CROSS-CUTTING ...................................... Il4 VII. SPECIAL EFFECTS .................................... 13o VIII. WIDE ANGLE LENS .................................... l66 IX. CRITIQUE .......................................... 185 APPENDK ................................................. 194 BIBLIOGRAPHY ............................................. 245 111 ACKNOWLEDGEI'IENT Mjr thanks are due all those members of the Graduate Faculty of the Department of English who, knowingly and unknowingly, had a part in this work. My especial thanks to Professor Victor Elconin for his criticism and continued interest in this dissertation are long overdue. Alf ANALYSIS OF JOHN DOS PASSOS' U.S.A. CHAPTER I THE CRITICS The 42nd Parallel, the first volume of the trilogy, U.S.A., was first published on February 19, 1930- It was followed by 1919 on March 10, 1932, and The Big Money on August 1, 1936. U.S.A., which combines these three novels, was issued on January 27, 1938. There is as yet no full-length critical and biographical study of Dos Passes, although one is now in the process of being edited for publication.^ His work has, however, attracted the notice of the leading reviewers and is discussed in those treatises dealing with the American novel of the twentieth cen­ tury.
  • Schenker's First “Americanization”: George Wedge, the Institute of Musical Art, And

    Schenker's First “Americanization”: George Wedge, the Institute of Musical Art, And

    Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 4 Issue 1 Article 7 January 2011 Schenker’s First “Americanization”: George Wedge, the Institute of Musical Art, and the “Appreciation Racket” David Carson Berry [email protected] Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Music Commons Recommended Citation Berry, David Carson (2011) "Schenker’s First “Americanization”: George Wedge, the Institute of Musical Art, and the “Appreciation Racket”," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 4 : Iss. 1 , Article 7. Available at: https://trace.tennessee.edu/gamut/vol4/iss1/7 This A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part III), edited by David Carson Berry is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. SCHENKER’S FIRST “AMERICANIZATION”: GEORGE WEDGE, THE INSTITUTE OF MUSICAL ART, AND THE “APPRECIATION RACKET” DAVID CARSON BERRY quarter of a century ago, William Rothstein first employed a now common phrase when A he spoke of the “Americanization of Schenker”—that is, the accommodation that had to be made to bring Schenker’s ideas into the American academy, a process that involved ex- punging (or at least reconstituting) “those elements of Schenker’s thought [that clashed] most spectacularly with the American mind.”1 Rothstein focused mainly on émigrés displaced by the Second World War (e.g., Oswald Jonas, Ernst Oster, and Felix Salzer), and on Americans a generation younger (e.g., Milton Babbitt and Allen Forte).