2016 Health Services and International Studies Minutes and 2016-2017 Overview Plan
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Oxford Scholarship Online
White Womanhood and Early Campaigns for Choreographic Copyright University Press Scholarship Online Oxford Scholarship Online Choreographing Copyright: Race, Gender, and Intellectual Property Rights in American Dance Anthea Kraut Print publication date: 2015 Print ISBN-13: 9780199360369 Published to Oxford Scholarship Online: November 2015 DOI: 10.1093/acprof:oso/9780199360369.001.0001 White Womanhood and Early Campaigns for Choreographic Copyright Anthea Kraut DOI:10.1093/acprof:oso/9780199360369.003.0002 Abstract and Keywords This chapter recounts Loïe Fuller’s pursuit of intellectual property rights in the late nineteenth century. Focusing on the 1892 case Fuller v. Bemis, it approaches Fuller’s lawsuit as a gendered struggle to attain proprietary rights in whiteness. First situating Fuller’s practice in the context of the patriarchal economy that governed the late nineteenth-century theater, the chapter then examines the lineage of her Serpentine Dance, including the Asian Indian dance sources to which it was indebted. It also shows how the “theft” of her Serpentine Dance occasioned a crisis of subjecthood for Fuller, and how her assertion of copyright was an attempt to (re)establish herself as a property-holding subject. The chapter ends by considering the copyright bids of two dancers Page 1 of 65 PRINTED FROM OXFORD SCHOLARSHIP ONLINE (www.oxfordscholarship.com). (c) Copyright Oxford University Press, 2015. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in OSO for personal use (for details see http://www.oxfordscholarship.com/page/privacy-policy). Subscriber: New York University; date: 26 July 2016 White Womanhood and Early Campaigns for Choreographic Copyright who followed in Fuller’s wake, Ida Fuller and Ruth St. -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Pick, J.M. (1980). The interaction of financial practices, critical judgement and professional ethics in London West End theatre management 1843-1899. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/7681/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] THE INTERACTION OF FINANCIAL PRACTICES, CRITICAL JUDGEMENT AND PROFESSIONAL ETHICS IN LONDON WEST END THEATRE MANAGEMENT 1843 - 1899. John Morley Pick, M. A. Thesis submitted for the Degree of Doctor of Philosophy in the City University, London. Research undertaken in the Centre for Arts and Related Studies (Arts Administration Studies). October 1980, 1 TABLE OF CONTENTS Acknowledgements 4 Abstract 5 One. Introduction: the Nature of Theatre Management 1843-1899 6 1: a The characteristics of managers 9 1: b Professional Ethics 11 1: c Managerial Objectives 15 1: d Sources and methodology 17 Two. -
Thomas Hardy, the Life and Work of Thomas Hardy, (Ed.) Michael Drama and the Theatre: the Dynasts' and 'The Famous Tragedy of Th
Notes Notes to the Introduction 1. Thomas Hardy, The Life and Work of Thomas Hardy, (ed.) Michael Millgate (London, Macmillan, 1984; Athens: University of Georgia Press, 1985) p. 56. Hereafter cited as Life and Work. 2. While this is the first full-length study of Hardy's interest and involvement in the theatre, it takes its place within the small but solid body of scholarship that has appeared since Marguerite Roberts first addressed two specific aspects of the subject in her books Tess in the Theatre (University of Toronto Press, 1950) and Hardy's Poetic Drama and the Theatre: The Dynasts' and 'The Famous Tragedy of the Queen of Cornwall' (New York: Pageant Press, 1965). Other significant contributions are David N. Baron, 'Harry Pouncy and the Hardy Players', Notes and Queries for Somerset and Dorset, 31 (September 1980) pp. 45-50 and his 'Hardy and the Dorchester Pouncys- Part Two', Notes and Queries for Somerset and Dorset, 31 (September 1981) pp. 129-35; Harold Orel, 'Hardy and the Theatre', in Margaret Drabble (ed.), The Genius of Thomas Hardy (London: Weidenfeld & Nicolson, 1976) pp. 94-108, and 'Hardy's Interest in the Theatre' in Harold Ore!, The Unknown Thomas Hardy (Brighton: Harvester, 1987) pp. 37--{;6; Desmond Hawkins's very helpful checklist of dramatiza tions, which forms an appendix (pp. 225-36) to his Hardy, Novelist and Poet (Newton Abbot: David & Charles, 1976); and Joan Grundy's 'Theatrical Arts', in her Hardy and the Sister Arts (London: Macmillan, 1979) pp. 70-105. Mention should also be made of Vincent Tollers's useful unpublished doctoral dissertation, 'Thomas Hardy and the Professional Theatre, with Emphasis on The Dynasts' (University of Colorado, 1968) and James Stottlar's 'Hardy vs. -
Social Discourse in the Savoy Theatre's
SOCIAL DISCOURSE IN THE SAVOY THEATRE’S PRODUCTIONS OF THE NAUTCH GIRL (1891) AND UTOPIA LIMITED (1893): EXOTICISM AND VICTORIAN SELF-REFLECTION William L. Hicks, B.M. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS August 2003 APPROVED: John Michael Cooper, Major Professor Margaret Notley, Committee Member Mark McKnight, Committee Member James C. Scott, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Hicks, William L, Social Discourse in the Savoy Theatre’s Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection. Master of Music (Musicology), August 2003, 107 pp., 4 illustrations, 12 musical examples, references, 91 titles. As a consequence to Gilbert and Sullivan’s famed Carpet Quarrel, two operettas with decidedly “exotic” themes, The Nautch Girl; or, The Rajah of Chutneypore, and Utopia Limited; or, The Flowers of Progress were presented to London audiences. Neither has been accepted as part of the larger Savoy canon. This thesis considers the conspicuous business atmosphere of their originally performed contexts to understand why this situation arose. Critical social theory makes it possible to read the two documents as overt reflections on British imperialism. Examined more closely, however, the operettas reveal a great deal more about the highly introverted nature of exotic representation and the ambiguous dialogue between race and class hierarchies in late nineteenth-century British society. Copyright, 2003 by William L. Hicks ii ACKNOWLEDGEMENTS Because of the obscurity of The Nautch Girl and Utopia Limited, I am greatly indebted to the booksellers Christopher Browne and Wilfred M. -
The Boys' School Festival on Wednesday Next. the West Lancashire Alpass Benevolent Institution. Gothic Architecture—Let It Be
short of THE BOYS' SCHOOL FESTIVAL ON -£872. The number of widoAvs on the Fund is nine, and the total distributed amongst them in annuities £192. The WEDNESDAY NEXT. expenses are only a little in excess of £14, so that the balance to be carried fonvard to the current account Avas -£665. The in- The 93rd Anniversary Festival of the Royal Masonic Insti- vestments reach £3330/ so that even if further candidates for the tution for Boys will be held at the Royal Pavilion , Brighton , on benefits of the Charity should come forward and be elected, there is Wednesday next, the 24th instant, under the presidency of Bro. no present likelihood of the cap ital being trenched upon. Such a the Earl of LATHOM, Pro Grand Master of England and Prov. Report as this must be very gratif ying to Bro. the Earl of Grand Master of West. Lancashire. We have alreadv enu- LATHOM and our West Lancashire brethren , ancl makes it clear merated the special circumstances under which the celebration that the true purpose—Avhat many have described as the one will take place. We have pointed out on several occasions and only secret—of our Craft is thoroug hly understood and that the fortunes of the Institution are in a somewhat di- appreciated by them. It is, indeed, an honour of Avhich they lapidated state, and that though its responsibilities have may justly be proud , that, in order to promote the well-being of been as great as ever, the means by Avhich it is their poorer brethren and the AvidoAVS and children of those enabled to fulfil those responsibilities have during the last AVIIO have died in poor circumstances, the Masons of West Lan- two or three years been very seriously curtailed. -
U-Carmen Ekhayelitsha
The articulation of context and identity in U-Carmen eKhayelitsha Susanna Isobella Viljoen Thesis submitted for the degree Doctor of Philosophy in Music at the Potchefstroom Campus of the North-West University Supervisor: Prof. J. Kruger Co-supervisor: Prof. M. Wenzel November 2012 ® Innovation through diversity ® POTCHEFSTROOMKAMPUS TABLE OF CONTENTS TABLE OF CONTENTS i DEDICATION iv ACKNOWLEDGEMENTS v SUMMARY vi OPSOMMING vii FIGURES ix MUSIC EXAMPLES ix PLATES x FILM STILLS xi CHAPTER 1: INTRODUCTION 1 1.1 Contextualization of the research project 1 1.2 Scope of the research project 5 1.3 Research design 7 1.4 Thesis design 9 CHAPTER 2: TEXT, CONTEXT AND IDENTITY 14 2.1 Text 16 2.1.1 Encoding: signs, symbols and icons 17 2.1.2 Decoding: Addresser, work, addressee and text 19 2.1.3 Narrative text 22 2.1.4 Intertextuality 23 2.1.4.1 Text and intertextuality 24 i) Origins 25 ii) Presuppositions 25 2.1.4.2 Context and intertextuality 26 2.1.4.3 Meaning and interpretation 27 2.1.4.4 Types of intertextuality 28 2.2 Adaptations of texts 31 2.3 Context 39 2.3.1 Creating contexts 40 2.3.1.1 Focalization 40 2.3.1.2 Time 41 2.3.1.3 Space 44 2.4 Identity 46 2.4.1 Context and identity 47 2.4.2 Western Self versus non-Western Other 49 2.4.2.1 Documentation of the Other’s context and identities 50 2.4.2.2 Western superior versus non-Western subaltern 53 2.4.2.3 Womanhood and sexuality 55 2.5 Conclusion 60 i CHAPTER 3: EXOTICISM 62 3.1 Exoticism conceptualized 62 3.2 Spain and Gypsies as the exotic Other 67 3.2.1 Spain as exotic space 67 3.2.2 The -
The Origins of Loie Fuller's Serpentine Dance Written by Jody Sperling Su
Copyright by Jody Sperling, 2001 Skirting the Image: The Origins of Loie Fuller's Serpentine Dance written by Jody Sperling (Note: This is a slightly-edited version of a paper delivered at the Twenty-Second Annual Conference of the Society of Dance History Scholars, University of New Mexico, Albuquerque, June 2006, and published in conference proceedings. This text was delivered at a roundtable on Loie Fuller at the Festival Oriente Occidente in Rovereto in August 2001. It translated into Italian and appears in Danza di luce, a collection of essays about Loie Fuller published by Skira in conjuction with the Museo di Arte Moderna e Contemporanea di Trento e Rovereto.) Suddenly the stage is darkened and Loie Fuller appears in a white light which makes her radiant and a white robe that surrounds her like a cloud. She floats around the stage, now revealed, now concealed by the exquisite drapery which takes forms of its own . .. She is Diana dancing in the moonlight with a cloud to veil her from Acteon. She is a fairy flitting about with a cloak of thistledown. The surprised and delighted spectators do not know what to call her performance. It is not a skirt dance, although she dances and waves a skirt. It is unique, ethereal, delicious. As she vanishes, leaving only a flutter of her white robe on the stage, the theatre resounds with thunders of applause. Again she emerges from the darkness, her airy evolutions now tinted blue and purple and crimson and again the audience rise at her and insist upon seeing her pretty, piquant face before they can believe that the lovely apparition is really a woman.1 The Serpentine Dance, just described above by a reviewer from the New York Spirit of the Times in January of 1892, is America's first modern dance. -
Moyo, Arifani. 'Indigeneity and Theatre in the New South Africa.'
Indigeneity and Theatre in the New South Africa Arifani James Moyo Royal Holloway, University of London PhD in Theatre Studies 2015 Declaration of Authorship I, Arifani James Moyo, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 30 June 2015 2 Acknowledgements The writing, research and all sponsorship for this PhD thesis were part of the international, multidisciplinary humanities research project, Indigeneity in the Contemporary World: Politics, Performance, Belonging (2009 – 2014), a project that Professor Helen Gilbert initiated and led with funding from the European Research Council. The project headquarters was the Centre for International Theatre and Performance Research (CITPR) at the Department of Drama and Theatre, Royal Holloway University of London. The project looked at ―how indigeneity is expressed and understood in our complex, globalising world‖, and the diverse ways in which indigeneity‘s ―cultural, political, ethical and aesthetic issues are negotiated‖ through ―performance as a vital mode of cultural representation and a dynamic social practice‖ (www.indigeneity.net). The core research team included anthropologists and arts scholars with experience in indigenous peoples‘ movements of the Americas, Australia and the Pacific Islands. The project widely networked, and also hosted numerous fellowships, with indigenous scholars, artists and activists from around the globe. My task was to explore the topic of ‗Indigeneity in the New South Africa‘. I thank Professor Gilbert for this extraordinary experience, and for supervising the PhD. I also thank Professor Matthew Cohen, Doctor Lynette Goddard and Professor David Wiles for their generous support of the supervision. -
Bringing African Film to International Audiences (Lindiwe Dovey)
Impact case study (REF3b) Institution: SOAS Unit of Assessment: 27 Area Studies Title of case study: Bringing African Film to International Audiences (Lindiwe Dovey) 1. Summary of the impact (indicative maximum 100 words) African filmmakers have long experienced difficulties in funding, exhibiting and distributing their work, reflecting the dominance of Hollywood and „mainstream‟ cinema. Dr Lindiwe Dovey‟s research into African film and international film distribution investigates how such difficulties might be overcome, while drawing attention to the diversity and originality of African filmmaking practices. This research inspired and enabled the creation of the UK‟s largest film festival, Film Africa, showcasing African-made culture to a wider audience, and providing a space where African filmmakers can meet with distributors and funders, enhancing their potential to further their careers internationally. 2. Underpinning research (indicative maximum 500 words) Dr Lindiwe Dovey comes from a filmmaking background and pursued a career in higher education with the explicit aim of combining academic and practice-based research. Upon completing her PhD at Cambridge in 2005, she held a Mellon Research Fellowship in Film, before joining SOAS in 2007 as Lecturer in African Film and Performance Arts. She was promoted to Senior Lecturer in 2010. Her research focuses on African literary film adaptations and cultural appropriation, postcolonial film and music, and the processes and dynamics of African film production, distribution and exhibition both in and outside Africa. Alongside academic publication, Dovey has made several short films and documentaries. In 2009, Dovey published her first monograph, the first book in English to explore the phenomenon of African literary film adaptations, African Film and Literature: Adapting Violence to the Screen. -
Michael Christoforidis and Elizabeth Kertesz. Carmen and the Staging of Spain
2019 © Bruno Forment, Context 45 (2019): 93–96. BOOK REVIEW Michael Christoforidis and Elizabeth Kertesz. Carmen and the Staging of Spain: Recasting Bizet’s Opera in the Belle Epoque Oxford: OUP, 2019 (Currents in Latin American & Iberian Music) ISBN 9780195384567. 328 pp., 69 ills. Reviewed by Bruno Forment Georges Bizet’s Carmen (1875) is frequently seen as the paradigm of Spanishness in opera. Encapsulating the late Romantic vision of ‘Spanish customs, costumes, characters, and styles of music and dance’ (p. xv), Carmen presents a wildly exotic realm populated by soldiers, bullfighters, gypsies, and smugglers. But Bizet’s opera has seldom conveyed one and the same image, as Michael Christoforidis and Elizabeth Kertesz argue in this interesting volume. In the forty years following its premiere (1875–1915), dynamic ‘processes of Hispanicisation’ transformed the opera’s representation and reception alike in more profound ways than has been assumed, engendering a rich legacy in music, dance, literature, and film. Though other monographs have already explored this rich afterlife—recently, for example, Victoria Etnier Villamil’s monograph—Carmen and the Staging of Spain is the first study to paint the aforementioned transformation in truly panoramic dimensions, introducing readers to numerous overlooked characters and works.1 The volume’s brief but informative Prelude, ‘The Spains of Paris, Mérimée, and Bizet’s Carmen’, evokes the cultural-historical background against which Prosper Mérimée’s novella (1845) and Bizet’s opera made their mark. In a context of intense Spanish immigration, Mérimée’s idealised Spain resonated with the espagnolades, that is, Moorish or Andalusian songs, dances, and guitar compositions, performed by famous émigrés such as the García family (with the singers Maria Malibran, Manuel Jr, and Pauline Viardot). -
Royalty and Freemasonry
___ — — — i — i. ¦ - ¦ ¦ - i ..,— ., i ¦ ¦ i , m^> Grand Director of Ceremonies left the Lodge, ROYALTY AND FREEMASONRY. returning almost immediately with the patent, which was examined by the Grand Master, after which MONDAY witnessed one of the most imposing Masonic ceremonies that has ever taken place seven Past Masters were directed to conduct his in the Provinces, the occasion being the installation Royal Highness the Provincial Grand Master of H.R.H. the Dnke of Clarence and Avondale, at Designate into the Lodge. The young Prince was Reading, as Provincial Grand Master of Berkshire. received with due honours, the patent was read, the The Grand Master of England personally officiated , Grand Lodge offered prayer, and then, in clear tones, and was supported by his brother Past Grand Master the Grand Master recited the obligation of a H.R.H. the Duke of Connaught, the Deputy Grand Provincial Grand Master, which was repeated by the Master the Earl of Lathom, and a host of dis- Duke of Clarence. tinguished Craftsmen and men of position in the The young Prince then ascended the steps of the outside world, among others being Bros. Tilton dais, when he was duly invested with the apron, Grand Master of New York, General Laurie Grand chain, and jewel of his office , these being carefully Master of Nova Scotia, the Earl of Euston, Lord adjusted by his Royal Highness the Grand Master. Wantage, Lord Carrington, Brother W. W. B. The Prmce ol Wales took him by the hand 4&0. Beach, M.P., &e. placed him in the chair which he had previi(<%* The royal party joined the special train, run by the occupied, taking himself the lower seat on the jiydke Great Western Railway from London, at Slough, and of Clarence's left hand. -
Spanish Music and Its Representations in London (1878-1930): from the Exotic to the Modern
Spanish Music and its Representations in London (1878-1930): From the Exotic to the Modern. Kenneth James Murray Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy July 2013 Melbourne Conservatorium of Music University of Melbourne Produced on archival quality paper ABSTRACT This thesis argues that the landscape of Spanish music in London evolved between 1878 and 1930 from Romantic exotic constructions to a recognition and appreciation of Spanish musical nationalism, which reflected some of the concerns of post-war musical modernism in a newly cosmopolitan context. This transformation will be traced through the study of specific protagonists and events that contributed to the English reception of Spanish music during this period. While the development of Spanish nationalist music and its important intersections with French music have been studied in numerous texts, little has been written on the English engagement with Spanish music. A key event in defining musical and theatrical Spain in the latter part of the nineteenth century came from France in the guise of George Bizet's Carmen (1875, London 1878). The opera, and its many parodies and theatrical re-workings in London, provides a foundation for discussions of Spanishness in late nineteenth-century England, and influenced the reception of Pablo Sarasate and Isaac Albéniz. In the Edwardian era, closer ties between England and Spain, increased travel possibilities and specialist writers rekindled enthusiasm for Spanish music. The anti- German currents of the pre-war years and the influence of French writers and musicians set the scene for the further English appreciation of Spanish music in the aftermath of the death of Enrique Granados in 1916.