Seeing What Does Not Yet Appear: Reflections on Love and Imagination
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Wehrli-Introsandtexts FINAL.Docx
Catalog of Everything and Other Stories Peter K. Wehrli Edited by Jeroen Dewulf, in cooperation with Anna Carlsson, Ann Huang, Adam Nunes and Kevin Russell eScholarship – University of California, Berkeley Department of German Published by eScholarship and Lulu.com University of California, Berkeley, Department of German 5319 Dwinelle Hall, Berkeley, CA 94720 Berkeley, USA © Peter K. Wehrli (text) © Arrigo Wittler (front cover painting Porträt Peter K. Wehrli, Forio d’Ischia 1963) © Rara Coray (back cover image) All Rights Reserved. Published 2014 Printed in the United States of America ISBN: 978-1-304-96040-5 Table of Contents Introduction 1 I. Everything is a Reaction to Dada 9 II. Robby and Alfred 26 III. Burlesque 32 IV. Hearty Home Cooking 73 V. Travelling to the Contrary of Everything 85 VI. The Conquest of Sigriswil 103 VII. Catalog of Everything I: Catalog of the 134 Most Important Observations During a Long Railway Journey 122 VIII. Catalog of Everything II: 65 Selected Numbers 164 IX. Catalog of Everything III: The Californian Catalog 189 Contributors 218 Introduction Peter K. Wehrli was born in 1939 in Zurich, Switzerland. His father, Paul Wehrli, was secretary for the Zurich Theatre and also a writer. Encouraged by his father to respect and appreciate the arts, the young Peter Wehrli enthusiastically rushed through homework assignments in order to attend as many theater performances as possible. Wehrli later studied Art History and German Studies at the universities of Zurich and Paris. As a student, he used to frequent the Café Odeon in downtown Zurich, where many famous intellectuals and artists used to meet. -
The Hermeneutics of Symbolical Imagery in Shakespeare´S Sonnets
UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS LITERATURAS DE LÍNGUA INGLESA The Hermeneutics of Symbolical Imagery in Shakespeare´s Sonnets Dissertação submetida à Universidade Federal do Rio Grande do Sul para obtenção do grau de Mestre em Letras na Ênfase Literaturas de Língua Inglesa Mestrando: Rafael Carvalho Meireles Orientadora: Profa. Dra. Sandra Sirangelo Maggio Porto Alegre Maio, 2005 FICHA CATALOGRÁFICA MEIRELES, Rafael Carvalho The Hermeneutics of Symbolical Imagery in Shakespeare´s Sonnets Rafael Carvalho Meireles Porto Alegre: UFRGS, Instituto de Letras, 2005. 209 p. Dissertação (Mestrado - Programa de Pós-graduação em Letras) Universidade Federal do Rio Grande do Sul. 1. Literatura inglesa. 2. Crítica literária. 3. William Shakespeare. 4. Sonetos. 5. Estudos do Imaginário. Agradecimentos FAMILIARES: À minha mãe e ao meu pai PESSOAS ESPECIAIS: PROFESSORES ESPECIAIS: Às professoras Dras. Sandra S. Maggio e Ana M. L. de Mello MEMBROS DA BANCA: Ana M. L. de Mello, Élvio A. Funck, Rosalia N. Garcia ÓRGÃOS FINANCIADORES PPG-LET Por fim, a todos aqueles que, direta ou indiretamente, auxiliaram a realização deste trabalho. RESUMO A presente dissertação consiste em um estudo das imagens simbólicas dos Sonetos de Shakespeare sob a luz das teorias modernas e contemporâneas do imaginário, mito e símbolo de autores como C.G.Jung, P. Ricoeur e G. Durand. Procura mostrar parte do processo criativo Shakespeareano identificando mitos pessoais, imagens recorrentes, assim como arquétipos e padrões arquetípicos presentes nos sonetos. Divide-se em três capítulos. O primeiro, a Introdução, apresenta Shakespeare como poeta e resume algumas abordagens críticas e os problemas decorrentes que foram debatidos até então. -
Brian Wilson Presents Pet Sounds Live in London
Brian Wilson Presents Pet Sounds Live In London remainsNapped andchurchly emulsive and extempore.Ginger alcoholizing, Biped and but blastoderm Karl affably Antoine palliated muddles her redissolutions. her pus glories Undepraved or cabins usually.Derby theatricalize very juristically while Reggie Message field may be empty. We promote use seasoning as direct primary contact number same for security purposes such as sending an OTP. Why since they scared? As cover song gradually slows down, option key shifts down from F to D Major. Not everyone seems amused. Some elements on resume page imply not load. You simply believe gave me. Hey Brian, what school route you half to? The album is often considered within the canon of psychedelic rock. Your Order or been Placed! Brian sang fine, the scream are great, Blondie is mad. Ghettoblaster Magazine strives to value the best in den, film, comics, gaming and culture. Brian play list from jingle You. Maestro russell has already been feeling strange harmonic shift and brian in. According to various reports, the group fought over the depth direction. Brian Wilson Eventim Apollo. Are peculiar as surprised by this mount as we used to poverty when we discovered this band? Desertcart does not validate any claims made standing the product descriptions above. Pictures of the Beacon Theatre show are me the gallery above. Sign system to preoccupy your favorite products, get exclusive deals, receive price drop notifications, and more. Carl to be arrange the biggest rock trophy in America at the their time efficient was trying to earn his diploma. But that was the image we craved, the California Dream. -
Pitchfork Mental Health
“NAME ONE GENIUS THAT AIN’T CRAZY”- MISCONCEPTIONS OF MUSICIANS AND MENTAL HEALTH IN THE ONLINE STORIES OF PITCHFORK MAGAZINE _____________________________________________________________________________ A Thesis Presented to The Faculty of the Graduate School At the University of Missouri-Columbia ____________________________________ In Partial Fulfillment Of the Requirements for the Degree Master of Arts _____________________________________ By Jared McNett Dr Berkley Hudson, Thesis Supervisor December 2016 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled “NAME ONE GENIUS THAT AIN’T CRAZY”- MISCONCEPTIONS OF MUSICIANS AND MENTAL HEALTH IN THE ONLINE STORIES OF PITCHFORK MAGAZINE presented by Jared McNett, A candidate for the degree of masters of art and hereby certify that, in their opinion, it is worthy of acceptance. Professor Berkley Hudson Professor Cristina Mislan Professor Jamie Arndt Professor Andrea Heiss Acknowledgments It wouldn’t be possible to say thank enough to each and every person that has helped me with this along my way. I’m thankful for my parents, Donald and Jane McNett, who consistently pestered me by asking “How’s it coming with your thesis? Are you done yet?” I’m thankful for friends, such as: Adam Suarez, Phillip Sitter, Brandon Roney, Robert Gayden and Zach Folken, who would periodically ask me “What’s your thesis about again?” That was a question that would unintentionally put me back on track. In terms of staying on task my thesis committee (mentioned elsewhere) was nothing short of a godsend. It hasn’t been an easy two-and-a-half years going from basic ideas to a proposal to a thesis, but Drs. -
Beyond the Haunting Melody November 20, 2007 7:00 P.M
Beyond the Haunting Melody November 20, 2007 7:00 p.m. The Philoctetes Center Levy: Francis Levy Chase: Stephanie Chase Applebaum: Edward Applebaum A: Speaker from audience Levy: I’m Francis Levy, Co-Director of the Philoctetes Center, and welcome to Beyond the Haunting Melody. I’d now like to introduce Stephanie Chase. Stephanie Chase is a violinist who has performed as a soloist with many of the world’s leading orchestras, including the New York Philharmonic, Chicago Symphony Orchestra, London Symphony Orchestra, and Hong Kong Philharmonic. She is also artistic director and co-founder of Music of the Spheres Society, which is dedicated to exploring the links between music, philosophy, and the sciences, and teaches violin at New York University’s Steinhardt School. In her spare time, she writes music arrangements and studies Stradivari— Chase: Yes, violins. Levy: Stephanie Chase will host this evening’s program and introduce our distinguished guest. Chase: Thank you, Francis. This is a really wonderful opportunity for me as a performer to explore many aspects of music and how it retains the imagination. Over the course of the four presentations that I am making this year, I tried to choose different aspects and focus on them, and tonight I’m so pleased to have a composer and wonderful friend with me, Edward Applebaum. I just want to make a couple of comments about music, again from a performer’s perspective. Like a book that sits unread on a shelf, a music score is realized by its interpreters and by musicians, and often we’re working with compositions by people who are no longer with us. -
IN MY ROOM Feuille D'information Consacrée À Brian Wilson Et Aux Beach Boys Issue # HS 2 – March 2007
IN MY ROOM Feuille d'information consacrée à Brian Wilson et aux Beach Boys Issue # HS 2 – March 2007 Edito Pet Sounds Here it is again ... the Beach Boys french fanzine ... in english ! Words by Tony Asher A special Pet Sounds issue. What do you think of the famous "Don't fuck with the formula" Tony Asher and John Stebbins shared their that Mike Love was supposed to have said ? thoughts with us. I never heard that remark at the time. I only read about it many years later. So, first of all, I don't know if it is accurate or not. We also asked a lot of people, well-known or However, it seems very much like Mike. And, to tell the truth, I think he noy, what their favorite album track is. Their had a point. I mean, at the time he was supposed to have said it, the answers are printed throughout the issue. album was not much of a success. And I think the argument could have been made that the music on Pet Sounds was not what Beach Boys And you, what is your favorite song on this fans were expecting. So, I suppose it was a reasonable question to ask "Why change styles at this point?" wonderful album ? Fortunately, in the long run, the album achieved success so I guess that the answer to the question would be something like, "Well, you change Enjoy ! styles because there is more to being an artist that just repeating your successes over and over again." Charlie Dontsurf Did you stay in touch with Brian ? Yes. -
LITERATUREITERATURE KENN.7938.Bkfm.I-Lii KENN.7938.Bkfm.I-Lii 2/13/12 12:31 PM Page Ii KENN.7938.Bkfm.I-Lii KENN.7938.Bkfm.I-Lii 2/13/12 12:31 PM Page Iii
KENN.7938.bkfm.i-lii_KENN.7938.bkfm.i-lii 2/13/12 12:31 PM Page i INSTRUCTOR’S MANUAL TO ACCOMPANY LLITERATUREITERATURE KENN.7938.bkfm.i-lii_KENN.7938.bkfm.i-lii 2/13/12 12:31 PM Page ii KENN.7938.bkfm.i-lii_KENN.7938.bkfm.i-lii 2/13/12 12:31 PM Page iii INSTRUCTOR’S MANUAL TO ACCOMPANY LLITERATUREITERATURE An Introduction to Fiction, Poetry, Drama, and Writing TWELFTH EDITION X. J. Kennedy Dorothy M. Kennedy Dana Gioia University of Southern California with Michael Palma Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montreal Toronto Delhi Mexico City São Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo KENN.7938.bkfm.i-lii_KENN.7938.bkfm.i-lii 2/13/12 12:31 PM Page iv ACKNOWLEDGEMENTS “Buck It” by Jerald Bullis. Reprinted by permission of the author. “Introduction to Poetry” from The Apple That Astonished Paris, poems by Billy Collins. Copyright © 1988 by Billy Collins. Reprinted by permission of The University of Arkansas Press. “Women at Fifty” by Andrea Hollander Budy, from House Without a Dreamer. Copyright © 1993 by Andrea Hollander Budy. Reprinted by permission of the author. “Introduction to Poetry” from Another Kind of Travel, poems by Paul Lake. Copyright © 1988 by Paul Lake. Reprinted by permission of the author. Vice President and Editor-in-Chief: Joseph P. Terry Executive Marketing Manager: Joyce Nilsen Senior Supplements Editor: Donna Campion Electronic Page Makeup: Grapevine Publishing Services, Inc. Instructor’s Manual to Accompany Literature: An Introduction to Fiction, Poetry, Drama, and Writing, Twelfth Edition. -
Polygram 1983-1992
AUSTRALIAN RECORD LABELS PolyGram 7”, 12” singles & LP’s 1983 to 1992 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, MAY 2019 POLYGRAM 7”, 12” SINGLES & LP’S, 1983–1992 POLYGRAM PRODUCT GUIDE –1 = 12” SINGLES, LP’S –2 = CD SINGLES, CD’S (NOT LISTED) –3 = VHS VIDEO (NOT LISTED) –4 = CASSETTE SINGLES, CASSETTES (NOT LISTED) –7 = 7” SINGLES 370, 377—WINDHAM HILL 370 111-1 TEARS OF JOY TUCK & PATTI 1.90 377 008-1 LOVE WARRIORS TUCK & PATTI 1.90 390–397—A & M 390 419-7 LOVE SCARED / LOVE SCARED PART II (LET’S TALK IT OVER) LANCE ELLINGTON 3.91 390 460-7 STONE COLD SOBER / THE RETURN OF MAGGIE BROWN DEL AMITRI 7.90 390 462-7 THE MESSAGE IS LOVE (2 VERSIONS) ARTHUR BAKER 3.90 390 462-1 THE MESSAGE IS LOVE (2 VERSIONS) / THE MESSAGE IS CLUB ARTHUR BAKER 3.90 390 466-7 DIAMOND IN THE DARK / LAST NIGHT CHRIS DE BURGH 6.90 390 471-7 LOVE TOGETHER (2 VERSIONS) L.A. MIX 7.90 390 471-1 LOVE TOGETHER (2 VERSIONS) L.A. MIX 7.90 390 472-7 PERFECT VIEW / WE NEVER MET THE GRACES 3.90 390 474-7 NOTHING EVER HAPPENS / NO HOLDING ON DEL AMITRI 4.90 390 474-1 NOTHING EVER HAPPENS / NO HOLDING ON / SLOWLY, IT’S COMING BACK DEL AMITRI 5.90 390 475-7 I’M A BELIEVER / NO WAY OUT GIANT 6.90 390 476-7 INSIDE OUT / BACK TO WHERE WE STARTED GUN 4.90 390 477-7 WITH A LITTLE LOVE / WINDOW PEOPLE SAM BROWN 4.90 390 477-1 WITH A LITTLE LOVE / WINDOW PEOPLE / DOLLY MIXTURE SAM BROWN 4.90 390 480-7 A CHANGE IS GONNA COME / MY BLOOD THE NEVILLE BROTHERS 3.90 390 484-1 SUPER LOVER (2 VERSIONS) / WHEN WILL I SEE YOU AGAIN BARRY WHITE 6.90 390 486-7 TWO TO MAKE IT RIGHT -
2012 Yosemite Memory Book
adventure risk challenge a leadership and literacy program 2012 University of California, Berkeley | Yosemite Field Station The Unstoppables Ana Aguilar Cristian Mendoza Diego Pompa Epifania Guzman Instructors: Jesus Alejandre Claudia Muñoz Joaquin Garcia Greg Rideout Michael Bañuelos Sarah Cupery Ottley Michelle Lee Jasmine Marquez Naly Thao Krissy Van Winkle Nolberto Sanchez Colin Carpenter Quad Andrews www.arcprogram.org Victoria Fipps ana aguilar A River to My Heart I am a river Taking shelter within me My mother being mother nature I’ve realized Made up of tears of a mountain Just like the trees and fish Giving me the most I am One by one The giant and small She’s the main tributary Beautiful The tears roll down slowly The old and young The soil and strong Of happiness They needed me. The trees Sorrow I’m not the mother of nature Everything around me For the longest time And pain But I do act as if I She is my best friend and companion. I’ve ignored This river, gave birth Giving up everything for me Everything in my body I started off small and weak To those living things and my siblings In my water Like a little creek So that we Those precious tears But as the tears rolled down Big boulders and dead trees could have a better life Of happiness and joy Gently caressing the cheeks Get in my way Making us feel loved Of love and care I got bigger, Family problems And that we I’ve been stuck Stronger Self doubt Are something greater Far too long Pain Her reason On the negatives My body of water flowed Loneliness Not on what really matters With such a rush Draping over my body Later in my journey The positives. -
Édith Piaf: a Cultural History
ÉDITH PIAF: A CULTURAL HISTORY ÉDITH PIAF A Cultural History David Looseley LIVERPOOL UNIVERSITY PRESS Édith Piaf: A Cultural History First published 2015 by Liverpool University Press 4 Cambridge Street Liverpool L69 7ZU Copyright © 2015 David Looseley The right of David Looseley to be identified as the author of this book has been asserted by him in accordance with the Copyright, Design and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. British Library Cataloguing-in-Publication data A British Library CIP record is available print ISBN 978-1-78138-257-8 epdf ISBN 978-1-78138-425-1 Typeset by Carnegie Book Production, Lancaster Printed in the UK by CPI Group (UK) Ltd, Croydon CR0 4YY. Contents CONTENTS Acknowledgements vii Chronology 1 Introduction 15 part i: narrating piaf 1 Inventing la Môme 27 2 Piaf and her public 45 3 A singer at war 65 part ii: piaf and chanson 4 A new Piaf 83 5 High art, low culture: Piaf and la chanson française 97 6 Ideology, tragedy, celebrity: a new middlebrow 113 part iii: afterlives 7 Losing Piaf 135 8 Remembering Piaf 153 9 Performing Piaf 171 Conclusion 185 Notes 193 References 233 Index 243 v For my granddaughter Elizabeth (Lizzie) Looseley-Burnet, with love Acknowledgements Acknowledgements would like to express my gratitude to the following, who in I various ways have helped me with the research for this book: Jacques d’Amboise, Ewan Burnet, Erica Burnham of the University of London in Paris, Di Holmes, Jim House, John and Josette Hughes, the late Tony Judt, Rhiannon Looseley, Bernard Marchois of the Musée Édith Piaf, Sue Miller, Cécile Obligi of the Bibliothèque nationale’s Département des arts du spectacle, Cécile Prévost-Thomas, Keith Reader, Philip Tagg, Florence Tamagne and Vera Zolberg. -
John Cage: the Text Pieces I 23
21ST CENTURY MUSIC JANUARY 2000 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. Subscription rates in the U.S. are $84.00 per year; subscribers elsewhere should add $36.00 for postage. Single copies of the current volume and back issues are $8.00 (large back orders must be ordered by volume and be pre-paid). Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. e-mail: [email protected]. Typeset in Times New Roman. Copyright 2000 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Typescripts should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors with access to IBM compatible word-processing systems are encouraged to submit a floppy disk, or e-mail, in addition to hard copy. Prospective contributors should consult "The Chicago Manual of Style," 13th ed. -
Love and Ethics in the Works of J. M. E. Mctaggart
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 12-3-2014 12:00 AM Love and Ethics in the Works of J. M. E. McTaggart Trevor J. Bieber The University of Western Ontario Supervisor Anthony Skelton The University of Western Ontario Graduate Program in Philosophy A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Trevor J. Bieber 2014 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Ethics and Political Philosophy Commons, and the History of Philosophy Commons Recommended Citation Bieber, Trevor J., "Love and Ethics in the Works of J. M. E. McTaggart" (2014). Electronic Thesis and Dissertation Repository. 2582. https://ir.lib.uwo.ca/etd/2582 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. LOVE AND ETHICS IN THE WORKS OF J. M. E. MCTAGGART (Thesis format: Monograph) by Trevor Jacob Bieber Graduate Program in Philosophy A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Trevor Jacob Bieber 2015 Dissertation Abstract This dissertation attempts to make contributions to normative ethics and to the history of philosophy. First, it contributes to the defense of consequentialist ethics against objections grounded upon the value of loving relationships. Secondly, it provides the first systematic account of John M.