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Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
Walt Whitman, John Muir, and the Song of the Cosmos Jason Balserait Rollins College, [email protected]
Rollins College Rollins Scholarship Online Master of Liberal Studies Theses Spring 2014 The niU versal Roar: Walt Whitman, John Muir, and the Song of the Cosmos Jason Balserait Rollins College, [email protected] Follow this and additional works at: http://scholarship.rollins.edu/mls Part of the American Studies Commons Recommended Citation Balserait, Jason, "The nivU ersal Roar: Walt Whitman, John Muir, and the Song of the Cosmos" (2014). Master of Liberal Studies Theses. 54. http://scholarship.rollins.edu/mls/54 This Open Access is brought to you for free and open access by Rollins Scholarship Online. It has been accepted for inclusion in Master of Liberal Studies Theses by an authorized administrator of Rollins Scholarship Online. For more information, please contact [email protected]. The Universal Roar: Walt Whitman, John Muir, and the Song of the Cosmos A Project Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Liberal Studies by Jason A. Balserait May, 2014 Mentor: Dr. Steve Phelan Reader: Dr. Joseph V. Siry Rollins College Hamilton Holt School Master of Liberal Studies Program Winter Park, Florida Acknowledgements There are a number of people who I would like to thank for making this dream possible. Steve Phelan, thank you for setting me on this path of self-discovery. Your infectious love for wild things and Whitman has changed my life. Joe Siry, thank you for support and invaluable guidance throughout this entire process. Melissa, my wife, thank you for your endless love and understanding. I cannot forget my two furry children, Willis and Aida Mae. -
NEMLA 2014.Pdf
Northeast Modern Language Association 45th Annual Convention April 3-6, 2014 HARRISBURG, PENNSYLVANIA Local Host: Susquehanna University Administrative Sponsor: University at Buffalo CONVENTION STAFF Executive Director Fellows Elizabeth Abele SUNY Nassau Community College Chair and Media Assistant Associate Executive Director Caroline Burke Carine Mardorossian Stony Brook University, SUNY University at Buffalo Convention Program Assistant Executive Associate Seth Cosimini Brandi So University at Buffalo Stony Brook University, SUNY Exhibitor Assistant Administrative Assistant Jesse Miller Renata Towne University at Buffalo Chair Coordinator Fellowship and Awards Assistant Kristin LeVeness Veronica Wong SUNY Nassau Community College University at Buffalo Marketing Coordinator NeMLA Italian Studies Fellow Derek McGrath Anna Strowe Stony Brook University, SUNY University of Massachusetts Amherst Local Liaisons Amanda Chase Marketing Assistant Susquehanna University Alison Hedley Sarah-Jane Abate Ryerson University Susquehanna University Professional Development Assistant Convention Associates Indigo Eriksen Rachel Spear Blue Ridge Community College The University of Southern Mississippi Johanna Rossi Special Events Assistant Wagner Pennsylvania State University Francisco Delgado Grace Wetzel Stony Brook University, SUNY St. Joseph’s University Webmaster Travel Awards Assistant Michael Cadwallader Min Young Kim University at Buffalo Web Assistant Workshop Assistant Solon Morse Maria Grewe University of Buffalo Columbia University NeMLA Program -
Bambuco, Tango and Bolero: Music, Identity, and Class Struggles in Medell´In, Colombia, 1930–1953
BAMBUCO, TANGO AND BOLERO: MUSIC, IDENTITY, AND CLASS STRUGGLES IN MEDELL¶IN, COLOMBIA, 1930{1953 by Carolina Santamar¶³aDelgado B.S. in Music (harpsichord), Ponti¯cia Universidad Javeriana, 1997 M.A. in Ethnomusicology, University of Pittsburgh, 2002 Submitted to the Graduate Faculty of the Department of Music in partial ful¯llment of the requirements for the degree of Doctor of Philosophy in Ethnomusicology University of Pittsburgh 2006 BAMBUCO, TANGO AND BOLERO: MUSIC, IDENTITY, AND CLASS STRUGGLES IN MEDELL¶IN, COLOMBIA, 1930{1953 Carolina Santamar¶³aDelgado, PhD University of Pittsburgh, 2006 This dissertation explores the articulation of music, identity, and class struggles in the pro- duction, reception, and consumption of sound recordings of popular music in Colombia, 1930- 1953. I analyze practices of cultural consumption involving records in Medell¶³n,Colombia's second largest city and most important industrial center at the time. The study sheds light on some of the complex connections between two simultaneous historical processes during the mid-twentieth century, mass consumption and socio-political strife. Between 1930 and 1953, Colombian society experienced the rise of mass media and mass consumption as well as the outbreak of La Violencia, a turbulent period of social and political strife. Through an analysis of written material, especially the popular press, this work illustrates the use of aesthetic judgments to establish social di®erences in terms of ethnicity, social class, and gender. Another important aspect of the dissertation focuses on the adoption of music gen- res by di®erent groups, not only to demarcate di®erences at the local level, but as a means to inscribe these groups within larger imagined communities. -
Leaves of Grass
Leaves of Grass by Walt Whitman AN ELECTRONIC CLASSICS SERIES PUBLICATION Leaves of Grass by Walt Whitman is a publication of The Electronic Classics Series. This Portable Document file is furnished free and without any charge of any kind. Any person using this document file, for any pur- pose, and in any way does so at his or her own risk. Neither the Pennsylvania State University nor Jim Manis, Editor, nor anyone associated with the Pennsylvania State University assumes any responsibility for the material contained within the document or for the file as an electronic transmission, in any way. Leaves of Grass by Walt Whitman, The Electronic Clas- sics Series, Jim Manis, Editor, PSU-Hazleton, Hazleton, PA 18202 is a Portable Document File produced as part of an ongoing publication project to bring classical works of literature, in English, to free and easy access of those wishing to make use of them. Jim Manis is a faculty member of the English Depart- ment of The Pennsylvania State University. This page and any preceding page(s) are restricted by copyright. The text of the following pages are not copyrighted within the United States; however, the fonts used may be. Cover Design: Jim Manis; image: Walt Whitman, age 37, frontispiece to Leaves of Grass, Fulton St., Brooklyn, N.Y., steel engraving by Samuel Hollyer from a lost da- guerreotype by Gabriel Harrison. Copyright © 2007 - 2013 The Pennsylvania State University is an equal opportunity university. Walt Whitman Contents LEAVES OF GRASS ............................................................... 13 BOOK I. INSCRIPTIONS..................................................... 14 One’s-Self I Sing .......................................................................................... 14 As I Ponder’d in Silence............................................................................... -
Strange True Stories of Louisiana
:CO | !(D 00 =!- = "- THE REV. H. C. BEECHING Tattendon I, %-, I {From a portrait now in the possession of Mme. Veuve Alcibiade De Blanc.} STRANGE TRUE STORIES OF LOUISIANA GEORGE W. CABLE " AUTHOR OF "THE ORANDISSIMES," BOXAVENTUKE," ETC. ILLUSTRATED - I (j) 3 I 3 Jo, ""T~3i-b NEW YORK: CHARLES SCRIBNER'S SONS. SOLD BY KEGAN PAUL, TRENCH, TRUBNER & CO. LTD. LONDON. MDCCCXC. F"" ' h . St.: \ TO MY FRIEND JAMES BIRNEY GUTHRIE CONTENTS. PAGE HOW I GOT THEM 1 THE YOUNG AUNT WITH WHITE HAIR . 23 THE ADVENTURES OF FRANQOISE AND SUZANNE. I. THE Two SISTERS 34 II. MAKING UP THE EXPEDITION . 37 III. THE EMBARKATION .... 43 IV. ALIX CARPENTIER .... 51 V. DOWN BAYOU PLAQUEMINE. THE FIGHT WITH WILD NATURE . 55 VI. THE TWICE-MARRIED COUNTESS . 61 VII. ODD PARTNERS IN THE BOLERO DANCE, 65 VIII. A BAD STORM IN A BAD PLACE . 69 IX. MAGGIE AND THE ROBBERS . 73 X. ALIX PUTS AWAY THE PAST ... 80 XI. ALIX PLAYS FAIRY. PARTING TEARS, 84 XII. LITTLE PARIS 90 XIII. THE COUNTESS MADELAINE ... 94 XIV. "PooR LITTLE ALIX!" ... 99 XV. THE DISCOVERY OF THE HAT 104 Till CONTENTS. PAGE XVI. Tat BALL 108 XVII. I'ICNIC AND FAKI \VM.I . 116 AI.IX DE MORAINVILLE 121 SALOME MULLER, THE WHITE SLAVE. I. SALOME AND HER KINDRED . 145 II. Six MONTHS AT ANCHOR. 148 III. FAMINE AT SEA 150 IV. SOLD INTO BONDAGE ... 155 V. THE LOST ORPHANS . .159 VI. CHRISTIAN ROSELIUS . 162 VII. MILLER VERSUS BELMONTI . 163 VIII. THE TRIAL 169 IX. THE EVIDENCE . 173 X. THE CROWNING PROOF . 178 XI. -
Boston Symphony Orchestra Concert Programs, Season 50,1930-1931, Subscription Series
a* .% w*v J H BOSTON SYMPHONY OROIESTRS INC. FIFTIETH SEASON J930-193J prsgrtwie 3M . A RADIO Worthy of the Name And now—Out of the "House of Magic' conies the crowning achievement— a new type receiving set—radio as never before . GENERAL ELECTRIC RADIO In it, masters of radio have combined the unexcelled selectivity of the super-heter- odyne circuit wilh the unequalled power of screen-grid tubes—a station at every hairline . astonishing distance . elimi- nation of hum . full range tone, natural as though you are in the studio! This set embodies every quality radio science can impart ... a typical General Electric product. Priced from $U2.50up LesgTube9 Convenient Terms CCHarvey© "The Music Center of Boston" PIANOS RADIOS PHONOGRAPHS 144 Boylston Street Tel. UANcsek 5180 _TL SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Commonwealth 1492 Boston Symph. lestra INC. Dr. SERGE KOUSSEVITZKY, Conductor FIFTIETH SEASON, 1930-1931 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1930, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT ......... President BENTLEY W. WARREN Vice-President ERNEST B. DANE Treasurer FREDERICK P. CABOT FREDERICK E. LOWELL ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL EDWARD M. PICKMAN M. A. DE WOLFE HOWE HENRY B. SAWYER JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 433 THE PIANO OF PADEREWSKI/ OF HOFMANN IS WELL WITHIN YOUR REAC No matter what the size of your living-room or the decoration of your music- room, there is a Steinway model that will be appro- priate. -
The Classroom Music Program. INSTITUTION Bloomington Public Schools, Minn
DOCUMENT RESUME ED 061 186 SP 007 370 AUTHOR Snyder, Virginia; And Others TITLE The Classroom Music Program. INSTITUTION Bloomington Public Schools, Minn. PUB DATE 69 NOTE 501p. EDRS PRICE MF-$0.65 HC-$19.74 DESCRIPTORS *Curriculum Guides; *Grade 4; *Grade 5; *Grade 6; Musical Instruments; Music Appreciation; *Music Education; Vocal Music ABSTRACT GRADES OR AGES: Grades 4, 50 and 6. SUBJECT MATTER: Music. ORGANIZATION AND PHYSICAL APPEARANCE: The introductory section contains material on the purpose, general objectives, and organization of the program; recommendations for the classroom vocal program, the classroom instrumental program, the classroom mllsic listening program, and the non-classroom music program; and a sco and sequence chart. Each grade level has sections on 1) materials equipment and supplies; 2) classroom vocal proipm; 3) classroom instrumental program; and 4)classroom listening program, with appendixes on vocal, instrumental, and listening resources. There is also a glosSary of common terms and symbols, and an 11-item bibliography. The guide is mimeographed and spiral bound with a soft cover. OBJECTIVES AND ACTIVITIES: General objectives are listedin the introductory material. Behavioral objectives are listed at the beginning of each section of the three grades. Activities are listed in detail for each grade in the vocal, instrumental, and listening sections. INSTRUCTIONAL MATERIALS: Texts, records, and other materials arelisted at the beginning of each grade and are also referred to in relation to the activities. The appendixes for each grade include additional instructional material. STUDENT ASSESSMENT: There is a pre-test for each grade. (MBM) THE CLASSROOM MUSIC PROGRAM CZ) BLOOMINGTON PUBLIC SCHOOLS ' L.L.1 INDEPENDENT SCHOOL DISTRICT NO. -
Ravel: Bolero
BOLERO Maurice Ravel (1928) 2 BOLERO By Maurice Ravel (France) 20th Century (1928) LESSON INTRODUCTION Important Terms and Concepts ∗ Ostinato: a musical phrase, usually with a distinctive rhythm, repeated over and over in a composition ∗ Dynamics: describes how loud or soft a piece of music is o Piano: softly o Forte: loudly o Crescendo: an increase in volumne BEHIND THE MUSIC Joseph Maurice Ravel (1875 – 1937) was a French post-Impressionist composer whose works experimented with form and tone color, as exemplified by the The Shreveport Symphony piece Bolero. In 1889, at Orchestra will perform 14, Ravel entered the Maurice Ravel’s Bolero at the Paris Conservatoire, May 6 concert! Encourage where he remained until your students to come hear this piece performed live! 1905. During this period, he composed some of his best known works, including the Pavane for a Dead Princess, the Sonatine for piano, and his String Quartet in F. After three attempts to win the coveted Prix de Rome for composition, a bit of a scandal broke out because the works he submitted were judged too “advanced” by ultraconservative members of the jury. Ravel never married, and lived the life of a semi-recluse at his country retreat in France. Ravel thought of music as a ritual, having its own laws, to be conducted behind Amplify Curriculum: copyright 2016 Shreveport Symphony Orchestra www.shreveportsymphony.com 3 high walls, sealed off from the outside world, and impenetrable to unauthorized intruders. Boléro reveals Ravel’s mastery of the art of instrumentation. It was originally intended to be a ballet, commissioned for the dancer Ida Rubinstein. -
CAN Coll© :Tioii 2
-j"' The Weather T U E S D A Y , M A B C H T, 1»44 Average Daily Circulation ^ '" V 4 d k p o u B i E i a i Fencaat of U. s. Weotbev Manch^t^ Evening Her^d FMr the Meath ef Febraatjr. 1844 Fair la eoet ptetloa, partly . rioudy la west porttea toalfht; SorOptimist Club ^meinberi are 8,657 Thnrwlay fafr; colder toalgkt aad About T o v ^ reihinded that the'supper piit on Meteher of the Ahdlt ThurtOiy. ' I v Mloa HoUen Holbrook, Mias .'firaxeaa of droatotfoos Lela WobdUe end Mra. M a^o^ IF 'R E Potorson tomorrow evening at the Manchester-— A CUy of ViUage Xhtwm C. JiinchM * T . M. C. A. .oriil be oqraed prompt Uie Original'fn New You won*t missJkdae bargedns.^^Most of the A ra q r'4 ^ ^Oorpa, eta* ly at g o’clock, to allow time for (Claarifie<rAfirertletag. ea Page 14) MANCHESTER, CONN„ WEDNESDAY, MAtlCll 8, 1944 SIXTEEN PAGES) PRICE THREE CENTS tioiuid in F}6(Ki«, « n o la bome on Die buaineas maetlng anff bridge these items have been specUdly, priced for this V0L.LXin.,N0.134 furiouihr'nint the wadMMd with to follow. Z ___________ — Mwta W» Laird of week. B e farsighted on this scetrce m er- ManafieM. The monthly meethm Of the ^^ed. Morning Spe^ols t - inniich oIm s o f tbo^Cnurch ol.4a0 ckemdise. ^ Pilot Wounded over Truk l-Auds Datpu^ed Plane Bdwin W< Laird, of Ifanalleld, N a a i ^ e w ill be held T h u M a y Hous© Dresses haa iM o slly been namad. -
INSTRUMENTS Pl ROLLS &MUSIC P17 TECHNICALITIES P27
AMICA BOARD MEMBERS: INSTRUMENTS pl J ROLLS &MUSIC p17 Frank Loob, President Roger Johnson, Vice President TECHNICALITIES p27 Ginny Billings, Publisher INTERNATIONAL AMICA pl Nick Jarrett, Treasurer NORTHERN CALIFORNIA p6 Roberta Cherney, Recording Secretary Dick Reutlinger, Membership Secretary SOUTHERN CALIFORNIA p7 Mel Luchetti, Advertising Secretary BIOGRAPHI_CAL SKETCHES plO The AMICA News Bulletin Published by the Automatic Musical Instrument Collectors' Association, a non-profit club devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls. Contributions: All subjects of interest to readersof the bulletin are encouraged and invited by the publisher. All articles must be received by the first of the month. Every attempt will be made to publish all articles of general interest to AM ICA members at the earliest possible time and at the discretion of the Publisher, in the following areas: * Letters to the Publisher *Research Findings "Ouestions and Answers *Biographical Sketches of Artists and Composers *Photographs, Old Advertisements *Technical Information * Anything elseof general interest to AM ICA Advertisements: Personal ads are accepted by the AMICA Bulletin Board. Businesses which are interested in placing ads must folow these rules: - Each ad will consist of one full standard page in the bulletin. - Payment of $25 must be included with the ad copy. - Ads must reach the publisher by the first of the month. - Ad copy must be complete and ready for print. - At least 50% of the ad must consist of photographs or art work that will be of specific interest to AMICA readers. PUBLICATION OF BUSINESS ADVERTISING IN NO WAY IMPLIES AMICA'S ENDORSEMENT OF ANY COMMERCIAL OPERATION. -
Imaging the Almeh: Transformation and Multiculturalization of the Eastern Dancer In
IMAGING THE ALMEH: TRANSFORMATION AND MULTICULTURALIZATION OF THE EASTERN DANCER IN PAINTING, THEATRE, AND FILM, 1850-1950 A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Rihab Kassatly Bagnole November 2005 This dissertation entitled IMAGING THE ALMEH: TRANSFORMATION AND MULTICULTURALIZATION OF THE EASTERN DANCER IN PAINTING, THEATRE, AND FILM, 1850-1950 by Rihab Kassatly Bagnole has been approved for the School of Interdisciplinary Arts and the College of Fine Arts by Charles Buchanan Assistant Professor of Interdisciplinary Arts Charles A. McWeeny Interim Dean, College of Fine Arts BAGNOLE, RIHAB KASSATLY Ph.D. November 2005. Interdisciplinary Arts Imaging the Almeh: Transformation and Multiculturalization of the Eastern Dancer in Painting, Theatre, and film 1850-1950 (349pp.) Director of Dissertation: Charles Buchanan This dissertation explores the images of the Middle Eastern and North African dancer, also known as raqisah sharqi, almeh, and belly dancer, and the role of Western and Eastern male artists in developing her persona. It argues that Jean-Léon Gérôme, Oscar Wilde, and Farid al-Atrash position the dancer according to their own agendas and persuade the viewers to gaze at her to advance their art. Al-Atrash, however, enables the dancer to suggest elements other than her sexuality when she dances to his music. The artworks of these artists are examined through the theory of the gaze, the postcolonial double marginalization of women, and the discourse of Orientalism. The representations of the almeh in Gérôme’s paintings are also explored via methods of feminist art historians that advocate interpretation through the examination of cultural and political context.