Introduction
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
In the Aftermath of the Emanuel Nine in the September
For Immediate Release: September 21, 2015 Press Contacts: Natalie Raabe, (212) 286-6591 Molly Erman, (212) 286-7936 Adrea Piazza, (212) 286-4255 In the Aftermath of the Emanuel Nine In the September 28, 2015, issue of The New Yorker, in “Blood at the Root” (p. 26), David Remnick travels to Charleston, South Caro- lina, and explores the city’s resistance and resilience in the aftermath of the June murders of nine people at Emanuel A.M.E. Church. Like many people in Charleston, Pastor Norvel Goff, Sr., at Emanuel, says that members of the community remain in shock and immense pain “(‘post-traumatic-stress syndrome’ was the term they often used), but they were alive, and feeling joy in their pews—and at their jobs, and at their Bible classes and dinner tables and Sunday strolls—because of the depth of their spiritual lives,” Remnick writes. “This was the way of a church that had been around since the days when enslaved black men and women, in a quest for safety, community, dignity, co- hesion, empowerment, ritual, and peace, broke from white churches and built ‘invisible’ institutions, sometimes called ‘hush harbors.’ ” The black church, even as it has changed, aged, and, in some places, lost ground to mega-churches, Remnick writes, remains a powerful insti- tution of black life, and of black political influence. The families of the Emanuel Nine shocked the nation with their message of forgive- ness at the killer Dylann Roof ’s hearing the day after the murders. That forgiveness is hard to understand for anyone “who hasn’t had to cope with that kind of powerlessness,” James H. -
15 Tips for 5 Cities
#6 Companion Magazine #6 / 2015 Free for guests of 25h hotels € 5,50 / £ 4,00 $ 6,00 CHF companion-magazine.com A magazine by freundevonfreunden.com for 25hours Hotels featuring Fashion & Style, Food & Drink, Art & Entertainment, Wellness & Activity, People & Business from Berlin, Hamburg, Frankfurt, Vienna, Zurich & beyond Beyond Kale & A Way Success Company With Wood Highly successful entre- Yoga teacher and chef Belén Berlin Lumberjacks – preneur Bobby Dekeyser on Vázquez Amaro shares one Albrecht von Alvensleben the intricacies of valuing of her favorite dishes – and Max Pauen aka Bullen- material possessions. a winter special. berg make the cut in oak. A tour to the family forest. Interview, p. 13 Recipe, p. 16 Portrait, p. 26 15 TIPS WOVEN FOR 5 CITIES PLAY- Bits & Pieces, p. 4 GROUNDS One could call them playing fields – the nature-inspired, woven rugs and textile objects by Alexandra Kehayoglou. The designer specializes in items that usually just lay flat THE DO-IT-YOURSELF WOMAN on the ground, adding a third dimension and a touch of nature to any home. Lately, her craft has also extended to Pop star, feminist, do-it-yourself heroine, poster girl of art and fashion installations. COMPANION met with the the internet generation: Claire Boucher does it all. She Argentinian rising star in her Buenos Aires studio to speak achieved stardom in 2012 with her indie music project about heritage and happy accidents. Grimes. With “Art Angels,” the long-awaited follow-up to her breakthrough album “Visions,” the Canadian has once Spielwiesen könnte man sie nennen – die von der Natur in- again shown how a woman in the pop music industry can spirierten gewebten Teppiche und textilen Objekte von take her career into her own hands. -
INTERPRETING POETRY: English and Scottish Folk Ballads (Year 5, Day Department, 2016) Assignments for Self-Study (25 Points)
The elective discipline «INTERPRETING POETRY: English and Scottish Folk Ballads (Year 5, day department, 2016) Assignments for Self-Study (25 points) Task: Select one British folk ballad from the list below, write your name, perform your individual scientific research paper in writing according to the given scheme and hand your work in to the teacher: Titles of British Folk Ballads Students’ Surnames 1. № 58: “Sir Patrick Spens” 2. № 13: “Edward” 3. № 84: “Bonny Barbara Allen” 4. № 12: “Lord Randal” 5. № 169:“Johnie Armstrong” 6. № 243: “James Harris” / “The Daemon Lover” 7. № 173: “Mary Hamilton” 8. № 94: “Young Waters” 9. № 73:“Lord Thomas and Annet” 10. № 95:“The Maid Freed from Gallows” 11. № 162: “The Hunting of the Cheviot” 12. № 157 “Gude Wallace” 13. № 161: “The Battle of Otterburn” 14. № 54: “The Cherry-Tree Carol” 15. № 55: “The Carnal and the Crane” 16. № 65: “Lady Maisry” 17. № 77: “Sweet William's Ghost” 18. № 185: “Dick o the Cow” 19. № 186: “Kinmont Willie” 20. № 187: “Jock o the Side” 21. №192: “The Lochmaben Harper” 22. № 210: “Bonnie James Campbell” 23. № 37 “Thomas The Rhymer” 24. № 178: “Captain Car, or, Edom o Gordon” 25. № 275: “Get Up and Bar the Door” 26. № 278: “The Farmer's Curst Wife” 27. № 279: “The Jolly Beggar” 28. № 167: “Sir Andrew Barton” 29. № 286: “The Sweet Trinity” / “The Golden Vanity” 30. № 1: “Riddles Wisely Expounded” 31. № 31: “The Marriage of Sir Gawain” 32. № 154: “A True Tale of Robin Hood” N.B. You can find the text of the selected British folk ballad in the five-volume edition “The English and Scottish Popular Ballads: five volumes / [edited by Francis James Child]. -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G. Phd, Mphil, Dclinpsychol) at the University of Edinburgh
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Desire for Perpetuation: Fairy Writing and Re-creation of National Identity in the Narratives of Walter Scott, John Black, James Hogg and Andrew Lang Yuki Yoshino A Thesis Submitted to The University of Edinburgh for the Degree of Doctor of Philosophy Department of English Literature 2013 Abstract This thesis argues that ‘fairy writing’ in the nineteenth-century Scottish literature serves as a peculiar site which accommodates various, often ambiguous and subversive, responses to the processes of constructing new national identities occurring in, and outwith, post-union Scotland. It contends that a pathetic sense of loss, emptiness and absence, together with strong preoccupations with the land, and a desire to perpetuate the nation which has become state-less, commonly underpin the wide variety of fairy writings by Walter Scott, John Black, James Hogg and Andrew Lang. -
Exhibits 5 Through 8 to Declaration of Katherine A. Moerke
10-PR-16-4610'PR'16'46 Filed in First Judicial District Court 12/5/201612/5/2016 6:27:08 PM Carver County, MN EXHIBITEXHIBIT 5 10-PR-16-46 Filed in First Judicial District Court 12/5/2016 6:27:08 PM Carver County, MN Reed Smith LLP 599 Lexington Avenue New York, NY 10022-7650 Jordan W. Siev Tel +1 212 521 5400 Direct Phone: +1 212 205 6085 Fax +1 212 521 5450 Email: [email protected] reedsmith.com October 17, 2016 By Email ([email protected]) Laura Halferty Stinson Leonard Street 150 South Fifth Street Suite 2300 Minneapolis, MN 55402 Re: Roc Nation LLC as Exclusive Rights Holder to Assets of the Estate of Prince Rogers Nelson Dear Ms. Halferty: Roc Nation Musical Assets Artist Bremer May 27 Letter Nation, and its licensors, licensees and assigns, controls and administers certain specific rights in connection with various Artist Musical Assets. Roc Nation does so pursuant to agreements between the relevant parties including, but not limited to, that certain exclusive distribution agreement between Roc MPMusic SA., on the one hand, and NPG Records, Inc. NR NPG Distribution Agreement recordings and other intellectual property rights. The Distribution Agreement provides that the term of the Distribution Agreement is the longer of three years or full recoupment of monies advanced under the Distribution Agreement. As neither of these milestones has yet occurred, the Distribution Agreement remains in full force and effect. By way of background, and as highlighted in the May 27 Letter, Roc Nation and NPG have enjoyed a successful working relationship that has included, among other things, the Distribution involvement of Roc Nation in various aspects o -owned music streaming service. -
Grimes Partners with Wetransfer to Activate the Creative Community with Collaborative Art Project
⏲ 01 April 2020, 11:55 (CEST) Grimes partners with WeTransfer to activate the creative community with collaborative art project Musician, Grimes, shares raw files of her new single to inspire creators to make their own videos. UNDER EMBARGO UNTIL 11am PT / 6pm GMT / 7pm CET (Los Angeles, CA - April 1, 2020 - 11am PT) Today, Grimes released the video for “You’ll Miss Me When I’m Not Around”, a track from her latest album, MISS ANTHROPOCENE, which was released last month. Grimes has announced an open call to creatives in isolation to create their own version of her music video, in collaboration with WeTransfer to distribute her raw video files. Grimes grew up on bootleg sampling and DIY creation and considers it a vital part of exploring personal style and creativity. She shares her new video in front of a green screen, encouraging creators to generate their own videos, as part of a collective art project, using the raw files and audio stems she is making available to all. Grimes shares, “Because we’re all in lockdown we thought if people are bored and wanna learn new things, we could release the raw components of a music video for anyone who wants to try making stuff using our footage." WeTransfer’s Head of Music, Tiff Yu adds, “Grimes has always been a fan of collaboration and open source creativity. This project is a great opportunity to let your mind run wild and free, within any creative field. With no limitations, timing or restrictions, she’s made a project for where creatives can be truly creative, without worrying about any red tape or timing.” WeTransfer is embedded within the creative industries and is helping Grimes activate the creative community through their audience. -
The Ballad/Alan Bold Methuen & Co
In the same series Tragedy Clifford Leech Romanticism Lilian R Furst Aestheticism R. V. Johnson The Conceit K. K Ruthven The Ballad/Alan Bold The Absurd Arnold P. Hinchliffe Fancy and Imagination R. L. Brett Satire Arthur Pollard Metre, Rhyme and Free Verse G. S. Fraser Realism Damian Grant The Romance Gillian Beer Drama and the Dramatic S W. Dawson Plot Elizabeth Dipple Irony D. C Muecke Allegory John MacQueen Pastoral P. V. Marinelli Symbolism Charles Chadwick The Epic Paul Merchant Naturalism Lilian R. Furst and Peter N. Skrine Rhetoric Peter Dixon Primitivism Michael Bell Comedy Moelwyn Merchant Burlesque John D- Jump Dada and Surrealism C. W. E. Bigsby The Grotesque Philip Thomson Metaphor Terence Hawkes The Sonnet John Fuller Classicism Dominique Secretan Melodrama James Smith Expressionism R. S. Furness The Ode John D. Jump Myth R K. Ruthven Modernism Peter Faulkner The Picaresque Harry Sieber Biography Alan Shelston Dramatic Monologue Alan Sinfield Modern Verse Drama Arnold P- Hinchliffe The Short Story Ian Reid The Stanza Ernst Haublein Farce Jessica Milner Davis Comedy of Manners David L. Hirst Methuen & Co Ltd 19-+9 xaverslty. Librasü Style of the ballads 21 is the result not of a literary progression of innovators and their acolytes but of the evolution of a form that could be men- 2 tally absorbed by practitioners of an oral idiom made for the memory. To survive, the ballad had to have a repertoire of mnemonic devices. Ballad singers knew not one but a whole Style of the ballads host of ballads (Mrs Brown of Falkland knew thirty-three separate ballads). -
MJ06-National Copy.Indd
Vita-final 4/7/06 4:44 PM Page 52 VITA Francis James Child Brief life of a Victorian enthusiast: 1825-1896 by john burgess rancis james child, a.b. 1846, was a model of nineteenth- and their American and Canadian variants. That demanded pa- century academic achievement. Named Harvard’s Boylston tience in tracking manuscripts across continents, judgment in in- professor of rhetoric and oratory at 26, he was one of his terpreting and clarifying textual discrepancies, and persistence in Fcentury’s leading Chaucer scholars and received honorary degrees dealing with collectors ranging from the high-born Lord Rose- from his alma mater, Columbia, and Göttingen. His close friends bery to the eccentric Devon clergyman Sabine Baring-Gould. included Oliver Wendell Holmes, Henry and William James, and In all, Child collected 305 ballads, ultimately published in five Charles Eliot Norton. Yet today he is better remembered than volumes (1882-98), including “Lord Randall,” “Sir Patrick Spens,” many distinguished colleagues because, at the height of his career, and a good three dozen variations on the adventures of Robin he decided to apply a gift for scholarship honed on the study of Hood. Some, like “Barbara Allen,” had been in print for generations traditional literature to the oral traditions of the folk ballad. and were sung from London to Appalachia. Others, like “Thomas That a sailmaker’s son achieved eminence of any sort was large- the Rhymer” or “Tam Lin,” evoke a world of magic that survived ly because the Boston of his youth was progressive enough to o≠er outside the written record for centuries. -
Psaudio Copper
Issue 107 MARCH 23RD, 2020 Cover: violinist Jascha Heifetz (1901 - 1987). Many consider him to be the greatest violinist ever. He was one of the most influential performing artists of all time and in his later years became a teacher and an advocate of causes he believed in, including clean air and the establishment of 911 as an emergency phone number. Stay safe. Be careful out there. Maintain social distancing. Wash your hands frequently. Familiar phrases in these tough times. To those I’d add: listen to music. Read a book or magazine. Watch a movie. Play your instrument. Surf the web. Don’t let the endless barrage of TV news make you crazy. Ignore (except to debunk) misinformation on Facebook and social media. Call or video chat with a family member, friend or loved one. Though we may be temporarily separated, we’re all in this together and we’ll help each other stay strong. In this issue: Anne E. Johnson gives us incisive looks into two of the modern era’s greatest artists: Frank Sinatra and the Kinks! John Seetoo contributes his CanJam NYC 2020 Part Two report. J.I. Agnew continues his series on linearity in audio, with clear explanations of this technical topic. Tom Gibbs gives unrestrained opinions on Brandy Clark, King Crimson, Charlie Parker and Tame Impala. Professor Larry Schenbeck enthuses about Sanctuary Road, a new oratorio. Dan Schwartz asks: why don’t musicians use audiophile speakers? Veteran broadcaster Bob Wood shakes his head over the state of today’s commercial radio. Wayne Robins provides a step by step operating manual for Miss Anthropocene by Grimes. -
The English and Scottish Popular Ballads, Vol 1 the English and Scottish Popular Ballads, Vol 1
(Online library) The English and Scottish Popular Ballads, Vol 1 The English and Scottish Popular Ballads, Vol 1 n8wDVwc0h The English and Scottish Popular Ballads, Vol 1 SsvC23BOY JB-94841 oNOJiw1Kx US/Data/Literature-Fiction RikWgV4bZ 4/5 From 380 Reviews TucVlMW5A Francis James Child LtjZMbxxY DOC | *audiobook | ebooks | Download PDF | ePub TucVlMW5A j51rurhwh oS25p5n4i VMw5zHxzB CxflSTCQY EU4pO0673 5n4SWKc2S BLQtDiSDj 9 of 9 people found the following review helpful. Excellent "corrected" KWJG5tsuI editionBy J. R. BrownChild's "English and Scottish Popular Ballads" is THE M3bkUU5Yw sourcebook for anyone interested in the traditional ballads of the British Isles, iGmA1vIMo and also invaluable to all aficionados of European folklore and folksong in gfPsfjA3w general. For those not up on their terminology, a ballad is a folksong with a kF5zpAkfS plot, and Child's collection covers everything from foul murders to star-crossed vIZARObwI lovers to Robin Hood, in five volumes.I am extremely happy that someone has ObBtBRj1v finally issued an edition incorporating the various addenda and corrections that uL7kEYlKV Child made before his death. There is nothing here that Child did not write, so ZtO3hRPBj if you are looking for additional scholarship or commentary you will be sK2ucgFK4 disappointed; but the Loomis House edition vastly improves over the Dover tM2LJk6P5 facsimiles in completeness and convenience. Additional variants, comments and bgoCI04Of even some tunes (the one big omission in the original) are placed conveniently 8Jms2TZ2e near -
GRIMES / D'eon Darkbloom
GRIMES / d'Eon Darkbloom TRACKLISTING d'Eon Side – 01 Telepathy 02 Thousand Mile Trench 03 Tounges 04 Transparency Grimes Side – 05 Orphia 06 Vanessa 07 Crystal Ball 08 Urban Twilight 09 Hedra “Darkbloom announces Grimes' arrival as an avant-pop force.” - Pitchfork CATALOGUE NUMBER: ABT017 ARTIST: Grimes / d'Eon TITLE: Darkbloom GENRE: Experimental, Synth-pop, Darkwave RELEASE DATE: May 20th, 2016 A joint release by LA's Hippos In Tanks and Montreal's Arbutus Records, the Darkbloom EP is a thrilling split by d'Eon and Grimes. AVAILABLE FORMATS: CD, LP TERRITORY: Worldwide Harnessing the dark energy of her sophomore album Halfaxa, along with the shimmering dream pop of her debut Geidi Primes, Grimes’ side represents a BOX LOT: LP – 30 synthesis of her two sonic personalities. Displaying a level of clarity and ASSOCIATED RELEASES: craftsmanship heretofore unseen in her releases, Boucher presents a stunning - ABT007 Grimes Geidi Primes new collection of ethereal dreamscapes that expand her creative palette without - ABT014 Grimes Halfaxa compromising the spectral presence she is known for. VINYL IS NOT RETURNABLE Following the Middle-Eastern-tinged R&B of 2010’s Palinopsia, d’Eon broadens CD: 884501501972 his stylistic breadth through reference to a number of electronic genres – for example, he simultaneously incorporates elements of Chicago footwork and new jack swing, but surprises the listener with strange forays into bygone genres such as UK drum and bass and trip hop. LP: 061297488162 Presently available worldwide on CD and Digital formats, Darkbloom will be available on vinyl, for the frst time in many territories, on May 20th, 2016. -
The Sonic Bildungsroman: Coming-Of-Age Narratives in Album Form
The Sonic Bildungsroman: Coming-of-Age Narratives in Album Form Dallas Killeen TC 660H Plan II Honors Program The University of Texas at Austin May 2019 __________________________________________ Hannah Wojciehowski Department of English Supervising Professor __________________________________________ Chad Bennett Department of English Second Reader Abstract Author: Dallas Killeen Title: The Sonic Bildungsroman: Coming-of-Age Narratives in Album Form Supervising Professors: Hannah Wojciehowski, Ph.D. Chad Bennett, Ph.D. The Bildungsroman, or coming-of-age story, deals with the transitional period of adolescence. Although initially conceived in the novel form, the Bildungsroman has since found expression in various media. This thesis expands the scope of the genre by describing the “sonic Bildungsroman,” or coming-of-age album, and exploring a few key examples of this previously undefined concept. Furthermore, the record as a medium affords musicians narrative agency critical to their identity development, so this project positions the coming- of-age album squarely in the tradition of the Bildungsroman as a tool for self-cultivation. This thesis examines two albums in great detail: Pure Heroine by Lorde and Channel Orange by Frank Ocean. In these records, Lorde and Ocean lyrically, musically, and visually portray their journeys toward self-actualization. While the works show thematic similarities in their respective presentations of the adolescent experience, Lorde and Ocean craft stories colored by their unique identities. In this way, the two albums capture distinct approaches to constructing coming-of-age narratives in album form, yet both represent foundational examples of the genre due to their subject matter, narrative trajectory, and careful composition. From this basis, this project offers a framework for understanding how popular musicians construct coming-of-age stories in their albums—and for understanding how these stories affect us as listeners.