November 2013
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
81288967.6.Pdf
*v tmtmmmmmmmmm /'(^,:'.' •' ; i V I I IJailtj/l ]>oKMS OFl)SSIA>'. ' ^ TO TllE EDITOR OF THB NOllTH BBITI3H DAILT UAU.. Sir - In your iritùfuc on the traiislation o£ the poeuis of Ossian, in yesterJay's issue, I tìnd that both thu traniilatur and writer of the article have fallen into a vei-y curious mistake iu their transla- lation of the only Gaelic iiuotation thereiu, liaving remUred thcword "ahviil" intosails, in placeofeye in its proper signiiication, the word for sails being this connection "shiuil." The ciuotation will then read translated, keeping for the rest to the ' writt'r'tì text— •• Tliim eji', I) m.v frieii.l: is l.. iiie | Like lu-ifililtìDÌiii; ol' morn ..ut of c!..iiil. , wbiih, I think, is a inore apposite tìgure than tbe I other.—I am, &e., <Jae[.. I Ardrishaig, ".th J,inu.%ry. " [Tlie word in the original is " shiuil." ShuU" ia simijly a typographical error. The whole passage •willbefound in the " Fingal," Duan II.,bBtweon verse :!41 aml o.'il. It is the cxclamation of CuchuUin as he sees the war ships of Fiugal bearing down to. Iii8 aid on the Irish coast. If the werd ha.l be?n •' shuil" the remark ot our correspcjndent would be • iiuite accurate.—Ed. N.B.D.M.] : siiouiKj Bq'j ^vin a]qBqo.ia Bi qi sonapiAa uoa£) •(, Aiuo eq:) si gg^x 3« oiISE;) pa^uijd eqx 'paiisu •jnud ui iioi;'EM[qtid JI3IH mi\i aopjo i[onn] ein suuoj BBq ^diJOBUUEM •(Bqj joj 'iioa pa)utjdaa '[ ;u9eajd Jiaq; u; s~,xi\ OH-'^O ^'l^ ^'^'I^ E9Aoad peaa)iB si qoiqii '.i08T "! :)d!aosnuBra s,u"oEjaqdo- eouapiAa jo dtrjjB ouo ^ou puE 'oipEf) «[U0Bna9A -
Maritime Carrier's Liability for Loss of Or Damage to Goods Under The
Maritime Carrier's Liability for Loss of or Damage to Goods under the Hague Rules, Visby Rules and the Hamburg Rules, compared with his Liability as an Operator under the Relevant Rules of the International Multimodal Transport Convention. A Thesis Submitted for the Degree of Doctor of Philosophy by Hani M.S. Abdulrahim The School of Law, Faculty of Law and Financial Studies, University of Glasgow February 1994 © Hani M.S. Abdulrahim, 1994 ProQuest Number: 11007904 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11007904 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 “ILhl m i GLASGOW C>p I UNIVERr'T library ii To My mother, brothers, sisters and in memory of my father. Acknowledgements I wish with considerable enthusiasm to acknowledge and express my deepest grateful thanks and gratitude to Dr. W. Balekjian and Mr Alan Gamble for their invaluable guidance and encouragement in supervising this thesis. They have given unsparingly of their time to it. It gives me great pleasure to acknowledge the helpfulness of the Glasgow University library staff, and also my deep gratitude to Mrs Cara Wilson who kindly typed this work. -
Revolt 5-2005
FLUCTUAT NEC MERGITUR BIMESTRALE ITALIANO DI SURF, ARTE, MUSICA E CULTURA SPED. IN ABBONAMENTO POSTALE 45% ART.2 COMMA20/B LEGGE 662/96 - ROMA EUR 6.00 WWW.REVOLT.IT FIN LINE FROM A POEM... STYLEMASTERS SHELTER Opper sport production: Lines from a poem offers an original and com- Journey back to a time of change...when boards Produced by: The Moonshine Con- « Ce que tu surfes ne veut rien dire, c'est la pelling perspective into the art of classical long- became shorter and movements more radical. A spiracy manière dont tu le surfes qui veut tout dire ». boarding on the East Coast of Australia.It featu- time when style was being re-defined, and the- The Moonshine Conspiracy's third and biggest Ce film exceptionnel s'intéresse à ces surfers res an international crew of surfers including re were no limits as to where surfing could go. project, "Shelter", carries the spirit of Thicker de plus en plus nombreux qui surfent ce qu'ils Tom Wegener, Scott Dillon, Alex Knost, Dane All killer/no filler plus special features including Than Water and September Sessions, however it aiment, et comme ils aiment…et non pas com- Peterson and more. Documenting both past and present day interviews with Gerry Lopez, Peter has a texture and vision all it's own.Surfers fea- me les professionnels ou comme les magazines present, this is a mature and mesmerising film "PT" Townend, Shaun Tomson, Wayne "Rabbit" tured include the likes of Machado and Dorian de surf nous montrent !Ce film mélange surf for the discerning, traditional surfer." Featuring Bartholomew, "Buttons" Kaluhiokalani, Dan but the film also hosts the surfing and thoughts et longboard…TOP !!! music from Mike McCarthy, Purplene, Ukiyo-e Merkel, Greg Weaver and Spyder Wills, "extra from people such as Joel Tudor, Nat Young, Mick and more. -
Revolt 5-2005
FLUCTUAT NEC MERGITUR BIMESTRALE ITALIANO DI SURF, ARTE, MUSICA E CULTURA SPED. IN ABBONAMENTO POSTALE 45% ART.2 COMMA20/B LEGGE 662/96 - ROMA COSTA RICA, MICHELAN- GELO ROMBI, ARUGAM BAY, THE POOL EXPERIEN- CE, BREAK THE BANK, II° LONG IN FORTE, EMILIA- NO CATALDI, CULT BAN- ZAI SURF CLASH, DB SURF CONTEST, DA KINE JUNIOR & GIRL, MARCO MORELLI, FELCH CAR- TOON, DOULY JABRIK, EUR 5.00 FREE WWW.REVOLT.IT Maverick Jewels SUE PEGGY M www.maverickjewels.com informazio- ® Maverick Jewels [email protected] FIN LINE FROM A POEM... STYLEMASTERS SHELTER Opper sport production: Lines from a poem offers an original and com- Journey back to a time of change...when boards Produced by: The Moonshine Con- « Ce que tu surfes ne veut rien dire, c'est la pelling perspective into the art of classical long- became shorter and movements more radical. A spiracy manière dont tu le surfes qui veut tout dire ». boarding on the East Coast of Australia.It featu- time when style was being re-defined, and the- The Moonshine Conspiracy's third and biggest Ce film exceptionnel s'intéresse à ces surfers res an international crew of surfers including re were no limits as to where surfing could go. project, "Shelter", carries the spirit of Thicker de plus en plus nombreux qui surfent ce qu'ils Tom Wegener, Scott Dillon, Alex Knost, Dane All killer/no filler plus special features including Than Water and September Sessions, however it aiment, et comme ils aiment…et non pas com- Peterson and more. Documenting both past and present day interviews with Gerry Lopez, Peter -
ABSTRACT Reading Dreams: an Audience-Critical Approach to the Dreams in the Gospel of Matthew Derek S. Dodson, B.A., M.Div
ABSTRACT Reading Dreams: An Audience-Critical Approach to the Dreams in the Gospel of Matthew Derek S. Dodson, B.A., M.Div. Mentor: Charles H. Talbert, Ph.D. This dissertation seeks to read the dreams in the Gospel of Matthew (1:18b-25; 2:12, 13-15, 19-21, 22; 27:19) as the authorial audience. This approach requires an understanding of the social and literary character of dreams in the Greco-Roman world. Chapter Two describes the social function of dreams, noting that dreams constituted one form of divination in the ancient world. This religious character of dreams is further described by considering the practice of dreams in ancient magic and Greco-Roman cults as well as the role of dream interpreters. This chapter also includes a sketch of the theories and classification of dreams that developed in the ancient world. Chapters Three and Four demonstrate the literary dimensions of dreams in Greco-Roman literature. I refer to this literary character of dreams as the “script of dreams;” that is, there is a “script” (form) to how one narrates or reports dreams in ancient literature, and at the same time dreams could be adapted, or “scripted,” for a range of literary functions. This exploration of the literary representation of dreams is nuanced by considering the literary form of dreams, dreams in the Greco-Roman rhetorical tradition, the inventiveness of literary dreams, and the literary function of dreams. In light of the social and literary contexts of dreams, the dreams of the Gospel of Matthew are analyzed in Chapter Five. -
THE GLOBALIZATION of K-POP by Gyu Tag
DE-NATIONALIZATION AND RE-NATIONALIZATION OF CULTURE: THE GLOBALIZATION OF K-POP by Gyu Tag Lee A Dissertation Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Doctor of Philosophy Cultural Studies Committee: ___________________________________________ Director ___________________________________________ ___________________________________________ ___________________________________________ Program Director ___________________________________________ Dean, College of Humanities and Social Sciences Date: _____________________________________ Spring Semester 2013 George Mason University Fairfax, VA De-Nationalization and Re-Nationalization of Culture: The Globalization of K-Pop A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at George Mason University By Gyu Tag Lee Master of Arts Seoul National University, 2007 Director: Paul Smith, Professor Department of Cultural Studies Spring Semester 2013 George Mason University Fairfax, VA Copyright 2013 Gyu Tag Lee All Rights Reserved ii DEDICATION This is dedicated to my wife, Eunjoo Lee, my little daughter, Hemin Lee, and my parents, Sung-Sook Choi and Jong-Yeol Lee, who have always been supported me with all their hearts. iii ACKNOWLEDGEMENTS This dissertation cannot be written without a number of people who helped me at the right moment when I needed them. Professors, friends, colleagues, and family all supported me and believed me doing this project. Without them, this dissertation is hardly can be done. Above all, I would like to thank my dissertation committee for their help throughout this process. I owe my deepest gratitude to Dr. Paul Smith. Despite all my immaturity, he has been an excellent director since my first year of the Cultural Studies program. -
THE COLLECTED POEMS of HENRIK IBSEN Translated by John Northam
1 THE COLLECTED POEMS OF HENRIK IBSEN Translated by John Northam 2 PREFACE With the exception of a relatively small number of pieces, Ibsen’s copious output as a poet has been little regarded, even in Norway. The English-reading public has been denied access to the whole corpus. That is regrettable, because in it can be traced interesting developments, in style, material and ideas related to the later prose works, and there are several poems, witty, moving, thought provoking, that are attractive in their own right. The earliest poems, written in Grimstad, where Ibsen worked as an assistant to the local apothecary, are what one would expect of a novice. Resignation, Doubt and Hope, Moonlight Voyage on the Sea are, as their titles suggest, exercises in the conventional, introverted melancholy of the unrecognised young poet. Moonlight Mood, To the Star express a yearning for the typically ethereal, unattainable beloved. In The Giant Oak and To Hungary Ibsen exhorts Norway and Hungary to resist the actual and immediate threat of Prussian aggression, but does so in the entirely conventional imagery of the heroic Viking past. From early on, however, signs begin to appear of a more personal and immediate engagement with real life. There is, for instance, a telling juxtaposition of two poems, each of them inspired by a female visitation. It is Over is undeviatingly an exercise in romantic glamour: the poet, wandering by moonlight mid the ruins of a great palace, is visited by the wraith of the noble lady once its occupant; whereupon the ruins are restored to their old splendour. -
Sing Solo Pirate: Songs in the Key of Arrr! a Literature Guide for the Singer and Vocal Pedagogue
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 5-2013 Sing Solo Pirate: Songs in the Key of Arrr! A Literature Guide for the Singer and Vocal Pedagogue Michael S. Tully University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Pedagogy Commons, Music Performance Commons, and the Music Practice Commons Tully, Michael S., "Sing Solo Pirate: Songs in the Key of Arrr! A Literature Guide for the Singer and Vocal Pedagogue" (2013). Student Research, Creative Activity, and Performance - School of Music. 62. https://digitalcommons.unl.edu/musicstudent/62 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. SING SOLO PIRATE: SONGS IN THE KEY OF ARRR! A LITERATURE GUIDE FOR THE SINGER AND VOCAL PEDAGOGUE by Michael S. Tully A DOCTORAL DOCUMENT Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professor William Shomos Lincoln, Nebraska May, 2013 SING SOLO PIRATE: SONGS IN THE KEY OF ARRR! A LITERATURE GUIDE FOR THE SINGER AND VOCAL PEDAGOGUE Michael S. Tully, D.M.A. University of Nebraska, 2013 Advisor: William Shomos Pirates have always been mysterious figures. -
Concert Review: Jack Johnson By: David Burger
Concert review: Jack Johnson by: David Burger Trib staffer Chris McDonald attended Jack Johnson's Froday night show at Usana Amphitheatre, and here is his review: Laid back, chill, mellow. Did I miss any? All of these and more have been used to describe Jack Johnson and his music. As much as I wanted to avoid using these cliches, they fit. Johnson's show at a packed Usana Amphitheatre was like going to a party with friends and family, a really large party. With the exception of a large screen behind the band, the stage was simple and provided as intimate an atmosphere as Usana allows. Johnson's shows are devoid of pyrotechnics or elaborate props and are all the better for it. The show opened with "You and Your Heart" from his new album "To the Sea" and for nearly two hours Johnson had the audience in the palm of his hands. There were a few twists on old favorites including a verse from "Just What I Needed" by The Cars that found its way into Johnson's "Sitting Waiting Wishing". Hawaiian singer Paula Fuga joined Johnson on stage for "Turn Your Love", the pair also performed Fuga's song "Country Road." Dan Lebowitz, guitarist for opening act ALO, and G Love, who performed an energetic solo set, contributed to a rousing rendition of "Staple It Together" including a freestyle rap from bassist Merlo Podlewski. Johnson's keyboardist Zach Gill, who is also a member of ALO, lent his accordion skills to the songs "Banana Pancakes" and provided a playful stage presence throughout. -
Musical Memoirs; Comprising an Account of the General State Of
PARKE (W. -T.). 40 Years principal Oboist, T.Roy. Cov. Gar., Musical Memoirs comprising an Accouut of the G-neral State of Music in England from the first commemoration of Handel in 1784 to 1830 interspersed with numerous Anec- dotes, Musical, Histrionic, etc., 2 vols, cr. 8vo'( 1830 typ.r 5~0 /W<# Ua • rJjb MUSICAL MEMOIRS. VOL. I. Digitized by the Internet Archive in 2011 with funding from National Library of Scotland http://www.archive.org/details/musicalmemoirsv100park X MUSICAL MEMOIRS; COMPRISING AN ACCOUNT OF THE GENERAL STATE OF MUSIC IN ENGLAND, FROM THE FIRST COMMEMORATION OF HANDEL, IN 1784, TO THE YEAR 1830. INTERSPERSED WITH NUMEROUS ANECDOTES, MUSICAL, HISTRIONIC, &c. BY W. T. PARKE, FORTY YEARS PRINCIPAL OBOIST TO THE THEATRE ROYAL COVENT GARDEN. IN TWO VOLUMES. VOL. I. LONDON: HENRY COLBURN AND RICHARD BENTLEY, NEW BURLINGTON STREET. 1830. PRINTED IiY A. J. VAIPY, KliD HON COURT, FLEET STREET. PREFACE. "When Music, heavenly maid! was young" the ancients celebrated her with all that fervour and felicity of expression for which they have been so universally and so justly famed; and the moderns, no less ambitious, though more feeble, have offered her all homage, notwithstanding the hoydenish tricks and caprices she has of late dis- played, to the deep regret of all her rational ad- mirers. For my own part, never having tasted of the Pierian spring, and therefore possessing only the cacoethes scribendi, (the zeal without the learning,) I must content myself with observing, in my own plain manner, that in writing an Ac- count of the General State of Music in England — VI PREFACE. -
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............................................................................... -
Songs of Wintter Watts, Composer and Sara Teasdale, Poet
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2017 WHEN UNEXPECTED BEAUTY BURNS LIKE SUNLIGHT ON THE SEA: SONGS OF WINTTER WATTS, COMPOSER AND SARA TEASDALE, POET Casey A. Huggins University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.037 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Huggins, Casey A., "WHEN UNEXPECTED BEAUTY BURNS LIKE SUNLIGHT ON THE SEA: SONGS OF WINTTER WATTS, COMPOSER AND SARA TEASDALE, POET" (2017). Theses and Dissertations--Music. 78. https://uknowledge.uky.edu/music_etds/78 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.