Ursula K. Le Guin – the Lathe of Heaven
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Creativity & Innovation
MISSOURI MUSIC EDUCATORS 78TH ANNuaL IN-SERVICE WORKSHOP/CONFERENce CREATIVITY & INNOVATION JANUARY 27- 30, 2016 TAN-TAR-A RESORT & GOLF CLUB LAKE OZARK, MISSOURI 1 probably a tan tar a ad here? or nafme something or other 2 TABLE OF CONTENTS From the President .................................................................................4 Conference Schedule Wednesday ............................................................................................5 Thursday .................................................................................................7 All State Rehearsal Schedule ............................................................... 17 Friday .................................................................................................. 22 Saturday .............................................................................................. 37 All-State Concert Programs .................................................................. 40 Leadership MMEA Board of Directors/Administrative Personnel ............................44 MMEA Advisory Council .......................................................................45 District Leadership ...............................................................................46 Affiliate Organizations .........................................................................49 Supporting Organizations ...................................................................50 Schedule of Organization Business Meetings .....................................51 MMEA Past -
Darwinism, Heredity, and Atavism in Thomas Hardy's Novels
Journal of Literature and Art Studies, August 2019, Vol. 9, No. 8, 830-839 doi: 10.17265/2159-5836/2019.08.003 D DAVID PUBLISHING “I Am the Family Face”: Darwinism, Heredity, and Atavism in Thomas Hardy’s Novels QI Jun-jie Department of Etudes Anglaises, University of Sorbonne Nouvelle-Paris 3, Paris, France 19th-century scientific breakthroughs and developments exerted huge influence upon Thomas Hardy’s literary work, among which Darwinian discourses as well as issues of heredity and degeneration have attracted considerable critical attention. These scientific discourses can find their literary echoes in Hardy’s novels. Hardy’s characters are trapped by biological determinism and are therefore deprived of freewill, a devastating element which contributes to Hardy’s tragic vision. In Hardy’s early novels, Darwinism and other scientific issues are dealt with in a discursive manner, as is the case in A Pair of Blue Eyes; it is only in his late novels, especially in Tess of the d’Urbervilles and Jude the Obscure, that Hardy finally succeeds in incorporating Darwinian and hereditary discourses into his literary and philosophical conception and design. Thus to use a Darwinian term, this paper investigates the evolutionary process in which Hardy grows gradually adept in his artistic attempt to fuse the contemporary scientific discourses with his literary imagination, as well as in using scientific issues to mediate between authorial intention and critical expectation. Keywords: Darwinism, heredity, pedigree, atavism, pathology The influence of 19th-century scientific breakthroughs and developments on Thomas Hardy has been widely acknowledged and examined, among which Darwinian discourses and issues of heredity and degeneration have attracted considerable critical attention. -
Jack Dejohnette's Drum Solo On
NOVEMBER 2019 VOLUME 86 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
Of Audiotape
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. DAVID N. BAKER NEA Jazz Master (2000) Interviewee: David Baker (December 21, 1931 – March 26, 2016) Interviewer: Lida Baker with recording engineer Ken Kimery Date: June 19, 20, and 21, 2000 Repository: Archives Center, National Museum of American History Description: Transcript, 163 pp. Lida: This is Monday morning, June 19th, 2000. This is tape number one of the Smithsonian Jazz Oral History Project interview with David Baker. The interview is being conducted in Bloomington, Indiana, [in] Mr. Baker’s home. Let’s start with when and where you were born. David: [I was] born in Indianapolis, December 21st, 1931, on the east side, where I spent almost all my – when I lived in Indianapolis, most of my childhood life on the east side. I was born in 24th and Arsenal, which is near Douglas Park and near where many of the jazz musicians lived. The Montgomerys lived on that side of town. Freddie Hubbard, much later, on that side of town. And Russell Webster, who would be a local celebrity and wonderful player. [He] used to be a babysitter for us, even though he was not that much older. Gene Fowlkes also lived in that same block on 24th and Arsenal. Then we moved to various other places on the east side of Indianapolis, almost always never more than a block or two blocks away from where we had just moved, simply because families pretty much stayed on the same side of town; and if they moved, it was maybe to a larger place, or because the rent was more exorbitant, or something. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
The Louisiana Musician “The Official Journal of the Louisiana Music Educators Association” Volume 81 Number 2 November 2015
The Louisiana Musician “The Official Journal of the Louisiana Music Educators Association” Volume 81 Number 2 November 2015 2015 Annual LMEA Professional Development Conference John W. Stafford Hall of Fame Louisiana State University 2016 TEACHER OF THE YEAR DEGREE OFFERINGS CONGRATULATIONS TO LSU Bachelor of Arts in Music Master of Music ALUMNA KELLY M. STOMPS Bachelor of Music Master of Music Education Bachelor of Music Education Doctor of Musical Arts Minor in Music Doctor of Philosophy in Music BECOME A STUDENT! APPLICATION DEADLINES Undergraduate: Nov. 15 Graduate: Jan. 1 225-578-9291 music.lsu.edu/admissions WIND7991 CSVR Clarinet LMU.qxp_Layout 1 10/1/15 2:49 PM Page 1 THE LOUISIANA MUSICIAN PAGE 1 Demand a Higher Standard Introducing the NEW CSVR The Yamaha YCL-CSVR clarinet is the result of years of development dedicated to a clearly focused concept: crafting a Custom clarinet that has a beautiful sound, consistent quality, and an affordable price. Both student and professional clarinetists require a rich sound and comfortable playability. These qualities were combined with the high level of consistency that only Yamaha can provide, allowing clarinetists to demand a higher standard than ever before. • Redesigned keys offer comfortable, ergonomic hand placement. In addition, the new keys have thicker silver-plating for a dark and resonant sound quality. • Durable leather pads ensure a precise seal between pad and tone hole for ease of response throughout the entire range of the clarinet. • A new Custom barrel design provides the CSVR with a well-balanced response and rich, warm tonal colors that will elevate the progressing clarinetist’s playing. -
Places to Go, People To
Hanson mistakenINSIDE EXCLUSIVE:for witches, burned. VerThe Vanderbilt Hustler’s Arts su & Entertainment Magazine s OCTOBER 28—NOVEMBER 3, 2009 VOL. 47, NO. 23 VANDY FALL FASHION We found 10 students who put their own spin on this season’s trends. Check it out when you fl ip to page 9. Cinematic Spark Notes for your reading pleasure on page 4. “I’m a mouse. Duh!” Halloween costume ideas beyond animal ears and hotpants. Turn to page 8 and put down the bunny ears. PLACES TO GO, PEOPLE TO SEE THURSDAY, OCTOBER 29 FRIDAY, OCTOBER 30 SATURDAY, OCTOBER 31 The Regulars The Black Lips – The Mercy Lounge Jimmy Hall and The Prisoners of Love Reunion Show The Avett Brothers – Ryman Auditorium THE RUTLEDGE The Mercy Lounge will play host to self described psychedelic/ There really isn’t enough good to be said about an Avett Brothers concert. – 3rd and Lindsley 410 Fourth Ave. South 37201 comedy band the Black Lips. With heavy punk rock infl uence and Singing dirty blues and southern rock with an earthy, roots The energy, the passion, the excitement, the emotion, the talent … all are 782-6858 mildly witty lyrics, these Lips are not Flaming but will certainly music sound, Jimmy Hall and his crew stick to the basics with completely unrivaled when it comes to the band’s explosive live shows. provide another sort of entertainment. The show will lean towards a songs like “Still Want To Be Your Man.” The no nonsense Whether it’s a heart wrenchingly beautiful ballad or a hard-driving rock punk or skaa atmosphere, though less angry. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry
New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry by Evan Landon Wendel B.S. Physics Hobart and William Smith Colleges, 2004 SUBMITTED TO THE DEPARTMENT OF COMPARATIVE MEDIA STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2008 © 2008 Evan Landon Wendel. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: _______________________________________________________ Program in Comparative Media Studies May 9, 2008 Certified By: _____________________________________________________________ William Uricchio Professor of Comparative Media Studies Co-Director, Comparative Media Studies Thesis Supervisor Accepted By: _____________________________________________________________ Henry Jenkins Peter de Florez Professor of Humanities Professor of Comparative Media Studies and Literature Co-Director, Comparative Media Studies 2 3 New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry by Evan Landon Wendel Submitted to the Department of Comparative Media Studies on May 9, 2008 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Comparative Media Studies Abstract This thesis explores the evolving nature of independent music practices in the context of offline and online social networks. The pivotal role of social networks in the cultural production of music is first examined by treating an independent record label of the post- punk era as an offline social network. -
Women and Rock Music1
Atlantis Vol. 10 No. 1 Fall/ Automne 1984 Women and Rock Music1 Deborah Harding New Zealand and Emily Nett The University of Manitoba ABSTRACT Rock music is the most misogynistic and aggressive form of music currently listened to. Women's place in it since the 1950's is described and analyzed in this article. Rock music was originally a working-class male challenge to the established symbolic order. In terms of the revenue generated by the industry thirty years later, it is the most important cultural expression of popular music. The enterprise is almost exclusively male, the majority of listeners are male, and even though women singers contributed in the early 1960's, there have been only a few female performers. An analysis of feminine representations in rock music lyrics and album covers in 1981 reveals a variety of male-identified images of women. In view of the cultural context in which rock music originated and the industry developed, the recent penetration by a few more women into the industry raises questions about whether numbers will continue to increase and, even if they do, whether rock music constitutes an appropriate voice in which women can authentically express themselves. Women's images—especially those we Music, unlike many other forms of media, is a choose ourselves—can both reflect and deter• direct expression of ideas. For this reason it pro• mine the economic and political parts we vides a wealth of information about women play in society. (Flora, 1979) since they most often are the subject of songs. From classical tunes with mermaids luring sai• Although the statement was made in conj unc• lors to their deaths, to country and western tunes tion with an investigation of women's reflec• with wives and their cheating hearts, women tions in magazine fiction, it applies as well to and the roles they play, or are expected to play, in other types of media. -
In a Time of Crisis Bishop Paul Affi Rm Your Priests, Deacons and Seminarians Swain
Monthly publication for the Catholic Diocese of Sioux Falls September 2019 It's a beautiful time to be a priest: Discerning a vocation in a time of crisis Bishop Paul Affi rm your priests, deacons and seminarians Swain he theme for this month’s Our diocese has from its beginnings T received clergy from outside the state, be- Bulletin is “Discerning a Vo- ginning with our fi rst bishop Martin Marty, cation in a Time of Crisis.” a Benedictine missionary. Some of our beloved priests have been religious order Surely these are challenging priests and diocesan priests from other times for us all, but especially dioceses. They have enriched us all. for our priests and seminarians. We always seek attestation that they are That a few would betray their in good standing and have completed promise of chastity and cast a appropriate training consistent with the requirements of the Charter for the Protec- shadow over the vast majority tion of Children and Young Adults. They of our brothers is discouraging are expected to complete, as are all clergy and volunteers working with children, an- to say the least, dispiriting and nual training and openness to background profoundly sad. checks. When we evaluate candidates for seminary I encourage those reading these words to sponsorship and the permanent diaconate affi rm and encourage your priests, deacons and journey with them in their formation, and our seminarians. these are some of the virtues I keep in The truth is that a vocation, whichever it is, mind, always remembering that we are all is a call from God through Christ always works in progress: in the midst of the culture of the day. -
The Wolf That Never Sleeps’
THE BADEN-POWELL STORY — ‘THE WOLF THAT NEVER SLEEPS’ 1 THE BADEN-POWELL STORY — ‘THE WOLF THAT NEVER SLEEPS’ Downloaded from: “The Dump” at Scoutscan.com http://www.thedump.scoutscan.com/ Editor’s Note: The reader is reminded that these texts have been written a long time ago. Consequently, they may use some terms or use expressions which were current at the time, regardless of what we may think of them at the beginning of the 21st century. For reasons of historical accuracy they have been preserved in their original form. If you find them offensive, we ask you to please delete this file from your system. This and other traditional Scouting texts may be downloaded from the Dump. 2 THE BADEN-POWELL STORY — ‘THE WOLF THAT NEVER SLEEPS’ THE STORY OF BADEN-POWELL ‘The Wolf that never Sleeps’ BY HAROLD BEGBIE WITH ILLUSTRATIONS Vestigia nulla retrorsum Originally Published LONDON GRANT RICHARDS 1900 G “... A name and an example, which are at this hour inspiring hundreds of the youth of England....” Southey’s Life of Nelson. First printed May 1900. Reprinted May 1900. 3 THE BADEN-POWELL STORY — ‘THE WOLF THAT NEVER SLEEPS’ MAJOR-GENERAL R.S.S. BADEN-POWELL. 4 THE BADEN-POWELL STORY — ‘THE WOLF THAT NEVER SLEEPS’ To SMITH MAJOR HONOURED SIR, If amid the storm and stress of your academic career you find an hour’s relaxation in perusing the pages of this book, all the travail that I have suffered in the making of it will be repaid a thousandfold. Throughout the quiet hours of many nights, when Morpheus has mercifully muzzled my youngest (a fine child, sir, but a female), I have bent over my littered desk driving a jibbing pen, comforted and encouraged simply and solely by the vision of my labour’s object and attainment.