The Monthly Record South Place Ethical Society
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Read the Introduction (Pdf)
Excerpt • Temple University Press Introduction An Indian in Washington India and America are located on opposite sides of the earth; therefore it is natural for America to think that we walk upside down, and for us to think that Americans walk upside down. —Pandita Ramabai, The Peoples of the United States (1889) The Sufferance of the Foreigner n late September 1905, the Indian nationalist Lajpat Rai had gathered with a group of tourists in the rotunda of the U.S. Capitol, when a guide directed Itheir attention to the works of art surrounding them. Plastered on the ceil- ing was The Apotheosis of Washington, a fresco featuring the first U.S. presi- dent on a celestial throne, flanked on each side by figures from classical Greco-Roman and nouveau American mythology (Figure I.1). Just below, The Frieze of American History encircled the rotunda with its selective time- line, and at eye level were enormous neoclassical canvases depicting scenes from the American Revolution and the conquest of the Americas. From ceil- ing to floor, the artwork of the Capitol presented a set of interwoven images that moved seamlessly from the mythological to the historical, containing within it, it would seem, a visual argument: The United States was the heir apparent of Western empire. At the dawn of the new century, as America extended its imperial reach across the globe, who would have thought to see otherwise? In Washington, DC, during a three-week tour of the East Coast, Lajpat Rai discussed his visit in an editorial for the Panjabee, an English-language weekly based out of Lahore. -
Contributions of Lala Har Dayal As an Intellectual and Revolutionary
CONTRIBUTIONS OF LALA HAR DAYAL AS AN INTELLECTUAL AND REVOLUTIONARY ABSTRACT THESIS SUBMITTED FOR THE AWARD OF THE DEGREE OF ^ntiat ai pijtl000pi{g IN }^ ^ HISTORY By MATT GAOR CENTRE OF ADVANCED STUDY DEPARTMENT OF HISTORY ALIGARH MUSLIM UNIVERSITY ALIGARH (INDIA) 2007 ,,» '*^d<*'/. ' ABSTRACT India owes to Lala Har Dayal a great debt of gratitude. What he did intotality to his mother country is yet to be acknowledged properly. The paradox ridden Har Dayal - a moody idealist, intellectual, who felt an almost mystical empathy with the masses in India and America. He kept the National Independence flame burning not only in India but outside too. In 1905 he went to England for Academic pursuits. But after few years he had leave England for his revolutionary activities. He stayed in America and other European countries for 25 years and finally returned to England where he wrote three books. Har Dayal's stature was so great that its very difficult to put him under one mould. He was visionary who all through his life devoted to Boddhi sattava doctrine, rational interpretation of religions and sharing his erudite knowledge for the development of self culture. The proposed thesis seeks to examine the purpose of his returning to intellectual pursuits in England. Simultaneously the thesis also analyses the contemporary relevance of his works which had a common thread of humanism, rationalism and scientific temper. Relevance for his ideas is still alive as it was 50 years ago. He was true a patriotic who dreamed independence for his country. He was pioneer for developing science in laymen and scientific temper among youths. -
World Literature for the Wretched of the Earth: Anticolonial Aesthetics
W!"#$ L%&'"(&)"' *!" &+' W"'&,+'$ !* &+' E("&+ Anticolonial Aesthetics, Postcolonial Politics -. $(.%'# '#(/ Fordham University Press .'0 1!"2 3435 Copyright © 3435 Fordham University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means—electronic, mechanical, photocopy, recording, or any other—except for brief quotations in printed reviews, without the prior permission of the publisher. Fordham University Press has no responsibility for the persistence or accuracy of URLs for external or third-party Internet websites referred to in this publication and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Fordham University Press also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. Visit us online at www.fordhampress.com. Library of Congress Cataloging-in-Publication Data available online at https:// catalog.loc.gov. Printed in the United States of America 36 33 35 7 8 6 3 5 First edition C!"#$"#% Preface vi Introduction: Impossible Subjects & Lala Har Dayal’s Imagination &' B. R. Ambedkar’s Sciences (( M. K. Gandhi’s Lost Debates )* Bhagat Singh’s Jail Notebook '+ Epilogue: Stopping and Leaving &&, Acknowledgments &,& Notes &,- Bibliography &)' Index &.' P!"#$%" In &'(&, S. R. Ranganathan, an unknown literary scholar and statistician from India, published a curious manifesto: ! e Five Laws of Library Sci- ence. ) e manifesto, written shortly a* er Ranganathan’s return to India from London—where he learned to despise, among other things, the Dewey decimal system and British bureaucracy—argues for reorganiz- ing Indian libraries. -
BRITISH and COMMONWEALTH CONCERTOS from the NINETEENTH CENTURY to the PRESENT Sir Edward Elgar
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Sir Edward Elgar (1857-1934) Born in Broadheath, Worcestershire, Elgar was the son of a music shop owner and received only private musical instruction. Despite this he is arguably England’s greatest composer some of whose orchestral music has traveled around the world more than any of his compatriots. In addition to the Conceros, his 3 Symphonies and Enigma Variations are his other orchestral masterpieces. His many other works for orchestra, including the Pomp and Circumstance Marches, Falstaff and Cockaigne Overture have been recorded numerous times. He was appointed Master of the King’s Musick in 1924. Piano Concerto (arranged by Robert Walker from sketches, drafts and recordings) (1913/2004) David Owen Norris (piano)/David Lloyd-Jones/BBC Concert Orchestra ( + Four Songs {orch. Haydn Wood}, Adieu, So Many True Princesses, Spanish Serenade, The Immortal Legions and Collins: Elegy in Memory of Edward Elgar) DUTTON EPOCH CDLX 7148 (2005) Violin Concerto in B minor, Op. 61 (1909-10) Salvatore Accardo (violin)/Richard Hickox/London Symphony Orchestra ( + Walton: Violin Concerto) BRILLIANT CLASSICS 9173 (2010) (original CD release: COLLINS CLASSICS COL 1338-2) (1992) Hugh Bean (violin)/Sir Charles Groves/Royal Liverpool Philharmonic Orchestra ( + Violin Sonata, Piano Quintet, String Quartet, Concert Allegro and Serenade) CLASSICS FOR PLEASURE CDCFP 585908-2 (2 CDs) (2004) (original LP release: HMV ASD2883) (1973) -
The Music and Musicians of St. James Cathedral, Seattle, 1903-1953: the First 50 Years
THE MUSIC AND MUSICIANS OF ST. JAMES CATHEDRAL, SEATTLE, 1903-1953: THE FIRST 50 YEARS CLINT MICHAEL KRAUS JUNE 2009 TABLE OF CONTENTS List of figures................................................................................................................... iii List of tables..................................................................................................................... iv Introduction.......................................................................................................................1 Chapter 1 – Music at Our Lady of Good Help and St. Edward’s Chapel (1890- 1907)..................................................................................................................5 Seattle’s temporary cathedrals......................................................................5 Seattle’s first cathedral musicians ................................................................8 Alfred Lueben..................................................................................................9 William Martius ............................................................................................14 Organs in Our Lady of Good Help ............................................................18 The transition from Martius to Ederer.......................................................19 Edward P. Ederer..........................................................................................20 Reaction to the Motu Proprio........................................................................24 -
Vivanti Ensemble
Vivanti Ensemble Wednesday Lunchtime Concert providing lunchtime music in the heart of the city since 1974 St Andrew’s on The Terrace WELLINGTON 29 11 17 12.15pm Welcome It is wonderful that you have come. Thank you. We want your experience today to be the best that it can be and would appreciate you taking a moment to read the following before the concert commences. Keep safe by locating the exit nearest to your seat. In the event of an earthquake, our recommendation is to Drop, Cover and Hold. Bon appetit! You are welcome to have your lunch during the performance. Switching your cell phone to silent is important to the performers and other members of the audience. Your support by way of a donation and telling others about the concerts would be fantastic and very much appreciated. It does make a difference. If you wish to photograph or video today’s concert, please ask for permission from the performer(s) before the concert begins. This is important. We invite you now to sit back, relax and enjoy the concert. Our Mission is to create a lively, open Christian faith community, to act for a just and peaceful world, and to be catalysts for discovery, compassion and celebration in the capital. These lunchtime concerts are advertised through Radio New Zealand Concert’s Live Diary at around 8.10 am on the day of the concert, and listed on St Andrew’s website. To be placed on the email circulation list for concert information, please email Marjan on [email protected] Check out the noticeboards in the foyer each time you come. -
SRCD 2345 Book
British Piano Concertos Stanford • Vaughan Williams Hoddinott • Williamson Finzi • Foulds • Bridge Rawsthorne • Ireland Busch • Moeran Berkeley • Scott 1 DISC ONE 77’20” The following Scherzo falls into four parts: a fluent and ascending melody; an oppressive dance in 10/6; a return to the first section and finally the culmination of the movement where SIR CHARLES VILLIERS STANFORD (1852-1924) all the previous material collides and reaches a violent apotheosis. Of considerable metrical 1-3 intricacy, this movement derives harmonically and melodically from a four-note motif. 1st Movement: Allegro moderato 15’39” Marked , the slow movement is a set of variations which unfolds in a 2nd Movement: Adagio molto 11’32” flowing 3/2 time. Inward-looking, this is the concerto’s emotional core, its wistful opening 3rd Movement: Allegro molto 10’19” for piano establishing a mood of restrained lamentation whilst the shattering brass Malcolm Binns, piano motifs introduce a more agonized form of grief, close to raging despair. The cadenza brings London Symphony Orchestra, conducted by Nicholas Braithwaite some measure of peace. In the extrovert Finale, the first movement’s orchestration and metres are From SRCD219 ADD c 1985 recalled and the soloist goads the orchestra, with its ebullience restored, towards ever-greater feats of rhythmical dexterity. This typically exultant finale, in modified rondo form, re- GERALD FINZI (1901-1956) affirms the concerto’s tonal centre of E flat. 4 Though technically brilliant, it is the concerto’s unabashed lyricism -
Communism and Religion in North India, 1920–47
"To the Masses." Communism and Religion in North India, 1920–47 Dissertation zur Erlangung des akademischen Grades doctor philosophiae (Dr. phil.) eingereicht an der Kultur-, Sozial- und Bildungswissenschaftlichen Fakultät der Humboldt-Universität zu Berlin von Patrick Hesse Präsident der Humboldt-Universität zu Berlin Prof. Dr. Jan-Hendrik Olbertz Dekanin der Kultur-, Sozial- und Bildungswissenschaftlichen Fakultät Prof. Dr. Julia von Blumenthal Gutachter: 1. Michael Mann 2. Dietrich Reetz Tag der mündlichen Prüfung: 20. Juli 2015 Abstract Among the eldest of its kind in Asia, the Communist Party of India (CPI) pioneered the spread of Marxist politics beyond the European arena. Influenced by both Soviet revolutionary practice and radical nationalism in British India, it operated under conditions not provided for in Marxist theory—foremost the prominence of religion and community in social and political life. The thesis analyzes, first, the theoretical and organizational ‘overhead’ of the CPI in terms of the position of religion in a party communist hierarchy of emancipation. It will therefore question the works of Marx, Engels, and Lenin on the one hand, and Comintern doctrines on the other. Secondly, it scrutinizes the approaches and strategies of the CPI and individual members, often biographically biased, to come to grips with the subcontinental environment under the primacy of mass politics. Thirdly, I discuss communist vistas on revolution on concrete instances including (but not limited to) the Gandhian non-cooperation movement, the Moplah rebellion, the subcontinental proletariat, the problem of communalism, and assertion of minority identities. I argue that the CPI established a pattern of vacillation between qualified rejection and conditional appropriation of religion that loosely constituted two diverging revolutionary paradigms characterizing communist practice from the Soviet outset: Western and Eastern. -
Journal November 1998
T rhe Elgar Society JOURNAL I'- r The Elgar Society Journal 107 MONKHAMS AVENUE, WOODFORD GREEN, ESSEX IG8 OER Tel: 0181 -506 0912 Fax:0181 - 924 4154 e-mail: hodgkins @ compuserve.com CONTENTS Vol.lO, No.6 November 1998 Articles Elgar & Gerontius... Part II 258 ‘Elgar’s Favourite Picture’ 285 A Minor Elgarian Enigma Solved 301 Thoughts from the Three Choirs Festival 1929 305 Obituary: Anthony Leighton Thomas 307 More on Elgar/Payne 3 307 Book Reviews 313 Record Reviews 316 Letters 324 100 years ago... 327 I 5 Front cover: Elgar photographed at Birchwood on 3 August 1900, just after completing 3 The Dream of Gerontius. The photo was taken by William Eller, whom Elgar met through their mutual friend, Richard Arnold. **********=)=*****H:****H==HH:************:(=***=t:*****M=****=|i******************=|c* The Editor does not necessarily agree with the views expressed by contributors nor does the Elgar Society accept responsibility for such views. ELGAR SOCIETY JOURNAL ISSN 0143 - 1269 « ELGAR & GERONTIUS: the early performances Lewis Foreman Part II Ludwig Wiillner We should note that there were two Wullners. Ludwig was the singer and actor; Franz was his father, the Director of the Cologne Conservatoire and conductor of the Gurzenich Concerts. He was there at Diisseldorf and promised to consider Gerontius for a concert in 1902, but I cannot trace that it ever took place. We need to consider Ludwig Wullner, for he would sing Gerontius again on two further key occasions, the second Diisseldorf performance at the Lower Rhine Festival in May 1902, and then in London at Westminster Cathedral in June 1903, as well as the Liverpool premiere in March 1903. -
“If I Should Die, Think Only This of Me” Songs from the World At
“If I should die, think only this of me” Songs from the World at War Patrick Klink Throughout human history, war has been both a plague on society and a driving influence on creativity and the arts. The wars of the twentieth century, particularly the world wars, did a great deal to show both sides of this duality on a very large scale. Fascism and communism in Europe opened the door to massive and unprecedented censorship and repression of minority groups, artists, and all dissenting points of view. Fortunately, however, the arts community responded, as it so often does, by turning large-scale disaster into beauty that resonates into the disparate corners of downtrodden societies. Many poets and composers served in battle in World War I, or in resistance movements in World War II, fighting for nationalistic identity and the right to continue practicing their craft amongst a free-thinking populous. Artistic reactions to the world wars took on many forms, from both pro- and anti-government propaganda to xenophobic caricature to solemn prayers and elegies to lost countrymen. I have endeavored to assemble a recital program that represents a wide range of perspectives from poets and composers who had been affected by war. Included are settings of poems from the fifteenth and sixteenth century all the way through excerpts from an operetta co-written by a composer and a playwright who were both on the State Department’s blacklist; there is a setting of a recollection from a Civil War battlefield and a setting of a poem about a “disappeared” artist by a poet who was later himself disappeared. -
Download Book
Critical Approaches to Children’s Literature Series Editors Kerry Mallan Faculty of Education Children and Youth Research Centre Kelvin Grove Queensland, Australia Clare Bradford School of Communication and Creative Art Deakin University Burwood Victoria, Australia This timely new series brings innovative perspectives to research on chil- dren’s literature. It offers accessible but sophisticated accounts of contem- porary critical approaches and applies them to the study of a diverse range of children’s texts – literature, film and multimedia. Critical Approaches to Children’s Literature includes monographs from both internationally recognised and emerging scholars. It demonstrates how new voices, new combinations of theories, and new shifts in the scholarship of literary and cultural studies illuminate the study of children’s texts. More information about this series at http://www.springer.com/series/14930 Emer O’Sullivan • Andrea Immel Editors Imagining Sameness and Difference in Children’s Literature From the Enlightenment to the Present Day Editors Emer O’Sullivan Andrea Immel Leuphana University Lüneburg Princeton University Library Lüneburg, Germany Princeton, New Jersey, USA Critical Approaches to Children’s Literature ISBN 978-1-137-46168-1 ISBN 978-1-137-46169-8 (eBook) DOI 10.1057/978-1-137-46169-8 Library of Congress Control Number: 2017947692 © The Editor(s) (if applicable) and The Author(s) 2017 The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. -
Title Transnational Ghadr Movement : a Diasporic Dimension Author(S) BHATTE, Pallavi Citation 歴史文化社会論講座紀要
Title Transnational Ghadr Movement : A Diasporic Dimension Author(s) BHATTE, Pallavi Citation 歴史文化社会論講座紀要 (2013), 10: 157-173 Issue Date 2013-02 URL http://hdl.handle.net/2433/171640 Right Type Departmental Bulletin Paper Textversion publisher Kyoto University Transnational Ghadr Movement 157 Transnational Ghadr Movement: A Diasporic Dimension Pallavi BHATTE Introduction The narratives of India’s national struggle for independence focus mainly on the mainstream internal efforts of natives of the subcontinent. Indian scholars have largely reiterated the role of revolutionaries in foreign lands, however, with an India-centric dialogue. While they do broadly accommodate the role played by Indian freedom fighters beyond the boundaries of British India, they do perhaps tend to be partial and limited. Indeed, inclusive in the narratives is an international arena serving as a backdrop to plot the multiple locations on a global map where actors championed their anti-colonial cause. Moreover, probably not surprisingly, although this viewpoint explains the extensive reach of the independence movement as a whole it is inconsiderate in incorporating the transnational dimension. Specifically scholarship of the Ghadr movement is a classic example that has fallen prey to such marginality. Almost every piece of work on Indian revolutionaries away from their ancestral home discusses the Ghadr movement in the US, the conspiracy theory of the Indo-German collaboration, or the radical Indo-Irish connections on American soil. Some Indian works provide compelling evidential source of foundation for tracing the Indian revolutionary movement beyond Indian boundaries. 1) They have underplayed the diasporic contribution toward the independence movement, by treating actors as mere Indian expatriates who had left Indian shores rather than viewing them as a part of a proactive community in their adopted homes.