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Pablo Neruda - Poems
Classic Poetry Series Pablo Neruda - poems - Publication Date: 2011 Publisher: Poemhunter.com - The World's Poetry Archive Pablo Neruda(12 July 1904 – 23 September 1973) Pablo Neruda was the pen name and, later, legal name of the Chilean poet and politician Neftalí Ricardo Reyes Basoalto. He chose his pen name after Czech poet Jan Neruda. Neruda wrote in a variety of styles such as erotically charged love poems as in his collection Twenty Poems of Love and a Song of Despair, surrealist poems, historical epics, and overtly political manifestos. In 1971 Neruda won the Nobel Prize for Literature. Colombian novelist Gabriel García Márquez once called him "the greatest poet of the 20th century in any language." Neruda always wrote in green ink as it was his personal color of hope. On July 15, 1945, at Pacaembu Stadium in São Paulo, Brazil, he read to 100,000 people in honor of Communist revolutionary leader Luís Carlos Prestes. During his lifetime, Neruda occupied many diplomatic positions and served a stint as a senator for the Chilean Communist Party. When Conservative Chilean President González Videla outlawed communism in Chile in 1948, a warrant was issued for Neruda's arrest. Friends hid him for months in a house basement in the Chilean port of Valparaíso. Later, Neruda escaped into exile through a mountain pass near Maihue Lake into Argentina. Years later, Neruda was a close collaborator to socialist President Salvador Allende. When Neruda returned to Chile after his Nobel Prize acceptance speech, Allende invited him to read at the Estadio Nacional before 70,000 people. -
Neruda and Borgej
PER.'ONALHIJTORY NERUDAAND BORGEJ No tzuoLatin-Anerican writers couldbe more important. No tttso ztsriterscould bemore diferent. Hou did the authorbecorne the friend and translatorof both? BYALA.'TAIR REID f f TuoN I first went to Spain, in country, to Andalusia, to Gibraltar and l/l/ 1953.I knew little about l'4orocco, to Pornrgal-looking and lis- Y Y thelivingcountryandbarely tening a lot, and I wrote the fust of a se- a word of the language.But my senses ries of chronicleson Spain for The New were in good working order, and I was Yorker.Soon after it appeared,I had my instanth' drarvn in by Spain'srhythms Spanishpress credentials withdrawn, but and its landscapes-the burned, sun_.- that made little difference,for Spain ex- stainedearth, the silver-blueclarig,of istedthen on rumor and speculation.Liv- Nlediteranean light, the warm s,rle.nnity ing there felt like belonging to an exten- ofthe peopie,the sparenessofvillage life. sive whispered conspiracy against the Existencewas honed down to its essen- Franco regime. Spain was at something tials,making the dayslonger, time more of a standstill,still in shockfrom the Civil abundant.So I returnedto Spain,and re- War and the long isolation that followed turned, and eventu'allywent to live there it, threadbarecompared to the rest of Eu- in 1956, setting out to learn thg country, rope. Censorship,both moral and politi- and slowly absorb the Spanish senseof cal, hung heavy over the press,over the time. Spaniardshave a gift fbr exiranding universities,and overwriters and publish- the present,around a meal or a conver- ers, and the police had sharp antennae sation; and they are mastersof the cos- out for any sign of dissidence.The writ- mic shrug that shedsall preoccupations ers I knew complainedthat yearsofcen- exceptthose immediatelyat hand. -
The Impact Crater at the Origin of the Julia Family Detected with VLT/SPHERE??,?? P
A&A 618, A154 (2018) Astronomy https://doi.org/10.1051/0004-6361/201833477 & © ESO 2018 Astrophysics The impact crater at the origin of the Julia family detected with VLT/SPHERE??,?? P. Vernazza1, M. Brož2, A. Drouard1, J. Hanuš2, M. Viikinkoski3, M. Marsset4, L. Jorda1, R. Fetick1, B. Carry5, F. Marchis6, M. Birlan7, T. Fusco1, T. Santana-Ros8, E. Podlewska-Gaca8,9, E. Jehin10, M. Ferrais10, P. Bartczak8, G. Dudzinski´ 8, J. Berthier7, J. Castillo-Rogez11, F. Cipriani12, F. Colas7, C. Dumas13, J. Durechˇ 2, M. Kaasalainen3, A. Kryszczynska8, P. Lamy1, H. Le Coroller1, A. Marciniak8, T. Michalowski8, P. Michel5, M. Pajuelo7,14, P. Tanga5, F. Vachier7, A. Vigan1, B. Warner15, O. Witasse12, B. Yang16, E. Asphaug17, D. C. Richardson18, P. Ševecekˇ 2, M. Gillon10, and Z. Benkhaldoun19 1 Aix-Marseille Université, CNRS, LAM (Laboratoire d’Astrophysique de Marseille), Marseille, France e-mail: [email protected] 2 Institute of Astronomy, Charles University, Prague, V Holešovickᡠch 2, 18000, Prague 8, Czech Republic 3 Department of Mathematics, Tampere University of Technology, PO Box 553, 33101 Tampere, Finland 4 Astrophysics Research Centre, Queen’s University Belfast, BT7 1NN, UK 5 Université Côte d’Azur, Observatoire de la Côte d’Azur, CNRS, Laboratoire Lagrange, 06304 Nice Cedex 4, France 6 SETI Institute, Carl Sagan Center, 189 Bernado Avenue, Mountain View CA 94043, USA 7 IMCCE, Observatoire de Paris, 77 avenue Denfert-Rochereau, 75014 Paris Cedex, France 8 Astronomical Observatory Institute, Faculty of Physics, Adam Mickiewicz University, -
2021 Transpacific Yacht Race Event Program
TRANSPACTHE FIFTY-FIRST RACE FROM LOS ANGELES 2021 TO HONOLULU 2 0 21 JULY 13-30, 2021 Comanche: © Sharon Green / Ultimate Sailing COMANCHE Taxi Dancer: © Ronnie Simpson / Ultimate Sailing • Hamachi: © Team Hamachi HAMACHI 2019 FIRST TO FINISH Official race guide - $5.00 2019 OVERALL CORRECTED TIME WINNER P: 808.845.6465 [email protected] F: 808.841.6610 OFFICIAL HANDBOOK OF THE 51ST TRANSPACIFIC YACHT RACE The Transpac 2021 Official Race Handbook is published for the Honolulu Committee of the Transpacific Yacht Club by Roth Communications, 2040 Alewa Drive, Honolulu, HI 96817 USA (808) 595-4124 [email protected] Publisher .............................................Michael J. Roth Roth Communications Editor .............................................. Ray Pendleton, Kim Ickler Contributing Writers .................... Dobbs Davis, Stan Honey, Ray Pendleton Contributing Photographers ...... Sharon Green/ultimatesailingcom, Ronnie Simpson/ultimatesailing.com, Todd Rasmussen, Betsy Crowfoot Senescu/ultimatesailing.com, Walter Cooper/ ultimatesailing.com, Lauren Easley - Leialoha Creative, Joyce Riley, Geri Conser, Emma Deardorff, Rachel Rosales, Phil Uhl, David Livingston, Pam Davis, Brian Farr Designer ........................................ Leslie Johnson Design On the Cover: CONTENTS Taxi Dancer R/P 70 Yabsley/Compton 2019 1st Div. 2 Sleds ET: 8:06:43:22 CT: 08:23:09:26 Schedule of Events . 3 Photo: Ronnie Simpson / ultimatesailing.com Welcome from the Governor of Hawaii . 8 Inset left: Welcome from the Mayor of Honolulu . 9 Comanche Verdier/VPLP 100 Jim Cooney & Samantha Grant Welcome from the Mayor of Long Beach . 9 2019 Barndoor Winner - First to Finish Overall: ET: 5:11:14:05 Welcome from the Transpacific Yacht Club Commodore . 10 Photo: Sharon Green / ultimatesailingcom Welcome from the Honolulu Committee Chair . 10 Inset right: Welcome from the Sponsoring Yacht Clubs . -
Anthropological Study of Yakama Tribe
1 Anthropological Study of Yakama Tribe: Traditional Resource Harvest Sites West of the Crest of the Cascades Mountains in Washington State and below the Cascades of the Columbia River Eugene Hunn Department of Anthropology Box 353100 University of Washington Seattle, WA 98195-3100 [email protected] for State of Washington Department of Fish and Wildlife WDFW contract # 38030449 preliminary draft October 11, 2003 2 Table of Contents Acknowledgements 4 Executive Summary 5 Map 1 5f 1. Goals and scope of this report 6 2. Defining the relevant Indian groups 7 2.1. How Sahaptin names for Indian groups are formed 7 2.2. The Yakama Nation 8 Table 1: Yakama signatory tribes and bands 8 Table 2: Yakama headmen and chiefs 8-9 2.3. Who are the ―Klickitat‖? 10 2.4. Who are the ―Cascade Indians‖? 11 2.5. Who are the ―Cowlitz‖/Taitnapam? 11 2.6. The Plateau/Northwest Coast cultural divide: Treaty lines versus cultural 12 divides 2.6.1. The Handbook of North American Indians: Northwest Coast versus 13 Plateau 2.7. Conclusions 14 3. Historical questions 15 3.1. A brief summary of early Euroamerican influences in the region 15 3.2. How did Sahaptin-speakers end up west of the Cascade crest? 17 Map 2 18f 3.3. James Teit‘s hypothesis 18 3.4. Melville Jacobs‘s counter argument 19 4. The Taitnapam 21 4.1. Taitnapam sources 21 4.2. Taitnapam affiliations 22 4.3. Taitnapam territory 23 4.3.1. Jim Yoke and Lewy Costima on Taitnapam territory 24 4.4. -
Collection Highlights Since Its Founding in 1924, the Kalamazoo Institute of Arts Has Built a Collection of Nearly 5,000 Artworks
Collection Highlights Since its founding in 1924, the Kalamazoo Institute of Arts has built a collection of nearly 5,000 artworks. Enjoy an in-depth exploration of a selection of those artworks acquired by gift, bequest, or purchase support by special donors, as written by staff curators and guest editors over the years. Table of Contents KENOJUAK ASHEVAK Kenojuak Ashevak (ken-OH-jew-ack ASH-uh-vac), one of the most well-known Inuit artists, was a pioneering force in modern Inuit art. Ashevak grew up in a semi-nomadic hunting family and made art in various forms in her youth. However, in the 1950s, she began creating prints. In 1964, Ashevak was the subject of the Oscar-nominated documentary, Eskimo* Artist: Kenojuak, which brought her and her artwork to Canada’s—and the world’s—attention. Ashevak was also one of the most successful members of the Kinngait Co-operative, also known as the West Baffin Eskimo Co-operative, established in 1959 by James Houston, a Canadian artist and arts administrator, and Kananginak Pootoogook (ka-nang-uh-nak poo-to-guk), an Inuit artist. The purpose of the co-operative is the same as when it was founded—to raise awareness of Inuit art and ensure indigenous artists are compensated appropriately for their work in the Canadian (and global) art market. Ashevak’s signature style typically featured a single animal on a white background. Inspired by the local flora and fauna of the Arctic, Ashevak used bold colors to create dynamic, abstract, and stylized images that are devoid of a setting or fine details. -
Russian Museums Visit More Than 80 Million Visitors, 1/3 of Who Are Visitors Under 18
Moscow 4 There are more than 3000 museums (and about 72 000 museum workers) in Russian Moscow region 92 Federation, not including school and company museums. Every year Russian museums visit more than 80 million visitors, 1/3 of who are visitors under 18 There are about 650 individual and institutional members in ICOM Russia. During two last St. Petersburg 117 years ICOM Russia membership was rapidly increasing more than 20% (or about 100 new members) a year Northwestern region 160 You will find the information aboutICOM Russia members in this book. All members (individual and institutional) are divided in two big groups – Museums which are institutional members of ICOM or are represented by individual members and Organizations. All the museums in this book are distributed by regional principle. Organizations are structured in profile groups Central region 192 Volga river region 224 Many thanks to all the museums who offered their help and assistance in the making of this collection South of Russia 258 Special thanks to Urals 270 Museum creation and consulting Culture heritage security in Russia with 3M(tm)Novec(tm)1230 Siberia and Far East 284 © ICOM Russia, 2012 Organizations 322 © K. Novokhatko, A. Gnedovsky, N. Kazantseva, O. Guzewska – compiling, translation, editing, 2012 [email protected] www.icom.org.ru © Leo Tolstoy museum-estate “Yasnaya Polyana”, design, 2012 Moscow MOSCOW A. N. SCRiAbiN MEMORiAl Capital of Russia. Major political, economic, cultural, scientific, religious, financial, educational, and transportation center of Russia and the continent MUSEUM Highlights: First reference to Moscow dates from 1147 when Moscow was already a pretty big town. -
Picturing France
Picturing France Classroom Guide VISUAL ARTS PHOTOGRAPHY ORIENTATION ART APPRECIATION STUDIO Traveling around France SOCIAL STUDIES Seeing Time and Pl ace Introduction to Color CULTURE / HISTORY PARIS GEOGRAPHY PaintingStyles GOVERNMENT / CIVICS Paris by Night Private Inve stigation LITERATURELANGUAGE / CRITICISM ARTS Casual and Formal Composition Modernizing Paris SPEAKING / WRITING Department Stores FRENCH LANGUAGE Haute Couture FONTAINEBLEAU Focus and Mo vement Painters, Politics, an d Parks MUSIC / DANCENATURAL / DRAMA SCIENCE I y Fontainebleau MATH Into the Forest ATreebyAnyOther Nam e Photograph or Painting, M. Pa scal? ÎLE-DE-FRANCE A Fore st Outing Think L ike a Salon Juror Form Your Own Ava nt-Garde The Flo ating Studio AUVERGNE/ On the River FRANCHE-COMTÉ Stream of Con sciousness Cheese! Mountains of Fra nce Volcanoes in France? NORMANDY “I Cannot Pain tan Angel” Writing en Plein Air Culture Clash Do-It-Yourself Pointillist Painting BRITTANY Comparing Two Studie s Wish You W ere Here Synthétisme Creating a Moo d Celtic Culture PROVENCE Dressing the Part Regional Still Life Color and Emo tion Expressive Marks Color Collectio n Japanese Prin ts Legend o f the Château Noir The Mistral REVIEW Winds Worldwide Poster Puzzle Travelby Clue Picturing France Classroom Guide NATIONAL GALLERY OF ART, WASHINGTON page ii This Classroom Guide is a component of the Picturing France teaching packet. © 2008 Board of Trustees of the National Gallery of Art, Washington Prepared by the Division of Education, with contributions by Robyn Asleson, Elsa Bénard, Carla Brenner, Sarah Diallo, Rachel Goldberg, Leo Kasun, Amy Lewis, Donna Mann, Marjorie McMahon, Lisa Meyerowitz, Barbara Moore, Rachel Richards, Jennifer Riddell, and Paige Simpson. -
Reguły Przekładu. Wieczorna Ulewa Hiroshige I Japonaiserie, Pont Sous Lapluie Van Gogha
REGUŁY PRZEKŁADU. WIECZORNA ULEWA HIROSHIGE I JAPONAISERIE, PONT SOUS LAPLUIE VAN GOGHA Mój drogi bracie, wiesz, że wyjechałem na południe i zacząłem tu pra cować dla tysiąca powodów. Chciałem widzieć inne światło, myślałem, że przyroda pod czystym niebem może mi dać właściwsze wyobrażenie o sposobie odczuwania Japończyków i o ich rysunku. Chciałem w końcu widzieć silniej świecące słońce, ponieważ nie widząc go nie sposób zrozu mieć, w sensie wykonania, techniki obrazów Delacroix, a także dlatego, że kolory widma słonecznego są na północy spowite w mgłę1. JAPONAISERIE FOR EVER Nie jest możliwe określenie daty wyznaczającej początek zaintereso wań van Gogha sztuką japońską. Orton przytacza list z 1884 roku napi sany przez artystę do jego przyjaciela wyjeżdżającego do holenderskich Indii Wschodnich, wskazujący na znajomość i uznanie dla wyrobów ja pońskich2. Van Gogh mógł zapoznać się z nimi podczas swego drugiego pobytu w Hadze, od grudnia 1881 do września 1883, kiedy drzeworyty ja pońskie były w ciągłej sprzedaży m.in. w Wielkim Bazarze Królewskim na Zeestraat3, zwłaszcza że od czasów londyńskich zaczyna się okres jego intensywnych poszukiwań twórczych, których skala sięga od Akademii 1 List 605 do Theo z 10 września 1889. V. van G ogh, Listy do brata, Warszawa 1964, s. 540. Numeracja listów wg: The Complete Letters o f Vincent Van Gogh, vol. 3, New York n.d. (1957). 2 Większość faktów dotyczących praktycznych związków van Gogha ze sztuką japońską zaczerpnąłem z eseju Willema van Gulika i Freda Ortona w katalogu kolekcji japoń skiej van Gogha: Japanese Prints collected by Vincent van Gogh, Amsterdam 1978, s. 14-23. 3 Kolekcja von Siebolda, pierwsza w Europie profesjonalna ekspozycja obiektów pocho dzących z Japonii, w tym drzeworytów, otwarta została dla publiczności w Leiden w 1837. -
Microfilmed 1994 Information to Users
U-M-I MICROFILMED 1994 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely, event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms international A Bell & Howell Information Com pany 300 North Zeeb Road, Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 0411800 lnnokentij Annensky’s “The Cypress Chest”: Contexts, structures and themes Armstrong, Todd Patrick, Ph.D. -
The Letters of Vincent Van Gogh
THE LETTERS OF VINCENT VAN GOGH ‘Van Gogh’s letters… are one of the greatest joys of modern literature, not only for the inherent beauty of the prose and the sharpness of the observations but also for their portrait of the artist as a man wholly and selessly devoted to the work he had to set himself to’ - Washington Post ‘Fascinating… letter after letter sizzles with colorful, exacting descriptions … This absorbing collection elaborates yet another side of this beuiling and brilliant artist’ - The New York Times Book Review ‘Ronald de Leeuw’s magnicent achievement here is to make the letters accessible in English to general readers rather than art historians, in a new translation so excellent I found myself reading even the well-known letters as if for the rst time… It will be surprising if a more impressive volume of letters appears this year’ — Observer ‘Any selection of Van Gogh’s letters is bound to be full of marvellous things, and this is no exception’ — Sunday Telegraph ‘With this new translation of Van Gogh’s letters, his literary brilliance and his statement of what amounts to prophetic art theories will remain as a force in literary and art history’ — Philadelphia Inquirer ‘De Leeuw’s collection is likely to remain the denitive volume for many years, both for the excellent selection and for the accurate translation’ - The Times Literary Supplement ‘Vincent’s letters are a journal, a meditative autobiography… You are able to take in Vincent’s extraordinary literary qualities … Unputdownable’ - Daily Telegraph ABOUT THE AUTHOR, EDITOR AND TRANSLATOR VINCENT WILLEM VAN GOGH was born in Holland in 1853. -
Letters of Blood and Other Works in English
Letters of Blood and other works in English Göran Printz-Påhlson Robert Archambeau (ed.) Publisher: Open Book Publishers Year of publication: 2011 Published on OpenEdition Books: 11 January 2013 Serie: OBP collection Electronic ISBN: 9781906924584 http://books.openedition.org Printed version ISBN: 9781906924577 Number of pages: 210 Electronic reference PRINTZ-PÅHLSON, Göran. Letters of Blood and other works in English. New edition [online]. Cambridge: Open Book Publishers, 2011 (generated 19 décembre 2018). Available on the Internet: <http:// books.openedition.org/obp/858>. ISBN: 9781906924584. © Open Book Publishers, 2011 Creative Commons - Attribution-NonCommercial-NoDerivs 2.0 UK: England & Wales - CC BY-NC-ND 2.0 UK Göran Printz-Påhlson Letters of Blood and other works in English EDITED BY ROBERT ARCHAMBEAU LETTERS OF BLOOD Letters of Blood and other works in English Göran Printz-Påhlson Edited by Robert Archambeau https://www.openbookpublishers.com © 2011 Robert Archambeau; Foreword © 2011 Elinor Shaffer; ‘The Overall Wandering of Mirroring Mind’: Some Notes on Göran Printz-Påhlson © 2011 Lars-Håkan Svensson; Göran Printz-Påhlson’s original texts © 2011 Ulla Printz-Påhlson. Version 1.2. Minor edits made, May 2016. Some rights are reserved. This book is made available under the Creative Commons Attribution- Non-Commercial-No Derivative Works 2.0 UK: England & Wales License. This license allows for copying any part of the work for personal and non-commercial use, providing author attribution is clearly stated. Attribution should include the following information: Göran Printz-Påhlson, Robert Archambeau (ed.), Letters of Blood. Cambridge, UK: Open Book Publishers, 2011. http://dx.doi.org/10.11647/OBP.0017 In order to access detailed and updated information on the license, please visit https://www.