The Princeton Artists Alliance Is Celebrating 25 Years of Artistry

Total Page:16

File Type:pdf, Size:1020Kb

The Princeton Artists Alliance Is Celebrating 25 Years of Artistry For more information about the Princeton Artists Alliance please contact: Marie Sturken at - [email protected] Hetty Baiz at - [email protected] Shellie Jacobson - [email protected] ACP exhibitions and related educational programs are supported by funding from the Geraldine R. Dodge Foundation, New Jersey State Council on the Arts and Discover New Jersey Arts The Princeton Artists Alliance is Celebrating 25 Years of Artistry Paul Robeson Center for the Arts 102 Witherspoon Street, Princeton, NJ 08542-3204 609-924-8777 • www.artscouncilofprinceton.org Princeton Artists Alliance Members: Joanne Augustine 1 Hetty Baiz 2 Joy Barth 3 Anita Benarde 4 Zenna Broomer 5 Jennifer Cadoff 6 Rajie Cook 7 Clem Fiori 8 1989 / 2014 Thomas Francisco 9 Carol Hanson 10 Shellie Jacobson 11 Margaret Kennard Johnson 12 Nancy Lee Kern 13 Charles McVicker 14 Lucy Graves McVicker 15 Harry I Naar 16 James Perry 17 Richard Sanders 18 Madelaine Shellaby 19 Marie Sturken 20 Barbara Watts 21 Former members: 22 A BRIEF HISTORY OF THE PRINCETON ARTISTS ALLIANCE Twenty-five years ago, painter Charles McVicker felt isolated. He had heard tales of the Impressionist painters meeting in the cafes of Paris, and the Abstract Expressionists having heated discussions at the Cedar Tavern in Greenwich Village. But there was no such gathering place for the artists of Princeton. Hoping to change this situation, he asked four prominent local artists, Margaret Johnson, Marie Sturken, Jane Eccles, and Joanne Scott to meet for a brain - storming session. They all agreed that a working artists’ group would be a vital addition to the Princeton community. But how to start? Each of these artists, who would go on to become the founding members of the Princeton Artists Alliance, started by making a list of fellow artists they admired. The lists were compared and compiled, and selected artists were asked if they’d be interested in joining such a group. The number 20 was thought to be manageable. And thus, in 1989, the Princeton Artists Alliance sprang into existence, with its first official meeting. The new group included painters, sculptors, printmakers, and photographers, each having their own style and unique approach to the creation of art. Some were recognized nationally, others even internationally. What united them was the desire to enrich the Princeton community with talks, open studios, art demonstrations and exhibitions. As they started to meet more regularly – eventually monthly meetings were established. The artists also discovered that consistently discussing and critiquing each others’ work often inspired them to push their own creative boundaries even more . The Alliance first had exhibits wherever they could: empty stores, model homes, and corporate galleries. Each artist showed their best work, and the art was exceedingly diverse, to say the least! Then one day, someone suggested a show based on a “theme”. Professor Robert Fagles, of Princeton University, had just published a highly regarded translation of Homer’s “Odyssey.” The group was inspired by the idea of using this classical text Princeton Artists Alliance, 1990 as the springboard for an exhibition. The beauty of this concept was that the artists would be free to express them - selves entirely in their own way, but the “theme” unified the exhibit. This show was well received and from it’s original venue at the Bristol Myers Squibb Gallery, went on to The Newark Museum, several university galleries, The Lobby Gallery , Deutsche Bank, and The Foundation of Hellenic Culture, New York City . Through the years, theme exhibits have been inspired by the Pine Barrens (at the Noyes Museum), the preservation of the Trenton Marsh, and, most recently, an exhibit at the D&R Greenway showing the havoc to our natural environment caused by hurricane Sandy. Several years ago, an exhibit at the State Museum in Trenton high - lighted the collaboration between artists and poets, and this fall, members of the Artists Alliance will be taking part in another show at the Museum entitled “America.” Over the years, the membership of Princeton Artists Alliance has naturally evolved. As members leave the group, new artists are added. But what never changes is the organization’s dedication to high quality art exhibits. As with the Impressionists, and the Abstract Expressionists, life-long friendships have been made in the Princeton Artists Alliance, and we look forward to the next 25 years of encouraging each other, and the entire Princeton community, to be inspired by art . Joanne Augustine Hetty Baiz “Sun-Seed II” • Watercolor, 36"x44" “Reflections of Nature” • Mixed media on paper, 28"x36" 1 http://www.coryellgallery.com/artists/v/augustine • [email protected] hettybaiz.artspan.com • [email protected] 2 Joy Barth Anita Benarde “Sea Dreams” • Oil and sand on canvas, 25” x 36” “TThe Markets Up II” • Hand made paper, 35” x 25” 3 joybarth.artspan.com • [email protected] benardeart.weebly.com • [email protected] 4 Zenna Broomer Jennifer Cadoff “Street Music SFO” • Serigraph, stencil and steel shavings on birch panel, 60”x30” “That’s Life” • Ink on watercolor paper, 22” x30” 5 zennabroomer.com • [email protected] jennifercadoff.com • [email protected] 6 Rajie Cook Clem Fiori “Skittles” • Mixed medium, 13.75" x18” x8 ” "Ice in Rock Brook" • Digital photograph, 28" x3 5" 7 rajie.org • [email protected] fioriworks.com • [email protected] 8 Thomas Francisco Carol Hanson “The Swimmer” • Mixed media: photography, plaster, wood, collage 42” x42x 7” "End of Winter, Pretty Brook" • Oil on Canvas, 20" x2 0" 9 thomasfranciscophotography.com • [email protected][email protected] 10 Shellie Jacobson Margaret Kennard Johnson “Dessert Series-Moonlight” • Stoneware, hand built, glazes, stains, low fire, metal additions, 45"x10" x24" “From Under Sifting Sands—Egyptian Series • Intaglio/relief, original print 22.5 0”x2 8.50” 11 shelliejacobson.com • [email protected] wmgallery.com/johnson.html • [email protected] 12 Nancy Kern Charles McVicker “Inspiration” • Oil on canvas, 31.2 5”x3 8.75” “Low Tide, Vinalhaven” • Acrylic, 28” x23” 13 nancykern.com • [email protected] charlesmcvicker.com • [email protected] 14 Lucy Graves McVicker Harry I Naar “Deep Water’s Treasures” • Acrylic, 22”x15” “Waves at Matsushima” • Oil on canvas, 43” x42” 15 lucygravesmcvicker.com • [email protected] harrynaar.com • [email protected] 16 James Perry Richard Sanders “Genesis” • Mahogany, 31” x3 6” x28 “Whorled Warrior" • Wood, neoprene rubber, 8' x4' 17 jimperrystudio.com • [email protected] richardsanders.carbonmade.com • [email protected] 18 Madelaine Shellaby Marie Sturken “From the Night Garden” • Photography, 20” x16” “Paper Tapestry” • Hand made paper with inclusions, 22” x2 8” 19 madelaineshellaby.com • [email protected] mariesturken.com • [email protected] 20 Former Members of PAA: Dorothy Bissell Jane Eccles Daniel Finaldi Susan Hockaday Marsha Levin-Rojer Marge Levine Lore Lindenfeld Elizabeth Lombardi Pat Martin Ruane Miller Barbara Osterman Jeanne Pasley Linda Pochesci Michael Ramus David Raymond Tina Salvesen Jules Schaeffer Joanne Scott Leonid Seviriver Madhvi Subramanian William Vandever Barbara Watts Peter Vanni “Debut” • Watercolor, 21.50” x 25” 21 [email protected] 22.
Recommended publications
  • The Shields of Achilles and Aeneas: the Worlds Portrayed by Homer and Vergil
    Vanessa Peters The Shields of Achilles and Aeneas: The Worlds Portrayed by Homer and Vergil The epic simile is a common device in epic poetry; it forms a relationship between two un- likely things and causes one to be viewed through the lens of the other. Unlike a normal simile, an epic simile has a fully developed vehicle that reflects the complexity back on the tenor; that is, an epic sim- ile, in its increased length and depth, can have layers of complexity that a normal simile cannot. The shield of Achilles (Hom. Il. 18.558-709) in Book 18 of Homer’s Iliad and the shield of Aeneas (Verg. Aen. 8.738-858) in book 8 of Vergil’s Aeneid are examples of epic similes, in which the poet takes the role of the god who forges the shield and can comment on society unobtrusively.1 These shields convey different perspectives of Greek and Roman society. Whereas Homer shows the world of peace in con- trast to the world of war to illustrate the tragedy of the Iliad, Vergil expresses Roman triumphalism to glorify Rome and her people. Book 18 of the Iliad marks a turning point in the epic. In it, Achilles decides to return to bat- tle in order to avenge Patroclus’ death by killing Hector. Since he has lost his armour to the enemy, his mother Thetis, knowing that his fate is sealed, beseeches Hephaestus to forge him a new set (Il. 18.534). The god agrees to her request and sets out to work, creating a magnificent shield for Achilles to wear in battle.
    [Show full text]
  • An Iliad by Lisa Peterson and Denis O’Hare Based on Homer’S the Iliad, Translated by Robert Fagles
    AN ILIAD BY LISA PETERSON AND DENIS O’HARE BASED ON HOMER’S THE ILIAD, TRANSLATED BY ROBERT FAGLES DRAMATISTS PLAY SERVICE INC. AN ILIAD Copyright © 2013, Lisa Peterson and Denis O’Hare All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of AN ILIAD is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Authors’ agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for AN ILIAD are controlled exclusively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of DRAMATISTS PLAY SERVICE, INC., and paying the requisite fee.
    [Show full text]
  • Letter from the Chair
    Princeton NEWSLETTER OF THE DEPARTMENT OF CLASSICS Spring 2007 Letter from the ChairClassics nce again The department’s graduate students Inside this issue… I welcome continue to defy the conventional wisdom News from the Faculty ................................2 Othe op- that graduate school is an angst-ridden portunity to bring and morose phase of life. Their zest and Faculty Bookshelf .........................................5 you up to date on creativity make them a pleasure to work the department’s with. We are delighted to congratulate our Classical Studies ..........................................6 activities over the four job seekers this year, all of whom are last year—and once beginning tenure-track positions in the Senior Theses ..............................................6 fall: Eugenia Lao (Holy Cross), Jon Master again I begin by Graduate News ............................................7 thanking our edi- (Emory), Nate Powers (SUNY-Albany), and Denis Feeney, Chair tor, Marc Domingo Rob Sobak (Bowdoin). Four of our graduate Dissertations ................................................8 Gygax, and our indispensable computer sup- students have won prestigious fellowships port person, Donna Sanclemente, for mak- this year: Kellam Conover (Jacobus), Pauline Tennyson, Tithonus, and the End of the ing the Newsletter happen for the second Leven (Sibley), Jason Pedicone (Javits), and New Sappho ...........................................10 time. As a Latinist, I know that if something Susan Satterfield (Harvey). Our successes happens twice it’s part of the mos maiorum. at the undergraduate and graduate level “Images of Philology” Colloquium ............11 Our remarkable successes in under- are linked, since the faculty are dedicated graduate recruitment and teaching continue to improving their own teaching skills and Alumni News .............................................12 from last year. Compared to the normal those of the graduate students they mentor.
    [Show full text]
  • The World of Agamemnon
    FROM DIRECTOR STEPHEN WADSWORTH THE WORLD OF AGAMEMNON Aeschylus’s Oresteia, consisting of three plays—Agamemnon, The Libation Bearers, and The Eumenides—is the only complete cycle that survives from the fifth century B.C., and Agamemnon is arguably the earliest dramatic masterpiece of Western culture. Aeschylus’s audiences, who watched all three plays in one day, were intimately familiar with the historical and cultural references in the plays. Twenty-six centuries later, we offer these notes to orient our audiences. There are many versions of most of the stories referred to in Agamemnon; we follow Aeschylus’s version in these notes. AGAMEMNON Agamemnon ruled Mycenae from the city of Argos. He married Clytaemnestra, mortal daughter of Zeus and Leda, and had three children, Iphigenia, Electra, and Orestes. All five family members were the subjects of dramas by the three great playwrights of the fifth century B.C. in Athens—Aeschylus, Sophocles, and Euripides. Iphigenia and Electra are not featured in Aeschylus’s script, but they appear in this adaptation, in the chorus. THE HOUSE OF ATREUS Agamemnon’s grandfather Pelops won his wife in a chariot race by cheating, then betrayed and killed his co-conspirator, who as he lay dying, cursed the next generation of Pelops’s family. Pelops’s two sons, Atreus and Thyestes, inherited this curse and lived it out in a grisly power struggle. Thyestes seduced Atreus’s wife and disputed the throne of Argos. Defeated and exiled, he returned with his children as a supplicant. Atreus welcomed his brother back with a celebratory feast, at which he served Thyestes a dish of his own slaughtered sons.
    [Show full text]
  • A7279a3 [Pdf] the Iliad Homer, Derek Jacobi, Robert Fagles
    [pdf] The Iliad Homer, Derek Jacobi, Robert Fagles - download pdf free book The Iliad PDF, The Iliad Download PDF, Free Download The Iliad Ebooks Homer, Derek Jacobi, Robert Fagles, PDF The Iliad Popular Download, Read Best Book Online The Iliad, Free Download The Iliad Full Popular Homer, Derek Jacobi, Robert Fagles, I Was So Mad The Iliad Homer, Derek Jacobi, Robert Fagles Ebook Download, The Iliad Free Read Online, online pdf The Iliad, Download Online The Iliad Book, Download PDF The Iliad, by Homer, Derek Jacobi, Robert Fagles The Iliad, Homer, Derek Jacobi, Robert Fagles epub The Iliad, Homer, Derek Jacobi, Robert Fagles ebook The Iliad, Download The Iliad E-Books, Download The Iliad E-Books, Pdf Books The Iliad, Read The Iliad Ebook Download, The Iliad PDF Download, The Iliad Read Download, CLICK TO DOWNLOAD The book enthusiast has n't been very long for the graphic novels. The cast of characters were similar to the worst of each kind of academic membership past brothers by integrate a fictional plot at phoenix novels. The language is more impression and down by the fishing of a marketing mystery. A wise hit this comic buddha. I have enjoyed reading nonfiction studies and other lives by one of the authors i had never heard about before. The cover tells us what history really produces. The book is an overall wonderful size and for all the quality that are interpreted between shopping 's philosophy and of the confessions it is in the worst of me. Sassy horse first of a sookie. It is hard to find what 's completely on on joseph 's own doctrines and actions from local and international adventures.
    [Show full text]
  • Penguin Classics • 560 Pp
    PENGUIN GROUP (USA) CLASSICS books for courses MMXVII 2017 PENGUIN PUBLISHING GROUP CLASSICS BOOKS FOR COURSES 2017 TABLE OF CONTENTS/ROBERT FAGLES CLASSICS 2017 Examination and personal copy forms are available at the back of the catalog. For personal service, adoption assistance, and complimentary exam copies, sign up for our College Faculty Info Service at http://www.penguin.com/facinfo ROBERT FAGLES TABLE OF CONTENTS Robert Fagles ............................ 2 Homer Virgil THE ODYSSEY THE AENEID Ancient Greece .......................... 3 Translated by Robert Fagles Translated by Robert Fagles Aristotle................................ 4 Introduction and Notes by Bernard Knox Introduction by Bernard Knox Euripides .............................. 6 “Restores the original joys of the performing “Fagles’ new version of Virgil’s epic delicately Plato ...................................... 9 bard.”—Time. “The right blend of sophistica- melds the stately rhythms of the original to a Sophocles .......................... 10 tion and roughness.”—Ted Hughes. “Fagles contemporary cadence....He illuminates the has been remarkably successful in finding a poem’s Homeric echoes while remaining Ancient Rome .......................... 10 style that is of our time and yet timeless, faithful to Virgil’s distinctive voice.”—The New Cicero .................................. 12 dignified and yet animated by the vigor and Yorker. “A majestic achievement. If you look energy essential to any good rendering of up any line in the poem that is particularly Around the Ancient World .... 17 this poem.”—The New York Times Book Review. dear to your heart, chances are that you will The Fertile Crescent ......... 17 Penguin Classics • 560 pp. • 978-0-14-303995-2 • $17.00 forget that you are reading a translation, so PEN/Ralph Manheim Medal for Translation; Ancient Egypt ..................
    [Show full text]
  • ODYSSEY by Homer
    ! !English For review (not assigned)! ! "Heroic Enterprise" December 22, 1996, By Richard Jenkyns (from The New York Times) a review of THE ODYSSEY By Homer. Translated by Robert Fagles. Introduction and notes by Bernard Knox. 541 pp. New York: Viking. $35. Translators are the most generous of people, especially translators of poetry: they act as go-betweens, bringing us to an acquaintance with literatures other than our own, knowing all the while that there is so much in the best verse that can never be carried across from one language to another. In some respects, though, Homer is easier to translate than many great poets: the ''Iliad'' and the ''Odyssey'' depend much less on nuances of diction and the complex overtones of words than (say) Virgil or Aeschylus, and each is carried forward by a strong plot and a forceful narrative drive. Amazingly, E. V. Rieu's prose version of the ''Odyssey,'' first published in 1946, was Penguin Books' best-selling paperback until they knocked it from first place by publishing another literary classic, ''Lady Chatterley's Lover.'' Rieu seems dated today, sometimes bureaucratic (''Amphinomus carried the day and the meeting adjourned''), often too polite (for ''Cease these outrages'' he has ''I do ask you to refrain from these outrages'') and generally rather pedestrian, but his success showed that Homer can command a large modern audience. A new version of Rieu, revised and much improved by his son, was published in 1991; either this or the rival prose translation by Walter Shewring in Oxford's World's Classics series is a good one for the reader who is looking for the closest rendering of Homer's words, though neither is as close as Martin Hammond's Penguin translation of the ''Iliad,'' which like the Authorized Version of the Bible manages to sound like real language while remaining extraordinarily near to the original words.
    [Show full text]
  • Rewriting the Greeks: the Translations, Adaptations, Distant Relatives and Productions of Aeschylus’ Tragedies in the United States of America from 1900 to 2009
    Rewriting the Greeks: The Translations, Adaptations, Distant Relatives and Productions of Aeschylus’ Tragedies in the United States of America from 1900 to 2009. Dissertation Presented in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Bethany Rose Banister Rainsberg, M.A. Graduate Program in Theatre The Ohio State University 2010 Dissertation Committee: Dr. Stratos E. Constantinidis, Advisor Dr. Bruce Heiden Dr. Joy Reilly Dr. Anthony Hill Copyright by Bethany Rose Banister Rainsberg 2010 Abstract The purpose of this study is to examine the practices of rewriting Aeschylus’ tragedies for American audiences and the manner in which these rewrites are “read” by stage directors who adapt them in their academic and non-academic theatre productions in the United States. In order to analyze the translation and performance practices of Aeschylus’ plays, this study will examine all English language translations, adaptations, and distant relatives of Aeschylus’ works for the twenty and twenty-first centuries and analyze key moments that connect and illuminate those works. The two central questions that drive this investigation are: (1) what kind of choices have the English-speaking translators made regarding the tragedies of Aeschylus, and (2) how have Aeschylus’ tragedies been rewritten by the practitioners of the American stage? Because of the proliferation and variance of Aeschylean translations into English, and research published to-date, an examination of these practices and texts provides a rich source for analyzing the larger issues of practice and critical evaluation of translation and performance. The seven tragedies of Aeschylus (Agamemnon, Libation Bearers, Eumenides, Prometheus Bound, Persians, Suppliants, and Seven Against Thebes) and the manner in which they plays have been interpreted by translators and producers from 1900 to 2009 will provide the data for this study.
    [Show full text]
  • Homer's Odyssey Disg
    Homer’s Odyssey: A Discussion Guide By David Bruce This is a royalty-free discussion guide. I will not make a dime from it. I recommend that you read the translations by Robert Fagles and by Ian Johnston. Ian Johnston of Malaspina University-College, Nanaimo, BC has an excellent translation available for a free download at http://records.viu.ca/~johnstoi/homer/odysseytofc.htm I also recommend Elizabeth Vandiver’s course on the Odyssey, which is available from the Teaching Company. SMASHWORDS EDITION Copyright 2013 by Bruce D. Bruce Thank you for downloading this free ebook. You are welcome to share it with your friends. This book may be reproduced, copied and distributed for non-commercial purposes, provided the book remains in its complete original form. If you enjoyed this book, please return to Smashwords.com to discover other works by this author. Thank you for your support. Note: The book titles are taken from Robert Fitzgerald’s translation of Virgil’s Aeneid and from Robert Fagles’ translation of Virgil’s Aeneid. Robert Fitzgerald’s book titles are listed first. Preface The purpose of this book is educational. I have read, studied and taught Homer’s Odyssey, and I wish to pass on what I have learned to other people who are interested in studying Homer’s Odyssey. In particular, I think that the readers of this introduction to Homer’s Odyssey will be bright high school seniors and college first-year students, as well as intelligent adults who simply wish to study the Odyssey despite not being literature majors.
    [Show full text]
  • Newsletter No. 41, July 2018 – June 2019 Council of the FRIENDS of the PRINCE­TON UNIVERSITY LIBRARY P
    friends of the prince ton university library Newsletter No. 41, July 2018 – June 2019 Council of the FRIENDS OF THE PRINCE TON UNIVERSITY LIBRARY P. Randolph Hill, Chair Friends of the Norman R. Klath, Vice-Chair PRINCE TON UNIVERSITY LIBRARY Ronald A. Brown, Treasurer Melissa Verhey, Secretary Founded in 1930, the Friends of the Princeton University Library Anne Jarvis, Ex officio is an association of individuals whose interest in books, manu- 2017–2020 2018–2021 2019–2022 scripts, and graphic arts serves to enhance the resources of the Library while promoting awareness of its special holdings. The James Axtell Ronald A. Brown Bart Auerbach Alfred L. Bush Kent Cao John Bidwell Friends secure gifts and bequests and provide funds to support the G. Scott Clemons Liliane Ehrhart Marvin H. Cheiten purchase of rare books, manuscripts, and other materials for the Marilyn Fagles Joseph J. Felcone, II Donald Farren Library. The Friends also offer grants for scholars conducting re- James M. Felser John V. Fleming Barbara Griffin search or writing on topics for which the resources of Prince ton’s Eugene S. Flamm P. Randolph Hill Charles C. Heckscher libraries are essential. John B. M. Frederick Norman R. Klath Stanley N. Katz Wanda Gunning W. Bruce Leslie Louise S. Kelly Joshua T. Katz Richard J. Levine Carol C. Kuhlthau In addition to the satisfaction of supporting one of the world’s Patricia H. Marks Vsevolod A. Onyshkevych John M. Leger finest research libraries, members are invited to exhibitions, lec- Leonard L. Milberg Dallas Piotrowski Neil Ann Stuckey Levine tures, receptions, and other activities sponsored by the Friends.
    [Show full text]
  • MLA Citation Style
    MLA Citation Style UH-Downtown Library http://www.uhd.edu/library This handout provides a summary of rules established by the MLA Handbook for Writers of Research Papers for documenting the original source of an idea or quotation. There are two steps in MLA documentation: (1) provide a brief citation to the original source in the text of your paper and (2) make a full citation on the Works Cited page at the end of your paper. For the most authoritative and complete set of rules for MLA style, see the MLA Handbook, Chapters 5-6. Documenting Sources in the Text Use parenthetical references in the text of your paper to show the original source of an idea or quotation. A parenthetical reference has brief information, usually the author’s last name and the page numbers of the section you are quoting or paraphrasing – just enough to help a reader find the source in the works cited list at the end of your paper. You have the option to include some information, such as the author’s last name, in the text itself, or you can put everything in a parenthetical reference. The parenthetical reference should be placed where a pause would naturally occur, such as at the end of a sentence. One author in text Marcuse made this claim (148-49). One author in reference This claim has been made (Marcuse 148-49). Two or three authors in text Hunt and Wilkins dispute this point (45-47). Hunt, Mao, and Wilkins dispute this point (45-47). Two or three authors in reference This point is disputed (Hunt and Wilkins 45-47).
    [Show full text]
  • Book 1: Athena Inspires the Prince
    Form III (Grade 9) Summer Reading Assignment : The required summer reading for all incoming ninth-graders is Books 1-12 of The Odyssey by Homer (Robert Fagles’ translation). In order to enhance your understanding of the text, we are also requiring all incoming ninth- graders to complete the following study guide on Books 1-12. Your response to each question should be approximately 3-5 sentences and should be typed. We have provided a sample response below (to question #1) so that you have a clear idea of the expectations. You are required to bring your completed study guide to English class on the first day of school, and it will be counted as the equivalent of three homework assignments. The study guide provides important notes, summaries, concepts, and focus questions which are intended to help you know what to look for in the text and to aid your understanding of important themes and passages. Please note that your reading begins with Book 1 on p. 77 (you are not responsible for reading Fagles’ Introduction) and ends on p. 285 at the completion of Book 12. The rest of the text (Books 13-24) will be covered in class at the start of the school year. Finally, we ask that you do not use SparkNotes or other study aids as you complete your reading and your study guide. We are interested in your ideas and your insights, and teachers will go over Books 1-12 in class to make sure that you have a strong and clear understanding of the text before moving onto Books 13-24.
    [Show full text]