Foreign Language Curriculum Guide, K-12. INSTITUTION Georgia State Dept
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Bernard Coutaz Carlos Sandúa Las Músicas Del Agua La ONE Republicana Natalie Dessay Peter Donohoe Lado Ataneli Gaspard De La N
REVISTA DE MÚSICA Año XXIII - Nº 228 - Marzo 2008 - 6,50 € DOSIER Las músicas del agua ENCUENTROS ROLA Bernard Coutaz ND Carlos Sandúa C O ACTUALIDAD R V E IL Natalie Dessay A L N A Peter Donohoe D ZÓN Lado Ataneli O EM REPORTAJE OCIONES La ONE republicana Año XXIII - Nº 228 Marzo 2008 REFERENCIAS Gaspard de la nuit de Ravel INTERIORPORTADA FILM:SCHERZO 22/2/08 18:37 Página 1 1-16 FILM:SCHERZO 22/2/08 17:36 Página 1 AÑO XXIII - Nº 228 - Marzo 2008 - 6,50 € 2 OPINIÓN DOSIER Las músicas del agua CON NOMBRE José Luis Carles PROPIO y Cristina Palmese 113 6 Natalie Dessay Rafael Banús Irusta ENCUENTROS 8 Peter Donohoe Bernard Coutaz Bruno Serrou Emili Blasco 126 10 Lado Ataneli Carlos Sandúa Pablo J. Vayón Barbara Röder 132 12 AGENDA REPORTAJE La Orquesta Nacional 18 ACTUALIDAD Republicana NACIONAL Enrique Lacomba y Gúzman Urrero Peña 136 46 ACTUALIDAD INTERNACIONAL EDUCACIÓN Pedro Sarmiento 140 60 ENTREVISTA JAZZ Rolando Villazón Pablo Sanz 142 Juan Antonio Llorente LIBROS 144 64 Discos del mes LA GUÍA 146 65 SCHERZO DISCOS CONTRAPUNTO Norman Lebrecht 152 Sumario Colaboran en este número: Javier Alfaya, Julio Andrade Malde, Íñigo Arbiza, Emili Blasco, Alfredo Brotons Muñoz, José Antonio Cantón, José Luis Carles, Jacobo Cortines, Rafael Díaz Gómez, Pierre Élie Mamou, José Luis Fernández, Fernando Fraga, Germán Gan Quesada, Joaquín García, José Antonio García y García, Carmen Dolores García González, Juan García-Rico, José Guerrero Martín, Federico Hernández, Fernando Herrero, Bernd Hoppe, Paul Korenhof, Enrique Lacomba, Antonio Lasierra, Norman -
Renaissance Receptions of Ovid's Tristia Dissertation
RENAISSANCE RECEPTIONS OF OVID’S TRISTIA DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Gabriel Fuchs, M.A. Graduate Program in Greek and Latin The Ohio State University 2013 Dissertation Committee: Frank T. Coulson, Advisor Benjamin Acosta-Hughes Tom Hawkins Copyright by Gabriel Fuchs 2013 ABSTRACT This study examines two facets of the reception of Ovid’s Tristia in the 16th century: its commentary tradition and its adaptation by Latin poets. It lays the groundwork for a more comprehensive study of the Renaissance reception of the Tristia by providing a scholarly platform where there was none before (particularly with regard to the unedited, unpublished commentary tradition), and offers literary case studies of poetic postscripts to Ovid’s Tristia in order to explore the wider impact of Ovid’s exilic imaginary in 16th-century Europe. After a brief introduction, the second chapter introduces the three major commentaries on the Tristia printed in the Renaissance: those of Bartolomaeus Merula (published 1499, Venice), Veit Amerbach (1549, Basel), and Hecules Ciofanus (1581, Antwerp) and analyzes their various contexts, styles, and approaches to the text. The third chapter shows the commentators at work, presenting a more focused look at how these commentators apply their differing methods to the same selection of the Tristia, namely Book 2. These two chapters combine to demonstrate how commentary on the Tristia developed over the course of the 16th century: it begins from an encyclopedic approach, becomes focused on rhetoric, and is later aimed at textual criticism, presenting a trajectory that ii becomes increasingly focused and philological. -
Quantitative Dynamics of Human Empires
Quantitative Dynamics of Human Empires Cesare Marchetti and Jesse H. Ausubel FOREWORD Humans are territorial animals, and most wars are squabbles over territory. become global. And, incidentally, once a month they have their top managers A basic territorial instinct is imprinted in the limbic brain—or our “snake meet somewhere to refresh the hierarchy, although the formal motives are brain” as it is sometimes dubbed. This basic instinct is central to our daily life. to coordinate business and exchange experiences. The political machinery is Only external constraints can limit the greedy desire to bring more territory more viscous, and we may have to wait a couple more generations to see a under control. With the encouragement of Andrew Marshall, we thought it global empire. might be instructive to dig into the mechanisms of territoriality and their role The fact that the growth of an empire follows a single logistic equation in human history and the future. for hundreds of years suggests that the whole process is under the control In this report, we analyze twenty extreme examples of territoriality, of automatic mechanisms, much more than the whims of Genghis Khan namely empires. The empires grow logistically with time constants of tens to or Napoleon. The intuitions of Menenius Agrippa in ancient Rome and of hundreds of years, following a single equation. We discovered that the size of Thomas Hobbes in his Leviathan may, after all, be scientifically true. empires corresponds to a couple of weeks of travel from the capital to the rim We are grateful to Prof. Brunetto Chiarelli for encouraging publication using the fastest transportation system available. -
WSFA Journal 69
. »x.'N ■ •*' p. l^-> = f/M'i/ilf'if'''-. ///" fiii: It I - . ■I»'• n, ll i.^/f f •] ! i W 'i j :i m y't ) ' ' / •* ' - t *> '.■; ■ *"<* '^ii>fi<lft'' f - ■ ■//> ■ vi '' • ll. F V -: ■ :- ^ ■ •- ■tiK;- - :f ii THE WSFA journal (The Official Organ of the Washington Science Fiction Association) Issue Number 69: October/November, 1969 The JOURNAL Staff — Editor & Publisher: Don Miller, 12315 Judson Rd., Wheaton, Maryland, .•U.S.A., 20906. ! Associate Editors: Alexis & Doll Gilliland, 2126 Pennsylvania Ave,, N.W., Washington, D.C., U.S.A., 20037. Cpntrib-uting Editors:- ,1 . " Art Editor — Alexis Gilliland. - 4- , . Bibliographer— Mark Owings. Book Reviewers — Alexis Gilliland,• David Haltierman, Ted Pauls. Convention Reporter — J.K. Klein. ' : . r: Fanzine Reviewer — Doll Golliland "T Flltfl-Reviewer — Richard Delap. ' " 5 P^orzine Reviewer — Banks.Mebane. Pulps — Bob Jones. Other Media Ivor Rogers. ^ Consultants: Archaeology— Phyllis Berg. ' Medicine — Bob Rozman. Astronomy — Joe Haldeman. Mythology — Thomas Burnett Biology — Jay Haldeman. Swann, David Halterman. Chemistry — Alexis Gilliland. Physics — Bob Vardeman. Computer Science — Nick Sizemore. Psychology -- Kim West on. Electronics — Beresford .Smith. Mathematics — Ron Bounds, Steve Lewis. Translators: . French .— Steve Lewis, Gay Haldeman. Russian — Nick Sizemore, German -- Nick Sizemore. Danish ~ Gay. Haldeman, Italian ~ OPEN. Joe Oliver. Japanese. — OPEN. Swedish" -- OBBN. Overseas Agents: Australia — Michael O'Brien, 158 Liverpool St., Holaart, Tasmania, Australia, 7000. • South Africa — A.B. Ackerman, P^O.Box 6, Daggafontein, .Transvaal, South Africa, . ^ United Kingdom — Peter Singleton, 60ljU, Blodc h, Broadiiioor Hospital, Crowthome, Berks, RGll 7EG, United Kingdom. Needed for France, Germany, Italy, Scandinavia, Spain, S.America, NOTE; Where address are not listed above, send material ^Editor, Published bi-monthly. -
Reading Death in Ancient Rome
Reading Death in Ancient Rome Reading Death in Ancient Rome Mario Erasmo The Ohio State University Press • Columbus Copyright © 2008 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Erasmo, Mario. Reading death in ancient Rome / Mario Erasmo. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1092-5 (cloth : alk. paper) ISBN-10: 0-8142-1092-9 (cloth : alk. paper) 1. Death in literature. 2. Funeral rites and ceremonies—Rome. 3. Mourning cus- toms—Rome. 4. Latin literature—History and criticism. I. Title. PA6029.D43E73 2008 870.9'3548—dc22 2008002873 This book is available in the following editions: Cloth (ISBN 978-0-8142-1092-5) CD-ROM (978-0-8142-9172-6) Cover design by DesignSmith Type set in Adobe Garamond Pro by Juliet Williams Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI 39.48-1992. 9 8 7 6 5 4 3 2 1 Contents List of Figures vii Preface and Acknowledgments ix INTRODUCTION Reading Death CHAPTER 1 Playing Dead CHAPTER 2 Staging Death CHAPTER 3 Disposing the Dead 5 CHAPTER 4 Disposing the Dead? CHAPTER 5 Animating the Dead 5 CONCLUSION 205 Notes 29 Works Cited 24 Index 25 List of Figures 1. Funerary altar of Cornelia Glyce. Vatican Museums. Rome. 2. Sarcophagus of Scipio Barbatus. Vatican Museums. Rome. 7 3. Sarcophagus of Scipio Barbatus (background). Vatican Museums. Rome. 68 4. Epitaph of Rufus. -
DELENDA EST... Poul Anderson
DELENDA EST... Poul Anderson http://www.librodot.com Librodot Delenda est… Poul Anderson 1 La caza es buena en Europa hace veinte mil años, y los deportes de invierno, insuperables en ninguna otra edad. Por eso la Patrulla cuidadora del mejor adiestramiento de su personal mantiene una residencia en el Pirineo Pleistoceno. Manse Everard, ante una ventana acristalada, contempla las perspectivas de hielo azul de las vertientes boreales en las que las montañas se convertían en bosques, pantanos y tundra. Su voluminoso cuerpo estaba envuelto en unos pantalones de color verde y túnica de insulsinta, del siglo XXIII; botas hechas a mano por un franco- canadiense del siglo XIX; fumaba una apestosa y vieja pipa de época indeterminada. Sentía una vaga inquietud e ignoraba el ruido del interior, donde media docena de agentes bebían, charlaban y tocaban el piano. Un guía del período de Cro-Magnon se acercaba, cruzando el patio cubierto de nieve; era alto, hermoso, y vestía un poco a lo esquimal (¿por qué la novela nunca concedió al hombre paleolítico el suficiente sentido para vestir chaquetón, pantalón y calzado en el período glacial?), la cara pintada, al cinto uno de los cuchillos de acero que le habían prestado. La Patrulla podía actuar con entera libertad en aquel remotísimo tiempo; no había peligro en alterar el pasado, pues el metal se enmohecía y los extraños serian olvidados en pocos siglos. El mayor inconveniente era que los agentes femeninos, de períodos posteriores y más libertinos, siempre tenían jaleos con los cazadores primitivos. Piet Van Sarawak (un flamenco-indonesio-venusiano del 24 d. -
From Humanism to Nazism: Antiquity in the Work of Houston Stewart Chamberlain
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 11 | 2015 Expressions of Environment in Euroamerican Culture / Antique Bodies in Nineteenth Century British Literature and Culture From Humanism to Nazism: Antiquity in the Work of Houston Stewart Chamberlain Johann Chapoutot Electronic version URL: http://journals.openedition.org/miranda/6680 DOI: 10.4000/miranda.6680 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Johann Chapoutot, “From Humanism to Nazism: Antiquity in the Work of Houston Stewart Chamberlain ”, Miranda [Online], 11 | 2015, Online since 23 July 2015, connection on 16 February 2021. URL: http://journals.openedition.org/miranda/6680 ; DOI: https://doi.org/10.4000/miranda.6680 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. From Humanism to Nazism: Antiquity in the Work of Houston Stewart Chamberlain 1 From Humanism to Nazism: Antiquity in the Work of Houston Stewart Chamberlain Johann Chapoutot 1 Houston Stewart Chamberlain was a typical member of the 19th century British gentry but had the most atypical destiny―a destiny which was built around the culture of two countries: England which he left early and Germany which was to become his true home. The son of a naval officer―his father was an admiral in the Royal Navy –, he spent his whole youth travelling around Europe. After attending a lycée in Versailles and a boarding school in Cheltenham, he visited destination spas and various health resorts―he did not have a very sound constitution―with his chaperon and a tutor. -
Programme Officiel Chant 2018
PAGE 3 SGT JOHANIE MAHEU MESSAGE DE LA MESSAGE FROM GOUVERNEURE THE GOVERNOR GÉNÉRALE DU CANADA GENERAL OF CANADA La musique est à la fois un art rassembleur et un Music is both a unifying art and a means of escape. It moyen de s’évader. Elle dépasse les frontières lin- trans cends linguistic, cultural and temporal borders guistiques, culturelles et temporelles et elle donne and takes us on the most beautiful voyages. Stimulating lieu aux plus beaux voyages. Stimulant les esprits et minds and capturing the imagination, it resonates even suscitant l’imaginaire, elle résonne même dans les in the most distant lands. contrées les plus lointaines. Mastering the complex art of singing requires great MESSAGES Maîtriser cet art complexe qu’est le chant requiert discipline and perseverance, and more than a little 2018 passion. The incredible musicians taking part in the beaucoup de rigueur et de persévérance, sans ou- Concours musical international de Montréal (CMIM) blier de la passion. Les musiciens exceptionnels qui understand this and have devoted a significant part of prennent part au Concours musical international de their lives to cultivating their talent in the hope of one Montréal (CMIM) en savent quelque chose, eux qui day making their dreams come true. While spectators ont consacré une bonne partie de leur vie à cultiver can expect to witness breathtaking performances, the leur talent pour, un jour, concrétiser leurs rêves. Si participants themselves will have an experience like no les spectateurs peuvent s’attendre à assister à des other. performances à couper le souffle, les participants vivront quant à eux des expériences uniques. -
A Prima Vista
A PRIMA VISTA a survey of reprints and of recent publications 2003/1 BROEKMANS & VAN POPPEL Van Baerlestraat 92-94 Postbus 75228 1070 AE AMSTERDAM sheet music: 020-6796575 CDs: 020-6751653/fax: 020-6646759 also on INTERNET: www.broekmans.com e-mail: [email protected] 2 CONTENTS A PRIMA VISTA 2003/1 PAGE HEADING 03 PIANO 2-HANDS 08 PIANO 4-HANDS, 2 AND MORE PIANOS 09 HARPSICHORD, ORGAN 12 KEYBOARD 1 STRING INSTRUMENT WITHOUT ACCOMPANIMENT: 13 VIOLIN SOLO, CELLO SOLO 1 STRING INSTRUMENT WITH ACCOMPANIMENT, piano unless stated otherwise: 13 VIOLIN with accompaniment 15 VIOLIN PLAY-ALONG 16 VIOLA with accompaniment, VIOLA PLAY-ALONG, CELLO with accompaniment 17 CELLO PLAY-ALONG, DOUBLE BASS with accompaniment, VIOLA DA GAMBA with accompaniment 17 2 AND MORE STRING INSTRUMENTS WITH AND WITHOUT ACCOMPANIMENT: 1 WIND INSTRUMENT WITHOUT ACCOMPANIMENT: 21 FLUTE SOLO 22 OBOE SOLO, CLARINET SOLO 23 BASSOON SOLO, HORN SOLO, TROMBONE SOLO 1 WIND INSTRUMENT WITH ACCOMPANIMENT, piano unless stated otherwise: 24 PICCOLO with accompaniment, FLUTE with accompaniment 25 FLUTE PLAY-ALONG, OBOE with accompaniment 26 CLARINET with accompaniment, CLARINET PLAY-ALONG, SAXOPHONE with accompaniment 27 SAXOPHONE PLAY-ALONG, BASSOON with accompaniment 28 TRUMPET with accompaniment, TRUMPET PLAY-ALONG, HORN with accompaniment 29 TROMBONE with accompaniment, BARITONE with accompaniment 30 TENOR HORN with accompaniment, TUBA with accompaniment 2 AND MORE WIND INSTRUMENTS WITH AND WITHOUT ACCOMPANIMENT: 30 2 AND MORE WOODWIND INSTRUMENTS 33 2 AND MORE BRASS INSTRUMENTS, COMBINATIONS OF WOODWIND AND BRASS INSTRUMENTS 34 COMBINATIONS OF WIND AND STRING INSTRUMENTS 35 RECORDER 37 GUITAR 39 HARP, PERCUSSION 41 MISCELLANEOUS 42 SOLO VOICE, SOLO VOICE(S) AND/OR CHOIR WITH INSTRUMENTAL ACCOMPANIMENT 46 SOLO VOICE(S) AND/OR CHOIR WITH ORCHESTRAL ACCOMPANIMENT, UNACCOMPANIED CHOIR 47 UNACCOMPANIED CHOIR 49 OPERA, OPERETTA, MUSICAL, ORATORIO, ORCHESTRA WITH AND WITHOUT INSTRUMENTAL SOLOISTS 51 BOOKS OF MUSICAL INTEREST 62 CD-ROMs 63 CDs compilation by Jan A. -
Delenda Est Britannia (Being a Prologue and Epilogue to “The Vampire of the Continent”)
Delenda Est Britannia (Being a prologue and epilogue to “The Vampire of the Continent”) Originally published in the January 3, 1917 edition of The Fatherland. (In previous issues of THE FATHERLAND we have commented upon Count Ernst zu Reventlow’s masterpiece, “The Vampire of the Conti- nent.” Our comments represented the opinion of Americans on this remarkable work. We herewith publish Aleister Crowley’s analysis of the book. Mr. Crowley is an Irishman, a member of Cambridge Univer- sity and a poet of fine distinction. Frederic Harrison, Editor of the “English Review,” stated some time ago that Mr. Crowley was the first metrical artist in the English language since Swinburne.) Count Ernst zu Reventlow’s extraordinarily lucid and cogent work on historic English policy has one fault from the point of view of the philosopher — he does not be- gin his history early enough, or derive the piracy of Eng- land from necessity. Will the distinguished publicist par- don us if we attempt to fill the gap? It is notorious that mountaineers are necessarily brigands. In their rocky fastnesses wheat will not grow, sheep will not grow fat. They are condemned to rough cereals like oats, to small and stringy sheep and goats. The dwellers of the plain care nothing for the products of the mountain, and will not surrender their goods ex- cept by force. The highlander consequently becomes a cateran or brigand. The mountain districts of every country in the world — Scotland, Spain, India, China, or America — prove the correctness of the theory. A similar proposition may be made with regard to is- landers, as opposed to continental powers. -
Ann Hassan's Annotations to Geoffrey Hill's Speech!
Annotations to Geoffrey Hill's Speech! Speech! ANN HASSAN Annotations to Geoffrey Hill’s Speech! Speech! Annotations to Geoffrey Hill’s Speech! Speech! Ann Hassan Glossator Special Editions ANNOTATIONS TO GEOFFREY HILL’S SPEECH! SPEECH! © Ann Hassan, 2012. This work is licensed under the Creative Commons Attribution-NonCommerical-NoDerivs 3.0 Unported License. To view a copy of this license, visit: http://creativecommons.org/licenses/by-nc-nd/3.0, or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. This work is ‘Open Access,’ which means that you are free to copy, distribute, display, and perform the work as long as you clearly attribute the work to the authors, that you do not use this work for commercial gain in any form whatsoever, and that you in no way alter, transform, or build upon the work outside of its normal use in academic scholarship without express permission of the author and the publisher of this volume. For any reuse or distribution, you must make clear to others the license terms of this work. First published in 2012 by Glossator Special Editions, an imprint of punctum books (Brooklyn, NY) for Glossator: Practice and Theory of the Commentary (glossator.org). Glossator publishes original commentaries, editions and translations of commentaries, and essays and articles relating to the theory and history of commentary, glossing, and marginalia. The journal aims to encourage the practice of commentary as a creative form of intellectual work and to provide a forum for dialogue and reflection on the past, present, and future of this ancient genre of writing. -
University Micrdnlms International 300 N
INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete.