The New YORKER , Published Weekly by the F - R Pub
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
La Supervivencia De Carmen a Través De La Representación Escénica De La Danza Como Símbolo De La Lucha Por La Igualdad De Género
[Escribir texto] Universidad Rey Juan Carlos. La supervivencia de Carmen a través de la representación escénica de la danza como símbolo de la lucha por la igualdad de género. Autor: Aroa Ruiz Campo Dirigido por: D. Alberto García Castaño 15/06/2012 “Todo Arte es político Jonson, de lo contrario sólo sería decoración, y todo artista tiene algo que decir de lo contrario haría zapatos y vos no sois un remendón, ¿verdad Jonson?”… Fragmento de la película “ANONYMUS” 2 AGRADECIMIENTOS En primer lugar debo agradecer a las Instituciones que me han facilitado las fuentes para la elaboración de este proyecto: la Fundación Botín, la Biblioteca Municipal de Menéndez Pelayo, y la UNED. Son muchas las personas que han participado en la elaboración de este trabajo en mayor o menor medida. En segundo lugar mi más sincera gratitud y cariño al director del mismo: Don Alberto García-Castaño, por su persistencia y amor hacia mi persona. No puedo olvidarme de mi hermana Lara, que revisó cada una de las páginas que lo componen. A mis padres, Pedro y Rosario, a mis amigos que han “aguantado” estoicamente mis constantes charlas sobre Mérimée y Carmen… Y finalmente, a aquellos maestros y profesores que he tenido a lo largo de mi vida académica y creyeron en mí antes que yo: Juanjo Mier, Pilar Benito, Carmen Barreras, Ángel Ruiz del Árbol, Paco Jimeno, José María Iglesias, Ana Lázaro, Joaquín Casas, Mª Cristina Álvarez, Adolfo Roval, Eduardo Blázquez… Va por ellos y ¡muchas gracias! 3 INDICE 1. Introducción ........................................................................................................... 5 2. Carmen como mito de validez universal: concepto.......................................... -
Wildcats Retain New England Harrier Titles
Varsity Meets Dads Visit Campus Springfield Sat. 5 feut U am pshfrp Next Week-end Volume 23. Issue 7. DURHAM, N. H„ NOVEMBER 10, 1932. Price Ten Cents WILDCATS RETAIN NEW ENGLAND HARRIER TITLES RELATIONS CLUB LYCEUM COURSE FRATS CONSIDER NEWJHAMPSHIRE TO MEET HERE PRESENTS OPERA POLITICS PLAN RECORDS FALL NEXT FALL TERM Famous Film, “Carmen,” to BEFORE COUNCIL OVERPOWERED BY be Shown Here—Mar AS VARSITY AND Prof. Thors ten Kalijarvi Ex guerite Namara, Tom Fraternities Will Accept is tends Invitation to Inter Burke in Production Opinion of Council— BIG GREEN TEAM national Relations for Strong Move to Get FRESHMEN WIN Second Meeting At the Lyceum Course next Wed Clean Campaign nesday, November 16th, a film ver SERVICE TO BE sion of “ Carmen,” the famous opera, Politics ATTACK LEAD BY PLAN IS TO MEET will be presented. This picture^ has FROSfl LEAD IN DECISIVE WIN HERE NEXT FALL been produced by British International FINAL VERDICT TO HILL AM) POWERS GIVEN TO SMALL Pictures at its Elstree studios. PERFECT SCORE There is a good bit of action in BE GIVEN NEXT MON. FOR WILDCATS Sixteen Colleges Met at stilled into the screen adaptation, and MANUFACTURERS Wesleyan University in on the other hand, not too much vo Fraternities Fail to Stop Captain Webster, McLean, Dartmouth Pounds Out cal performance. The leading play Raduazo Dogs Jellison to Four Touchdowns as October This Year ers, quite unknown to American film Plan Outright—Admit it Matthews, Marlak and Technology Department to audiences, are nevertheless possessed Will be in Effect in Very Tinker Finish in Order Take Second in Gruelling Graff am, Sweetster, Offer Assistance to In At a recent conference of Inter of excellent voices, which they use to Five Mile Race McGowan and Knox national Relations Clubs from sixteen good advantage. -
The \Vestfield Leader
===�� Caa M.... Yo• Witla Yoa Caa li .... DOLLARS DOLLARS Watla cENTS Br Uai•l CENTS B,. lloiat ... Tl>• cta r. ... Tho Cluat6M T. Ad•erttaemeata �==������----�--�=-�THE \VESTFIELDTH � E�L�EA�DI� N�G�A�N.�D�� M� O�S�T�W.�l �D�E :L :Y�C�1R�C=U� L�A� D:E� �W�EE�K� L:Y�N:£W=SP� � A�P �E�R�IN�UN.�l�O�N �C�O�U� N�T� Y�------------------�==========� =-�� LEADER 27 YEAR-No es- J-OI(fY-SECOND \VI:STFIELD, NEW JERSr.l W EDNI<.SDA 1. MARCH 'I 1932 16 l'a�r 5 Centl SCHOOL BOARD CLOTHING NEEDED COLLEGE WOMEN PETS OF EVERY YMCA BRINGS I STUDENTS AT THRIFT SHOP FAMILIESNEW TO HEARS REPORT DEPICT LEAGUE Events of lhe Month DESCRIPTION AT 1000IN CONCE RTS March OWN Se1er l comnutlecs J(t T I u to promote the 11-Evenn>g ul t l.tt, 111 'tiH bu<n ',, Ill F SUPERVISOR COUNCIL I l O dflcJenn f the 1hnft Shop at 213 SESSION LutuJe, IJJ Ra1mond Dtl ANNUAL SHOW ""' "'IJ HERE TOMORROW o l<ll't' \\t,ltll tak< Cen... ral nue mars Rno�CV( udilonum ot ld 1 a\(.' \\ere named Thur!<. "'utt�f m g lt A. twn ft onl thP Ut <om pll�h I a h Studenta da> a eetin the Thnft Shop H He lt Of •1 ember& mperaonate admg Entr1'e• In Roosevelt Scho l d otlict, Le M 450 o mcnh " l<H"1 YMt "' ,, me P Of C ounty S ch oo ral held M 1 • Gene Good Deapite general 1 onumttce m the March 14--ll 15 p nt A n tll I 1 � Upl'I • I 1 oT Cona1dered the DJ'tnet Numng Figures In Council Of o E d Howl d u fo 11 ll l Participate In Choral 1\sso,mhon H l\ Nuue Me<llll!! lloh ve Bark n n • 11' lo< g tlw •tdl lyJw1 Many M1s Pu1y Jones, the na Attention of chamnnn, p1e Natio A ]llml> 1\udJtormm 1-;p<nker, -
OPERA, COMIC OPERA, MUSICAL Box 4/1
Enid Robertson Theatre Programme Collection MSS 792 T3743.R OPERA, COMIC OPERA, MUSICAL Box 4/1 Artist Date Venue, notes Melba, Dame Nellie, with Frederic Griffith 12.11.1902 Direction Mr George (Flute), Llewela Davies (Piano) M. (Second Musgrove Bensaude (Vocal) Signorina Sassoli Concert:15.11) Town Hall, Adelaide (Harp)Louis Arens, (Vocal)Dr. F. Matthew Ennis (Piano) Handel, Thomas, Arditi. Melba, Dame Nellie with, Tom Burke 15.6.1919 Royal Albert Hall, (Tenor), Bronislaw Huberman (Violin) London Frank St. Leger (Piano) Arthur Mason (Organ) Verdi, Puccini, etc. Melba, Dame Nellie 4.10.1921 Manager, John Lemmone, With Una Bourne (Piano), W.F.G.Steele (Second Concert Town Hall, Adelaide (Organ), John Lemmone (Flute) Mozart, 6.10.21) Verdi Melba, Dame Nellie & J.C. Williamson 26.9.1924 Direction, Nevin Tait Grand Opera Season , Aida (Verdi) Theatre Royal Adelaide Conductor Franco Paolantonio, with Augusta Concato, Phyllis Archibald, Nino Piccaluga, Edmondo Grandini, Gustave Huberdeau, Oreste Carozzi Melba, Dame Nellie & J.C. Williamson, 4.10.1924 Direction, Nevin Tait Grand Opera Season, Andrea Chenier, Theatre Royal Adelaide (Giordano) First Adelaide Performance, Franco Paolantonio (Conductor) Nino Piccaluga, Apollo Granforte, Doris McInnes, Antonio Laffi, Oreste Carozzi, Gaetano Azzolini, Luigi Cilla, Luigi Parodi, Antonio Venturi, Alfredo Muro, Vanni Cellini Melba, Dame Nellie & J.C. Williamson, 6.10.1924 Direction, Nevin Tait Grand Opera Season, DonPasquale, Theatre Royal, Adelaide (Donizetti) First Performance in Adelaide, Arnaldo -
Allen C. Tanner (1898-1987) MC 2013.3
Archives and Special Collections Dickinson College Carlisle, PA COLLECTION REGISTER Name: Allen C. Tanner (1898-1987) MC 2013.3 Material: Papers (1890-1986) Volume: 3.0 linear feet (Document Boxes 1-6, 19 Oversized Folders, 134 Photograph Folders, 10 Books) Donation: Gift of Liz Hamill Howard (Class of 1982), 2009 Usage: These materials have been donated without restrictions on usage. BIOGRAPHICAL NOTE Allen C. Tanner was born on September 29, 1898 to Allen Caldwell Tanner and Mabel Waters Pace Tanner of Mount Vernon, Illinois. He came from a musically talented family, including siblings Florence, Wynona, Allene, and Earl. At the age of eight, he began training in music with an aunt who played the piano and with his cousin Mabel Pavey, who was also a skilled musician. Tanner showed promise as a pianist at an early age, and at fifteen he went to Chicago to further his musical education. He was awarded a scholarship to study with Victor Heinze and soon began performing publicly. Margaret Anderson, founder of the Little Review, heard Tanner perform in Chicago and became an admirer of his music and also a friend. Tanner then moved to New York City, where he accompanied vocalists such as Marguerite Namara and was invited to play with Ruano Bogislav (Mrs. Riccardo Martin), Frances Alda, Marguerite D’Alvarez, and Georgette Leblanc. He also performed in musical salons and came into contact with many musical greats of the era, including Myra Hess, Arthur Rubinstein, Paul Kochanski, and Karol Szymanowski. In the early 1920s, he spent a summer in Bernardsville, NJ where he shared a house with Margaret Anderson, Georgette Leblanc, and George Antheil. -
Root May Pitch for Cubs Today, Grove for Mack
• *- 5 < - v:-'.- ' ’ '■ THE WEATHER ^ Forecast by U. S. Weather Bureau, JUBC PBB88 BUN _ \ A ' New Haven a v e r a g e d a i l y ciboulation V for the Month of September, 1929 A GeneraUy fair a n i wjurmer to S.3S7 night;'Sunday increasing dondinesK Uemben of fbe Audit Bureau-of ClrculatiouB If^URTEEN PAGEi^ PRICE lUREE CENTS SOUTH MANCHESTER, CONN., SATURDAY, OCTOBER 12, 1929. (Classified Advertising on Page 12) VOL. XLIV., NO. 11. HOOCH BOTTLE DANGER WAR GUNS BOOM WHILE PEACE IS DISCUSSED DiOES RIGHT m a k e s DENVER MILKMAN ROOT MAY PITCH PRESTOEKT NOT DELIVER IN DAYLIGHT Denver, O ct 12.—The moon shine bottle has driven the milK FOR CUBS TODAY, T0HAVEU.S. bottle from Denver’s midnight streets, according to an an nouncement made by the Queen City’s Major Dairies. DURING TERM Because so many accidents GROVE FOR MACK have occurred in which horses have been killed and milk wag Bay State Couunission Re ons have been demolished when Rumors Had It That Chief reckless drivers of automobiles fuses Edison Co. Right io Today’s Batde Regarded as collided with milkmen’s vehicles, One Victim the dairies announced that milk V Executive Would Return would be delivered hereafter Change Par Value of Most Crucial of World’s during daylight hours instead of I >: the Visit of Prime Minis the early morning.. Shares; Weighty Decision Series; Billy Evans Says ter MacDonald. Boston, Oct. 12.— (AP)—In one of Dyke’s Error Paved Way bt:>Aftr:v 14 PERSONS, THREE the most important decisions it has Washington, Oct. -
Boston Symphony Orchestra Concert Programs, Season 45,1925-1926
PRoGRJWYE 124.1 M>/ ITS HERE! It is the world's first electrical reproducing instrument. There is no other like it. It is the result of a joint effort of the Radio Corpo- ration of America, the General Electric "Company, the Westinghouse Electric and Mfg. Co., and Brunswick. See and hear it before you purchase any musical instrument for your home. Convenient Terms CCHarvey® 144Boylston Street Boston SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Back Bay 1492 INC. SERGE KOUSSEVITZKY, Conductor FORTY-FIFTH SEASON, 1925-1926 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1926, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT ...... President GALEN L. STONE Vice-President ERNEST B. DANE ....... Treasurer FREDERICK P. CABOT ARTHUR LYMAN ERNEST B. DANE HENRY B. SAWYER M. A. DE WOLFE HOWE GALEN L. STONE JOHN ELLERTON LODGE BENTLEY W. WARREN FREDERICK E. LOWELL E. SOHIER WELCH W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 1933 After more than half a century on Fourteenth Street, Steinway Hall is now located at 1-09 West 57th Street. The new Steinway Hall is one of the handsomest buildings in New York on a street noted for finely designed business structures. As a center of music, it will extend the Steinway tradition to the new generations of music lovers. \t THE INST%U<ZMENT OF THE IMMORTALS 1934 Bostoi Forty-fifth Season, 1925-1926 SERGE KOUSSEVITZKY, Conductor Violins. Burgin, R. Hoffmann, J. Gerardi, A. Hamilton, V. Gundersen, R. -
Wodehouse and the Baroque*1
Connotations Vol. 20.2-3 (2010/2011) Worcestershirewards: Wodehouse and the Baroque*1 LAWRENCE DUGAN I should define as baroque that style which deli- berately exhausts (or tries to exhaust) all its pos- sibilities and which borders on its own parody. (Jorge Luis Borges, The Universal History of Infamy 11) Unfortunately, however, if there was one thing circumstances weren’t, it was different from what they were, and there was no suspicion of a song on the lips. The more I thought of what lay before me at these bally Towers, the bowed- downer did the heart become. (P. G. Wodehouse, The Code of the Woosters 31) A good way to understand the achievement of P. G. Wodehouse is to look closely at the style in which he wrote his Jeeves and Wooster novels, which began in the 1920s, and to realise how different it is from that used in the dozens of other books he wrote, some of them as much admired as the famous master-and-servant stories. Indeed, those other novels and stories, including the Psmith books of the 1910s and the later Blandings Castle series, are useful in showing just how distinct a style it is. It is a unique, vernacular, contorted, slangy idiom which I have labeled baroque because it is in such sharp con- trast to the almost bland classical sentences of the other Wodehouse books. The Merriam Webster’s Collegiate Dictionary describes the ba- roque style as “marked generally by use of complex forms, bold or- *For debates inspired by this article, please check the Connotations website at <http://www.connotations.de/debdugan02023.htm>. -
Storytelling and Social Media
NIEMAN REPORTS Storytelling and Social Media HANNA, one of the subjects in “Maidan: Portraits from the Black Square,” Kiev, February 2014 Nieman Online From the Archives For some photojournalists, it’s the shots they didn’t take they remember best. In the Summer 1998 issue of Nieman Reports, Nieman Fellows Stan Grossfeld, David Turnley, Steve Northup, Stanley Forman, and Frank Van Riper reflect on the shots they missed, whether by mistake or by choice, in “The Best Picture I Never Took” series. Digital Strategy at The New York Times In a lengthy memo, The New York Times revealed that it hopes to double its “Made in Boston: Stories of Invention and Innovation” brought together, from left, author digital revenue to $800 million by 2020. Ben Mezrich, Boston Globe reporter Hiawatha Bray, author Steve Almond, WGBH’s “Innovation The paper plans to simplify subscriptions, Hub” host Kara Miller, NPR’s “On Point” host Tom Ashbrook, “Our Bodies, Ourselves” improve advertising and sponsorships, co-founder Judy Norsigian, journalist Laurie Penny, and MIT Media Lab director Joi Ito optimize for different mediums, and nieman.harvard.edu, events extend its international reach. No Comments An in-depth look at why seven major news organizations—Reuters, Mic, The Week, Popular Science, Recode, The Verge, and USA Today’s FTW—suspended user comments, the results of that decision, and Innovators “always said how these media outlets are using social no when other people media to encourage reader engagement. said yes and they always 5 Questions: Geraldine Brooks Former Wall Street Journal foreign said yes when other correspondent and Pulitzer Prize-winning novelist Geraldine Brooks talks with her old Columbia Journalism School classmate people said no. -
Annual Report Fiscal Year 2017/2018
ANNUAL REPORT FISCAL YEAR 2017/2018 1 MISSION San Francisco Art Institute is dedicated to the intrinsic value of art and its vital role in shaping and enriching society and Left: the individual. As a diverse community Installation view of the BFA Exhibition, of working artists and scholars, SFAI Diego Rivera Gallery, 2018. provides its students with a rigorous Photo by Alex education in the fine arts and preparation Peterson (BFA Photography, 2015). for a life in the arts through an immersive studio environment, an integrated liberal Below: Rigo 23, One Tree arts curriculum, and critical engagement mural. Photo by with the world. Trevor Hacker. Spread:2 Performance by Tim Sullivan’s New Genres class on the rooftop amphitheatre at SFAI—Chestnut Street Campus. CONTENTS 4 FROM THE PRESIDENT 5 FROM THE BOARD CHAIR 6 HISTORY A Brief History of SFAI Firsts + Foremosts 10 NOTABLE ALUMNI 11 FACILITIES Chestnut Street Campus Fort Mason Campus Residence Halls 15 DEGREE PROGRAMS 16 NAMED SCHOLARSHIPS 18 FINANCIALS 19 EXHIBITIONS + PUBLIC PROGRAMS Galleries/Exhibition Spaces Visiting Artists + Scholars Lecture Series Public + Youth Education 22 ANNUAL GIFTS Vernissage 2018 Top to bottom: Students in the fountain at SFAI's Chestnut Street Campus, circa 1972. Photo by Richard Laughlin (MFA 1973). Work by Ahna Fender (BFA Painting) in the SFAI Courtyard. 3 SFAI President Gordon Knox at SFAI's Fort Mason Campus. Photo by Duy Ho. And this is a hard job, since the work of arts education is interwoven with the realities of economic systems, social inequality and political volatility. As SFAI builds on our recent progress, we must ensure that students as well as the institution itself emerge nimble, adaptable and resilient in the face of rapid change. -
CYLINDERS 2M = 2-Minute Wax, 4M WA= 4-Minute Wax, 4M BA = Edison Blue Amberol, OBT = Original Box and Top, OP = Original Descriptive Pamphlet
CYLINDERS 2M = 2-minute wax, 4M WA= 4-minute wax, 4M BA = Edison Blue Amberol, OBT = original box and top, OP = original descriptive pamphlet. Any mold on wax cylinders is always described. All cylinders are boxed (most in good quality boxes) with tops and are standard 2” diameter. All grading is visual. All cylinders EDISON unless otherwise indicated. ADELINA AGOSTINELLI [s]. Bergamo, 1882-Buenos Aires, 1954. A student in Milan of Giuseppe Quiroli, whom she later married, Agostinelli made her debut in Pavia, 1903, as Giordano’s Fedora. She appeared with success in South America, Russia, Spain, England and her native Italy and was on the roster of the Manhattan Opera, 1908-10. One New York press notice indicates that her rendering of the “Suicidio” from La Gioconda on a Manhattan Sunday night concert “kept her busy bowing in recognition to applause for three or four minutes”. At La Scala she was cast with Battistini in Simon Boccanegra and created for that house in 1911 the Marschallin in their first Rosenkavalier. Her career continued into the mid-1920s when she retired to Buenos Aires and taught. 9142. BA 28137. TOSCA: Vissi d’arte (Puccini). OBT and pamphlet. Just about 1-2. $50.00. CESARE ALESSANDRONI [b] 9127. U.S. Everlasting 33027. OTELLO: Credo (Verdi). In an Edison Orange repro- duction box. 2. $50.00. CORNELIUS BRONSGEEST [b] 9150. BA 26122. TANNHÄUSER: O du mein holder Abendstern (Wagner). Reproduction Edison orange box. Cons. ADELINA AGOSTINELLI 2. $50.00. JOHANNE BRUN [s]. 1874-1954. Her debut was at the Royal Danish Opera, 1896, as the Queen of the Night in The Magic Flute. -
Viewer’S Male Gaze
Women and Children First: American Magazine Image Depictions of Japan and the Japanese, 1951-1960 Xander Somogyi Candidate for Honors in History at Oberlin College Professor Leonard Smith, Advisor Spring 2018 Acknowledgments This paper would not have been possible without the help of my advisor and dear friend, Professor Leonard Smith. Whether giving useful critiques or a simple ganbatte (good luck!), Professor Smith was consistently there to help with this project: thank you. I would also like to thank my parents, Kathleen Chamberlain and Victoria Somogyi, who have always been interested in, and engaged with, my academic pursuits. To my friends who believed in me, helped with and encouraged my research--especially Hannah Kim, Juanbi Berretta, and my fellow classmates in the Honors Seminar--I am deeply grateful. I would finally like to dedicate this paper to the research assistants and librarians at Oberlin’s Mudd Library and the New York Public Library. Not only did they help me greatly throughout this project, but they instilled a great love for research in me I never thought I had. Title page photograph: Contrasting images of the Japanese from National Geographic’s 1960 article “Japan, the Exquisite Enigma.” 2 Note on Japanese Names Because this paper is written with an American frame in mind, I have followed the Western convention, not the Japanese, in organising Japanese name format. All names in this paper will begin with given name first and surnames last (for instance, Michiko Shoda). 3 Table of Contents Introduction