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Hey La Hey (2009)
Hey La Hey (2009) So Am I Lately you've been actin' awfully angry Now I hear that you're headed back to You said it feels like your life's passin' Austin you by Now I don't even need to ask why I'm not asking you to save me You can reach me at my sister's house in You say you're hurtin' baby so am I Boston You say you're runnin' baby so am I 1. So Am I 2. Hard To Break The walls we need to climb seem Darlin' will you keep a candle burning 3. I Wanna Know Why rather daunting cuz this love I refuse to let it die 4. The Great American Novel The fields we need to cross stretch on I can feel you sweet soul softly yearning 5. Room 411 for miles The words you spoke last night were You say you're lonely baby so am I 6. The Year It All so haunting You say you're runnin' baby so am I Went Wrong You say you're frightened well baby If you say you'll hold on baby so will I 7. Hey La Hey So am I 8. Dream Com True 9. The Ballad Of But you never wanna listen Johnny Diversey It seems like you wanna go it alone 10. Carry Your Cross I don't know what you're missin', and 11. So Am I (Bonus Track) I hate to admit But it feels we're sinkin' like a stone All alone I've been fighting this battle It seems to me that you don't wanna try I can hear your death drum begin to rattle You say you're tired baby so am I I'll scream your name until you finally hear me I'll scream your name 'neath the sheltering sky I wish in this moment your were near me You say you're lonely baby so am I And I'm hollowed and I'm haggard And I'm in desperate need of a shower Into these -
Literary Branding in the Romantic Period
Literary Branding in the Romantic Period by Christopher Laxer A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of English University of Toronto © Copyright by Christopher Laxer 2013 Literary Branding in the Romantic Period Christopher Laxer Doctor of Philosophy Department of English University of Toronto 2013 Abstract This thesis argues that, unlike the study of commodity branding, the study of literary branding should not focus solely upon book advertising, but rather investigate all of the processes of attribution that connect conceptual domains with literary labels, enabling their common use in the perception and navigation of the cultural world. Such processes should not be understood exclusively by analogy with the forms of commodity branding that originated in the consumer revolutions of the eighteenth or nineteenth centuries, but rather as the inherent consequences of more ancient and fundamental practices of naming and poetry. Rather than interpret the reactions of historical readers to Byron, for instance, largely in terms of the author as subject – as has been the tendency with earlier approaches to the question – this thesis seeks to explore historical readers’ reactions to the author’s name as label. The readers of Don Juan in 1819 knew Byron, not as we do after two centuries of biographical research, scholarly inquiry, and literary criticism, but as a literary label with relatively few associations. Arguing that the recent vogue for celebrity studies risks reifying elements of what Jerome McGann has called the Romantic Ideology, this thesis attempts to begin to redress this critical imbalance by examining the deployment of a number of interconnected literary labels in a series of case studies. -
Hamilton College Library "Home Notes"
American Communal Societies Quarterly Volume 3 Number 4 Pages 232-236 October 2009 Hamilton College Library "Home Notes" Follow this and additional works at: https://digitalcommons.hamilton.edu/acsq This work is made available by Hamilton College for educational and research purposes under a Creative Commons BY-NC-ND 4.0 license. For more information, visit http://digitalcommons.hamilton.edu/about.html or contact [email protected]. et al.: Hamilton College Library "Home Notes" Hamilton College Library “Home Notes” Communal Societies Collection New Acquisitions SEAL OF JOANNA SOUTHCOTT FIRST MEssENGER OF THE CHRISTIAN ISRAELITES Hamilton College Library recently acquired a remarkable collection of documents relating to Joanna Southcott (1750-1814) for its Communal Societies Collection. Southcott is considered to have been the first messenger of the Christian Israelite faith.1 In 1792 Southcott realized she was the woman spoken of in Revelation 12: 1And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars: 2And she being with child cried, travailing in birth, and pained to be delivered. Southcott gained an increasing number of followers throughout the late 1790s. Many adherents of contemporary messenger Richard Brothers, considered second in the lineage by the followers of Benjamin and Mary Purnell (House of David and Mary’s City of David), defected to Southcott upon Brothers’ imprisonment in 1795. Among these was the engraver William Sharp who brought Southcott to London to begin the process of “sealing” the elect, or the 144,000 who would be saved at the Day of Judgment. -
University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand marking: or patterns 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 thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Soho Depicted: Prints, Drawings and Watercolours of Matthew Boulton, His Manufactory and Estate, 1760-1809
SOHO DEPICTED: PRINTS, DRAWINGS AND WATERCOLOURS OF MATTHEW BOULTON, HIS MANUFACTORY AND ESTATE, 1760-1809 by VALERIE ANN LOGGIE A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham January 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis explores the ways in which the industrialist Matthew Boulton (1728-1809) used images of his manufactory and of himself to help develop what would now be considered a ‘brand’. The argument draws heavily on archival research into the commissioning process, authorship and reception of these depictions. Such information is rarely available when studying prints and allows consideration of these images in a new light but also contributes to a wider debate on British eighteenth-century print culture. The first chapter argues that Boulton used images to convey messages about the output of his businesses, to draw together a diverse range of products and associate them with one site. Chapter two explores the setting of the manufactory and the surrounding estate, outlining Boulton’s motivation for creating the parkland and considering the ways in which it was depicted. -
Graves of Artists and Architects Buried There
Graves of architects and artists in the Chiswick Churchyard and Old Burial Ground A noteworthy feature of the burial ground associated with St Nicholas, Chiswick, is the remarkable number of graves of artists and architects buried there. This article records the graves of an important eighteenth-century architect and garden designer, a respected bricklayer and site manager, two well-regarded Victorian sculptors, and no fewer than six painters and printmakers. In comparison, I know of only one literary figure who was buried there: the maverick Italian poet and patriot, Ugo Foscolo (1778–1827). But perhaps he does not count, since his bones were exhumed in 1871 and returned to Italy for re-burial in Sta Croce, Florence. The churchyard harbours the tomb of only one theatrical figure, Charles Holland (1733–1769), but – as far as I am aware – of not one single composer. Two possible reasons for this bias in favour of the visual arts may be connected with two leading figures in the British eighteenth-century art world who were associated with St Nicholas, Chiswick. Lord Burlington (1694–1753) and William Hogarth (1697–1764) were close contemporaries, although they seldom if ever saw eye to eye. Lord Burlington was the architect of his ground- breaking Chiswick Villa, and he was also a celebrated aesthete and connoisseur. During highly profitable visits to Italy in the second decade, he amassed an important collection of Italian Renaissance and Baroque paintings. Chiswick Villa was designed in part specifically to display this collection, which enhanced Burlington’s status in the British art scene. His semi-permanent residence at Chiswick in the last 20 or so years of his life, and the inheritance of his estate by the Dukes of Devonshire from 1764, perhaps attracted other artists to the area, seeking aristocratic and royal patronage. -
MDM Book Layout 12.14.18.Indd
CHRISTIANS MIGHT BE CRAZY ANSWERING THE TOP 7 OBJECTIONS TO CHRISTIANITY Mark Driscoll Christians Might Be Crazy © 2018 by Mark Driscoll ISBN: Unless otherwise indicated, scripture quotations are from The Holy Bible, English Standard Version, copyright 2001 by Crossway Bibles a publishing ministry of Good News Publishers. Used by permission. All right reserved. All emphases in Scripture quotations have added by the author. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form by any means, electronic, Mechanical, photocopy, recording, or otherwise, without the prior permission of the publisher, except as provided for by USA copyright law. CONTENTS PREFACE: A PROJECT FOR SUCH A TIME AS THIS . 1 OBJECTION #1: INTOLERANCE . 25 “Jesus Freaks are intolerant bigots.” OBJECTION #2: ABORTION & GAY MARRIAGE . 47 “I have different views on social issues like abortion or gay marriage.” OBJECTION #3: POLITICS . 65 “I don’t like how some Christian groups meddle in politics.” OBJECTION #4: HYPOCRISY . 83 “Most Christians are hypocrites.” OBJECTION #5: EXCLUSIVITY . 101 “There are lots of religions, and I’m not sure only ONE has to be the right way.” OBJECTION #6: INEQUALITY. 119 “All people are not created equal in the Christian faith.” OBJECTION #7: SCRIPTURE . 135 “I don’t share the same beliefs that the Christian faith tells me I should.” CONCLUSION: REDEMPTION FROM RELIGION AND REBELLION . 155 NOTES . 173 PREFACE A PROJECT FOR SUCH A TIME AS THIS was hoping to release the findings of the massive project this book is based I upon some years ago, but a complicated season kept that from happening. -
John Boydell's Shakespeare Gallery and the Promotion of a National Aesthetic
JOHN BOYDELL'S SHAKESPEARE GALLERY AND THE PROMOTION OF A NATIONAL AESTHETIC ROSEMARIE DIAS TWO VOLUMES VOLUME I PHD THE UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2003 2 TABLE OF CONTENTS Page Volume I Abstract 3 List of Illustrations 4 Introduction 11 I Creating a Space for English Art 30 II Reynolds, Boydell and Northcote: Negotiating the Ideology 85 of the English Aesthetic. III "The Shakespeare of the Canvas": Fuseli and the 154 Construction of English Artistic Genius IV "Another Hogarth is Known": Robert Smirke's Seven Ages 203 of Man and the Construction of the English School V Pall Mall and Beyond: The Reception and Consumption of 244 Boydell's Shakespeare after 1793 290 Conclusion Bibliography 293 Volume II Illustrations 3 ABSTRACT This thesis offers a new analysis of John Boydell's Shakespeare Gallery, an exhibition venture operating in London between 1789 and 1805. It explores a number of trajectories embarked upon by Boydell and his artists in their collective attempt to promote an English aesthetic. It broadly argues that the Shakespeare Gallery offered an antidote to a variety of perceived problems which had emerged at the Royal Academy over the previous twenty years, defining itself against Academic theory and practice. Identifying and examining the cluster of spatial, ideological and aesthetic concerns which characterised the Shakespeare Gallery, my research suggests that the Gallery promoted a vision for a national art form which corresponded to contemporary senses of English cultural and political identity, and takes issue with current art-historical perceptions about the 'failure' of Boydell's scheme. The introduction maps out some of the existing scholarship in this area and exposes the gaps which art historians have previously left in our understanding of the Shakespeare Gallery. -
Teacher Resource Guide
TEACHER RESOURCE GUIDE Pittsburgh Ballet Theatre School Instructional Performances | March, April 2018 | Teacher Resource Guide Choreography by Jerome Robbins The instructional performances have been made possible by the generosity of the Jerome Robbins Foundation and a donor who wishes to remain anonymous. PBT gratefully acknowledges the following organizations for their commitment to our education programming: Allegheny Regional Asset District Henry C. Frick Educational Fund of The Buhl Anne L. and George H. Clapp Charitable Foundation Trust BNY Mellon Foundation Highmark Foundation Claude Worthington Benedum Foundation Peoples Natural Gas Eat ‘n Park Hospitality Group Pennsylvania Council on the Arts Edith L. Trees Charitable Trust Pennsylvania Department of Community ESB Bank and Economic Development Giant Eagle Foundation PNC Bank Grow up Great The Grable Foundation PPG Industries, Inc. Hefren-Tillotson, Inc. Richard King Mellon Foundation James M. The Heinz Endowments and Lucy K. Schoonmaker 2 CONTENTS 4 The Choreographer—Jerome Robbins Fast Facts 5 The Composer— Leonard Bernstein 6 Robbins’ Style of Movement 7 A look into the instructional performance: Classical Ballet—Swan Lake excerpts Neo-classical Ballet—The Symphony 8 Robbins’ Ballet—West Side Story Suite 9 Exploring West Side Story: Lesson Prompts Connections to Romeo and Juliet Entry Pointes Characters and Story Elements 11 Communication and Technology 12 Group Dynamics 13 Conflict, Strategies and Resolutions 15 Pedestrian Movement and Choreography Observing and Developing Movement 16 Social Dances 17 Creating an Aesthetic 18 Musical Theater/Movie/Ballet PBT celebrates the 100th birthday of Jerome Robbins with its May 2018 production of In the Night, Fancy Free and West Side Story Suite. -
CRATERS of the MOON a Thesis Submitted to Kent State University
CRATERS OF THE MOON A thesis submitted To Kent State University in partial Fulfillment of the requirements for the Degree of Master of Fine Arts by Jack Shelton Boyle May, 2016 © Copyright All rights reserved Except for previously published materials Thesis written by Jack Shelton Boyle B.A., The College of Wooster, 2008 M.F.A., Kent State University, 2016 Approved by Chris Barzak________________________, Advisor Dr. Robert Trogdon, Ph.D._____________, Chair, Department of English Dr. James Blank, Ph.D._______________, Dean, College of Arts and Sciences iii TABLE OF CONTENTS .................................................................................................. iii POLAROIDS ................................................................................................................... 1 HANDS SHAPED LIKE GUNS ...................................................................................... 18 SUNFLOWER ............................................................................................................... 22 QUITTING ..................................................................................................................... 24 THE DISAPPEARING MAN .......................................................................................... 41 CHICKENS .................................................................................................................... 42 UNITY ........................................................................................................................... 48 MOON -
News from the Jerome Robbins Foundation Vol
NEWS FROM THE JEROME ROBBINS FOUNDATION VOL. 6, NO. 1 (2019) The Jerome Robbins Dance Division: 75 Years of Innovation and Advocacy for Dance by Arlene Yu, Collections Manager, Jerome Robbins Dance Division Scenario for Salvatore Taglioni's Atlanta ed Ippomene in Balli di Salvatore Taglioni, 1814–65. Isadora Duncan, 1915–18. Photo by Arnold Genthe. Black Fiddler: Prejudice and the Negro, aired on ABC-TV on August 7, 1969. New York Public Library for the Performing Arts, Jerome Robbins Dance Division, “backstage.” With this issue, we celebrate the 75th anniversary of the Jerome Robbins History Dance Division of the New York Public Library for the Performing Arts. In 1944, an enterprising young librarian at The New York Public Library named One of New York City’s great cultural treasures, it is the largest and Genevieve Oswald was asked to manage a small collection of dance materials most diverse dance archive in the world. It offers the public free access in the Music Division. By 1947, her title had officially changed to Curator and the to dance history through its letters, manuscripts, books, periodicals, Jerome Robbins Dance Division, known simply as the Dance Collection for many prints, photographs, videos, films, oral history recordings, programs and years, has since grown to include tens of thousands of books; tens of thousands clippings. It offers a wide variety of programs and exhibitions through- of reels of moving image materials, original performance documentations, audio, out the year. Additionally, through its Dance Education Coordinator, it and oral histories; hundreds of thousands of loose photographs and negatives; reaches many in public and private schools and the branch libraries. -
Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.