DOCSLIB.ORG

Curriculum Vitae

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Curriculum Vitae JOHN CHARLOT, Dr.Theol. September 1, 2009 Professor of Polynesian Religions Department of Religion College of Arts and Humanities University of Hawai`i at Mānoa Sakamaki Hall A-307 2530 Dole Street Honolulu, Hawai`i 96822 Home Page: www2.hawaii.edu/~charlot University 1957–1958 Chaminade College of Honolulu, Honolulu, Hawai`i. 1958–1961 Harvard College, Cambridge, Massachusetts. 1961–1962 University of Louvain, Louvain, Belgium. 1962–1968 University of Munich, Munich, Germany. Degrees Baccalauréat unique en philosophie, University of Louvain, 1962. Dr.Theol., University of Munich, 1968. BIBLIOGRAPHY Books New Testament Disunity: Its Significance for Christianity Today, E. P. Dutton, N. Y., 1970. The Construction of the Formula in 1 Corinthians 15, 3–5, Difo Druck, Bamberg, l968 (private printing). Chanting the Universe: Hawaiian Religious Culture, Emphasis International, Honolulu and Hong Kong, 1983. The Hawaiian Poetry of Religion and Politics: Some Religio-Political Concepts in Postcontact Literature, Monograph Series, Number 5, The Institute for Polynesian Studies, Polynesian Cultural Center, Brigham Young University—Hawai`i Campus, Lā`ie, Hawai`i, 1985. The Kamapua`a Literature: The Classical Traditions of the Hawaiian Pig God as a Body of Literature, Monograph Series, Number 6, The Institute for Polynesian Studies, Polynesian Cultural Center, Brigham Young University -- Hawai`i Campus, Lā`ie, Hawai`i, 1987. Classical Hawaiian Education: Generations of Hawaiian Culture; Moses Kuaea Nākuina: Hawaiian Novelist; and Approaches to the Academic Study of Hawaiian Literature and Culture. The Pacific Institute, Brigham Young University−Hawai`i Campus, Lā`ie, Hawai`i, 2005. CD-ROM. 1/11 Jean Charlot: Life and Work, Volume 1: The French Period, 1898–1921, draft posting, the Web site of the Jean Charlot Foundation, www.hawaii.edu/jcf, 2006. Books Edited or Coordinated O Tu ma Tala FaaSamoa mai le Tusi a Oskar Stuebel 1896, Samoa News Press, Pago Pago, 1973 (all Samoan-language reprint with introduction of O. Stuebel: Samoanische Texte, Berlin, 1896). Mookini, Esther K.: The Hawaiian Newspapers, Topgallant, Honolulu, 1974. Charlot, Jean: Two Hawaiian Plays: Hawaiian English, Published by the author, Distributed by The University Press of Hawaii, Honolulu, 1976. The Hawai`i International Film Festival, November 26–December 8, 1985, The East-West Center, Honolulu, 1985. Jean Charlot: Escritos Sobre Arte Mexicano (with Peter Morse), the Web site of the Jean Charlot Foundation, www.hawaii.edu/jcf, 2000. Jean Charlot: Textes Français : Œuvres en Prose (with Marie-José Fassiotto and Michelle Smith), the Web site of the Jean Charlot Foundation, www.hawaii.edu/jcf), 2005. Jean Charlot: Poésie/Poetry (with Marie-José Fassiotto), the Web site of the Jean Charlot Foundation, www.hawaii.edu/jcf), 2001. Jean Charlot: Pictures and Picture-Making: The Disney Lectures, in progress. Articles in Books and Journals “The Ecumenical Movement as a Moral Act,” Unity, Garden Street Publications, Cambridge, Mass., 1961, pp. 20–23. “The Arts,” Geography Department (ed.): Atlas of Hawaii, The University Press of Hawaii, Honolulu, 1973, first edition, pp. 126–130. “An Appreciation,” John Holt: The Art of Fredda Burwell Holt, Topgallant, Honolulu, 1975, pp. v, vii. “Jean Charlot and Local Cultures,” Ethel Moore (ed.): Jean Charlot, Paintings, Drawings, and Prints, Georgia Museum of Art Bulletin, The University of Georgia, Volume 2, Number 2, Fall 1976, pp. 26–35. “Les pièces dramatiques en langue hawaïenne de Jean Charlot,” Journal de la Société des Océanistes, 54– 55, Tome XXXIII, Mars–Juin 1977, pp. 65–75. “The Application of Form and Redaction Criticism to Hawaiian Literature,” The Journal of the Polynesian Society, Volume 86, Number 4, December l977, pp. 479–501. “The Great Hawaiian Feather Worker, In Memoriam, Johanna Cluney, 1978,” Hawaii Review, Number 8, Fall 1978, pp. 13 f. “Hawaiian Creations, Moves Within Nature” (assigned title, precontact Hawaiian art), in Hans Johannes Hoefer and Leonard Lueras (eds.): hawaii, Insight Guides, Apa Productions, Hong Kong, 1980, pp. 324– 327. 2/11 Review of J. S. Rodman: The Kahuna Sorcerers of Hawaii, Past and Present; and Liliuokalani: An Account of the Creation of the World According to Hawaiian Tradition, The Journal of the Polynesian Society, Volume 90, Number 2, June 1982, pp. 296–299. “Escritos de Jean Charlot publicados durante su estadía en Mexico” (with S. Thompson), in Stefan Baciu: Jean Charlot, Estridentista Silencioso, Editorial “El Café de Nadie”, Mexico, 1981, pp. 60–62; reprinted Vuelta, Volume 6, Number 63, February 1982, p. 43.; La Hora Cultural, Guatemala, December 24, 1982, p. 9. “Wet Taro Farming in Hawaiian Literature: Two Examples,” Native Planters, Ho`okupu Kalo, Volume I, Number 1, Spring 1982, pp. 31–34 (reprinted with slight changes in The Kamapua`a Literature, 1987, pp. 87 ff.). “William Charles Lunalilo's `Alekoki as an Example of Cultural Synthesis in Nineteenth Century Hawaiian Literature,” The Journal of the Polynesian Society, Volume 9l, Number 3, September l982, pp. 435–444. Review of Chief Dan George and H. Hirnschall: My Spirit Soars, The Canadian Journal of Native Studies, Volume 2, Number 2, 1982, pp. 398 ff. “A Pattern in Three Hawaiian Chants,” Journal of American Folklore, Volume 96, Number 379, January– March 1983, pp. 64–68. “The Theme of the Body in the Work of Jean Charlot,” Studies in Religion/Sciences Religieuses, Revue Canadienne/A Canadian Journal, Volume l2, Number 2, printemps/spring l983, pp. 211–2l8. “A Traditional Hawaiian Expression Reexamined,” The Journal of Pacific Studies, Volume 10, 1984, pages 85–90 (with “Commentary: A Traditional Hawaiian Expression Re-Examined,” by Epeli Hau`ofa, Konai Thaman, and Albert Wendt, page 91). Review of Katharine Luomala: Hula Ki`i, Hawaiian Puppetry, The Journal of the Polynesian Society, Volume 94, Number 4, December, 1985, pp. 451 ff. “Four Society Islands Creation Texts,” Journal de la Société des Océanistes, Volume XLI, Number 81, December, 1985, pp. 169–184 (numerous typographical errors). “From Ape-Man to Space Baby: 2001, An Interpretation,” East-West Film Journal, Volume 1, Number 1, 1986, pp. 84–89. “Traditional Medicine in Hawaii” (assigned title; heavily edited), Review 14 (School of Social and Economic Development, University of the South Pacific), Volume 7, Number 1, December, 1986, pp. 25– 28. “Towards a Dialogue Between Christianity and Polynesian Religions,” Studies in Religion/Sciences Religieuses, Revue Canadienne/A Canadian Journal, Volume 15, Number 4, 1986, pp. 443–450. Review of Valerio Valeri: Kingship and Sacrifice: Ritual and Society in Ancient Hawaii, Book Review Forum, Pacific Studies, Volume 10, Number 2, March, 1987, pp. 107–147 (his reply, pp. 148–214). “The Influence of Polynesian Literature and Thought on Robert Louis Stevenson,” The Journal of Intercultural Studies, Number 14, 1987, pp. 82–106. “The War between the Gods of `Upolu and Savai`i: A Samoan Story from 1890,” The Journal of Pacific History, Volume 23, Number 1, April, 1988, pp. 80–85. 3/11 Review of Even Hovdhaugen: From the Land of Nāfanua: Samoan Oral Texts in Transcription and Translation, Notes and Vocabulary, The Journal of the Polynesian Society, Volume 97, Number 2, June, 1988, pp. 205–208. “Some Uses of Chant in Samoan Prose,” Journal of American Folklore, Volume 101, Number 401, July– September, 1988, pp. 302–311. “Vietnamese Cinema: The Power of the Past,” Journal of American Folklore, Volume 102, Number 406, October–December, 1989, pp. 442–452. Review of Lynn Ann Davis (with Nelson Foster): A Photographer in the Kingdom: Christian J. Hedemann's Early Images of Hawai`i, Pacific Studies, Volume 13, Number 1, November, 1989, pp. 168– 171. “The Formation of the Artist: Jean Charlot's French Period,” in Thomas Klobe (ed.): Jean Charlot: A Retrospective. Honolulu: University of Hawai`i Art Gallery, 1990, pp. 34–57. “Jean Charlot as Paul Claudel's Ixtlilxóchitl,” The Journal of Intercultural Studies, Numbers 17 & 18, 1990–1991, pp. 64–74. “Aspects of Samoan Literature I: The Structure of the Samoan Single Story Form and Its Uses,” Anthropos, Volume 85, 1990, pp. 415–430. “Aspects of Samoan Literature II: Genealogies, Multigenerational Complexes, and Texts on the Origin of the Universe,” Anthropos, Volume 86, 1991, pp. 127–150. “Aspects of Samoan Literature III: Texts on Historical Subjects and Bodies of Literature,” Anthropos, Volume 87, 1992, pp. 33–48. “Vietnamese Cinema: First Views,” Journal of Southeast Asian Studies, Volume 22, Number 1, March 1991, pp. 33–62. Republished: Dissanayake, Wimal (ed.), 1994. Colonialism and Nationalism in Asian Cinema. Bloomington and Indianapolis: Indiana University Press, pp. 105–140. “The Feather Skirt of Nāhi`ena`ena: An Innovation in Postcontact Hawaiian Art,” The Journal of the Polynesian Society, Volume 100, Number 2, June 1991, pp. 119–165 (an earlier version was presented at the symposium of the Pacific Arts Association, August 1989). Partial errata list, Vol. 100, Number 3, September 1991, p. 230. Review of Sarah Nākoa: Lei Momi o `Ewa, Rongorongo Studies, Volume 1, Number 1, Summer 1991, p. 32. “Aspects of Onomatopoeia in Hawaiian Literature and Thought,” Rongorongo Studies, Volume 2, Number 1, Summer 1992, pp. 14–21. Review of Malcolm Naea Chun: Hawaiian Medicine Book, He Buke Laau Lapaau, and (ed.) David Malo: Ka Mo`olelo Hawaii (Hawaiian Antiquities), Pacific Studies, Volume 15, Number 2, June 1992, pp. 173– 178. “The Source of Picasso's First Steps: Jean Charlot's First Steps,” Zeitschrift für Kunstgeschichte, Volume 55, Number 2, 1992, pp. 275–278. Review of June Gutmanis: Na Pule Kahiko: Ancient Hawaiian Prayers, Rongorongo Studies, Volume 3, Number 1, Summer 1993, p. 31. 4/11 “Prophète de la Terre Bouleversée: Le chef Ke`āulumoku et les premiers contacts européens à Hawai`i,” La Terre et le Pacifique, Etudes Rurales, Numbers 127–128, July–December 1992, pp. 41–53. “La Formación del Artista,” in Milena Koprivitza and Blanca Garduño Pulido (eds.): México en la obra de Jean Charlot. Mexico City: Consejo Nacional para la Cultura y las Artes, 1994, pp.
Load more

Recommended publications
  • So Much More
    so much more ACTIVITIES AND ATTRACTIONS | WINTER 2012 - kaua‘i • o‘ahu • moloka‘i • lana‘i • maui • hawai‘i island Waialua Falls, Maui Welcome to the Hawaiian Islands. HAWAI‘I IS HOME TO A MULTITUDE of historic and cultural sites, attractions, cultural festivals, concerts, craft fairs, athletic events, and farmers’ markets. While some are enjoyed primarily by residents, we think they can also provide excitement for visitors. Others are among the islands’ best kept secrets, unknown not only to travelers but even to many who live here. This guide is a brief introduction to Hawai‘i’s endless variety of special events and off-the-beaten path attractions, offered to our visitor stakeholders for informational purposes only. It should not be interpreted as a recommendation of any specifi c activity or attraction or be seen an endorsement of any organization. There’s so much more to Hawai‘i than one can imagine! INSIDE 06 HAWAI‘I 51 MOLOKA‘I 20 KAUA‘I 54 O‘AHU 32 LANA‘I- 76 STATEWIDE 36 MAUI TABLE OF HAWAI‘I ISLAND 23 Festival of Lights 23 08 ‘Imiloa Astronomy Center of Hawai‘i Hanapēpē - Friday Art Night 24 08 15th Annual Big Island International Marathon Heiva I Kaua‘i Ia Orana Tahiti 2012 24 09 Kahilu Th eatre's 2012 Presenting Season Kaua‘i Historical Society’s Kapa‘a History Tour-Kapa‘a Town 25 09 Aloha Saturdays Kaua‘i Music Festival 25 10 Amy B.H. Greenwell Ethnobotanical Garden Kōloa Heritage Trail 26 10 Anna Ranch Heritage Center Kōloa Plantation Days Festival 26 11 Big Island Abalone Corporation Lāwa'i International Center 27 11 Bike
    [Show full text]
  • HE MAKANA the Gertrude Mary Joan Damon Haig Collection of Hawaiian Art, Paintings and Prints Opens First Friday, Dec. 6, 2013
    December 2013 HE MAKANA DECEMBER The Gertrude Mary Joan Damon FREE EVENTS Haig Collection Of Hawaiian Art, AT HISAM The public is invited to these free Paintings and Prints Opens First events for December 2013 to be held at the Hawai‘i State Art Mu- Friday, Dec. 6, 2013 seum in the No.1 Capitol District Building at 250 South Hotel Street he Gertrude Mary Joan Damon ing lands, an interest her children in downtown Honolulu. See feature Haig Collection of Hawaiian inherited. stories and photos of these events TArt, Paintings, and Prints is a Forty-three works of art-small in this enewsletter. Not subscribed distinguished collection of traditional objects, paintings, and prints collected to eNews? Join here for monthly arts of Hawai’i, over thirty years updates. paintings of by a keen-eyed First Friday Hawai’i, and single donor He Makana exhibit opening prints of Hawai’i comprise this Friday, December 6, 2013 presented to the important exhibi- 6-9 p.m. state of Hawaii in tion that opens to Celebrate the unveiling of the honor of the life the public at the Gertrude Mary Joan Damon Haig of Gertrude Mary Hawai’i State Art Collection of Hawaiian Art, Paintings, Joan Damon Museum on First and Prints. Haig. Friday, December First Friday In the Hawai- 6, 2013 from Holiday Harp ian language, He Waimea Canyon, Kauai by D. Howard Hitchcock 6:00 to 9:00 p.m. Friday, December 6, 2013 Makana means 1909, oil on canvas Perceptive and 6-9 p.m. A Gift, referring knowledgeable, HiSAM favorite Ruth Freedman to the generous the donor focused returns to weave holiday magic with gifting of the the core of the classic Christmas tunes and harp collection to the collection on the standards.
    [Show full text]
  • The Fijian Frescoes of Jean Charlot Caroline Klarr
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 Painting Paradise for a Post-Colonial Pacific: The Fijian Frescoes of Jean Charlot Caroline Klarr Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE PAINTING PARADISE FOR A POST-COLONIAL PACIFIC: THE FIJIAN FRESCOES OF JEAN CHARLOT By CAROLINE KLARR A Dissertation submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester 2005 Copyright 2005 Caroline Klarr All Rights Reserved The members of the Committee approve the dissertation of Caroline Klarr defended on April 22, 2002 Jehanne Teilhet-Fisk Professor Directing Dissertation (deceased) J. Kathryn Josserand Outside Committee Member Tatiana Flores Committee Member Robert Neuman Committee Member ______________________ Daniel Pullen Committee Member Approved: ________________________________________ Paula Gerson, Chair, Department of Art History ________________________________________ Sally E.McRorie, Dean, School of Visual Arts and Dance The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is dedicated to Dr. Jehanne Teilhet-Fisk Ka waihona o ka na’auao The repository of learning iii PREFACE AND ACKNOWLEDGMENTS Jean Charlot’s fresco murals in the Pacific Islands of Hawai’i and Fiji represent the work of a mature artist, one who brought to the creation of art a multicultural heritage, an international background, and a lifetime of work spanning the first seven decades of the twentieth century. The investigation into any of Charlot’s Pacific artworks requires consideration of his earlier artistic “periods” in France, Mexico, and the United States.
    [Show full text]
  • Turtlephilia in the Pacific: an Integrated Comparative
    TURTLEPHILIA IN THE PACIFIC: AN INTEGRATED COMPARATIVE ANALYSIS FROM THE PERSPECTIVES OF BIOLOGICAL, CULTURAL, AND SPIRITUAL ECOLOGY IN A PARTICULAR CASE OF BIOPHILIA A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAIʻI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ANTHROPOLOGY MAY 2013 By Regina Woodrom Luna Dissertation Committee: Leslie Sponsel, Chairperson Charles Birkeland Alice Dewey Sherwood Maynard Heather Young-Leslie Keywords: Sea Turtle, Traditional Laws, Cultural Take, Consumption, Tapu, Tabu, Kapu, Taboo, Oceania, Polynesia, Myth, Legend, Ritual, Creation Story Acknowledgments First and foremost, I would like to thank my wonderful husband, Jason Rudrud, without whose support -- both physically by picking up sea turtles with all their weight, and mentally by picking me up when it seemed as if my health issues would not allow me to finish – this dissertation would never have been completed. He is my hero and this is his accomplishment as much as it is mine. Next, I would be remiss without acknowledging the tremendous and never-ending support of my mother and chief editor, Mary Anne Woodrom; my dad and step-mother, Harold and Marilyn Woodrom; and my sister and assistant editor, Rebecca Reid and my brother-in-law, Lynn. My brother Roy Woodrom, whose generosity with his frequent flier miles sent me to ECOnference 2000, which set me on my path to study sea turtles as an undergraduate at Texas A&M. The rest of my extended family, especially my aunt Dr. Sandra Luna McCune for her editing assistance, also deserve acknowledgement for always being there for me regardless of the paths I choose to take.
    [Show full text]
  • Research Resources at the Smithsonian American Art Museum Amelia A
    From La Farge to Paik Research Resources at the Smithsonian American Art Museum Amelia A. Goerlitz A wealth of materials related to artistic interchange between the United States and Asia await scholarly attention at the Smithsonian Institution.1 The Smithsonian American Art Museum in particular owns a remarkable number of artworks that speak to the continuous exchange between East and West. Many of these demonstrate U.S. fascination with Asia and its cultures: prints and paintings of America’s Chinatowns; late-nineteenth- century examples of Orientalism and Japonisme; Asian decorative arts and artifacts donated by an American collector; works by Anglo artists who trav- eled to Asia and India to depict their landscapes and peoples or to study traditional printmaking techniques; and post-war paintings that engage with Asian spirituality and calligraphic traditions. The museum also owns hundreds of works by artists of Asian descent, some well known, but many whose careers are just now being rediscovered. This essay offers a selected overview of related objects in the collection. West Looks East American artists have long looked eastward—not only to Europe but also to Asia and India—for subject matter and aesthetic inspiration. They did not al- ways have to look far. In fact, the earliest of such works in the American Art Mu- seum’s collection consider with curiosity, and sometimes animosity, the presence of Asians in the United States. An example is Winslow Homer’s engraving enti- tled The Chinese in New York—Scene in a Baxter Street Club-House, which was produced for Harper’s Weekly in 1874.
    [Show full text]
  • Artist: Period/Style: Patron: Material/Technique: Form
    TITLE:The Ambum Stone LOCATION: Papua New Guinea DATE: 1500 BCE ARTIST: PERIOD/STYLE: Prehistoric Oceanic Art PATRON: MATERIAL/TECHNIQUE:Greywacke FORM: A composite human/animal figure, perhaps an anteater head and a human body. It has a pleasing shape and smooth surface, and the slightly shiny patina on some of its raised details suggest it has been well handled. It was made from greywacke stone, and its finished shape may suggest the original shape the stone it was carved from. Carved in the form of some kind of animal, its features are rounded and include a freestanding neck, elegantly curved head and long nose, and upper limbs that hug its torso and appear to enclose a cupped space above its belly. FUNCTION: The Ambum Stone is a decorative pestle. Sculpted stones uncovered in Papua New Guinea fall into three different categories: figurines, mortars, and pestles. These objects take the form of both land- and air-dwelling animals, anthropomorphic creatures, and human figures. The Ambum Stone is one of the earliest stone objects, hailing from way back in 3500 B.C.E., and would have been created as a pestle. It's likely that the Ambum Stone was used for fertility or burial rituals. The discovery of the Ambum Stone sheds light on the supernatural and religious beliefs of the ancient New Guinea peoples. The early stone sculptures have supernatural significance. These special mortars and pestles were used in religious rituals. New Guinea peoples believed the supernatural powers of these sculptures and the animals they depicted helped with fertility, hunting, and burial rites.
    [Show full text]
  • Mala Lā'au Lapa'au: Preserving the Hawaiian 'Āina and Mo'omehue
    University of Rhode Island DigitalCommons@URI Senior Honors Projects Honors Program at the University of Rhode Island 2015 Mala Lā’au Lapa’au: Preserving the Hawaiian ‘Āina and Mo’omehue Sandra Fogg University of Rhode Island, [email protected] Creative Commons License This work is licensed under a Creative Commons Attribution 4.0 License. Follow this and additional works at: http://digitalcommons.uri.edu/srhonorsprog Part of the Alternative and Complementary Medicine Commons, Hawaiian Studies Commons, Historic Preservation and Conservation Commons, Horticulture Commons, and the Other Pharmacy and Pharmaceutical Sciences Commons Recommended Citation Fogg, Sandra, "Mala Lā’au Lapa’au: Preserving the Hawaiian ‘Āina and Mo’omehue" (2015). Senior Honors Projects. Paper 451. http://digitalcommons.uri.edu/srhonorsprog/451http://digitalcommons.uri.edu/srhonorsprog/451 This Article is brought to you for free and open access by the Honors Program at the University of Rhode Island at DigitalCommons@URI. It has been accepted for inclusion in Senior Honors Projects by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. Sandra Fogg Honors Project Spring 2015 Project Overview Mala Lā’au Lapa’au: Preserving the Hawaiian ‘Āina and Mo’omehue ABSTRACT The study of medicinal plants in the western world tends to focus on the isolation and elucidation of natural products that have bioactive characteristics and potential for pharmaceutical formulation. However, the utilization of medicinal plants in cultures that still practice ancient medicine, such as Hawai’i and other Pacific Island nations, involves the use of whole plant parts in conjunction with spiritual rituals to heal illnesses and ailments.
    [Show full text]
  • Coll Dev Policy 070917
    JEAN CHARLOT COLLECTION DEVELOPMENT POLICY Prepared by Bronwen Solyom, Curator Jean Charlot Collection September 2007 I. PROGRAM INFORMATION Jean Charlot (1898 Paris–1979 Honolulu) was an artist, teacher, scholar, critic, poet, playwright, and natural philosopher. His output of drawings, paintings, murals, prints, cartoons, books, articles, and other writings was prodigious. His life was full of significant connections within the intellectual and political milieu of the diverse communities where he lived in France, Mexico, New York, Colorado and Hawai‘i—with artists and writers, with educational and art institutions, with the Roman Catholic Church, with indigenous and working people. With his wife, Dorothy Zohmah Charlot (1909-2000), he nurtured students and friendships, maintained links lasting many years, and with his fine sense of history preserved many tangible records of his experience. He observed events and people precisely, and wrote frankly and succinctly, often wittily. His deep technical experience and long perspective of art ensure the currency of his art historical writing today. In accordance with his wish to make the records of his life and work available for research and education, the Jean Charlot Collection was donated by his heirs to the University of Hawai‘i in 1981 and opened in 1983. It is an outstanding collection of artist’s papers—the artworks and documentary materials that illuminate the study of an artist’s life, significant achievements and associations. Today it attracts students and researchers from all over the world. Items from the collection have been exhibited nationally and internationally. The initial substantial gift was a nucleus. With further significant donations from the estate of Zohmah Chalot, from family members, friends and Charlot scholars, as well as a small acquisition fund provided by the Library, it continues to grow.
    [Show full text]
  • Encyklopédia Kresťanského Umenia
    Marie Žúborová - Němcová: Encyklopédia kresťanského umenia americká architektúra - pozri chicagská škola, prériová škola, organická architektúra, Queen Anne style v Spojených štátoch, Usonia americká ilustrácia - pozri zlatý vek americkej ilustrácie americká retuš - retuš americká americká ruleta/americké zrnidlo - oceľové ozubené koliesko na zahnutej ose, užívané na zazrnenie plochy kovového štočku; plocha spracovaná do čiarok, pravidelných aj nepravidelných zŕn nedosahuje kvality plochy spracovanej kolískou americká scéna - american scene americké architektky - pozri americkí architekti http://en.wikipedia.org/wiki/Category:American_women_architects americké sklo - secesné výrobky z krištáľového skla od Luisa Comforta Tiffaniho, ktoré silno ovplyvnili európsku sklársku produkciu; vyznačujú sa jemnou farebnou škálou a novými tvarmi americké litografky - pozri americkí litografi http://en.wikipedia.org/wiki/Category:American_women_printmakers A Anne Appleby Dotty Atti Alicia Austin B Peggy Bacon Belle Baranceanu Santa Barraza Jennifer Bartlett Virginia Berresford Camille Billops Isabel Bishop Lee Bontec Kate Borcherding Hilary Brace C Allie máj "AM" Carpenter Mary Cassatt Vija Celminš Irene Chan Amelia R. Coats Susan Crile D Janet Doubí Erickson Dale DeArmond Margaret Dobson E Ronnie Elliott Maria Epes F Frances Foy Juliette mája Fraser Edith Frohock G Wanda Gag Esther Gentle Heslo AMERICKÁ - AMES Strana 1 z 152 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Charlotte Gilbertson Anne Goldthwaite Blanche Grambs H Ellen Day
    [Show full text]
  • Satoru Abe PRESENT Satoru Abe 72 Years of Creativity at Luxury Row 2100 Kalakaua Avenue Waikiki, Hawaii
    FOR IMMEDIATE RELEASE Nashimoto & Associates 1833 Kalakaua Avenue, Suite 201 Honolulu, Hawaii 96815 Phone: (808) 955-9361 Fax: (808) 955-9742 Email: [email protected] Save The Date Luxury Row And Satoru Abe PRESENT Satoru Abe 72 Years of Creativity At Luxury Row 2100 Kalakaua Avenue Waikiki, Hawaii From Wednesday, July 24th, 2019, 5:00 pm opening reception through Thursday August 15th, 2019 The Exhibit Will Be Open Daily To The Public From 12:00 pm To 9:00 pm Luxury Row – “where fashion meets art” - at 2100 Kalakaua Avenue is proud to support the arts in Waikiki Waikiki, HI – The owners of Luxury Row are proud to host a lifetime retrospective exhibit for world-renowned artistic legend Satoru Abe, from July 24 to August 15, celebrating 72 Years of His Creativity, spanning from age 21 to 93. Known as “The Godfather of Honolulu’s Art Scene,” Mr. Abe will work at Luxury Row daily, giving guests the rare opportunity to witness Mr. Abe creating new works of art and to meet Mr. Abe in person, while they tour the exhibit. In 1950, at age 24, Satoru Abe held his first solo show at the historic Gima’s Art Gallery at 2141 Kalakaua Avenue, directly across from Luxury Row. Now, at age 93, his life has come full circle with his life’s retrospective exhibit back in Waikiki. Mr. Abe has also been exhibited at world-renowned museums including MoMa, the Whitney Museum, Tokyo Central Museum, Contem- porary Museum, Honolulu and Virginia Museum, Richmond, Virginia. “It seemed destined that Mr.
    [Show full text]
  • The Color of Nationality: Continuities and Discontinuities of Citizenship in Hawaiʻi
    The Color of Nationality: Continuities and Discontinuities of Citizenship in Hawaiʻi A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAIʻI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN POLITICAL SCIENCE DECEMBER 2014 By WILLY DANIEL KAIPO KAUAI Dissertation Committee: Neal Milner, Chairperson David Keanu Sai Deborah Halbert Charles Lawrence III Melody MacKenzie Puakea Nogelmeier Copyright ii iii Acknowledgements The year before I began my doctoral program there were less than fifty PhD holders in the world that were of aboriginal Hawaiian descent. At the time I didn’t realize the ramifications of such a grimacing statistic in part because I really didn’t understand what a PhD was. None of my family members held such a degree, and I didn’t know any PhD’s while I was growing up. The only doctors I knew were the ones that you go to when you were sick. I learned much later that the “Ph” in “PhD” referred to “philosophy,” which in Greek means “Love of Wisdom.” The Hawaiian equivalent of which, could be “aloha naʻauao.” While many of my family members were not PhD’s in the Greek sense, many of them were experts in the Hawaiian sense. I never had the opportunity to grow up next to a loko iʻa, or a lo’i, but I did grow up amidst paniolo, who knew as much about makai as they did mauka. Their deep knowledge and aloha for their wahi pana represented an unparalleled intellectual capacity for understanding the interdependency between land and life.
    [Show full text]
  • Theodore Wores Papers, 1880-1999
    http://oac.cdlib.org/findaid/ark:/13030/tf7d5nb2f8 No online items Guide to the Theodore Wores Papers, 1880-1999 Processed by Phyllis Dorset; machine-readable finding aid created by Steven Mandeville-Gamble Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http://library.stanford.edu/spc © 2001 The Board of Trustees of Stanford University. All rights reserved. Guide to the Theodore Wores Special Collections M0816 1 Papers, 1880-1999 Guide to the Theodore Wores Papers, 1880-1999 Collection number: M0816 Department of Special Collections and University Archives Stanford University Libraries Stanford, California Contact Information Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http://library.stanford.edu/spc Processed by: Phyllis Dorset Date Completed: 1999 Sept. Encoded by: Steven Mandeville-Gamble © 2001 The Board of Trustees of Stanford University. All rights reserved. Descriptive Summary Title: Theodore Wores Papers, Date (inclusive): 1880-1999 Collection number: Special Collections M0816 Creator: Wores, Theodore, 1859-1939. Extent: 8 linear ft. Repository: Stanford University. Libraries. Dept. of Special Collections and University Archives. Language: English. Access Restrictions None. Publication Rights Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections. Provenance Gift of Dr. A. Jess Shenson, 1996. Preferred Citation: [Identification of item], Theodore Wores Papers, M0816, Dept. of Special Collections, Stanford University Libraries, Stanford, Calif.
    [Show full text]