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The Dublin Gate Theatre Archive, 1928 - 1979
Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors. -
Coping with CROWDING by Frans B
POPULATION GROWTH has been thought, since the time of Thomas Malthus, to produce dire consequences such as disease, scarcity and social deviancy. This dark view seemed confirmed by rodent studies. Yet little evi- dence suggests that people are similarly affected: we seem to handle large crowds quite well for the most part. Coping with CROWDING by Frans B. M. de Waal, Filippo Aureli and Peter G. Judge 76 Scientific American May 2000 Coping with Crowding Copyright 2000 Scientific American, Inc. n 1962 this magazine published a seminal But, one could argue, perhaps such a re- paper by experimental psychologist John lation is obscured by variation in national IB. Calhoun entitled “Population Density income level, political organization or some and Social Pathology.” The article opened other variable. Apparently not, at least for dramatically with an observation by the late- income. We divided the nations into three 18th-century English demographer Thomas categories—free-market, former East Block Malthus that human population growth is and Third World—and did the analysis automatically followed by increased vice and again. This time we did find one significant misery. Calhoun went on to note that al- correlation, but it was in the other direc- though we know overpopulation causes dis- tion: it showed more violent crime in the ease and food shortage, we understand virtu- least crowded countries of the former East ally nothing about its behavioral impact. Block. A similar trend existed for free-mar- This reflection had inspired Calhoun to ket nations, among which the U.S. had by conduct a nightmarish experiment. -
Charles Ricketts' Illustrations for Two of Oscar Wilde's Poems in Prose
3 FAITHFUL INFIDELITY: CHARLES RICKETTS' ILLUSTRATIONS FOR TWO OF OSCAR WILDE'S POEMS IN PROSE Jeremiah Romano Mercurio (University of St Andrews) Abstract The artist, collector, and critic Charles Ricketts (1866–1931) has often been characterised as a reactionary voice in early-twentieth-century debates about modern art. Although he responded conservatively to modern-art developments such as those embodied by the term 'Post-Impressionism', his work in book design and illustration exemplifies progressive strategies of decoration that reconfigure the relationship between author and illustrator as one of collaborative authorship. Ricketts' illustrations are autonomous narratives that not only reproduce the meanings of the texts they represent, but also parody and elaborate on them. Moreover, Ricketts' book designs and illustrations represent a complex resistance to and working out of Oscar Wilde's views on art, language, and orality. Wilde regarded visual art as inferior to language because the latter can embody the graphic and is free from the former's fixity in time and materiality. Ricketts' illustrational strategies are designed, not only to reinforce his own autonomy, but also to disprove Wilde's description of visual art as limited compared with language. Ricketts' progressive strategies of design are epitomized by his unpublished illustrations for Wilde's Poems in Prose (1894), a text which dramatises the centrality of voice to Wilde's poetic endeavour and allows Ricketts directly to challenge Wilde's denigration of the visual arts. By focusing on two representative examples, Ricketts' drawings for 'The Disciple' and 'The House of Judgment', and by providing close readings of both image and text, this piece traces Ricketts' illustrational methods and reveals their debts to Wilde's own theories of orality, language, and visual arts, charting Ricketts' divergences from Wilde's texts and highlighting the critical dialogue implicit in the illustrations. -
Critical Introduction to Volume 1 of the Dial (1889)
Critical Introduction to Volume 1 of The Dial (1889) The unsigned “Apology” located on the final page of the first Dial brought out Figure 1. Pictorial Initial "U" Designed by Charles Ricketts for John Gray’s “The Great Worm” by Charles Ricketts and Charles Shannon in August 1889 outlined the editorial defense (apologia) for the eccentric publication: “The sole aim of this magazine is to gain sympathy with its views” (36). The views expressed in this first number were those of a very limited group indeed: four young men based in central London. In addition to co-editors Ricketts and Shannon, who between them produced most of the magazine’s contents, Reginald Savage contributed a single artwork and a series of brief “Notes” on current exhibitions and John Gray provided a fairy tale and a critical essay. Like its Pre-Raphaelite predecessor the Germ (1850), the Dial sought to set the visual and verbal arts in dialogue with each other. Artists illustrated the literary efforts of their colleagues, Ricketts designed textual ornaments for specific pieces of writing (fig. 1), and the magazine as whole engaged with ideas of design. While the Dial might have shared the Germ’s subtitle, “Thoughts Towards Nature in Art and Literature,” its approach is more fantastic, mythical, and decorative. Indeed, the magazine’s artistic vision extends 1 beyond the English Pre-Raphaelites to include the art and literature of the Continent, particularly that of France. The “Apology” concludes with the acknowledgement that “we are out of date in our belief that the artist’s conscientiousness cannot be controlled by the paying public” (36). -
Charles Ricketts & Charles Shannon
0 More Next Blog» Create Blog Sign In Charles Ricketts & Charles Shannon Wednesday, June 11, 2014 Search This Blog 150. Who must I copy to be original? Search Blog 150 is a contribution by Philip R. Bishop, connoisseur of the work of Thomas Bird Mosher, who has been the subject of some recent blogs. Who must I copy to be original? This question from François Coppée’s Le Trésor, ‘Qui pourrais-je imiter pour être original?’, has always seemed appropriate when discussing Thomas Bird Mosher and the preparation of his Mosher Press books. The literature and designs of the Kelmscott, Eragny, the Daniel presses and the Bodley Head were all copied and Ricketts and the Vale Press were likewise included in Mosher’s arsenal. Charles Ricketts (1866-1931), artist, book designer, collector, art critic, set and costume designer & Charles Shannon (1863-1937), lithographer, painter and art collector : a weekly blog written by Paul van Capelleveen With contributions by Paul Delaney (no. 11, no. 100), Barbara Pezzini (no. 39, no. 40), Paul Durham (no. 136), Thomas Bird Mosher at age 49 (circa 1901) Philip R. Bishop (no. 150), and with texts by Charles Ricketts To be sure, Mosher admired the Vale Press and it’s publisher-designer. In (no. 16, no. 31, no. 46, no. 61, the Gordon Bottomley correspondence at the British Library there are two no. 111, no. 138, no. 149) key letters in which Mosher professes his admiration. Thanks are due to Marja In the Mosher-to-Bottomley letter of May 10, 1910 Mosher discusses Smolenaars. Ricketts’s book on Titian with its excellent half-tone illustrations. -
HELEN RITCHIE Jewellery Studies — the Journal of the Society of Jewellery Historians 2020/3
Jewellery Studies The Journal of The Society of Jewellery Historians 2020/3 HELEN RITCHIE Jewellery Studies — the Journal of The Society of Jewellery Historians 2020/3. Ritchie Published by the Society of Jewellery Historians The Society of J E W ELL ERY HISTORIANS The Society of Jewellery Historians is a Registered Charity: No.1151393, and a company limited by guarantee, No. 7032947, registered in England. The logo of the Society is the copyright of the Society and shall not be used if the Work is republished in any way other than as an unaltered pdf of the Work in this Publication. The Society was formed in 1977 with the aim of stimulating the growing international interest in jewellery of all ages and cultures by publishing new research and by bringing together those interested in the subject, whether in a professional or private capacity. The membership includes archaeologists, museum specialists, collectors, art historians, dealers, gemmologists, practising jewellers and designers, scientists and conservators. The Society runs a programme of lectures from September to June, inviting speakers from different disciplines and many parts of the world. The lectures are usually held in London at the Society of Antiquaries, Burlington House, Piccadilly, London W1V OHS, and are made available afterwards on the Society’s website. In addition, the Society arranges a variety of other occasional events including international symposia on aspects of the history and technology of jewellery, study visits to museums, and private views of special exhibitions. For full details visit the Society’s website at: www.societyofjewelleryhistorians.ac.uk or write to: The Membership Secretary, The Society of Jewellery Historians, Scientific Research, The British Museum, London WC1B 3DG 1 Jewellery Studies — the Journal of The Society of Jewellery Historians 2020/3. -
Human Origins Studies: a Historical Perspective
Evo Edu Outreach (2010) 3:314–321 DOI 10.1007/s12052-010-0248-7 ORIGINAL SCIENTIFIC ARTICLE Human Origins Studies: A Historical Perspective Tom Gundling Published online: 29 July 2010 # Springer Science+Business Media, LLC 2010 Abstract Research into the deep history of the human within the field of paleoanthropology, but rather to identify species is a relatively young science which can be divided broad patterns and highlight a collection of “events” that into two broad periods. The first spans the century between are most germane in shaping current understanding of our the publication of Darwin’s Origin and the end of World evolutionary origin. These events naturally include the War II. This period is characterized by the recovery of the accretion of fossil material, the raw data which is the direct, first non-modern human fossils and subsequent attempts at if mute, testimony of the past. These fossil discoveries are reconstructing family trees as visual representations of the situated among technological breakthroughs, theoretical transition from ape to human. The second period, from shifts, and changes in the sociocultural context in which 1945 to the present, is marked by a dramatic upsurge in the human origins studies were conducted. It is only through quantity of research, with a concomitant increase in such a contextualized historical approach that we can truly specialization. During this time, emphasis shifted from grasp our current understanding of human origins. Foibles classification of fossil humans to paleoecology in which of the past remind us to be critical in assessing newly hominids were seen as parts of complex evolving ecosys- produced knowledge, yet simultaneously we can genuinely tems. -
1. NLP Weltkongress 1St NLP World Congress
The Speaker Die Referenten 1st NLP World Congress in Berlin/Potsdam, May 26.-28. 2006 A global integral vision of NLP for the development of human potential 1. NLP Weltkongress in Berlin/Potsdam, 26.-28. Mai 2006 Eine globale integrale Vision von NLP Für die Entwicklung des menschlichen Potentials. Veranstalter: International Association of NLP-Institutes The Organisers Die Organisatoren Evelyne Maaß Carlos Salgado Rudolf Metzner Nandana & Karl Nielsen & Karsten Ritschl NLP-INSTITUT Metzner NLP & COACHING spectrum SALGADO e.V. CONSULTING INSTITUT NIELSEN KommunikationsTraining www.Salgado.de www.RudolfMetzner.de www.NLP-Nielsen.de www.NLP-Spectrum.de 0761-4709650 0841-975179 030-21478174 030-8524341 Publisher/Verlag: Karl Nielsen “International Association of NLP-Institutes” www.NLP-Institutes.net www.NLP-worldcongress.net www.NLP-Weltkongress-de International Association of NLP-Institutes (IN) Der IN-Vorstand Karl Nielsen Evelyne Maass Bernd Isert Wolfgang Lenk IN-Präsident IN-Vize-Präsidentin IN-Direktor IN-Direktor Terms of admission of the IN Through their signature on the membership contract, every IN member pledges to actively uphold the following ethics and quality principles: 1. I support the good reputation of the IN and of NLP, and abide to the ethics and quality guidelines of the IN. 2. I only recommend and partake in such certified NLP trainings, that comply with the qual- ity standards of the IN. 3. In dealing with trainees, colleagues and competitors I’m always fair and cooperative. 4. I apply myself for the IN, will act as an IN contact for those who seek information about the IN and keep my personal information on the IN website updated. -
TABLE of CONTENTS Introduction
Table of Contents Introduction ................................................................................... 8 Akram Zaatari Excerpts from an Interview with Hashem El Madani ....................................................... 20 Charles Esche Sean Snyder .................................................................................. 28 Mira Keratová Les travailleurs n’ont pas de patrie ................................. 46 Michael Oppitz The Beauty of Exactitude. Talk about ethnographic film between Ahmad Alasti and Michael Oppitz ... 48 WORKS Mathilde ter Heijne Woman to go, 2005, 180 different postcards, 6 postcard racks, Edition 1/3, Thyssen-Bornemisza Collections ......................... 14 Akram Zaatari Hashem El Madani: Studio Practices, 2006, 76 silver prints taken between 1949 and the late 1970s by Hashem El Madani, each between 22 x 15 cm and 39.5 x 26.5 cm, Thyssen-Bornemisza Collections ...... 20 Sean Snyder Casio, Seiko, Sheraton, Toyota, Mars, 2004–2005, Single-channel video projection, 13 min 12 sec, color, sound, Edition 3/3 + 2 AP, Thyssen-Bornemisza Collections .................................................................. 28 Walid Raad (The Atlas Group) Let’s Be Honest. The Weather Helped, 1998/2006, Set of 7 plates (archival inkjet prints), each 46.4 x 71.8 cm, Edition 3/7 + 1 AP, Thyssen-Bornemisza Collections .............................. 32 Ai Weiwei Colored Vases, 2006, 10 pieces, Neolithic vases (5000–3500 b.c.), industrial paint, each approx. 30 x 20 cm, Thyssen-Bornemisza Collections ......... 36 Brad Kahlhamer Billy Jack, Jr., 2006, Graphite, ink, gouache and watercolor on paper, 157.5 x 208.3 cm, Thyssen-Bornemisza Collections ....... 40 Anetta Mona Chisa / Lucia Tkácová Uncomfortable Heritage, 2005, Performance Capital: Magical Recipes for Love, Happiness and Health, 2006, Single-channel video, 12 min 17 sec, color, sound, Courtesy of the artists ............. 44 Tanya Hamilton / Daniel F. Friedlaender / Michael W. -
Drake Plays 1927-2021.Xls
Drake Plays 1927-2021.xls TITLE OF PLAY 1927-8 Dulcy SEASON You and I Tragedy of Nan Twelfth Night 1928-9 The Patsy SEASON The Passing of the Third Floor Back The Circle A Midsummer Night's Dream 1929-30 The Swan SEASON John Ferguson Tartuffe Emperor Jones 1930-1 He Who Gets Slapped SEASON Miss Lulu Bett The Magistrate Hedda Gabler 1931-2 The Royal Family SEASON Children of the Moon Berkeley Square Antigone 1932-3 The Perfect Alibi SEASON Death Takes a Holiday No More Frontier Arms and the Man Twelfth Night Dulcy 1933-4 Our Children SEASON The Bohemian Girl The Black Flamingo The Importance of Being Earnest Much Ado About Nothing The Three Cornered Moon 1934-5 You Never Can Tell SEASON The Patriarch Another Language The Criminal Code 1935-6 The Tavern SEASON Cradle Song Journey's End Good Hope Elizabeth the Queen 1936-7 Squaring the Circle SEASON The Joyous Season Drake Plays 1927-2021.xls Moor Born Noah Richard of Bordeaux 1937-8 Dracula SEASON Winterset Daugthers of Atreus Ladies of the Jury As You Like It 1938-9 The Bishop Misbehaves SEASON Enter Madame Spring Dance Mrs. Moonlight Caponsacchi 1939-40 Laburnam Grove SEASON The Ghost of Yankee Doodle Wuthering Heights Shadow and Substance Saint Joan 1940-1 The Return of the Vagabond SEASON Pride and Prejudice Wingless Victory Brief Music A Winter's Tale Alison's House 1941-2 Petrified Forest SEASON Journey to Jerusalem Stage Door My Heart's in the Highlands Thunder Rock 1942-3 The Eve of St. -
Mccarthy Era and the American Theatre Author(S): Albert Wertheim Source: Theatre Journal, Vol
The McCarthy Era and the American Theatre Author(s): Albert Wertheim Source: Theatre Journal, Vol. 34, No. 2, Insurgency in American Theatre, (May, 1982), pp. 211 -222 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.org/stable/3207451 Accessed: 16/04/2008 16:42 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=jhup. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We enable the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org The McCarthy Era and the American Theatre Albert Wertheim Eric Bentley's Thirty Years of Treason, Lillian Hellman's Scoundrel Time, Lately Thomas's When Even Angels Wept, and Robert Goldston's The American Nightmare are only a few of the many studies that have been written about that unsettling and aberrant period of recent American history frequently known as the McCarthy era.1 The very titles of the books tell us immediately with what loathing and shame most Americans now look back to that time of political paranoia. -
The Third Programme a Literary History
The Third Programme A Literary History KATE WHITEHEAD CLARENDON PRESS OXFORD 1787 Oxford Uniirrsify Press, lYblton Street, Oxford 0x2 ~DP Oxjord New lbrk Toronto I>elhi Bonr1)ay Calcutta hfadras Karachi Acknowledgements Petaling Jaya .Tingapore Hong Kong Tokyo Nairobi Var es .Sa/aant Cape ?bwn Melbourne Auckland and associated companies in I would like to thank the following people for their kind Bzrlin Ibadan assistance during my research: the late Douglas Cleverdon and Oxford is a trade mark of Oxford Uniuersifj Press John Lehmann, Patric Dickinson, Harman Grisewood, Professor Peter Laslett, Ludovic Kennedy, Ian MacIntyre, Leonard Miall, Published in the United .States P. H. Newby, Piers Plowright, Harry Ritchie, Rosaly Roffman. Iy Oxfork Uniuersify Press, U.TA Dr Michael Weaver supervised the thesis on which this mono- 0 Kate Whitehead 1989 graph is based, and was helpful and enthusiastic throughout. The staff at the BBC Written Archives Centre provided . All rights reserved. No part of this publication nray be reproduced, stored in a retrieval system, or transnritted, in any form or by any means, invaluable assistance during three years' regular attendance and rlectronic, mechanical, photocopying, recording, or otherwise, without enquiry. I must also thank the staff of the Society of Authors, the the prior permission of Oxford Uniuersio Press National Sound Archive, and the Bodleian and Christ Church British Library Cataloguing in Publication Data Libraries for all their help. The Department of Education and W'hitehead, Kate. Science was generous in providing me with special travel grants The Third Progranrnre: a literary histov. and allowances, as was Christ Church and the English Faculty of - (Oxford English monographs).