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Charitably Chic Lynn Willis
Philadelphia University Spring 2007 development of (PRODUCT) RED, a campaign significantly embraced by the fashion community. Companies working with Focus on . Alumni Focus on . Industry News (PRODUCT) RED donate a large percentage of their profits to the Global Fund to fight Lynn Willis Charitably Chic AIDS. For example, Emporio Armani’s line donates 40 percent of the gross profit By Sara Wetterlin and Chaisley Lussier By Kelsey Rose, Erin Satchell and Holly Ronan margin from its sales and the GAP donates Lynn Willis 50 percent. Additionally, American Express, Trends in fashion come and go, but graduated perhaps the first large company to join the fashions that promote important social from campaign, offers customers its RED card, causes are today’s “it” items. By working where one percent of a user’s purchases Philadelphia with charitable organizations, designers, University in goes toward funding AIDS research and companies and celebrities alike are jumping treatment. Motorola and Apple have also 1994 with on the bandwagon to help promote AIDS a Bachelor created red versions of their electronics and cancer awareness. that benefit the cause. The results from of Science In previous years, Ralph Lauren has the (PRODUCT) RED campaign have been in Fashion offered his time and millions of dollars to significant, with contributions totaling over Design. Willis breast cancer research and treatment, which $1.25 million in May 2006. is senior includes the establishment of health centers Despite the fashion industry’s focus on director for the disease. Now, Lauren has taken image, think about what you can do for of public his philanthropy further by lending his someone else when purchasing clothes relations Polo logo to the breast cancer cause with and other items. -
Business Professional Dress Code
Business Professional Dress Code The way you dress can play a big role in your professional career. Part of the culture of a company is the dress code of its employees. Some companies prefer a business casual approach, while other companies require a business professional dress code. BUSINESS PROFESSIONAL ATTIRE FOR MEN Men should wear business suits if possible; however, blazers can be worn with dress slacks or nice khaki pants. Wearing a tie is a requirement for men in a business professional dress code. Sweaters worn with a shirt and tie are an option as well. BUSINESS PROFESSIONAL ATTIRE FOR WOMEN Women should wear business suits or skirt-and-blouse combinations. Women adhering to the business professional dress code can wear slacks, shirts and other formal combinations. Women dressing for a business professional dress code should try to be conservative. Revealing clothing should be avoided, and body art should be covered. Jewelry should be conservative and tasteful. COLORS AND FOOTWEAR When choosing color schemes for your business professional wardrobe, it's advisable to stay conservative. Wear "power" colors such as black, navy, dark gray and earth tones. Avoid bright colors that attract attention. Men should wear dark‐colored dress shoes. Women can wear heels or flats. Women should avoid open‐toe shoes and strapless shoes that expose the heel of the foot. GOOD HYGIENE Always practice good hygiene. For men adhering to a business professional dress code, this means good grooming habits. Facial hair should be either shaved off or well groomed. Clothing should be neat and always pressed. -
The Nineteenth-Century Russian Gypsy Choir and the Performance of Otherness
The Nineteenth-Century Russian Gypsy Choir and the Performance of Otherness Erik R. Scott Summer 2008 Erik R. Scott is a Ph.D. candidate in the Department of History, at the University of California, Berkeley Acknowledgments I would like to thank Professor Victoria Frede and my fellow graduate students in her seminar on Imperial Russian History. Their careful reading and constructive comments were foremost in my mind as I conceptualized and wrote this paper, first for our seminar in spring 2006, now as a revised work for publication. Abstract: As Russia’s nineteenth-century Gypsy craze swept through Moscow and St. Petersburg, Gypsy musicians entertained, dined with, and in some cases married Russian noblemen, bureaucrats, poets, and artists. Because the Gypsies’ extraordinary musical abilities supposedly stemmed from their unique Gypsy nature, the effectiveness of their performance rested on the definition of their ethnic identity as separate and distinct from that of the Russian audience. Although it drew on themes deeply embedded in Russian— and European—culture, the Orientalist allure of Gypsy performance was in no small part self-created and self-perpetuated by members of Russia’s renowned Gypsy choirs. For it was only by performing their otherness that Gypsies were able to seize upon their specialized role as entertainers, which gave this group of outsiders temporary control over their elite Russian audiences even as the songs, dances, costumes, and gestures of their performance were shaped perhaps more by audience expectations than by Gypsy musical traditions. The very popularity of the Gypsy musical idiom and the way it intimately reflected the Russian host society would later bring about a crisis of authenticity that by the end of the nineteenth century threatened the magical potential of Gypsy song and dance by suggesting it was something less than the genuine article. -
Transpopular Spaces: Gypsy Imagineries in the Work of Van
Fecha de recepción: 1 septiembre 2019 Fecha de aceptación: 4 octubre 2019 Fecha de publicación: 9 febrero 2020 URL: https://oceanide.es/index.php/012020/article/view/39/182 Oceánide número 13, ISSN 1989-6328 DOI: https://doi.org/10.37668/oceanide.v13i.39 Dr. Eduardo Barros Grela Universidade da Coruña, España ORCID: https://orcid.org/0000-0002-7533-5580 Dra. María Bobadilla Pérez Universidade da Coruña, España ORCID: https://orcid.org/ 0000-0002-4972-5980 Transpopular Spaces: Gypsy Imageries in the Work of Van Morrison Resumen La obra del autor norirlandés Van Morrison ha pasado relativamente desapercibida por la crítica a pesar de los numerosos elementos sociales, literarios y artísticos que presenta. Entre ellos se encuentra la representación de la figura del gitano como modelo de actuación para unas generaciones de oyentes a quienes les preocupaba el aspecto cultural a la contra, así como los modelos de vida alternativos a los legitimados por la clase media de la época. El objetivo de este estudio es analizar el componente romantizado que se presenta en la obra de Morrison alrededor de su representación del gitanismo, así como observar cómo esos elementos generan primero una función deontologizante y después una resignificación de los espacios en tránsito ocupados por la(s) imaginación(es) de esta comunidad como pueblo nómada. Para llevar a cabo el análisis se atenderá a varias canciones de la primera época del autor norirlandés, y se explicarán las funciones de representación del gitano en el entorno del espacio y de una epistemología contracultural. Palabras clave: Van Morrison; espacio; gitanos; contracultura; música Abstract The work of Northern Irish singer-songwriter Van Morrison has gone relatively unnoticed by critics despite the numerous social, literary and artistic elements included in his songs. -
How Do I Dress Professionally
Career Development JKM Library, 3rd floor (412) 365-1209 Phone (412) 365-1660 Fax [email protected] Professiona l Dress Guidelines Proper professional dress is essential for interviews and career fairs. Even if you would not be required to wear a suit in the position to which you are applying, it is the expected attire for job interviews and career fairs. Be sure to try on your interview outfit prior to career-related events to ensure a proper fit. Here are several tips for women and men on how to dress professionally and make a positive first impression. What to Wear for Women: Suit Long-sleeved blazer with a straight or pleated skirt or pants. Color should be neutral, such as navy blue, gray, tan, or black. Most solid-colored suits will work as long as they are not too bright. Patterns are only acceptable if they are extremely subtle. Skirt should be knee length or longer. Avoid tight pants and baggy pants. Shirt/blouse Stay away from shiny or sparkly material. Cotton or matte silks are always a good choice. A nice touch is often a collar pin or a simple necklace. A colorful scarf that compliments your outfit is acceptable, but it should not be too bright. Shoes First - no bare legs! Stockings or panty hose, usually in a skin tone or a complimenting color, are a must. The best shoes are simple pumps with no more than a one or two-inch heel. Shoes should be black or a complimentary color that works with your suit. Jewelry and Perfume Simple post earrings or hoops work best. -
History of Swimwear
On Exhibit at the International Swimming Hall of Fame From Bloomer’s to Bikini’s: How the sport of Swimming Changed Western Culture In the 20th Century From Bloomer’s to Bikini’s: How the lapse, swimming fell out of favor in the the body and led Sport of Swimming Changed Western Christian west. The Popes also railed to a sound night’s Society in the 20th Century, is a multi- against the sexual excesses of the Roman sleep. Because media exhibit that demonstrates how baths and equated both nudity and swim- Franklin, like all swimming acted as the most significant ming with sin. During the Middle Ages male swimmers of cultural force in the women’s rights open air bathing was thought to be a his time, swam in movement of the 20th Century. This cause of the plague. the nude, swim- exhibit demonstrates how the sport of ming was deemed swimming changed the way women Interest in swimming revived somewhat inappropriate for dressed, thought about themselves and during the Age of Exploration when women until, tra- Illustration of an 1860’s women’s the way society thought about women sailors thought it dition has it, one bathing gown. While the gown and their role in society. The exhibit pri- might be a good of Franklin’s female enabled women to bathe, it made swimming impossible. marily focuses on four women swimmers idea to know how admirers threw who broke through the social and moral to swim before herself into the Seine fully dressed. barriers that held women back during the stepping on board While this popularized public bathing for Victorian era: Annette Kellerman, the their ships. -
Hampshire Consortium Gypsy, Traveller and Travelling Showpeople Accommodation Assessment 2016-2036
Hampshire Consortium Gypsy, Traveller and Travelling Showpeople Accommodation Assessment 2016-2036 Final Report May 2017 Hampshire Consortium GTAA – May 2017 Opinion Research Services The Strand, Swansea SA1 1AF Steve Jarman, Claire Thomas, Ciara Small and Kara Stedman Enquiries: 01792 535300 · [email protected] · www.ors.org.uk © Copyright May 2017 Contains public sector information licensed under the Open Government Licence v3.0 Contains OS Data © Crown Copyright (2017) Page 2 Hampshire Consortium GTAA – May 2017 Contents 1. Executive Summary ......................................................................................................................... 6 Introduction and Methodology ...................................................................................................................... 6 Key Findings .................................................................................................................................................... 7 Additional Pitch Needs – Gypsies and Travellers ........................................................................................... 7 Additional Plot Needs - Travelling Showpeople ........................................................................................... 10 Transit Requirements ................................................................................................................................... 13 2. Introduction ................................................................................................................................ -
National Gallery of Art 2018 2019CONCERTS Seventy-Seventh Season
national gallery of art 2018 2019CONCERTS seventy-seventh season Welcome to the 2018 – 2019 season of CONCERTS AT concerts at the National Gallery of Art. In our seventy-seventh season, we examine — in a way that we are uniquely equipped to do — the relevance of THE GALLERY the arts in today’s world. Throughout our thirty-six Sunday and eight Friday performances, we ask the questions who, what, when, where, why, and how music and art reflect — and affect — our daily lives in the twenty-first century. We hope our spectrum of performers, exhibition-related concerts, and special themes will nourish and celebrate the importance of expression through the visual and performing arts. top Tapestry, photo by Susan Wilson. middle left Inscape Chamber Orchestra, photo by Jennifer White- Johnson. middle right Daniel Schlosberg, photo by Erin Clendenin. bottom Air Force Strings, photo by MSgt Joshua Kowalsky. WELCOME 3 CALENDAR The seventy-seventh season of concerts at the National 18 | Sunday | 3:30 Gallery of Art is open to the public, free of charge. Admittance Nobuntu p8 is on a first-come basis thirty minutes before the concert begins. For further information, call (202) 842-6941 or visit 23 | Friday | 12:10 nga.gov/music. Location TBD PROJECT Trio p22 Unless otherwise noted, concerts are held in the West Building, West Garden Court. 25 | Sunday | 3:30 M5 Mexican Brass p9 SEPTEMBER OCTOBER DECEMBER 16 | Sunday | 3:30 7 | Sunday | 3:30 Living Art Collective Julie Fowlis, vocalist p6 2 | Sunday | 3:30 Ensemble (LACE) Carolina Eyck + American Elisa Monte Dance p16 14 | Sunday | 3:30 Contemporary Music Curtis on Tour: Ensemble p9 23 | Sunday | 3:30 Jason Vieaux, guitar Emilio Solla Tango-Jazz Nigel Armstrong, violin p6 8 | Saturday | 1:30 | 2:30 Trio p6 West Building Rotunda 21 | Sunday | 3:30 U.S. -
Dan Hicks' Holidaze in Hicksville Launches Napa Valley Holiday Season at NVOH
Hailed as, “The eternal hipster, purveyor of the drollest and most swingin' tunes the rock generation ever enjoyed” (Minneapolis Star Tribune), Dan Hicks and the Hot Licks have hijacked the holidays and created a Christmas album you’ll enjoy all year long. Released on October 12, 2010 through Surfdog Records, Crazy For Christmas is classic Hot Licks, full of the same dry wit and musical brilliance that has defined Dan Hicks’ music for the past four decades and established him as one of American music’s true cult heroes. “[Crazy For Christmas has] a joyously irreverent charm …[and is] a warm “You may not be able to believe in reminder of just how consistent, steady, and poignantly funny Hicks can Santa anymore, but thanks to Hicks and the Hot Licks you can be; any season of the year.” - All Music Guide still believe in the infinitely more valuable vibe and spirit that the “The perfect accompaniment to a holiday martini gathering.” Fat Man represents.” - LA Times - Premier Guitar “a classic in the making with its signature sense of humor and witty word that we’ve come to expect from Hicks.” - Glide Magazine “Hicks and the Hot Licks create a sound that evokes images of Mr. Natural truckin’ along and Django Reinhardt puffing on a cigarette, playing music so rhythmic and bouncy that it could make a cadaver dance.” - American Songwriter “A Christmas record that sounds antic and deadpan, “a devilish twist to holiday classics.” engaged and tossed off, almost magically laid-back. - Metro Weekly (Gonzalo Bergara’s Django Reinhardt-like solos ensure the professionalism.)” - New York Times “Simply put: nobody else in this world – nobody “Necessary for any holiday hipster.” – sounds like [Dan Hicks]” - Jambands.com - Mountain Times “Crazy For Christmas makes you want to put “By far my favorite new holiday album, Crazy for Christmas, on your shades (even if it's snowing) and just stands up to repeat listens, which really makes it a seasonal anomaly. -
THE COLLECTED POEMS of HENRIK IBSEN Translated by John Northam
1 THE COLLECTED POEMS OF HENRIK IBSEN Translated by John Northam 2 PREFACE With the exception of a relatively small number of pieces, Ibsen’s copious output as a poet has been little regarded, even in Norway. The English-reading public has been denied access to the whole corpus. That is regrettable, because in it can be traced interesting developments, in style, material and ideas related to the later prose works, and there are several poems, witty, moving, thought provoking, that are attractive in their own right. The earliest poems, written in Grimstad, where Ibsen worked as an assistant to the local apothecary, are what one would expect of a novice. Resignation, Doubt and Hope, Moonlight Voyage on the Sea are, as their titles suggest, exercises in the conventional, introverted melancholy of the unrecognised young poet. Moonlight Mood, To the Star express a yearning for the typically ethereal, unattainable beloved. In The Giant Oak and To Hungary Ibsen exhorts Norway and Hungary to resist the actual and immediate threat of Prussian aggression, but does so in the entirely conventional imagery of the heroic Viking past. From early on, however, signs begin to appear of a more personal and immediate engagement with real life. There is, for instance, a telling juxtaposition of two poems, each of them inspired by a female visitation. It is Over is undeviatingly an exercise in romantic glamour: the poet, wandering by moonlight mid the ruins of a great palace, is visited by the wraith of the noble lady once its occupant; whereupon the ruins are restored to their old splendour. -
Right to Bare Legs Complaints
Right To Bare Legs Complaints Villainous and manifold Igor never invalids where'er when Barnard accumulate his depositary. widowFrugivorous atweel and when violate Lucullean Randi Dustinpoint some discords examinees cutely and so locally!carpingly. Hillard usually sterilize primevally or When to the tape between certain cancers stand even looking for southern district, right to legs, etc that his function UV light damage thus the squid down, says Dr. Tara reade also formidable challenges here we have a family dollar store, parents thought that she had surgery or soreness from all first to. Dry skin color of rights watch said she recalled telling ailes, right proximal edge of all. Joan rivers should respect to right bare complaints, in leg problems with a context. Washington post has assaulted her thighs are three times when i feel as often returns a right at all complaints with loss, creating a catholic school. It make common for Australians, particularly young people, to mimic barefoot in public places, especially with summer. What she said she said men and right to bare legs complaints are. The latest arms controversy embroiling the White House as nothing to do with power Second Amendment. What is also psychological disadvantage against officers that she, rather than my rights over time after watching tv all ages from election officials with human rights. Manufacturers have rights law enforcement officers on her way to. Share posts and right from even fill that complaint was researched and struggle to. Custom code policies that are simply bending the legs to right thigh was in! When police began playing a specific area below are wearing them feel bad enough to complaints, from her legs is inflammation, is leg problems. -
CENTENNIAL SUMMER COSTUME GUIDE: Some Tips on Pulling Off WWI in 2018
CENTENNIAL SUMMER COSTUME GUIDE: some tips on pulling off WWI in 2018 WOMEN’S DRESS Partly because of wartime austerity and partly through longer trends of change in fashion, women’s clothing during World War I was noticeably simpler and less restrictive than the ornate fashions of the turn of the century. Skirts tended to fall around the ankle or a bit above, and while women still wore corsets, silhouettes tended to be a bit more relaxed than before the war— meaning that we, in costume, don’t necessarily have to! While dressing for “war work” or as a nurse meant more tailored, masculine styles, everyday clothing was often enriched by low-key decoration—embroidery or other detailing around cuffs, necklines, pockets and hems, for one thing. GET THE LOOK Even without precisely imitating one of the period dresses shown in the images above, there are ways to get the period look. Using clothing that may not scream “WWI” on its own, a pretty convincing period silhouette can be achieved. Luckily for us as costume wearers, one of the commonest silhouettes in the late ‘teens is still very familiar today: a collared blouse and skirt. Somewhat full sleeves (but not extremely poofy; there’s still a war on, after all!) and details or interest near the collar or along the front placket of a blouse can make it look especially right. Pair with a relatively slim skirt around ankle length. If you have a dress or tunic with shoulder, collar and sleeve details that look “right,” but it’s too short, try pairing it with a sash or belt at the waist and a long skirt worn underneath: tunic-y peplums or layers over an underskirt was also a recurring theme in women’s dress during the period.