Interview with Frank G. Wisner
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The Last Chapter of the Vietnam War: Normalization, Nongovernmental Actors and the Politics of Human Rights, 1975-1995
University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 2017 The Last Chapter of the Vietnam War: Normalization, Nongovernmental Actors and the Politics of Human Rights, 1975-1995 Amanda C. Demmer University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation Demmer, Amanda C., "The Last Chapter of the Vietnam War: Normalization, Nongovernmental Actors and the Politics of Human Rights, 1975-1995" (2017). Doctoral Dissertations. 153. https://scholars.unh.edu/dissertation/153 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. THE LAST CHAPTER OF THE VIETNAM WAR: NORMALIZATION, NONGOVERNMENTAL ACTORS AND THE POLITICS OF HUMAN RIGHTS, 1975-1995 BY AMANDA C. DEMMER B.A., State University of New York at Fredonia, 2010 M.A., University of New Hampshire, 2012 DISSERTATION Submitted to the University of New Hampshire in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in History May, 2017 ALL RIGHTS RESERVED © 2017 Amanda C. Demmer ii This dissertation has been examined and approved in partial fulfillment of the requirements for the degree of Ph.D. in History by: Dissertation Director, Kurkpatrick Dorsey, Professor of History and History Graduate Program Director Lucy E. Salyer, Associate Professor of History Jessica M. Lepler, Associate Professor of History Lien-Hang T. -
Tell-Tale Signs - Edgar Allan Poe and Bob Dylan: Towards a Model of Intertextuality
ATLANTIS. Journal of the Spanish Association of Anglo-American Studies. 31.2 (December 2009): 41–56 ISSN 0210-6124 Tell-Tale Signs - Edgar Allan Poe and Bob Dylan: Towards a Model of Intertextuality Christopher Rollason Metz, France [email protected] This article shows how the poetry and prose of Edgar Allan Poe (1809-1849) cast a long shadow over the work of America’s greatest living songwriter, Bob Dylan (1941-). The work of both artists straddles the dividing-line between ‘high’ and ‘mass’ culture by pertaining to both: read through Poe, Dylan’s work may be seen as a significant manifestation of American Gothic. It is further suggested, in the context of nineteenth- century and contemporary debates on alleged ‘plagiarism’, that the textual strategy of ‘embedded’ quotation, as employed by both Poe and Dylan, points up the need today for an open and inclusive model of intertextuality. Keywords: culture; Dylan; Gothic; intertextuality; Poe; quotation Tell-tale signs - Edgar Allan Poe y Bob Dylan: hacia un modelo de intertextualidad Este artículo explica cómo la poesía y la prosa de Edgar Allan Poe (1809-1849) proyectan una larga sombra sobre la obra del mayor cantautor vivo de Estados Unidos, Bob Dylan (1941-). Ambos artistas se ubican en una encrucijada entre la cultura ‘de elite’ y la ‘de masas’, puesto que la obra de cada uno se sitúa en ambos dominios a la vez: leída a través de Poe, la obra dylaniana aparece como una importante manifestación del gótico norteamericano. Se plantea igualmente la hipótesis de que, en el marco de los debates, tanto decimonónicos como contemporáneos, sobre el supuesto ‘plagio’, la estrategia textual, empleada tanto por Poe como por Dylan, de la cita ‘encajada’ señala la necesidad urgente de plantear un modelo abierto y global de la intertextualidad. -
Bob Dylan Performs “It's Alright, Ma (I'm Only Bleeding),” 1964–2009
Volume 19, Number 4, December 2013 Copyright © 2013 Society for Music Theory A Foreign Sound to Your Ear: Bob Dylan Performs “It’s Alright, Ma (I’m Only Bleeding),” 1964–2009 * Steven Rings NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.13.19.4/mto.13.19.4.rings.php KEYWORDS: Bob Dylan, performance, analysis, genre, improvisation, voice, schema, code ABSTRACT: This article presents a “longitudinal” study of Bob Dylan’s performances of the song “It’s Alright, Ma (I’m Only Bleeding)” over a 45-year period, from 1964 until 2009. The song makes for a vivid case study in Dylanesque reinvention: over nearly 800 performances, Dylan has played it solo and with a band (acoustic and electric); in five different keys; in diverse meters and tempos; and in arrangements that index a dizzying array of genres (folk, blues, country, rockabilly, soul, arena rock, etc.). This is to say nothing of the countless performative inflections in each evening’s rendering, especially in Dylan’s singing, which varies widely as regards phrasing, rhythm, pitch, articulation, and timbre. How can music theorists engage analytically with such a moving target, and what insights into Dylan’s music and its meanings might such a study reveal? The present article proposes one set of answers to these questions. First, by deploying a range of analytical techniques—from spectrographic analysis to schema theory—it demonstrates that the analytical challenges raised by Dylan’s performances are not as insurmountable as they might at first appear, especially when approached with a strategic and flexible methodological pluralism. -
Why Am I Doing This?
LISTEN TO ME, BABY BOB DYLAN 2008 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, NEW RELEASES, RECORDINGS & BOOKS. © 2011 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Listen To Me, Baby — Bob Dylan 2008 page 2 of 133 1 INTRODUCTION .................................................................................................................................................................. 4 2 2008 AT A GLANCE ............................................................................................................................................................. 4 3 THE 2008 CALENDAR ......................................................................................................................................................... 5 4 NEW RELEASES AND RECORDINGS ............................................................................................................................. 7 4.1 BOB DYLAN TRANSMISSIONS ............................................................................................................................................... 7 4.2 BOB DYLAN RE-TRANSMISSIONS ......................................................................................................................................... 7 4.3 BOB DYLAN LIVE TRANSMISSIONS ..................................................................................................................................... -
Shakespeare's Adaption of Cinthio's "Un Capitano Moro" Into Othello Cleveland A
University of Connecticut OpenCommons@UConn Master's Theses University of Connecticut Graduate School 12-16-2018 Shakespeare's Adaption of Cinthio's "Un Capitano Moro" into Othello Cleveland A. Williams [email protected] Recommended Citation Williams, Cleveland A., "Shakespeare's Adaption of Cinthio's "Un Capitano Moro" into Othello" (2018). Master's Theses. 1315. https://opencommons.uconn.edu/gs_theses/1315 This work is brought to you for free and open access by the University of Connecticut Graduate School at OpenCommons@UConn. It has been accepted for inclusion in Master's Theses by an authorized administrator of OpenCommons@UConn. For more information, please contact [email protected]. Shakespeare’s Adaptation of Cinthio’s “Un Capitano Moro” into Othello Cleveland A. Williams B.A., Prairie View A&M University, 1981 A Thesis Submitted in Partial Fulfillment of the Requirement for the Degree of Master of Arts At the University of Connecticut 2018 APPROVAL PAGE MASTER OF ARTS THESIS Shakespeare’s Adaptation of Cinthio’s “Un Capitano Moro” into Othello Presented by Cleveland A. Williams, B.A. Main Advisor __________________________________________________________ Dr. Andrea Celli Associate Advisor ________________________________________________________ Dr. Philip Balma Associate Advisor _______________________________________________________ Dr. Gustavo Nanclares University of Connecticut 2018 ii Shakespeare’s Adaptation of Cinthio’s “Un Capitano Moro” into Othello ___________________________________________________________ -
Freewheelin-On-Line Take Twenty Two
Freewheelin-on-line Take Twenty Two Freewheelin’ 220 There can be no question: it is a cinematic masterpiece; a milestone in the history of moving images. I am talking about Peter Jackson’s ‘Lord of the Rings’ trilogy , and, despite the multiple endings to the final part of the trilogy - ‘The Return of the King’ - nothing is lost when you consider the totality of the project. I couldn’t thus resist from having that half-man, half-beast and totally schizophrenic creature Gollum in the fore ground of this month’s cover. It seems that another king is going to return in 2004. It will be 50 years ago next year, in 1954, that Elvis sauntered into the studio and recorded ‘That’s All Right’ which many consider to be the big bang of rock and roll. So expect the usual anniversary celebrations and reports of sightings of the King by shepherds on hillsides and wise men from the north. My sighting of Elvis is taken from the famous 1963 screen print of the legend by Andy Warhol. For every king there must be a queen and who else but Marilyn could equal the iconic status of Elvis? This collage is taken from a study by the artist Mimmo Rotella, completed in 1962, a year of Marilyn’s death. Whilst Elvis is trying to gun Gollum down and Dylan looks inquisitively at the unheavenly creature, Marilyn just wants to take him home and cover him in kisses. Diamonds may be easily had and they may be a girl’s best friend but, for a Steptoe Senior loookalike who prefers thongs to Y-fronts, there’s nothing quite like a search of middle-earth for a golden ring to complete your set. -
UNIVERSITY of CALIFORNIA, SAN DIEGO Globalized Humanitarianism
UNIVERSITY OF CALIFORNIA, SAN DIEGO Globalized Humanitarianism: U.S. Imperial Formation in Asia and the Pacific through the Indochinese Refugee Problem A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Ethnic Studies by Ayako Sahara Committee in charge: Professor Yen Le Espiritu, Chair Professor Joseph Hankins Professor Adria Imada Professor Jin-Kyung Lee Professor Denise Ferreira da Silva 2012 Copyright Ayako Sahara, 2012 All rights reserved. The dissertation of Ayako Sahara is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2012 iii DEDICATION This dissertation is dedicated to my mother. iv TABLE OF CONTENTS SIGNATURE PAGE …………………………………..…………………………….…. iii DEDICATION …...…....................................................................................................... iv TABLE OF CONTENTS ……………………………………………………....................v LIST OF FIGURES …………………………………………………….……………......vi ACKNOWLEDGEMENTS …………………...………… ………….……………….…..vii VITA…………………………..…………………….……………………………….….. ix ABSTRACT OF THE DISSERTATION………………….…….......................................x INTRODUCTION…...……………….………………… …..…………...............................1 CHAPTER ONE: Theater of Rescue: Cultural Representations of US Evacuation from Vietnam…………………….………………………………....….....................................36 CHAPTER TWO: “Saigon Cowboys”: Fighting for Indochinese Refugees and Establishment of Refugee Act of 1980…………………..…..….……………………… -
After the Fall of Saigon
AFTER THE FALL OF SAIGON THE RESCUE EFFORT IN INDOCHINA PREAH VIHEAR FOUNDATION OVERVIEW SYNOPSIS ................................................................................. 03 MARKETABILITY ......................................................................... 05 FILM STYLE ............................................................................... 05 CREATIVE TEAM ........................................................................ 07 DOCUMENTARY UPDATE .............................................................. 08 TIMELINE ..................................................................................10 BUDGET .................................................................................... 11 GET IN TOUCH ........................................................................... 12 TOLD FOR THE FIRST TIME In the small country of Cambodia, the fall of the Khmer Rouge marked the end of a horrific genocide. Years later in America, Bunseng, a 21-year old Khmer Rouge concentration camp survivor, dreams of meeting the people who saved him. But in his search to find their names, he discovers that history has forgotten these individuals… until one day… while on a job, Bunseng finds the hero he never knew – as he by mere chance was painting the home of one of his rescuers. PREAH VIHEAR FOUNDATION 01 GOING IN THE WATER, “ YOU’LL FACE HUNGRY CROCODILES; BY LAND, YOU’LL MEET TIGERS. The khmer refugees [from nong chan refugee camp] were forcefully herded onto hundreds of buses And transported to a mountain range bordering -
Blood on the Tracks: ‘Time Is an Enemy’
Judas! Blood on the Tracks: ‘Time is an enemy’ by John Hinchey ‘Up to Me,’ an outtake eventually released on Biograph, is a rueful ballad of love wasted that picks up the action at the conclusion of ‘Idiot Wind,’immediately after the singer realizes that he and his beloved have fallen out of each other’s orbits. But its tone seems tempered by the realizations of those songs, discussed in the preceding chapter, in which the singer assimilates a devastating romantic loss and struggles to regain speaking terms both with his lost beloved and with himself. Now, in ‘Up to Me,’ the singer he returns to tell her – and himself – what he’s going to do about it. His plan of action is paradoxical: he’s heading out on the ‘Union Central’ in search of the same missing wife he’s leaving. The song I just described is over by the end of the third verse, yet ‘Up to Me’ is twelve verses long. The song gets away from Dylan, overflowing the bounds of the paradoxical farewell note. The lyric feels unfinished, and unlike, for instance, the original version of ‘Idiot Wind’ (later released on The Bootleg Series, Vol. 1-3), it also strikes me as unfinishable, except by starting over from scratch. Indeed, ‘Shelter from the Storm’ can be seen as a radical revision (and revisioning) of ‘Up to Me.’ The problem is that the momentum of feeling that sweeps the singer from one verse to the next seems to be largely unconscious, feelings he recognizes (if at all) only after the fact. -
Bob Dylan Musician, Keith Negus. This File Contains the Pre-Proof
Bob Dylan Musician, Keith Negus. This file contains the pre-proof versions of Chapter One and Chapter Five from Bob Dylan, presented here in this format with the permission of Equinox Publishing. I have called this text Bob Dylan Musician because this was the original agreed title of the book right up to the moment just before publication when pressure from the US publisher resulted in the term ‘musician’ being reluctantly (from my perspective) expunged from the title. That word – musician – was there to concisely signal how my approach differs from most other books on Bob Dylan. I am interested in his work and practice as a musician, rather than his lyrics as poetry or the relationship between his biography and musical art. The book contains five chapters, so these two chapters introduce and conclude the study. If anyone would like electronic copies of additional chapters I am happy to provide these, as long as they are used only for research and teaching. Keith Negus June 2013 CHAPTER ONE Surroundings On 31 October 1964 Bob Dylan performed at the Philharmonic Hall in New York City, just two years after signing a recording contract and with four albums already released. Having quickly gained recognition as a folk ‘protest singer’ he was rapidly moving away from songs of social commentary and ‘finger pointing’. Dylan was beginning to use the popular song in a new and radical manner to explore more internal or subjective experiences, whilst experimenting with the sound, meaning and rhythm of words. Within three months, when recording his fifth album, no longer performing alone with acoustic guitar and harmonica, he was beginning to create an abrasive yet ethereal sonority, mixing the acoustic and electric textures of folk, electric blues, rock’n’roll, gospel, country and pop. -
Still on the Road: 2013 Europe Fall Tour
STILL ON THE ROAD 2013 EUROPE FALL TOUR OCTOBER 10 Oslo, Norway Spektrum 12 Stockholm, Sweden Stockholm Waterfront Auditorium 13 Stockholm, Sweden Stockholm Waterfront Auditorium 15 Copenhagen, Denmark Falconer Salen 16 Copenhagen, Denmark Falconer Salen 18 Hannover, Germany Swiss Life Hall 19 Hamburg, Germany Congress Center Hamburg 20 Hamburg, Germany Congress Center Hamburg 22 Düsseldorf, Germany Mitsubishi Electric Halle 24 Berlin, Germany Tempodrom 25 Berlin, Germany Tempodrom 26 Berlin, Germany Tempodrom 28 Geneva, Switzerland Geneva Arena 30 Amsterdam, The Netherlands Heineken Music Hall 31 Amsterdam, The Netherlands Heineken Music Hall NOVEMBER 2 Milan, Italy Teatro degli Arcimboldi 3 Milan, Italy Teatro degli Arcimboldi 4 Milan, Italy Teatro degli Arcimboldi 6 Rome, Italy Atlantico 7 Rome, Italy Atlantico 8 Padova, Italy Gran Teatro Geox 10 Brussels, Belgium Vorst Nationaal 12 Paris, France Le Grand Rex 13 Paris, France Le Grand Rex 14 Paris, France Le Grand Rex 16 Esch-sur-Alzette, Luxembourg Rockhal 18 Glasgow, Scotland Clyde Auditorium 19 Glasgow, Scotland Clyde Auditorium 20 Glasgow, Scotland Clyde Auditorium 22 Blackpool, England Opera House Theatre 23 Blackpool, England Opera House Theatre 24 Blackpool, England Opera House Theatre 26 London, England Royal Albert Hall 27 London, England Royal Albert Hall 28 London, England Royal Albert Hall Bob Dylan: Still On The Road – 2013 Europe Fall Tour Bob Dylan: Still On The Road – 2013 Europe Fall Tour 35160 Spektrum Oslo, Norway 10 October 2013 1. Things Have Changed 2. She Belongs To Me 3. Beyond Here Lies Nothin' (Bob Dylan-Robert Hunter/Bob Dylan) 4. What Good Am I? 5. Pay In Blood 6. -
1 Bob Dylan's American Journey, 1956-1966 September 29, 2006, Through January 6, 2007 Exhibition Labels Exhibit Introductory P
Bob Dylan’s American Journey, 1956-1966 September 29, 2006, through January 6, 2007 Exhibition Labels Exhibit Introductory Panel I Think I’ll Call It America Born into changing times, Bob Dylan shaped history in song. “Life’s a voyage that’s homeward bound.” So wrote Herman Melville, author of the great tall tale Moby Dick and one of the American mythmakers whose legacy Bob Dylan furthers. Like other great artists this democracy has produced, Dylan has come to represent the very historical moment that formed him. Though he calls himself a humble song and dance man, Dylan has done more to define American creative expression than anyone else in the past half-century, forming a new poetics from his emblematic journey. A small town boy with a wandering soul, Dylan was born into a post-war landscape of possibility and dread, a culture ripe for a new mythology. Learning his craft, he traveled a road that connected the civil rights movement to the 1960s counterculture and the revival of American folk music to the creation of the iconic rock star. His songs reflected these developments and, resonating, also affected change. Bob Dylan, 1962 Photo courtesy of John Cohen Section 1: Hibbing Red Iron Town Bobby Zimmerman was a typical 1950’s kid, growing up on Elvis and television. Northern Minnesota seems an unlikely place to produce an icon of popular music—it’s leagues away from music birthplaces like Memphis and New Orleans, and seems as cold and characterless as the South seems mysterious. Yet growing up in the small town of Hibbing, Bob Dylan discovered his musical heritage through radio stations transmitting blues and country from all over, and formed his own bands to practice the newfound religion of rock ‘n’ roll.