CLASSICS REWRITTEN in STONE: the ART of ANITA HUFFINGTON Continued from Page 1
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1 Visual Aid: Teaching H.D.'S Imagist Poetry with the Assistance Of
Teaching American Literature: A Journal of Theory and Practice Winter 2008 (2:1) Visual Aid: Teaching H.D.'s Imagist Poetry with the Assistance of Henri Matisse Christa Baiada, Borough of Manhattan Community College, CUNY The mantra of the modernist movement, articulated by Ezra Pound, was "make it new." Unfortunately, students don't always know how to approach "new" styles of literature, especially poetry that itself daunts many students. As we've all observed, if not experienced for ourselves, modernist poetry, upon first encounter, can be especially intimidating. In the spirit of making it new, this poetry often appears obscure in its density, perspective, and complexity. Students may look at a poem like "The Red Wheel Barrow" and ask "how is this poetry?" Of course, this is precisely the question we want to work through with them, so this is good. On the other hand, the initial discomfort of students with modernism can develop into a resistance hard to tackle. This is a challenge I found especially difficult to address in my early attempts to teach the poems of H.D. at a small, suburban music college in Long Island, NY. For my first lesson at the start of a unit on modernism in an undergraduate 200-level, Introduction to Literature class, I would devote the entire period to H.D. because I believe that her work beautifully encapsulates many of the principles of modernism laid out by Pound in his seminal essay "A Retrospect." Though several of my students have been fans, or even writers, of poetry and most had artistic sensibilities, many were disconcerted in their first encounter with modernist poetry via H.D., and the malaise they felt would linger in the following weeks as we read additional modernist poets. -
On-Site Historical Reenactment As Historiographic Operation at Plimoth Plantation
Fall2002 107 Recreation and Re-Creation: On-Site Historical Reenactment as Historiographic Operation at Plimoth Plantation Scott Magelssen Plimoth Plantation, a Massachusetts living history museum depicting the year 1627 in Plymouth Colony, advertises itself as a place where "history comes alive." The site uses costumed Pilgrims, who speak to visitors in a first-person presentvoice, in order to create a total living environment. Reenactment practices like this offer possibilities to teach history in a dynamic manner by immersing visitors in a space that allows them to suspend disbelief and encounter museum exhibits on an affective level. However, whether or not history actually "comes alive"at Plimoth Plantation needs to be addressed, especially in the face of new or postmodem historiography. No longer is it so simple to say the past can "come alive," given that in the last thirty years it has been shown that the "past" is contestable. A case in point, I argue, is the portrayal of Wampanoag Natives at Plimoth Plantation's "Hobbamock's Homesite." Here, the Native Wampanoag Interpretation Program refuses tojoin their Pilgrim counterparts in using first person interpretation, choosing instead to address visitors in their own voices. For the Native Interpreters, speaking in seventeenth-century voices would disallow presentationoftheir own accounts ofthe way colonists treated native peoples after 1627. Yet, from what I have learned in recent interviews with Plimoth's Public Relations Department, plans are underway to address the disparity in interpretive modes between the Pilgrim Village and Hobbamock's Homesite by introducing first person programming in the latter. I Coming from a theatre history and theory background, and looking back on three years of research at Plimoth and other living history museums, I would like to trouble this attempt to smooth over the differences between the two sites. -
Descriptive Catalogue of the Bowdoin College Art Collections
Bowdoin College Bowdoin Digital Commons Museum of Art Collection Catalogues Museum of Art 1895 Descriptive Catalogue of the Bowdoin College Art Collections Bowdoin College. Museum of Art Henry Johnson Follow this and additional works at: https://digitalcommons.bowdoin.edu/art-museum-collection- catalogs Part of the Fine Arts Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Bowdoin College. Museum of Art and Johnson, Henry, "Descriptive Catalogue of the Bowdoin College Art Collections" (1895). Museum of Art Collection Catalogues. 11. https://digitalcommons.bowdoin.edu/art-museum-collection-catalogs/11 This Book is brought to you for free and open access by the Museum of Art at Bowdoin Digital Commons. It has been accepted for inclusion in Museum of Art Collection Catalogues by an authorized administrator of Bowdoin Digital Commons. For more information, please contact [email protected]. BOWDOIN COLLEGE Desgriptive Catalogue OF THE Art Collections DESCRIPTIVE CATALOGUE OF THE BOWDOIN COLLEGE ART COLLECTIONS BY HENRY JOHNSON, Curator BRUNSWICK, ME. 1895 PUBLISHED BY THE COLLEGE. PRINTED AT JOURNAL OFFICE, LEWISTON, ME. Historical Introduction. The Honorable James Bowdoin, only son of the emi- nent statesman and patriot, Governor James Bowdoin of Massachusetts, returned to this country in 1809 from Europe, where he had been engaged in important diplomatic missions for the United States government. His death occurred in 1811. He bequeathed to the College, besides his library and other valuable property, his collection of paintings, seventy in number, brought together chiefly in Europe, and two portfolios of drawings. The drawings were received by Mr. John Abbot, the agent of the College, December 3, 1811, along with the library, of which they were reckoned a part. -
Historical Reenactment in Photography: Familiarizing with the Otherness of the Past?
INSTITUTE OF ARCHAEOLOGY AND ETHNOLOGY POLISH ACADEMY OF SCIENCES INSTITUTE OF ETHNOLOGY AND FOLKLORE STUDIES WITH ETHNOGRAPHIC MUSEUM AT THE BULGARIAN ACADEMY OF SCIENCES The Multi-Mediatized Other The Construction of Reality in East-Central Europe, 1945–1980 EDITED BY DAGNOSŁAW DEMSKI ANELIA KASSABOVA ILDIKÓ SZ. KRISTÓF LIISI LAINESTE KAMILA BARANIECKA-OLSZEWSKA BUDAPEST 2017 Contents 9 Acknowledgements 11 Dagnosław Demski in cooperation with Anelia Kassabova, Ildikó Sz. Kristóf, Liisi Laineste and Kamila Baraniecka-Olszewska Within and Across the Media Borders 1. Mediating Reality: Reflections and Images 30 Dagnosław Demski Cultural Production of the Real Through Picturing Difference in the Polish Media: 1940s–1960s 64 Zbigniew Libera, Magdalena Sztandara Ethnographers’ Self-Depiction in the Photographs from the Field. The Example of Post-War Ethnology in Poland 94 Valentina Vaseva The Other Dead—the Image of the “Immortal” Communist Leaders in Media Propaganda 104 Ilkim Buke-Okyar The Arab Other in Turkish Political Cartoons, 1908–1939 2. Transmediality and Intermediality 128 Ildikó Sz. Kristóf (Multi-)Mediatized Indians in Socialist Hungary: Winnetou, Tokei-ihto, and Other Popular Heroes of the 1970s in East-Central Europe 156 Tomislav Oroz The Historical Other as a Contemporary Figure of Socialism—Renegotiating Images of the Past in Yugoslavia Through the Figure of Matija Gubec 178 Annemarie Sorescu-Marinković Multimedial Perception and Discursive Representation of the Others: Yugoslav Television in Communist Romania 198 Katya Lachowicz The Cultivation of Image in the Multimedial Landscape of the Polish Film Chronicle 214 Dominika Czarnecka Otherness in Representations of Polish Beauty Queens: From Miss Baltic Coast Pageants to Miss Polonia Contests in the 1950s 3. -
Naiad: a Timely Dataflow System
Naiad: A Timely Dataflow System Derek G. Murray Frank McSherry Rebecca Isaacs Michael Isard Paul Barham Mart´ın Abadi Microsoft Research Silicon Valley {derekmur,mcsherry,risaacs,misard,pbar,abadi}@microsoft.com Abstract User queries Low-latency query are received responses are delivered Naiad is a distributed system for executing data parallel, cyclic dataflow programs. It offers the high throughput Queries are of batch processors, the low latency of stream proces- joined with sors, and the ability to perform iterative and incremental processed data computations. Although existing systems offer some of Complex processing these features, applications that require all three have re- incrementally re- lied on multiple platforms, at the expense of efficiency, Updates to executes to reflect maintainability, and simplicity. Naiad resolves the com- data arrive changed data plexities of combining these features in one framework. A new computational model, timely dataflow, under- Figure 1: A Naiad application that supports real- lies Naiad and captures opportunities for parallelism time queries on continually updated data. The across a wide class of algorithms. This model enriches dashed rectangle represents iterative processing that dataflow computation with timestamps that represent incrementally updates as new data arrive. logical points in the computation and provide the basis for an efficient, lightweight coordination mechanism. requirements: the application performs iterative process- We show that many powerful high-level programming ing on a real-time data stream, and supports interac- models can be built on Naiad’s low-level primitives, en- tive queries on a fresh, consistent view of the results. abling such diverse tasks as streaming data analysis, it- However, no existing system satisfies all three require- erative machine learning, and interactive graph mining. -
Carnegie Corporation of New York a N N U a L R E P O R T 2004-2005 Carnegie Corporation of New York
Carnegie Corporation of New York COMBINED ANNU A L R E P O R T 2004-2005 ANNU A L R E P O R T 2004-2005 Carnegie Corporation of New York Carnegie Corporation of New York was created by Andrew Carnegie in 1911 to promote “the advancement and diffusion of knowledge and understanding.” Under Carnegie’s will, grants must benefit the people of the United States, although up to 7.4 percent of the funds may be used for the same purpose in countries that are or have been members of the British Commonwealth, with a current emphasis on sub-Saharan Africa. As a grantmaking foundation, the Corporation seeks to carry out Carnegie’s vision of philanthropy, which he said should aim “to do real and permanent good in this world.” © 2007 Carnegie Corporation of New York Contents REPORT OF THE PrESIDENT I Reflections on Encounters With Three Cultures 2004 REPORT ON PrOGRAM 1 Ongoing Evaluation Enhances the Corporation’s Grantmaking Strategies in 2004 Grants and Dissemination Awards Education International Development International Peace and Security Strengthening U.S. Democracy Special Opportunities Fund Carnegie Scholars Dissemination Anonymous $15 Million in Grants to Cultural and Social Service Institutions in New York City 2004 REPORT ON FINANCES 77 Financial Highlights 2004 REPORT ON ADMINISTRATION 91 Fiscal 2004: The Year in Review 2005 REPORT ON PrOGRAM 97 Key Programs Meet the Challenges of Maturity in 2005 Grants and Dissemination Awards Education International Development International Peace and Security Strengthening U.S. Democracy Special Opportunities -
VISITOR FIGURES 2015 the Grand Totals: Exhibition and Museum Attendance Numbers Worldwide
SPECIAL REPORT VISITOR FIGURES2015 The grand totals: exhibition and museum attendance numbers worldwide VISITOR FIGURES 2015 The grand totals: exhibition and museum attendance numbers worldwide THE DIRECTORS THE ARTISTS They tell us about their unlikely Six artists on the exhibitions blockbusters and surprise flops that made their careers U. ALLEMANDI & CO. PUBLISHING LTD. EVENTS, POLITICS AND ECONOMICS MONTHLY. EST. 1983, VOL. XXV, NO. 278, APRIL 2016 II THE ART NEWSPAPER SPECIAL REPORT Number 278, April 2016 SPECIAL REPORT VISITOR FIGURES 2015 Exhibition & museum attendance survey JEFF KOONS is the toast of Paris and Bilbao But Taipei tops our annual attendance survey, with a show of works by the 20th-century artist Chen Cheng-po atisse cut-outs in New attracted more than 9,500 visitors a day to Rio de York, Monet land- Janeiro’s Centro Cultural Banco do Brasil. Despite scapes in Tokyo and Brazil’s economic crisis, the deep-pocketed bank’s Picasso paintings in foundation continued to organise high-profile, free Rio de Janeiro were exhibitions. Works by Kandinsky from the State overshadowed in 2015 Russian Museum in St Petersburg also packed the by attendance at nine punters in Brasilia, Rio, São Paulo and Belo Hori- shows organised by the zonte; more than one million people saw the show National Palace Museum in Taipei. The eclectic on its Brazilian tour. Mgroup of exhibitions topped our annual survey Bernard Arnault’s new Fondation Louis Vuitton despite the fact that the Taiwanese national muse- used its ample resources to organise a loan show um’s total attendance fell slightly during its 90th that any public museum would envy. -
Annual Report to the Community a MESSAGE from the BOARD CHAIR and PRESIDENT & CEO
2014-2015 Annual Report to the Community A MESSAGE FROM THE BOARD CHAIR AND PRESIDENT & CEO Decade after decade, over centuries and millennia, Jews around the world have embraced the blessing and the responsibility of caring for one another. Today, the Milwaukee Jewish Federation is our community’s way of continuing this tradition. It’s our communal response to both the everyday and the extraordinary needs of Jews in Milwaukee, in Israel and in 70 countries around the world. ANNUAL REPORT 2014-2015 REPORT ANNUAL In 2014-15, we made great strides in developing the financial resources that will sustain our work. We’re pleased to report that our donors invested $5.9 million in our 2015 Annual Campaign, a 3% increase over the previous year, after a multi-year downward trend in campaign achievement. Our donors see the value in our work, and it shows in their giving. We also made a giant step forward in building our Jewish Community Foundation, which now has $165 million in total assets. Through our Create a Jewish Legacy program, we secured 365 commitments for after lifetime “legacy” gifts with an estimated value of $8.7 million. We are following the ancient tradition among Jews of responding to need by saying, "Hineni: I am here. I am ready to do what is asked of me." This Annual Report tells the story of an extraordinarily generous community that distributed $19.6 million in support to nonprofits through the Milwaukee Jewish Federation and our Jewish Community Foundation. It’s a community to whom we owe our deepest gratitude. -
Slave Dwelling Project Conference
FIFTH ANNUAL SLAVE DWELLING PROJECT CONFERENCE SLAVERY, RESISTANCE, AND COMMUNITY OCTOBER 24–27, 2018 MIDDLE TENNESSEE STATE UNIVERSITY MURFREESBORO, TENNESSEE Info at slavedwellingproject.org Keynote Speaker Colson Whitehead is the New York Times No. 1 best-selling author of The Underground Railroad (winner of the National Book Award and Pulitzer Prize), The Noble Hustle, Zone One, Sag Harbor, The Intuitionist, John Henry Days, Apex Hides the Hurt, and one collection of essays, The Colossus of New York. He was named New York’s state author in 2018, the 11th in history. Whitehead’s reviews, essays, and fiction have appeared in a number of publications, including The New Yorker, New York Magazine, Harper’s, The New York Times, and Granta. He has received Colson Whitehead, Image © Madeline Whitehead a MacArthur Fellowship, Guggenheim Fellowship, Whiting Writers Award, Dos Passos Prize, and a fellowship at the Cullman Center for Scholars and Writers. Whitehead also was a finalist for the Pulitzer Prize for John Henry Days. He has taught at the University of Houston, Columbia University, Brooklyn College, Hunter College, New York University, Princeton University, and Wesleyan University, and he has been a Writer-in-Residence at Vassar College, the University of Richmond, and the University of Wyoming. Whitehead lives in New York City. Welcome to Middle Tennessee State University! The Center for Historic Preservation (CHP) at Middle Tennessee State University is delighted to host the fifth annual Slave Dwelling Project Conference. The CHP was established in 1984 as MTSU’s first Center of Excellence and one of the nine original centers at the state’s universities administered by the Tennessee Board of Regents at the time. -
The Performance of the Tale of Sawney Beane at the Texas
THE PERFORMANCE OF THE TALE OF SAWNEY BEANE AT THE TEXAS RENAISSANCE FESTIVAL A Dissertation by BRANDIE LOUISE MASSENGALE Submitted to the Office of Graduate and Professional Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Chair of Committee, Thomas Green Committee Members, Norbert Dannhaeuser Robert Boenig Tazim Jamal Head of Department, Cynthia Werner December 2014 Major Subject: Anthropology Copyright 2014 Brandie Louise Massengale ABSTRACT The research presented here explores how authentic performances are created and experienced by performers by answering the following questions: (1) What performance methods are used at renaissance festivals and why are these methods chosen? (2) How do performers use these performance methods to engage themselves with history and develop personal meaning through their performances? (3) How do performers combine historical representation with self-expression? (4) How does the performance of Sawney Beane connect to general renaissance festival performance methods and festival culture? (5) How does the performance of Sawney Beane allow performers to engage with history and personal meaning? Through participant observation and informal interviews, the research presented here explores the performance methods used at the Texas Renaissance Festival and how these performance methods allow participants to engage authentically with the past, with themselves, and with each other. Comparisons are made between general renaissance performance methods and those used in the performance of Sawney Beane, revealing the connections between these performances and the subculture that permeates the festival. By focusing on the performers’ own views about their participation in these performances, the methods used here elucidate the personal benefits of participating in the renaissance festival. -
Download All Beautiful Sites
1,800 Beautiful Places This booklet contains all the Principle Features and Honorable Mentions of 25 Cities at CitiesBeautiful.org. The beautiful places are organized alphabetically by city. Copyright © 2016 Gilbert H. Castle, III – Page 1 of 26 BEAUTIFUL MAP PRINCIPLE FEATURES HONORABLE MENTIONS FACET ICON Oude Kerk (Old Church); St. Nicholas (Sint- Portugese Synagoge, Nieuwe Kerk, Westerkerk, Bible Epiphany Nicolaaskerk); Our Lord in the Attic (Ons' Lieve Heer op Museum (Bijbels Museum) Solder) Rijksmuseum, Stedelijk Museum, Maritime Museum Hermitage Amsterdam; Central Library (Openbare Mentoring (Scheepvaartmuseum) Bibliotheek), Cobra Museum Royal Palace (Koninklijk Paleis), Concertgebouw, Music Self-Fulfillment Building on the IJ (Muziekgebouw aan 't IJ) Including Hôtel de Ville aka Stopera Bimhuis Especially Noteworthy Canals/Streets -- Herengracht, Elegance Brouwersgracht, Keizersgracht, Oude Schans, etc.; Municipal Theatre (Stadsschouwburg) Magna Plaza (Postkantoor); Blue Bridge (Blauwbrug) Red Light District (De Wallen), Skinny Bridge (Magere De Gooyer Windmill (Molen De Gooyer), Chess Originality Brug), Cinema Museum (Filmmuseum) aka Eye Film Square (Max Euweplein) Institute Musée des Tropiques aka Tropenmuseum; Van Gogh Museum, Museum Het Rembrandthuis, NEMO Revelation Photography Museums -- Photography Museum Science Center Amsterdam, Museum Huis voor Fotografie Marseille Principal Squares --Dam, Rembrandtplein, Leidseplein, Grandeur etc.; Central Station (Centraal Station); Maison de la Berlage's Stock Exchange (Beurs van -
Hermes in the Academy WT.Indd
In 1999, an innovative chair and expertise center was created at the Faculty wouter j. hanegraaff and joyce pijnenburg (eds.) of Humanities of the University of Amsterdam, focused on the history of Western esotericism from the Renaissance to the present. The label “Western esotericism” refers here to a complex of historical currents such as, notably, the Hermetic philosophy of the Renaissance, mystical, magical, alchemical and astrological currents, Christian kabbalah, Paracelsianism, Rosicrucianism, Christian theosophy, and the many occultist and related esoteric currents that developed in their wake during the 19th and the 20th centuries. This complex of “alternative” religious currents is studied from a critical historical and interdisciplinary perspective, with the intention of studying the roles that they have played in the history of Western culture. In the past ten years, the chair for History of Hermetic Philosophy and Related Currents has succeeded in establishing itself as the most important center for study and teaching in this domain, and has strongly contributed to the establishment of Western esotericism as a recognized academic field of research. This volume is published at the occasion of the 10th anniversary. Hermes in the Academy in the Hermes It contains a history of the creation and development of the chair, followed by articles on aspects of Western esotericism by the previous and current staff members, contributions by students and Ph.D. students about the study program, and reflections by international top specialists about the field of research and its academic development. Prof. Dr. Wouter J. Hanegraaff is Professor of History of Hermetic Philosophy and Related Currents at the University of Amsterdam.