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Piracy: the World's Third-Oldest Profession
Comparative Civilizations Review Volume 63 Article 7 Number 63 Fall 2010 4-1-2010 Piracy: The orW ld's Third-Oldest Profession Laina Farhat-Holzman [email protected] Follow this and additional works at: https://scholarsarchive.byu.edu/ccr Recommended Citation Farhat-Holzman, Laina (2010) "Piracy: The orldW 's Third-Oldest Profession," Comparative Civilizations Review: Vol. 63 : No. 63 , Article 7. Available at: https://scholarsarchive.byu.edu/ccr/vol63/iss63/7 This Essay is brought to you for free and open access by the All Journals at BYU ScholarsArchive. It has been accepted for inclusion in Comparative Civilizations Review by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Farhat-Holzman: Piracy: The World's Third-Oldest Profession Dear Readers: We are instituting with this issue a new type of article: the Historic Review Essay. The process for publishing essays will run parallel to that now existing for peer reviewed papers, but the essays will not be submitted for anonymous peer review. The point of the essays will be to present challenging or thought-provoking theories or ideas or histories that may not necessarily be congruent with prevailing scholarship. The essays will be read and scheduled by the editorial board of the journal. The first such essay is printed below. Joseph Drew HISTORIC REVIEW ESSAY Piracy: The World's Third-Oldest Profession Laina Farhat-Holzman [email protected] The world has seen a reemergence of piracy during the past few decades—an activity that had seemed obsolete. I propose exploring the origins of piracy, its most significant appearances during history, and its strange modern reincarnation. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
The Use of Music in the Cinematic Experience
Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects Spring 2019 The seU of Music in the Cinematic Experience Sarah Schulte Western Kentucky University, [email protected] Follow this and additional works at: https://digitalcommons.wku.edu/stu_hon_theses Part of the Film and Media Studies Commons, Music Commons, and the Psychology Commons Recommended Citation Schulte, Sarah, "The sU e of Music in the Cinematic Experience" (2019). Honors College Capstone Experience/Thesis Projects. Paper 780. https://digitalcommons.wku.edu/stu_hon_theses/780 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. SOUND AND EMOTION: THE USE OF MUSIC IN THE CINEMATIC EXPERIENCE A Capstone Project Presented in Partial Fulfillment of the Requirements for the Degree Bachelor of Arts with Honors College Graduate Distinction at Western Kentucky Univeristy By Sarah M. Schulte May 2019 ***** CE/T Committee: Professor Matthew Herman, Advisor Professor Ted Hovet Ms. Siera Bramschreiber Copyright by Sarah M. Schulte 2019 Dedicated to my family and friends ACKNOWLEDGEMENTS This project would not have been possible without the help and support of so many people. I am incredibly grateful to my faculty advisor, Dr. Matthew Herman. Without your wisdom on the intricacies of composition and your constant encouragement, this project would not have been possible. To Dr. Ted Hovet, thank you for believing in this project from the start. I could not have done it without your reassurance and guidance. -
Kol Nidre: Variations on a Theme a GREAT JEWISH BOOKS TEACHER WORKSHOP RESOURCE KIT
Kol Nidre: Variations on a Theme A GREAT JEWISH BOOKS TEACHER WORKSHOP RESOURCE KIT Teachers’ Guide This guide accompanies resources that can be found at: http://teachgreatjewishbooks.org/resource-kits/kol-nidre-variations- theme. Introduction Kol Nidre is a legal formula recited in the evening service that begins the holiday of Yom Kippur, the Jewish day of atonement. This ritual recitation may have been developed in the early medieval period as a response to Jews being forced to convert, either to Christianity or Islam. The text absolves those who recite it from vows in God’s name made under duress, so that the breaking of such vows is not counted as a sin. Its dramatic recitation and musical setting lend it an emotional intensity that has allowed the prayer to develop resonances beyond the stated meaning of the text. The High Holidays—the celebration of the new year on the Jewish calendar, which includes Rosh Hashanah and Yom Kippur—have in general come to signify a return to tradition and to religious duties that may have been neglected over the past year, and Kol Nidre serves as a climactic moment of this return. This kit gathers together examples of the use of Kol Nidre in modern Jewish literature, music, and film, asking students to consider how the prayer has come to stand for adherence to and return to Jewish tradition, and what precisely that return entails. Cover image: Cover of sheet music for an arrangement of Kol Nidre by Solomon Schenker, 1913. Courtesy of the Center for Jewish History, https://www.flickr.com/photos/center_for_jewish_history/4991049347. -
The Ocean in the Atlantic: British Experience and Imagination in an Imperial Sea, Ca
The Ocean in the Atlantic: British Experience and Imagination in an Imperial Sea, ca. 1600-1800 Heather Rose Weidner Chino Hills, California BA, Swarthmore College, 2000 MA, University of Virginia, 2002 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of History University of Virginia May, 2014 i Table of Contents Abstract ii Acknowledgements iii Abbreviations vi Images vii 1. Introduction: Maritime, Anxious, Godly, and Sociable 1 2. Sing a Song of Shipwrecks 28 3. Between Wind and Water 95 4. Wrecked 166 5. To Aid Poor Sailors 238 6. Conclusion: God speed the barge 303 Appendix 1 315 Appendix 2 322 Bibliography 323 ii Abstract For Britons in the seventeenth and eighteenth centuries, “the Atlantic” was not a field of study -- it was an ocean. In this dissertation I argue for an environmentally minded Atlantic history, one that is conscious of the ocean as both a cultural and a physical presence. The ocean shaped an early modern Atlantic vernacular that was at its essence maritime, godly, anxious and sociable. The ocean was a conduit to empire, so anything Britons imagined about the oceans, they imagined about their empire as well. Britons could never fully master their empire because they could never master the ocean; it was source of anxiety for even the wealthiest merchants. The fear of extremity – of wreck and ruin – kept those who crossed the ocean focused on the three most valuable Atlantic commodities: a sound reputation, accurate information, and the mercy of God. -
Reggie Workman Working Man
APRIL 2018—ISSUE 192 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM REGGIE WORKMAN WORKING MAN JIM JONNY RICHARD EDDIE McNEELY KING WYANDS JEFFERSON Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2018—ISSUE 192 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : JIM Mcneely 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : JONNY KING 7 by donald elfman General Inquiries: [email protected] ON The COver : REGGIE WORKMAN 8 by john pietaro Advertising: [email protected] Encore : RICHARD WYANDS by marilyn lester Calendar: 10 [email protected] VOXNews: Lest WE Forget : EDDIE JEFFERSON 10 by ori dagan [email protected] LAbel Spotlight : MINUS ZERO by george grella US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or vOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] Obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviews 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, Suzanne -
When Film Was Deaf (1895-1927) • THINGS MOVING WITHOUT NOISE
... Warning Concerning Copyrisht Restrictions The Copyright Law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be used for any purpose other than private study, scholarship, or research. If electronic transmission of reserve material is used for purposes in excess of what constitutes "fair use," that user may be liable for copyright infringement. • FILM, • • A SOUND ART • • ffllCHEL CHIOI • ·• TRANSLATED ev cL1uo,1 GDRBmAn • COLUMBIA UNIVERSITY PRESS ~ New York COLUMBIA UNIVERSITY PRESS Publishers Si?ce 1893 New York Chichester, West Sussex Copyright © 2003 !es Editions de l'Etoile Translation © 2009 Columbia University Press All rights reserved Library of Congress Cataloging-in-Publication Data Chion, Michel, 1947- [Art son ore, le cinema. English] Film, a sound art/ Michel Chion ; translated by Claudia Gorbman. p. cm.-(Film and culture) Includes bibliographical references and index. ISBN 978-0-231-13776-8 (cloth: alk. paper)-ISBN 978-0-231-13777-5 (pbk. : alk. paper) 1. Sound motion pictures. 2. Motion pictures-sound effects. 3, Motion pictures-Aesthetics. I. Title. I!. Series. PN1995.7C4513 zoo9 791.4302'4-dc22 2008054795 e Columbia University Press books are printed on permanent and durable acid-free paper. This book is printed on paper with recycled content. Printed in the United States of America C 10 9 8 7 6 5 4 3 p 10 9 8 7 6 5 4 References to Internet Web sites (URLs) were accurate at the time of writing. -
Glenn Miller, Benny Goodman, and Count Basie Led Other Successful
JAZZ AGE Glenn Miller, Benny Goodman, and Count Basie led other modal jazz (based on musical modes), funk (which re- successful orchestras. While these big bands came to char- prised early jazz), and fusion, which blended jazz and rock acterize the New York jazz scene during the Great De- and included electronic instruments. Miles Davis in his pression, they were contrasted with the small, impover- later career and Chick Corea were two influential fusion ished jazz groups that played at rent parties and the like. artists. During this time the performer was thoroughly identified Hard bop was a continuation ofbebop but in a more by popular culture as an entertainer, the only regular accessible style played by artists such as John Coltrane. venue was the nightclub, and African American music be- Ornette Coleman (1960) developed avant-garde free jazz, came synonymous with American dance music. The big- a style based on the ideas ofThelonius Monk, in which band era was also allied with another popular genre, the free improvisation was central to the style. mainly female jazz vocalists who soloed with the orches- tras. Singers such as Billie Holiday modernized popular- Postmodern Jazz Since 1980 song lyrics, although some believe the idiom was more Hybridity, a greater degree offusion,and traditional jazz akin to white Tin Pan Alley than to jazz. revivals merely touch the surface of the variety of styles Some believe that the big band at its peak represented that make up contemporary jazz. Inclusive ofmany types the golden era ofjazz because it became part ofthe cul- ofworld music, it is accessible, socially conscious, and tural mainstream. -
Tot Shabbat in Strawberry Fields
TempleTemple TimesTimes Feb 2019 • Shevat/Adar 5779 Volume 306 • URJ Affiliated Temple Emanu-El Sarasota, Florida • Founded 1956 Judaism does not want us to despair in who are sick, but also of those who care for Rabbi’s Message illness, rather we are a people of hope. One them. act that manifests hope is our prayers. In our We also keep a silent healing list. Some sanctuary, when singing Mi Shebeirach, we of our members are more private. Some on are praying as a community. We are plead- the silent list are fighting long term battles. ing with God to bless and heal, to restore and We also pray for them. strengthen, and to make this happen swiftly. One of the greatest moments at temple is During many Shabbat services, we taking someone off the healing list when they faithfully offer one of the most beloved and are better. The return to services for the first familiar versions of Mi Shebeirach by Debbie time is cause for celebration and thanks. Friedman. When we sing this prayer, we ask We don’t always know that one of our the “Source of strength, who blessed the ones members is in the hospital or that someone before us, to help us find the courage to make you care for is ill. We want to know. Until the our lives a blessing” and to “bless those in day comes when all who are sick are healed, need of healing with r’fuah sh’leimah, the we ask you to please let us know when a renewal of body, the renewal of spirit.” name should be added to our healing lists. -
TRANSLITERATION Shir Hamaalot, B'shuv Adonai Et Shivat Tziyon Hayinu K'chol'mim
1 Psalm 126 Handout—February 5, 2021 SLIDE 2 TRANSLITERATION Shir hamaalot, b'shuv Adonai et shivat Tziyon hayinu k'chol'mim. Az yimalei s'chok pinu, ul'shoneinu rinah. Az yom'ru vagoyim: Higdil Adonai laasot im eileh. Higdil Adonai laasot imanu, hayinu s'meichim. Shuvah Adonai et sh'viteinu kaafikim baNegev. Hazor'im b'dimah b'rinah yiktzoru. Haloch yeileich uvachoh, nosei meshech hazara, bo yavo v'rinah, nosei alumotav. 2 For comparison: Robert Alter translation 1. A song of ascents. When the LORD restores Zion’s fortunes, we should be like dreamers. 2. Then will our mouth fill with laughter and our tongue with song; Then will they say in the nations: “Great things has the LORD done with these.” 3. Great things has the LORD done with us. We shall rejoice. 4. Restore, O Lord, our fortunes, like freshets in the Negeb. 5. Those who sow in tears in glad song will reap. 6. He walks along and weeps, the bearer of the seed bag. He will surely come in with glad song bearing his sheaves. 3 SLIDE SIX Story of Honi and the Carob Tree Talmud Taanit 23a (from Sefaria) § The Gemara relates another story about Ḥoni HaMe’aggel. Rabbi Yoḥanan said: All the days of the life of that righteous man, Ḥoni, he was distressed over the meaning of this verse: “A song of Ascents: When the Lord brought back those who returned to Zion, we were like those who dream” (Psalms 126:1). He said to himself: Is there really a person who can sleep and dream for seventy years? How is it possible to compare the seventy-year exile in Babylonia to a dream? One day, he was walking along the road when he saw a certain man planting a carob tree. -
Pirate Utopias: Moorish Corsairs & European Renegadoes Author: Wilson, Peter Lamborn
1111111 Ullllilim mil 1IIII 111/ 1111 Sander, Steven TN: 117172 Lending Library: CLU Title: Pirate utopias: Moorish corsairs & European Renegadoes Author: Wilson, Peter Lamborn. Due Date: 05/06/11 Pieces: 1 PLEASE DO NOT REMOVE TIDS LABEL ILL Office Hours: Monday-Friday, 8am to 4:30pm Phone: 909-607-4591 h«p:llclaremontmiad.oclc.org/iDiadllogon.bbnl PII\ATE UTOPIAS MOORISH CORSAIRS & EUROPEAN I\ENEGADOES PETER LAMBOl\N WILSON AUTONOMEDIA PT o( W5,5 LiaoS ACK.NOWLEDGEMENTS The author wishes to thank the New York Public Library, which at some time somehow acquired a huge pirate-lit col lection; the Libertarian Book Club's Anarchist Forums, and T A8LE OF CONTENTS the New York Open Center. where early versions were audi ence-tested; the late Larry Law, for his little pamphlet on Captain Mission; Miss Twomey of the Cork Historical I PIl\ATE AND MEl\MAlD 7 Sociel;y Library. for Irish material; Jim Koehnline for art. as n A CHl\ISTIAN TUl\N'D TUl\K 11 always; Jim Fleming. ditto; Megan Raddant and Ben 27 Meyers. for their limitless capacity for toil; and the Wuson ill DEMOCI\.ACY BY ASSASSINATION Family Trust, thanks to which I am "independently poor" and ... IV A COMPANY OF l\OGUES 39 free to pursue such fancies. V AN ALABASTEl\ PALACE IN TUNISIA 51 DEDlCATION: VI THE MOOI\.ISH l\EPU8LlC OF SALE 71 For Bob Quinn & Gordon Campbell, Irish Atlanteans VII MUI\.AD l\EIS AND THE SACK OF BALTIMOl\E 93 ISBN 1-57027-158-5 VIII THE COI\.SAIl\'S CALENDAl\ 143 ¢ Anti-copyright 1995, 2003. -
Edizione Scaricabile
Mediterranea n. 34 (cop)_Copertina n. 34 21/07/15 19:19 Pagina 1 0Prime_1 06/08/15 18:51 Pagina 255 0Prime_1 06/08/15 18:51 Pagina 256 0Prime_1 06/08/15 18:51 Pagina 257 n° 34 Agosto 2015 Anno XII 0Prime_1 06/08/15 18:51 Pagina 258 Direttore: Orazio Cancila Responsabile: Antonino Giuffrida Comitato scientifico: Bülent Arı, Maurice Aymard, Franco Benigno, Henri Bresc, Rossella Cancila, Federico Cresti, Antonino De Francesco, Gérard Delille, Salvatore Fodale, Enrico Iachello, Olga Katsiardi-Hering, Salvatore Lupo, María Ángeles Pérez Samper, Guido Pescosolido, Paolo Preto, Luis Ribot Garcia, Mustafa Soykut, Marcello Verga, Bartolomé Yun Casalilla Segreteria di Redazione: Amelia Crisantino, Nicola Cusumano, Fabrizio D'Avenia, Matteo Di Figlia, Valentina Favarò, Daniele Palermo, Lavinia Pinzarrone Direzione, Redazione e Amministrazione: Cattedra di Storia Moderna Dipartimento Culture e Società Viale delle Scienze, ed. 12 - 90128 Palermo Tel. 091 23899308 [email protected] online sul sito www.mediterranearicerchestoriche.it Il presente numero a cura di Maria Pia Pedani è pubblicato con il contributo dell'Associazione di Studi Storici 'Muda di Levante' Mediterranea - ricerche storiche ISSN: 1824-3010 (stampa) ISSN: 1828-230X (online) Registrazione n. 37, 2/12/2003, della Cancelleria del Tribunale di Palermo Iscrizione n. 15707 del Registro degli Operatori di Comunicazione Copyright © Associazione no profit “Mediterranea” - Palermo I fascicoli a stampa di "Mediterranea - ricerche storiche" sono disponibili presso la NDF (www.newdigitalfrontiers.com), che ne cura la distribuzione: selezionare la voce "Mediterranea" nella sezione "Collaborazioni Editoriali". In formato digitale sono reperibili sul sito www.mediterranearicerchestoriche.it. I testi sono sottoposti a referaggio in doppio cieco.