ACF NATIONALS 2019 the Editors
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Kiss the Ring New York
Kiss the ring new york Fine Jewelry from the New York Diamond District. Ebony & Gold Link Bracelet $3, Gold Link Necklace from $3, Pearl Kiss Necklace $3, Kiss the Ring New York. likes · 11 talking about this. Custom Fine Jewelry from the New York Diamond District Kiss the Ring New York. likes · 1 talking about this. Custom Fine Jewelry from the New York Diamond District Fine jewelry expert and Founder of Kiss The Ring New York, Hattie Gruber is the woman behind Manhattan's biggest engagement ring and fine. Kiss the Ring NY on 15 W 47th St, New York, NY. Lunch, dinner, groceries, office supplies or anything else. Our Postmates deliver from all your favorites places. Gabriella studied sculpture at New York's Pratt Institute, learning to make wax models for casting, Oval White Rose Cut Diamond Ring,Gabriella Kiss. NEW YORK CITY: Kiss The Ring – Labor Day Weekend Day Party. August 26, by Genese Jamilah · Facebook. Free Shipping and Free Returns on Eva Fehren Kissing Claw Ring at Exclusively Ours!Handcrafted in New York City, Eva Fehren's pavé. Some people have a hard time taking compliments. I am not one of those people. So when I read Jessica Mischner's post about Kiss the Ring. I was introduced to the Gossip Girl series several years ago when I read the books by Cecily von Ziegesar. I told my mother about them and she. Shop our selection of engagement rings, wedding rings, diamonds, gemstones, metals, watches and more. Kay Jewelers carries a wide selection of looks, from. Marilyn Manson Injured Onstage in New York, Taken Away on Stretcher "Kiss the Ring" is a messy project connected only by DJ Khaled's. -
Surviving Set Theory: a Pedagogical Game and Cooperative Learning Approach to Undergraduate Post-Tonal Music Theory
Surviving Set Theory: A Pedagogical Game and Cooperative Learning Approach to Undergraduate Post-Tonal Music Theory DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Angela N. Ripley, M.M. Graduate Program in Music The Ohio State University 2015 Dissertation Committee: David Clampitt, Advisor Anna Gawboy Johanna Devaney Copyright by Angela N. Ripley 2015 Abstract Undergraduate music students often experience a high learning curve when they first encounter pitch-class set theory, an analytical system very different from those they have studied previously. Students sometimes find the abstractions of integer notation and the mathematical orientation of set theory foreign or even frightening (Kleppinger 2010), and the dissonance of the atonal repertoire studied often engenders their resistance (Root 2010). Pedagogical games can help mitigate student resistance and trepidation. Table games like Bingo (Gillespie 2000) and Poker (Gingerich 1991) have been adapted to suit college-level classes in music theory. Familiar television shows provide another source of pedagogical games; for example, Berry (2008; 2015) adapts the show Survivor to frame a unit on theory fundamentals. However, none of these pedagogical games engage pitch- class set theory during a multi-week unit of study. In my dissertation, I adapt the show Survivor to frame a four-week unit on pitch- class set theory (introducing topics ranging from pitch-class sets to twelve-tone rows) during a sophomore-level theory course. As on the show, students of different achievement levels work together in small groups, or “tribes,” to complete worksheets called “challenges”; however, in an important modification to the structure of the show, no students are voted out of their tribes. -
Resistance Through 'Robber Talk'
Emily Zobel Marshall Leeds Beckett University [email protected] Resistance through ‘Robber Talk’: Storytelling Strategies and the Carnival Trickster The Midnight Robber is a quintessential Trinidadian carnival ‘badman.’ Dressed in a black sombrero adorned with skulls and coffin-shaped shoes, his long, eloquent speeches descend from the West African ‘griot’ (storyteller) tradition and detail the vengeance he will wreak on his oppressors. He exemplifies many of the practices that are central to Caribbean carnival culture - resistance to officialdom, linguistic innovation and the disruptive nature of play, parody and humour. Elements of the Midnight Robber’s dress and speech are directly descended from West African dress and oral traditions (Warner-Lewis, 1991, p.83). Like other tricksters of West African origin in the Americas, Anansi and Brer Rabbit, the Midnight Robber relies on his verbal agility to thwart officialdom and triumph over his adversaries. He is, as Rodger Abrahams identified, a Caribbean ‘Man of Words’, and deeply imbedded in Caribbean speech-making traditions (Abrahams, 1983). This article will examine the cultural trajectory of the Midnight Robber and then go on to explore his journey from oral to literary form in the twenty-first century, demonstrating how Jamaican author Nalo Hopkinson and Trinidadian Keith Jardim have drawn from his revolutionary energy to challenge authoritarian power through linguistic and literary skill. The parallels between the Midnight Robber and trickster figures Anansi and Brer Rabbit are numerous. Anansi is symbolic of the malleability and ambiguity of language and the roots of the tales can be traced back to the Asante of Ghana (Marshall, 2012). -
Bibliography
BIBLIOGRAPHY An Jingfu (1994) The Pain of a Half Taoist: Taoist Principles, Chinese Landscape Painting, and King of the Children . In Linda C. Ehrlich and David Desser (eds.). Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan . Austin: University of Texas Press, 117–25. Anderson, Marston (1990) The Limits of Realism: Chinese Fiction in the Revolutionary Period . Berkeley: University of California Press. Anon (1937) “Yueyu pian zhengming yundong” [“Jyutpin zingming wandung” or Cantonese fi lm rectifi cation movement]. Lingxing [ Ling Sing ] 7, no. 15 (June 27, 1937): no page. Appelo, Tim (2014) ‘Wong Kar Wai Says His 108-Minute “The Grandmaster” Is Not “A Watered-Down Version”’, The Hollywood Reporter (6 January), http:// www.hollywoodreporter.com/news/wong-kar-wai-says-his-668633 . Aristotle (1996) Poetics , trans. Malcolm Heath (London: Penguin Books). Arroyo, José (2000) Introduction by José Arroyo (ed.) Action/Spectacle: A Sight and Sound Reader (London: BFI Publishing), vii-xv. Astruc, Alexandre (2009) ‘The Birth of a New Avant-Garde: La Caméra-Stylo ’ in Peter Graham with Ginette Vincendeau (eds.) The French New Wave: Critical Landmarks (London: BFI and Palgrave Macmillan), 31–7. Bao, Weihong (2015) Fiery Cinema: The Emergence of an Affective Medium in China, 1915–1945 (Minneapolis: University of Minnesota Press). Barthes, Roland (1968a) Elements of Semiology (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1968b) Writing Degree Zero (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1972) Mythologies (trans. Annette Lavers), New York: Hill and Wang. © The Editor(s) (if applicable) and The Author(s) 2016 203 G. -
Pierrot Lunaire Translation
Arnold Schoenberg (1874-1951) Pierrot Lunaire, Op.21 (1912) Poems in French by Albert Giraud (1860–1929) German text by Otto Erich Hartleben (1864-1905) English translation of the French by Brian Cohen Mondestrunken Ivresse de Lune Moondrunk Den Wein, den man mit Augen trinkt, Le vin que l'on boit par les yeux The wine we drink with our eyes Gießt Nachts der Mond in Wogen nieder, A flots verts de la Lune coule, Flows nightly from the Moon in torrents, Und eine Springflut überschwemmt Et submerge comme une houle And as the tide overflows Den stillen Horizont. Les horizons silencieux. The quiet distant land. Gelüste schauerlich und süß, De doux conseils pernicieux In sweet and terrible words Durchschwimmen ohne Zahl die Fluten! Dans le philtre yagent en foule: This potent liquor floods: Den Wein, den man mit Augen trinkt, Le vin que l'on boit par les yeux The wine we drink with our eyes Gießt Nachts der Mond in Wogen nieder. A flots verts de la Lune coule. Flows from the moon in raw torrents. Der Dichter, den die Andacht treibt, Le Poète religieux The poet, ecstatic, Berauscht sich an dem heilgen Tranke, De l'étrange absinthe se soûle, Reeling from this strange drink, Gen Himmel wendet er verzückt Aspirant, - jusqu'à ce qu'il roule, Lifts up his entranced, Das Haupt und taumelnd saugt und schlürit er Le geste fou, la tête aux cieux,— Head to the sky, and drains,— Den Wein, den man mit Augen trinkt. Le vin que l'on boit par les yeux! The wine we drink with our eyes! Columbine A Colombine Colombine Des Mondlichts bleiche Bluten, Les fleurs -
Archaeological Journal on Episcopal Rings
This article was downloaded by: [Northwestern University] On: 14 February 2015, At: 08:09 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Archaeological Journal Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/raij20 On Episcopal Rings Edmund Waterton K.Ch., F S.A., F.S.A.S., M.R.I.A. Published online: 10 Jul 2014. To cite this article: Edmund Waterton K.Ch., F S.A., F.S.A.S., M.R.I.A. (1863) On Episcopal Rings, Archaeological Journal, 20:1, 224-238, DOI: 10.1080/00665983.1863.10851251 To link to this article: http:// dx.doi.org/10.1080/00665983.1863.10851251 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. -
A Thesis Presented to the Faculty of Alfred University Clowning
A Thesis Presented to The Faculty of Alfred University Clowning as an Act of Social Critique, Subversive and Cathartic Laughter, and Compassion in the Modern Age by Danny Gray In Partial Fulfillment of the Requirements for The Alfred University Honors Program May 9th, 2016 Under the Supervision of: Chair: Stephen Crosby Committee Members: M. Nazim Kourgli David Terry “Behind clowns, sources of empathy, masters of the absurd, of humor, they who draw me into an inexplicable space-time capsule, who make my tears flow for no reason. Behind clowns, I am surprised to sense over and over again humble people, insignificant we might even say, stubbornly incapable of explaining, outside the ring, the unique magic of their art.” - Leandre Ribera “The genius of clowning is transforming the little, everyday annoyances, not only overcoming, but actually transforming them into something strange and terrific. It is the power to extract mirth for millions out of nothing and less than nothing.” - Grock 1 Contents Introduction 3 I: Defining Clown 5 II: Clowning as a Social Institution 13 III: The Development of Clown in Western Culture 21 IV: Clowns in the New Millennium 30 Conclusion 39 References 41 2 The black and white fuzz billowed across the screen as my grandmother popped in a VHS tape: Saltimbanco, a long-running Cirque du Soleil show recorded in the mid-90’s. I think she wanted to distract me for an hour while she worked on a pot of gumbo, rather than stimulate an interest in circus life. Regardless, I was well and truly engrossed in the program. -
Narrative Structure and Purpose in Arnold Schoenberg's Pierrot
Portrait of the Artist as a Young Clown: Narrative Structure and Purpose in Arnold Schoenberg’s Pierrot Lunaire Mike Fabio Introduction In September of 1912, a 37-year-old Arnold Schoenberg sat in a Berlin concert hall awaiting the premier of his 21st opus, Pierrot Lunaire. A frail man, as rash in his temperament as he was docile when listening to his music, Schoenberg watched as the lights dimmed and a fully costumed Pierrot took to the stage, a spotlight illuminating him against a semitransparent black screen through which a small instrumental ensemble could be seen. But as Pierrot began singing, the audience quickly grew uneasy, noting that Pierrot was in fact a woman singing in the most awkward of styles against a backdrop of pointillist atonal brilliance. Certainly this was not Beethoven. In a review of the concert, music critic James Huneker wrote: The very ecstasy of the hideous!…Schoenberg is…the cruelest of all composers, for he mingles with his music sharp daggers at white heat, with which he pares away tiny slices of his victim’s flesh. Anon he twists the knife in the fresh wound and you receive another thrill…. There is no melodic or harmonic line, only a series of points, dots, dashes or phrases that sob and scream, despair, explode, exalt and blaspheme.1 Schoenberg was no stranger to criticism of this nature. He had grown increasingly contemptuous of critics, many of whom dismissed his music outright, even in his early years. When Schoenberg entered his atonal period after 1908, the criticism became far more outrageous, and audiences were noted to have rioted and left the theater in the middle of pieces. -
Alumni Connection Winter
Alumni SPRING 2006 Connection ST. VINCENT-ST. MARY HIGH SCHOOL CLASS REUNIONS ALUMNI ALLEY SCHOOL EVENTS WINTER SPORTS REVIEW IT’S HAPPENING HERE 5 IN THIS ISSUE MEMORIAL MASS: The Miller Family 3 WALL OF VISION The Wall of Vision is a tribute to the lead donors in the Share the Vision capital campaign. 18 MAHAR OUTSTANDING ALUMNI AWARD 2006 This award honors living graduates of St. Vincent, St. Mary and St. Vincent- St. Mary high schools. There are six recipients this year. 22 THROUGH THESE DOORS... Read about the wonderful work our faculty and staff is doing. 6 1FIRST WORD ALUMNI ALLEY: Jane McCormish Sparhawk V39 is a photogra- pher. Pictured above is an example of her work. Read more about Jane and other alumni in Alumni Alley. Russian Mural 8 IN CELEBRATION OF THEIR ADMIRATION OF THE RUSSIAN CULTURE and as a CLASS REUNIONS: V70 classmates (L-R) Sue Gerbasi lasting momento for years to come, student volunteers from Russian Bartlebaugh, Betty Delagrange Schnitzler, Mary Ellen Phillips Club painted a colorful mural. This mural is on a wall in the room shared MacDonald and Mike Metzler by Mr. Neary, Drama and Mr. O’Neil, Russian Language. The design is an impressionistic representation of St. Basil’s Cathedral. The idea, for- mulated by senior Mamie Williamson, came from a design on a T-shirt bought in Russia. The design was copied onto a transparency using a scanner and then projected onto the wall where it was outlined in chalk and painted. Also helping with the mural were two graduates and for- mer Russian students, Brett Wenneman and Betsy Mason. -
Tached to the Latin Liturgical Tradition, by a Wide
Respect must every- encounter with the Also to be noted is Benedict where be shown for Mystery of the XVI’s concern to empha- the feelings of all Most Holy Eucha- size that the Church does those who are at- rist, particularly not discard her past: by de- tached to the Latin suited to them. … claring that the Missal of liturgical tradition, by Let us gener- 1962, “was never juridical- a wide and generous ously open our ly abrogated,” he made ma- application of the di- hearts and make nifest the coherence that the rectives already issued some time ago by the Ap- room for every- Church wishs to maintain. ostolic See for the use of the Roman Missal ac- thing that the faith In effect, she cannot allow herself to disregard, cording to the typical edition of 1962. itself allows. … forget, or renounce the treasures and rich heritage Pope St. John Paul II (1988) What earlier gen- of the tradition of the Roman Rite, because the erations held as historical heritage of the liturgy of the Church I am of the opinion, sacred, remains sacred and great for us too, and it cannot be abandoned, nor can everything be es- to be sure, that the cannot be all of a sudden entirely forbidden or tablished ex novo without the amputation of fun- old rite [of Mass] even considered harmful. It behooves all of us to damental parts of the same Church. … should be granted preserve the riches which have developed in the But the motu proprio also produced a phe- much more gener- Church’s faith and prayer, and to give them their nomenon that is for many astonishing and is a ously to all those proper place. -
Language, Individual & Society ISSN 1314-7250, Volume 10, 2016
Language, Individual & Society Journal of International Scientific Publications ISSN 1314-7250, Volume 10, 2016 www.scientific-publications.net THE EPISCOPAL RING OF WILHELM ATANAZY KLOSKE. AN IMAGE OF THE HISTORIC SOCIAL ORDERS IN POLAND IN SACRAL GOLDSMITHERY Katarzyna Bogacka Faculty of Social Sciences, Warsaw University of Life Sciences, ul. Nowoursynowska 166 02-787 Warsaw, Poland Abstract This article discusses the symbolic meaning behind the decoration on Bishop Wilhelm Atanazy Kloske’s episcopal ring dating from the nineteenth century, which has been preserved in the treasury of the Metropolitan Cathedral in Gniezno. It is unique due to the miniature figures which support a large amethyst. The figures represent the four estates (or social orders) of the realm: the clergy, the commoners, the knights and the burghers/bourgeoisie. Recently, it has been pointed out they are modelled directly on the nineteenth-century figures in Gniezno Cathedral which support the seventeenth-century reliquary of St. Adalbert (Pol: Wojciech), the principal patron saint of Poland. The author also discusses other objects which may have inspired the decoration: nineteenth-century French rings, and the works of Baroque goldsmiths in Poland, and also points out that the source of these iconographic figures can be found in nineteenth-century art. A more detailed analysis of the meaning behind these figures brings to mind the idea of unity and the patriotism of a traditional society built on the estates of the realm as a force capable of standing up against the country’s denationalization by the partitioning powers. The owner of the ring made this idea come to fruition through his social activities. -
This Work Has Been Submitted to NECTAR, the Northampton Electronic Collection of Theses and Research
This work has been submitted to NECTAR, the Northampton Electronic Collection of Theses and Research. Conference or Workshop Item Title: The fears of a clown Creator: Mackley, J. S. Example citation: Mackley, J. S. (2016) The fears of a clown. PapeRr presented to: The Dark Fantastic: Sixth Annual Joint Fantasy Symposium, The University of Northampton, 02 December 2016. A Version: Presented version T http://nectar.Cnorthampton.ac.uk/9062/ NE The Fears of the Clown J.S. Mackley – University of Northampton “The clown may be the source of mirth, but - who shall make the clown laugh?” Angela Carter, Nights at the Circus Many of us read Stephen King’s IT before we were re-terrorised by Tim Curry’s portrayal of Pennywise the Clown and his psychotic mania in the 1990 mini-series. It is said that “Stephen King’s movie IT … did for clowns what Psycho did for showers and what Jaws did for swimming in the ocean.”1 But, many of us had already had our psyches attuned to the danger of clowns when we saw the scene in Steven Spielberg’s 1982 film Poltergeist when we looked at the maniacal grinning face of the Robbie’s clown sitting on the chair during a thunderstorm. The viewers all knew that clown would come to life – changing from the friendly-faced doll, to the demonic entity that drags Robbie under the bed … For many of us, these two depictions of clowns may be the root of Coulrophobia – a “persistent, abnormal, and irrational fear of clowns”. Clowns hover on the peripheries of our fears.