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2002 Inductee, Donniella Winchell; Director of the Ohio Wine Producers Association
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/winehalloffame/5/thumbnail.jpgDonniella Winchell joined the Ohio Wine Producers Association in 1978 and held the position of executive secretary. In 1984, she became the association’s full time director. During the ensuing years she helped build the organization from a fledging cluster of 9 farm wineries to a dynamic group of nearly 65 wineries and several dozen growers. Under her leadership, the industry initiated the Vintage Ohio wine festival, which served as a model for similar events in several states. She has been active nationally with the Winegrowers of America, the American Vintners Association, the National wine Vision strategic planning group and the Wine Market Council. She also serves on several state and local tourism committees, underscoring her belief in both regional tourism and economic development. Source: Lou Heineman and Donniella Winchell Named to the Ohio Wine Hall of Fame Press Release from the Ohio Wine Producers Association (2002)</p
2005 Inductee, Arnie Esterer; Winemaker and Owner of Markko\u27s Vineyards
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/winehalloffame/8/thumbnail.jpgArnie Esterer and Tim Hubbard (1923-2000) planted their first vines in 1968 and built the winery in 1972 in Conneaut. Known locally as the godfather of Ashtabula County winemaking, Arnie Esterer began his tutelage under the late Dr. Konstantin Frank, a well-known viticulturist and winery owner who promoted the vinifera varieties in the Finger Lakes area in New York and other areas along the East Coast throughout the 1960s and into the early 1980s. Under Frank\u27s direction the winery became the first in Ohio to successfully grow European vinifera grapes. Photo features Arnie Esterer and the late Linda Frisbie (1940-2015), veteran wine taster and employee at Markko’s Vineyard for over 40 years.</p
M Cellars, 2016
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/wineryne/10/thumbnail.jpgReplacing old Niagara vines with new varieties, primarily Pinot Noir and Meritage blends, installing proper drain tile, and building a boutique winery requires time and careful planning. It took Matt Meineke, a small batch hobby winemaker from Mentor, seven years to establish his winery on 12 acres of land in Geneva. Canadian wineries situated on Niagara-on-the-Lake served as a source of inspiration for the Meineke family and the training Matt received at UC Davis and OSU helped him further develop his craft of producing cool-climate high-end wines. Established in 2012, the winery offers a tasting room, cozy fireplace, a loft, and an outdoor deck and patio overlooking the vineyard. The location creates European-style dry wines and is the only licensed Meritage producer in Ohio.</p
John Christ Winery, 1990s
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/wineryne/66/thumbnail.jpgSurrounded by grape vines are John Christ\u27s more popular wine label varieties.</p
Mon Ami Winery, 1970s
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/winerynw/18/thumbnail.jpgBuilt in 1956 by Norman Mantey, the Chalet offeres a full dining menu, wine samples, and weekend live entertainment
Authenticity in Chinese Minority Popular Music: A Case Study of Shanren, a Multi-Ethnic Indie Band
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/node/9882/8780-thumbnail.jpgThis paper focuses on the ethnic minority indie music band, Shanren, which presents a representative example of such musicians and their association with authenticity and culture in modern China. Ethnic minority indie bands are interested in shaping their own identity in contrast to the officially promoted minority music scene found in mainstream media. Shanren, as an example, seeks to represent themselves as connected with “nature and reality,” instead of being motivated by modern trends in music and culture. They achieve a sense of authenticity through visual (instruments, movements, clothing and album cover art) and aural (vocal and instrument timbre, music structure and lyric) production associated with the social aspects of ethnic minority life, especially the migrant workers’ life, represented in their songs.</p
1921, Florence Allen Sworn in as a Common Pleas Court Judge for Cuyahoga County
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/allen_gallery/1/thumbnail.jpgOn Jan. 1, 1921, Allen assumed her duties as common pleas judge. The court had 12 judges who operated without an administrative head of the court. Material witnesses to a crime could be held in jail for months waiting for a trial to begin. Meanwhile, the defendants could be free on bond. Without a judge supervising the docket, the trials involving jailed material witnesses were not moved to the front of the docket. Allen worked with several women’s organizations to draft a law that would mandate a chief justice of the common pleas court in any county having more than one judge to supervise the docket and manage the process in a more timely manner. The Ohio General Assembly passed the law. From Jan. 1, 1921 to Sept. 1, 1922, Judge Allen disposed of 892 cases, including three first-degree murder cases, one second-degree murder trial and the perjury trial of Justice William McGannon, chief justice of the Cleveland Municipal Court. Source: The Supreme Court of Ohio, Florence Ellinwood Allen Biography</p
Memorial Poem for George Voinovich
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/markko_documents/33/thumbnail.jpgAs the two term Governor of Ohio, George Voinovich (1936-2016) created new investment credit programs designed to expand wine/grape acreage in Ohio and increased the actual dollar funding for wine and grape research and marketing. According to Arnulf Esterer, during these years it was a common occurrence for George Voinovich and his wife Janet Allan Voinovich to patron Markko Vineyards and other nearby Lake Erie wineries such as Old Firehouse Winery.</p
1970s, Tim Hubbard in the Cellar at Markko Vineyard
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/markko_images/2/thumbnail.jpgTim Hubbard of Markko Vineyard photographed next to the winery’s stainless steel tanks. Industry leaders and wine producers, such as French oenologist Émile Peynaud and the legendary Bordeaux producer Château Haut-Brion, popularized the use of stainless steel tanks in the early 1960s. Stainless steel tanks are very effective at controlling fermentation temperature. They also aid in the prevention of oxidation and enable the winemaker to monitor the fermentation process. Unlike oak barrels, stainless steel containers do not add any characteristics to the wine, which makes them valuable not only for fermentation, but also as holding tanks.</p
Translators Writing, Writing Translators
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/translation/2/thumbnail.jpgTranslators and translation scholars reflect on the relationship between theory and practice Translators Writing, Writing Translators is a collection of essays by some of the leading scholar-practitioners working in the field of translation studies. Inspired by the work of distinguished translator and theorist Carol Maier, the contributors reflect, in a variety of forms—from biographical essays to studies of fictional translators to reflective commentary on translation projects and collaborations—on the complex, constantly evolving relationship of theory and practice as embodied in the writing of translators and in the concept of translation as writing. The fact that most scholars in translation studies are also practitioners is one of the unique and defining aspects of the discipline. Nonetheless, the field has long been distinguished by a separation of translation theory and practice evidenced by suspicion among practitioners regarding the relevance of translation theory and reluctance by theoreticians to incorporate translation practice into their theoretical writings. Maier’s pioneering work stands out as a particularly influential and provocative attempt to rethink and deconstruct the opposition of theory to practice. For Maier, translation theory becomes a site for the investigation of the translator’s personal and professional investments in a foreign author, and the translation itself becomes an embodiment of a host of theoretical concerns. Considering the translator’s biography and credentials is another defining feature of Maier’s work that is discussed in the essays of this volume. The combination of the theoretical and the practical makes this collection of interest to a broad array of readers, from scholars and students of translation studies and world literature, to translation practitioners, and as to general readers interested in questions of translation and cross-cultural communication. Rosemary Arrojo, Peter Bush, Ronald Christ, Suzanne Jill Levine, Christi Merrill, Noël Valis, Lawrence Venuti, and Kelly Washbourne are just a few of the scholar-practitioners contributing to this volume. The introduction by Brian James Baer, Françoise Massardier-Kenney, and Maria Tymoczko offers an overview of the central concerns of Maier’s work as a writing translator and a translator who writes.</p