3,962 research outputs found
Papers of Ruth Abrams (1912-1986) 1934-1986
No full textThis collection consists of materials that focus on the life and art of Ruth Abrams. Documents include personal papers, writings by Ruth Abrams concerning her art and career, and material concerning exhibits of her artwork. The majority of the documents focus on her series of small-scale paintings known as Microcosms and her related film, Paradox of the Big. The collection also includes many photographs, both personal and of art.Sketches, drawings and small oil paintings by Ruth Abrams were separated from the archives and are part of the Collection of the Yeshiva University Museum.Ruth Abrams was born in Brooklyn, New York. In the 1930s she studied art at the Art Students' League, Columbia University, and the School of Social Research, and worked in the ateliers of sculptors William Zorach, Aleksandr Archipenko, and Jose de Creeft, and painters John Graham, Yasuo Kuniyoshi, and Wallace Harrison. At the age of nineteen Ruth Abrams married Charles Abrams, who would later become a prominent urban planner and housing expert as well as a member of Governor Harriman's cabinet. The couple had two daughters, Judith and Abby. Between 1965 and 1966, Ruth Abrams was Art Director for the New School of Social Research Association. She also lectured at the Parsons School of Design and elsewhere on changing perceptions of space as affected by advanced space technology. Ruth Abrams was a painter of the New York School. As early as the 1940s she exhibited at the American Contemporary Art Gallery along with Hans Hofmann, I. Rice Pererira and Giorgio Cavallon and, over the years, remained closely associated with Abstract Expressionists. Ruth Abrams devoted an impressive body of work to such problems as visual perspective and the image of space and scale. Beginning in the late 1950s Ruth Abrams was preoccupied with the technique of action painting in relation to cosmic space. She created a series of paintings in small format called Microcosms. In the 1970s Ruth Abrams produced a film, Paradox of the Big, to further explain her artistic vision. The film sought to remove the viewer from any sense of scale and concentrated on the vision of the work, the loss of horizon line, the sense of endlessness, and speed that Abrams wanted to impart
Stephanie Mathson interviews poet and author Judith Kerman
No full textPoet and author Judith Kerman talks about her experience as a Fulbright scholar in the Dominican Republic, her work translating poems by Cuban poet Dulce Mar\ueda Loynaz, learning Spanish, translating poems from Spanish, and her book "Retrofitting Blade Runner". Kerman is interviewed by Stephanie Mathson of the Michigan State University Libraries. Part of the MSU Libraries' Michigan Writers Series
Poet and author Judith Kerman reads her selected works at the Michigan Writers Series
No full textPoet and author Judith Kerman reads selected poems, including the English translation of poems by Cuban poet Dulce Mar\ueda Loynaz, and answers questions from audience. Kerman is introduced by Michigan State University Librarian Jeanne Drewes. Part of the MSU Libraries' Michigan Writers Series. Held in the Main Library
Student Composers at Rutgers: 7-s02
No full text"Side 1.
Jeffrey Hass: String Trio 1977
David Schildkret: Cantate Domino, Suite for Clarinet and Bassoon
Michael Cherlin: Duo
Stefan Young: Quartet
Side 2.
Paul Henry: Canons for String Quartet
Eleanor Raposo: Fugue
Richard Voorhaar: String Trio
William Dunn: Quartet"" String Trio 77: Mark Zaki, violin, Ruth DeMarco, viola, Judith Vander Weg, cello, Gerald Chenoweth, conductor
Cantate: Michael Cherlin, clarinet, Clark Abrams, bassoon
Duo: Ellen Fischl, viola, David Sudaley, cello
Quartet: Mary Schmidt, flute, Loc Dao, violin, Michael Cherlin, clarinet, Judith Vander Weg, cello
Canons: Mark Zaki, violin, Ellen Fischl, viola, Loc Dao, violin, David Sudaley, cello
Fugue: Michael Roesler, clarinet, Judith Vander Weg, cello
Quartet: Dana Schmitz, flute, Mary Schmidt, flute, Alan Schmitz, guitar, Judith Vander Weg, cello
Variations on the Author
No full text“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Michel Foucault and Judith Butler: troubling Butler's appropriation of Foucault's work
No full textOne of the main influences on Judith Butler‘s thinking has been the work of Michel Foucault. Although this relationship is often commented on, it is rarely discussed in any detail. My thesis makes a contribution in this area. It presents an analysis of Foucault‘s work with the aim of countering Butler‘s representation of his thinking. In the first part of the thesis, I show how Butler initially interprets Foucault‘s project through Nietzschean genealogy, psychoanalysis and Derridean discourse, and how she later develops this interpretation in line with the progress of her own project. In the main part of the thesis, I present an analysis of Foucault‘s thinking in the period from The Archaeology of Knowledge (1969) to The History of Sexuality volume 1 (1976). This analysis focuses on the aspect of his work which has most influenced Butler‘s thinking: namely the notion of a relationship between knowledge, discourse and power. The other issues in his work which Butler addresses—genealogy, the subject, the body, abnormality, and sexuality—are discussed within this framework. I show how, in the early 1970s, Foucault develops the notion of power-knowledge, and sets out a relationship between power-knowledge and discourse which is overlooked by Butler. I argue that Butler interprets Foucaultian power through the notions of repression and social norms, and ignores the concepts of technology and strategy which form a key part of Foucault‘s thinking. I show how, from The Archaeology of Knowledge on, Foucault develops a socio-historical ontology and a genealogy of the subject, both of which are at variance with Butler‘s interpretation of his thinking
Twentieth-century poetry and science : science in the poetry of Hugh MacDiarmid, Judith Wright, Edwin Morgan, and Miroslav Holub
No full textThe aim of this thesis is to arrive at a characterisation of twentieth century poetry and science by means of a detailed study of the work of four poets who engaged extensively with science and whose writing lives spanned the greater part of the period. The study of science in the work of the four chosen poets, Hugh MacDiarmid (1892 – 1978), Judith Wright (1915 – 2000), Edwin Morgan (1920 – 2010), and Miroslav Holub (1923 – 1998), is preceded by a literature survey and an initial theoretical chapter. This initial part of the thesis outlines the interdisciplinary history of the academic subject of poetry and science, addressing, amongst other things, the challenges presented by the episodes known as the ‘two cultures’ and the ‘science wars’. Seeking to offer a perspective on poetry and science more aligned to scientific materialism than is typical in the interdiscipline, a systemic challenge to Thomas Kuhn’s The Structure of Scientific Revolutions (1962) is put forward in the first chapter. Additionally, the founding work of poetry and science, I. A. Richards’s Science and Poetry (1926), is assessed both in the context in which it was written, and from a contemporary viewpoint; and, as one way to understand science in poetry, a theory of the creative misreading of science is developed, loosely based on Harold Bloom’s The Anxiety of Influence (1973). The detailed study of science in poetry commences in Chapter II with Hugh MacDiarmid’s late work in English, dating from his period on the Shetland Island of Whalsay (1933 – 1941). The thesis in this chapter is that this work can be seen as a radical integration of poetry and science; this concept is considered in a variety of ways including through a computational model, originally suggested by Robert Crawford. The Australian poet Judith Wright, the subject of Chapter III, is less well known to poetry and science, but a detailed engagement with physics can be identified, including her use of four-dimensional imagery, which has considerable support from background evidence. Biology in her poetry is also studied in the light of recent work by John Holmes. In Chapter IV, science in the poetry of Edwin Morgan is discussed in terms of its origin and development, from the perspective of the mythologised science in his science fiction poetry, and from the ‘hard’ technological perspective of his computer poems. Morgan’s work is cast in relief by readings which are against the grain of some but not all of his published comments. The thesis rounds on its theme of materialism with the fifth and final chapter which studies the work of Miroslav Holub, a poet and practising scientist in communist-era Prague. Holub’s work, it is argued, represents a rare and important literary expression of scientific materialism. The focus on materialism in the thesis is not mechanistic, nor exclusive of the domain of the imagination; instead it frames the contrast between the original science and the transformed poetic version. The thesis is drawn together in a short conclusion
Cwbr Author Interview: Sex And The Civil War: Soldiers, Pornography, And The Making Of American Morality
No full textInterview with Judith Giesberg, author of Sex and the Civil War: Soldiers, Pornography, and the Making of American Morality Interviewed by Tom Barber Civil War Book Review (CWBR): Today the Civil War Book Review is pleased to speak with Judith Giesberg, Professor of History at Villanova Un...
Judith Butler, race and education
No full textThis book provides an analysis of race and education through the lens of the work of Judith Butler. Although Butler tends to be best known in the field of education for her work on gender and sexuality, her work more broadly encompasses the functioning of power and hegemonic norms and the formation of subjects, and thus can also be applied to analyse issues of race. Applying a Butlerian framework to race allows us to question its ontological status, while considering it a hegemonic norm and a performative notion which has a significant impact on real lives. The author considers the implications of Butler’s thinking for debates; addressing diverse contemporary educational issues in which race continues to be (re)produced, such as the formation of leaner identities, the production of the good citizen, raising student aspirations, counter terrorism and surveillance in education, and qualitative research in education
Judith Cohen, art historian and author of Cowtown Moderne
No full textAuthor and art historian Judith (Judy) Cohen sits on a reproduction Le Corbusier chaise from her personal collection of Art Deco style pieces. The railing seen behind her is made from a decorative grill from the restaurant in the Striplings building and the grate on the wall in the background is from the Aviation Building, which was located at Seventh and Main streets. She is the author of the book Cowtown Moderne.https://mavmatrix.uta.edu/specialcollections_startelegram1990s/1123/thumbnail.jp
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