1,112 research outputs found
Joyce Mitchell, Salt Lake City, Utah: three interviews by Anne Peterson, October 2012
No full textTranscript (29, 50, 30pages) of three interviews by Anne Palmer Peterson with Joyce A. Mitchell on October 22, 24, and 26, 2012, in Salt Lake City, Utah. Includes a 10-page addendum, a transcript of remarks by Joyce A. Mitchell delivered on 28 September 2011 at the University of Missouri in Columbia, Missouri, introducing Dr. Donald Lindberg, Director of the National Library of Medicine
Reevaluation of the genus Cyclops Müller, 1776 (Cyclopoida: Cyclopidae) in the Laurentian Great Lakes basin: first report of the Palearctic species Cyclops divergens Lindberg, 1936 from Lake Erie and documentation of Cyclops sibiricus Lindberg, 1949 in the St. Marys River
No full textConnolly, Joseph K., Marshall, Christopher C., Hudson, Patrick L., Watkins, James M., Scofield, Anne E., Rudstam, Lars G. (2022): Reevaluation of the genus Cyclops Müller, 1776 (Cyclopoida: Cyclopidae) in the Laurentian Great Lakes basin: first report of the Palearctic species Cyclops divergens Lindberg, 1936 from Lake Erie and documentation of Cyclops sibiricus Lindberg, 1949 in the St. Marys River. Zootaxa 5182 (2): 183-195, DOI: https://doi.org/10.11646/zootaxa.5182.2.
Unmade, Anne Lindberg & Saskia Olde Wolbers, Contemporary Art Center, Cincinnati, USA
No full textActs of making and meaning are often interwoven, such that a product of human hands can easily become trapped by a singular definition. The CAC building is the physical realization of Zaha Hadid's philosophy, with every wall, line, texture and material speaking her pronounced vision of contemporary art. Yet as this space surpasses its 11th anniversary and the organization enters its 75th year, the onset of familiarity, convention and habit compels one to move in the opposite direction. What is achieved when, with equal urgency and resolve, the course is reversed and purpose is unmade?
Artists Anne Lindberg and Saskia Olde Wolbers dissolve the comforts and complacency that accumulate in spaces that time solidifies. Lindberg pushes drawing on and off the page, obsessively inscribing lines that evade both resolution and definition. Instead she allows her nomadic constellations to hover and near without ever touching – convening clouds that vibrate with the unseen rhythms of our body's inner workings. Dutch-born, London-based Olde Wolbers orchestrates a cinematic enterprise with equally enigmatic vigor. By submerging handmade sets into water and coaxing narratives to masquerade as reality, she melts the seemingly digital polish of her films with painterly contingency. Olde Wolbers' amorphous engineering also highlights the intricate architecture of Lindberg's drawings, at the same time Lindberg’s threaded color fields reflect the manual DNA of Olde Wolbers' moving images. Their ensuing dialogue softens the geometry of the gallery space, obscuring hard lines and sharp corners to float towards a mysterious horizon
Paragygrus orientalis Lindberg 1929
No full text<i>Paragygrus orientalis</i> (Lindberg, 1929) <p> <i>Paramesus orientalis</i> Lindberg, 1929: 4.</p> <p> <i>Paralimnus major</i> Haupt, 1927 (Correct author: Emeljanov, 1964): Mirzayans (1995). Recorded distribution in Iran: Soutwest of Iran and south of central region of Alborz mountains.</p>Published as part of <i>Mozaffarian, Fariba & Wilson, Michael R., 2016, A checklist of the leafhoppers of Iran (Hemiptera: Auchenorrhyncha: Cicadellidae), pp. 1-63 in Zootaxa 4062 (1)</i> on page 27, DOI: 10.11646/zootaxa.4062.1.1, <a href="http://zenodo.org/record/256796">http://zenodo.org/record/256796</a>
Magnus Lindberg : musiikillinen ele ja dramaturgia
No full textThe Finnish composer Magnus Lindberg (b. 1958) is one of the leading figures in the field of contemporary classical music. Curiously, despite the fascinating characteristics of Lindberg’s works and the several interesting subjects his music brings up, his works have not been widely researched.
This study, "Magnus Lindberg: Musical Gesture and Dramaturgy in Aura and the Symphonic Triptych," examines Lindberg’s technical and aesthetic thinking by analyzing his significant works of the 1990s: Aura (1994) and the Symphonic Triptych, which includes Feria (1997), Cantigas (1997–99), and Parada (2001). The main purpose of the study is to demonstrate the composer’s construction of gesture and dramaturgy from the viewpoint of musical dramaturgy. The analyses focus on Lindberg’s strategic design, which is called dramaturgical cohesion in narrative.
The main theoretical framework is musical narrative (see, for example, Tarasti 1994, Almén 2008, Grabócz 2008). Methodologically, the research is based on an approach that combines musical narrative with “traditional analysis,” by which I mean examining the form and structure of a work. Musical narrative in turn draws ideas from the study of theater and literature. My idea of musical gesture and dramaturgy is based on this combined analytical method. An essential concept here is dramaturgy, which is anchored to the theory of drama, especially the model of tragedy based on Aristotle’s Poetics. This model consists of five parts of drama (exposition, rising action, peripeteia, falling action, and dénoument) and the climax. The precise examination of a climax refers to the idea of telos. Telos, meaning the goal of a linear process, is a central aspect of a syntagmatic relationship. And as a culmination that unifies structural levels, telos is also central to paradigmatic relationships. Musical gesture refers to a musical event that plays the main role in a composition’s functional units. Musical gestures are subordinate to dramaturgical cohesion or hierarchical structure. In order to focus on telos and its function in a dramaturgical structure as a whole, it is important to examine the relationship between telos and gestures.
For this analysis, I use the orchestral scores of four Lindberg works together with sound materials (CDs) and the composer’s drafts of compositions in order to find and identify gestures, telos, and elements of narrativity. In addition, the interviews that I conducted with Lindberg and selections from his writings reflect the composer’s aesthetic-technical and dramaturgical thinking.
The most significant finding is that a certain dramaturgical structure, which I call “the Lindberg dramaturgy,” is found in all four works analyzed here. This structure is associated with Aristotelian dramaturgy. Lindberg’s music opens with an exposition (the opening gesture), in which the basic material is presented. The musical process develops toward chaos, which must somehow be resolved. Music is now in a state of saturation; the musical motion slows down and musical tension heightens. As a result of the saturation, an explosion occurs. Finally, a unison, a tonality, or some kind of ending gesture with a long note or fadeout follows the explosion – Lindberg’s catharsis (=cleansing). I claim that the musical narrative of Aura and the Symphonic Triptych are based on this formula. The process to the telos is indicated by the vision of narrativity moving from chaos to clarity, a concept on which the dramaturgy of these four works is based.Väitöskirja "Magnus Lindberg – Musical Gesture and Dramaturgy in Aura and the Symphonic Triptych" käsittelee suomalaisen säveltäjän Magnus Lindbergin (s. 1958) teknis-esteettistä ajattelua eleellisyydestä ja dramaturgiasta 1990-luvun tärkeimpien teosten analyysin kautta. Lindberg on nykytaidemusiikin johtavia ja maineikkaimpia hahmoja. Hänen kansainvälisestä menestyksestään huolimatta tieteelliset tutkimukset hänen estetiikastaan ja sävellystekniikastaan ovat kuitenkin tähän mennessä olleet erittäin vähäisiä.
Väitöskirjan keskiössä on kysymys siitä, miten nykytaideteoksia – erityisesti orkesterimusiikkia, jota Lindberg on säveltänyt neljän vuosikymmenen ajan – voidaan käsitellä musiikillisista tapahtumista tapahtumiin kehkeytyväksi dynaamiseksi prosessikuvaksi. Jos dynaamisessa prosessikuvassa on jonkinlainen draama, millaiseksi kokonaiskuvaksi se voidaan ymmärtää? Tätä dynaamista kuvaa kutsutaan musiikilliseksi dramaturgiaksi.
Työlle keskeinen musiikillisen dramaturgian käsite ankkuroidaan toisaalta draaman teorian ja erityisesti Aristoteleen Runousoppiin pohjautuvaan tragediamalliin, toisaalta musiikin soivaa ainesta havainnoivaan musiikkianalyyttiseen käsitteistöön (esimerkiksi muoto, rakenne, ele, tempo, tekstuuri, aihe). Metodologisesti tutkimus nojautuu narratiiviseen musiikkianalyysiin. Tässä tapauksessa se tarkoittaa muoto- ja rakenneanalyyttisten menetelmien muodostaman lähestymistavan yhdistämistä musiikkisemiotiikan tutkimusperinteessä tehtyyn narratologiseen musiikkianalyysiin, joka on ammentanut käsitteitä erityisesti teatteri- ja kirjallisuustieteistä.
Ensisijaisena aineistona tutkielmassa toimivat teosten partituurit ja äänitykset sekä säveltäjän luonnosmateriaalit. Tärkeässä asemassa menetelmällisesti on myös säveltäjän lausuntojen ja haastattelujen hyödyntäminen niin teosten analyyseissa kuin taustaluvuissa, joissa hahmotellaan säveltäjän tyyliä ja estetiikkaa sekä musiikillisen kerronnan ja dramaturgian teoriaa.
Väitöskirjan tärkein tulos on se, että tietty ”Lindberg-muoto” ja sen perusteella muodostunut ”Lindberg-dramaturgia” toistuu kaikissa analysoitavissa teoksissa. Se noudattaa aristoteelista tragedian kaavaa, eli eräänlaista yleisinhimillistä kerrontakaavaa, ja rakentuu oleellisella tavalla voimakkaasti jatkuvasta musiikillisesta eleellisyydestä.
Lindbergin teokset ovat teknisesti kompleksisia, mikä vaikeuttaa teosanalyyttista lähestymistä. Tämän tutkimuksen tulos kuitenkin osoittaa, että monimutkaisilta vaikuttavien tekstuurien alla on itse asiassa perinteinen ja yksinkertainen dramaturgia, jonka voimme identifioida ja joka herättää kuulijoiden mielessä eräänlaista sympatiaa ja ymmärrystä Lindbergin teoksia kohtaan. Lindbergin taiteellinen ominaisluonne näkyy tässä monimutkaisuuden ja yksinkertaisuuden yhdistelmässä.ei saavutettav
Cyclops sibiricus Lindberg 1949
No full textCyclops sibiricus Lindberg, 1949 Synonymy: Cyclops strenuus sibiricus Lindberg (1949): 87 −90, fig. 1. Cyclops canadensis Einsle (1988): 2146 −2149, fig. 1. Material examined: 1 female dissected and slide mounted, 1 female, collected from the St. Marys River, Sault Ste. Marie, Michigan, USA (46.49853N,- 84.32590W)on May 15,1972,initially reported as C.strenuus in Selgeby (1975). 4 females dissected and slide mounted, 7 females, collected from the St. Marys River, Neebish Island, Michigan, USA (46.33691 N, - 84.20122 W) on May 3 and May 24, 1995, initially reported as C. strenuus in Hudson et al. (1998). Females: Body large, robust and cyclopiform. Prosome longer than urosome (Table 1), cephalothorax longer then wide. Rostrum fairly pronounced. Antennule (A1) consisting of 17 segments (Fig. 1a), not extending beyond the cephalothorax. A small convex row of spinules present on the proximal margin of the A1 first segment. Pitting on surface of A1 first segment apparently absent (Fig. 1b). Setation present on A1 segments 1−9, 11−12, 14−17. Aesthetascs present on A1 segments 12, 16, and 17. Aesthetasc on A1 segment 12 extending to the middle of segment 14 (Fig. 1c). A1 segments 15−17 with finely textured hyaline membrane (Fig. 1d). Antenna (A2) 4-segmented with 3 setae on the basipodite including exopodite seta and 1,9, 7 setae on the successive (endopodal)segments.A2 exopodite seta reaching beyond the distal margin of the endopod and lightly ornamented with plumose setules which decrease in length distally. Caudal surface of A2 basipodite (Fig. 2a) ornamented with 4−6 broad based spinules descending in height from the lateral to distal margin, a single oblique row of 5−6 short thin spinules at position B (Hołyńska et al. 2003), 7−9 long thin spinules longitudinally at position A, and flanked laterally by a field of tiny spinules numbering approximately 12 at position C. Labrum (La) and Mandible (Md) not observed in detail. Maxillular (Mxl) palp proximalmost seta (Fig. 2b) ornamented only with tiny spinules distally, setae of the lateral lobe ornamented likewise. Surface of Mxl palp either ornamented with exceedingly tiny spinules or apparently bare (Fig. 2b). Maxilla (Mx) not observed in detail. Maxilliped (Mxp) syncoxopodite armed with 3 plumose setae, basipodite with 2 plumose setae, endopodite 1 with 1 plumose seta, endopodite 2 with 1 plumose and 2 bare setae. Mxp syncoxopodite frontal surface ornamented with a long membranous element (Hołyńska & Dahms 2004) with somewhat club shaped distal terminus (Fig. 2c) and a transverse row of approximately 10 small spinules. Ornamentation present on the frontal surface of successive mxp segments in the form of thin hair-like spinules with the exception of endopodite 2. Spine formula of swimming legs 1−4 (P1−P4) third exopodite 3, 4, 3, 3. Full spine and setal formula of P1−P4 shown in Table 2 following Sewell (1949). Ornamentation of swimming legs is as follows. P1 intercoxal sclerite (coupler) and coxopodite unornamented. P1 coxopodite setae densely ornamented with long setules. P1 basipodite armed with a row of long spinules on the frontal surface between insertion of exopodite and endopodite (Fig. 2d). P1 medial margin of basipodite haired and medial spine of basipodite with proximal margin bare and distal margin sparely armed with setules (Fig. 2d). P2 coupler unornamented, coxopodite seta armed as in P1, coxopodite ornamented with spinules at position B and hairs at position F (Einsle, 1996a). P2 medial margin of basipodite haired. P3 ornamented as in P2 except coupler caudal surface ornamented with horizontal row of long hairs. P4 coupler ornamented as in P3, coxopodite ornamented with spinules at positions, A, B, C, D, and E (Fig. 2e). P4 coxopodite setae short, not extending beyond medial margin of basipodite and sparsely ornamented with setules (Fig. 2f; Table 1). P4 medial margin of basipodite unhaired. P4 endopodite 3 longer then wide with outer terminal spine relatively short (Table 1). P5 basal segment with spinules present near insertion of lateral seta. P5 distal segment with long apical seta (Table 1) and stout subapical spine. Spinules present lateral to the insertion of the apical seta and at the insertion of the subapical spine. Genital double-somite wider then long at widest point (Table 1), surface pitting discrete if present. Posterior margins of proceeding 2 urosomites crenulate. Posterior margin of anal somite ornamented with fine spinules. Anal operculum unornamented. Caudal rami more than five times longer than wide (Table 1) with inner margins weakly haired.Tiny spinules ornament the insertions of lateral and terminal external (Einsle 1996a)caudal seta (S4) (Hołyńska et al. 2003). Terminal median internal caudal setae (S2) relatively long, nearly equal in length to the urosome and more than twice as long as caudal rami (Table 1). Additional morphometry of caudal setae included in Table 1.Published as part of Connolly, Joseph K., Marshall, Christopher C., Hudson, Patrick L., Watkins, James M., Scofield, Anne E. & Rudstam, Lars G., 2022, Reevaluation of the genus Cyclops Müller, 1776 (Cyclopoida: Cyclopidae) in the Laurentian Great Lakes basin: first report of the Palearctic species Cyclops divergens Lindberg, 1936 from Lake Erie and documentation of Cyclops sibiricus Lindberg, 1949 in the St. Marys River, pp. 183-195 in Zootaxa 5182 (2) on pages 185-186, DOI: 10.11646/zootaxa.5182.2.5, http://zenodo.org/record/704962
Seclusion versus Accessibility : The Harems of Constantinople as Aesthetic Worlds in Stories by Elsa Lindberg-Dovlette
No full textThis chapter examines the strategies according to which the Swedish author Elsa Lindberg-Dovlette’s stories, set in Ottoman harems of Constantinople in the early twentieth century, create a distinctive aesthetic world (Hayot, 2012). It is demonstrated that this world is constructed out of the limited and distorted views from behind the veil. By means of their aesthetic “worldedness”, Lindberg-Dovlette’s stories make the secluded milieus of women in the harems of cosmopolitan Constantinople – their special limited view and reduced mobility – accessible to western readers in their vernacular languages, not only in Swedish, but also in translation into Finnish, German, French and Dutch.World Literatures – Cosmopolitan and Vernacular Dynamic
Reviewer_2,_v.1. – Supplemental material for The impact of comorbidities on mortality among men and women with COPD: report from the OLIN COPD study
No full textSupplemental material, Reviewer_2,_v.1. for The impact of comorbidities on mortality among men and women with COPD: report from the OLIN COPD study by Sami Sawalha, Linnea Hedman, Helena Backman, Nikolai Stenfors, Eva Rönmark, Bo Lundbäck and Anne Lindberg in Therapeutic Advances in Respiratory Disease</p
Supplemental_Table_1_SS_pek_190510 – Supplemental material for The impact of comorbidities on mortality among men and women with COPD: report from the OLIN COPD study
No full textSupplemental material, Supplemental_Table_1_SS_pek_190510 for The impact of comorbidities on mortality among men and women with COPD: report from the OLIN COPD study by Sami Sawalha, Linnea Hedman, Helena Backman, Nikolai Stenfors, Eva Rönmark, Bo Lundbäck and Anne Lindberg in Therapeutic Advances in Respiratory Disease</p
Reviewer_1,_v.1 – Supplemental material for The impact of comorbidities on mortality among men and women with COPD: report from the OLIN COPD study
No full textSupplemental material, Reviewer_1,_v.1 for The impact of comorbidities on mortality among men and women with COPD: report from the OLIN COPD study by Sami Sawalha, Linnea Hedman, Helena Backman, Nikolai Stenfors, Eva Rönmark, Bo Lundbäck and Anne Lindberg in Therapeutic Advances in Respiratory Disease</p
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