2,738 research outputs found
Ralph Berkowitz Collection
No full textRalph Berkowitz (1910-2011) was a music educator and pianist. He performed many solo recitals throughout the world and was an accompanist for cellist Gregor Piatigorsky. Berkowitz was also a staff member at the Curtis Institute of Philadelphia, the executive assistant at the Tanglewood Institute, and the business manager of the Albuquerque Symphony Orchestra. This collection contains 2.00 linear feet of scrapbooks and an unpublished biography that contain photographs, correspondence, articles, brochures, programs, artwork, and memorabilia related to Berkowitzs career, the ensembles he was involved in, and his relationships with his close colleagues, including pianist Aaron Copland, cellist Gregor Piatigorsky, and Tanglewood Institute director Serge Koussevizky
Letter from Ralph H. Cameron to Carl Hayden
No full textLetter from Ralph H. Cameron asking to speak to Carl Hayden concerning a matter relevant to the bill granting National Park status to the Grand Canyon
Letter from Carl Hayden to Ralph H. Cameron
No full textLetter from Carl Hayden to Ralph H. Cameron responding favorably to a request to meet in regards to the bill granting National Park status to the Grand Canyon
Letter from Ralph H. Cameron to Carl Hayden
No full textLetter from Ralph H. Cameron to Carl Hayden thanking him for forwarding Senate Bill No. 390 with the report of March 31st, 1918, and expressing interest in their upcoming meeting in Washington
Letter from Ralph H. Cameron to Carl Hayden
No full textLetter from Ralph H. Cameron to Carl Hayden requesting a delay on the introduction of the Grand Canyon bill until he can meet with himself and Senator Ashurst in Washington
Native drama entitled The panting patriot of the pattern parliament, or The palmy parient of the peerless prodigies : in five acts / by the author.
No full textAttributed to Ralph Delaney. Refer to Morris Miller's Australian literature 1795-1938, p. 377.; Electronic reproduction. Canberra, A.C.T. : National Library of Australia, 2013.; ANL's copy lacks cover and is slightly damaged.Panting patriot of the pattern parliament.Palmy parient of the peerless prodigies
Recommended from our members
Life History of Ralph W. Spitzer
No full textA detailed biographical sketch of Ralph W. Spitzer (b. 1918), a graduate student of Linus Pauling's and promising academic who joined the Oregon State College chemistry department in 1946. Promoted to Assistant Professor in 1947, Spitzer was nonetheless fired from the OSC faculty in 1949 by President August L. Strand, almost certainly because of progressive political views espoused by Spitzer and his wife Teresa. Spitzer eventually matriculated to Canada where he earned an M.D. specializing in chemical pathology and co-founded a successful diagnostic laboratory firm, C.J. Coady Associates.
The paper is based upon a series of oral history interviews conducted by the author with Ralph Spitzer, his daughter Eloise Spitzer, and his wife Hisako Kurotaki
William E. Hoy, letter to Mr. Ralph Elliot Lin Weber, July 8, 1943, with envelope and newspaper articles
No full textThis letter was sent from William E. Hoy to Mr. Ralph Elliot Lin Weber and is dated July 8, 1943. The letter recounts information about the only baseball game where Hoy, a deaf athlete, was at-bat against Taylor, also a deaf athlete. Mentioned in the letter is a typewritten play by play of the same game, copied from the Enquirer of May 17, 1902. Also included is an envelope and newspaper articles. The envelope, from International League Information, is addressed to Ralph E Lin Weber and has handwritten lists of players of N.Y. and Cincinnati. The newspaper articles are from the Dayton Daily News and the Cincinnati Enquirer and feature pictures of William E. Hoy, the author of the letter
January 22, 1985 letter from Ralph A. Patterson, Jr., Diamond Shamrock Thermal Power Company, to Takeshi Yoshihara, DPED, Energy Division
No full textThe author of the letter is named as Ralph A. Patterson Jr., but "crn" actually wrote the letter (per "RAP/crn"). The original letter included attachments (not included in the digital file)
Characterization and structure in the development of Tudor comedy
No full textThe role of characterization in dramatic structure is assessed by theoretical criteria.
Characters who perform actions necessary for the completion of the narrative sequence are
said to be "bound" to the narrative; those without such obligations are "free". Characters
who maintain a single, constant meaning during the course of a play are said to be "static";
characters who change or develop into new roles are "dynamic". Horatian decorum
demanded that comic characters be static, and the characters of Plautine and Terentian
tradition were almost always bound to narrative intrigue. However, evaluations of six
Tudor comedies show an increasing use of non-classical characterization within the comic
form.
In the early comedies lohan lohan and Roister Doister all characters are bound and
static, yet the impetus to enlarge the role of characterization is evident. The characters of
lohan lohan are expanded from their French source, and Roister Doister includes
extraneous episodes in which Udall displays his braggart hero. Free characters abound in
Misogonus; as well the play brings dynamic characterization into the scope of comedy with
the conversion of its prodigal son.
Free characters offer new possibilities of non-narrative plotting. In comedies of the
1580s favourite traditional characters appear as diversions outside the action, and thematic
arrangements of characters inform the increasingly complex plots. Lyly stresses the
symbolic potential of characters in Endimion, whereas Greene uses dynamic
characterization to heighten the illusion of independent figures in Friar Bacon and Friar
Bungay. Love's Labour's Lost exposes the limitations of comic artifice by pulling the
characters between convention and individualization.
By the end of the sixteenth century free and dynamic characters had become
common, and characterization had established a sizable claim on the design of English
comedy. These developments set the English form apart from its neoclassical counterparts
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