3,048 research outputs found
Frank Moorhouse interviewed by Suzanne Hayes
No full textWhile at the Adelaide Festival of Arts in 1980, Australian author Frank Moorhouse spoke with Suzanne Hayes of the Adelaide college of Technical and Further Education (TAFE) about his techniques in fiction, the subject matter of his first four works of fiction, his attitude to expatriate authors and other aspects of his writing life
Big Talk, 10/20/2011
No full textSuzanne Murphy talks with Portland Food Co-Op communications director Michelle Smith and board member Sean Cooper about their operations.https://digitalcommons.usm.maine.edu/wmpg_bigtalk/1034/thumbnail.jp
Realism analysis in Suzanne Collin's "Mockingjay"
No full textin this novel, the writer found kinds of realism viewed that were from moral realism. they are moral requirement hypothetical imperative (MRHI), values and secondary qualities (VASQ), virtues and reasons (VAR). the writer found the author way to perform realism in Suzanne Collin's novel "Mockingjay". from the moral requirement hypothetical imperative Katniss join in the arena to fight district from the president Snow., the second kind is values and secondary qualities where this actions is just known by herself. and virtues and reasons, Katniss did something for nations because social need it.vii, 42 page
Suzanne Belperron
No full textAvant-propos Olivier Baroin -- Chronologie -- 1 Une vie d'Artiste -- 2 "Mon Style est ma Signature." -- 3 Des Pierres et de leurs Alliances -- 4 Thèmes et Influences -- 5 Une Clientèle prestigieuse"Cet ouvrage est le premier consacré à Suzanne Belperron, l'une des créatrices de bijoux les plus talentueuses et les plus influentes du XXe siècle. Engagée comme dessinatrice modéliste par Germaine Boivin en 1919, elle contribue au succès de la maison "René Boivin" où elle laissera une empreinte toute particulière. En 1932, pourtant codirectrice, elle décide de prendre son envol. Elle s'associe avec le grand négociant en pierres précieuses et perles fines Bernard Herz et, dès lors, s'épanouit en toute liberté : elle réalise, avec un total détachement des "contingences" liées à l'art de la joaillerie, de superbes pièces aux formes sculpturales et particulièrement originales. Fascinée par les pierres de couleurs, quelle qu'en soit la valeur, elle propose une oeuvre à contre-courant des créations contemporaines, souvent anguleuses en platine serti de diamants. Artiste d'avant-garde et coloriste hors pair, Suzanne Belperron réalise avec audace des bijoux d'un style inégalable prisé de l'ensemble du gotha de l'époque comme le prouvent les nombreuses parutions dans "Vogue" ou "Harper's Bazaar". Sa clientèle cosmopolite se compose de la plupart des cours d'Europe et des aristocrates, de magnats de l'industrie et de la finance, de personnalités issues de l'univers de la mode, de l'élite intellectuelle ou encore de vedettes américaines. Dans son atelier parisien se succèdent le Duc de Windsor, les Rothschild, Elsa Schiaparelli, Nina Ricci, Daisy Fellowes, Colette, Malet Stevens, Ganna Walska, Merle Oberon, Gary Cooper et bien d'autres. Ayant pour adage "mon style est ma signature", Suzanne Belperron ne signait jamais ses pièces, rendant complexes l'attribution et la datation de certaines créations. C'est pourquoi la récente découverte (2007) de ses archives personnelles, qui a motivé et sur laquelle s'appuie l'écriture de ce premier +
The Hothouse Archives
No full textThe ICI Berlin in conjunction with the Max Planck Institute for the History of Science is pleased to announce an exhibition by visual artist and theorist Suzanne Anker. The Hothouse Archives brings together two groups of photographs that picture the blurring of boundaries between nature and culture. The first suite of pictures, ‘Coral Seed Bank’ (2007) capture fragments of brain corals suspended in tanks located at the Mote Marine Laboratory at Summerland Key, Florida. The morphology of coral, similar to the convolutions in the brain, create vital connections between all parts of the organism. The vivid colors are a natural wonder, rendering this stationary carnivore as a masquerading plant. In the second suite of photographs, ‘Laboratory Life’ several layers of images are superimposed on top of one another in the form of a palimpsest. Images garnered from scientific laboratories form the technological base layer. An image of a transparent garden is then transferred as a top layer. The chance provoke questions concerning our enchantment with both nature and technology.
Suzanne Anker (www.geneculture.org) has exhibited her work at the J. P. Getty Museum, the Kunsthaus Meran, the Phillips Collection, the Institute for Art and Urban Resources in NY among others. She has been a guest curator at the New York Academy of Sciences as well as the author of many texts concerning the implications of the bio-technological revolution on culture and society. She currently teaches at the School of Visual Arts in NYC, where she is Chair of the Fine Arts Department
Interview with YA author and Children‘s Editorial Assistant Suzanne Sutherland
No full textAn interview with Young Adult author Suzanne Sutherland. The interview focuses on Toronto, the straight edge scene, music and subculture, Sutherland\u27s first book, When We Were Good and the importance of queer representation in YA books. Sutherland also recommends a number of YA novels
KS: SUZANNE HALL
No full textKEYNOTE SPEAKERS: Suzanne Hall London School of Economics and Political Science (London, UK) Suzanne Hall is Director of the Cities Programme and an Associate Professor in the Department of Sociology at the London School of Economics and Political Science. Her research explores the intersection of global migration and urban marginalisation. Through an ESRC award she has focused on migrant economies and spaces on urban high streets across the UK. Suzi is author of City, Street and Citizen: The..
Dan and Leon Marsing, Utah Uranium Oral History Project
No full textTranscript (41 pages) of an interview by Suzanne Simon with Dan and Leon Marsing, on August 10, 1970. From tape number 121 in the Uranium History ProjectSuzanne Simon interviewed the Marsings at their home in Moab, Utah. Subjects: working at the mill, the ferry, learning to fly, the Happy Jack, Bronson and Cooper, extracting ore, Free\u27s store, living conditions, airplane adventures, flying bishop, road conditions, transient miners, working conditions and safety policy, crops, company nurse, Rattlesnake Ridge claim, tailings (41 pages)
Suzanne Brazeau’s Story of Vassilka
No full textabusegardenimmigrantNorth Vancouversecond lovewidowWorld War II1910’sEurop
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