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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
A Look at Philosophical Analysis
No full textThe author of this article, Dr. Ralph L. Pounds, is the author of many books and a Professor of Education at the University of Cincinnati. This article was first given as the presidential address of the Ohio Valley Philosophy of Education Society
Postcard to Ralph L. Cheney (April 19, 1918)
No full textA postcard to Ralph L. Cheney, dated April 19th, 1918. The front of the postcard has the address of both men on it. On the back, the author of the postcard, only identified as Henry due to inability to read name, tells Cheney about the arrival of a Springfield man named Wyer, who is taking a special course on war work. He also promises to send prospective students names in response to a letter he received from Professor Berry.Ralph L. Cheney served as the head of Springfield College’s Secretarial Department from 1907 to 1924. Before taking this position, he worked as a YMCA secretary in Albany and Niagara Falls, New York
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
For a fi-diddle-li-day.
No full textvoice; guitarsCollected by James Ward Lee
Kansas)
Hindsville, Arkansas
July 19, 1958
Sung by Joan O'Bryant (of Wichita
and Ralph E. Roberts for
Mary Celestia Parler
Transcribed by Frances Majors
Reel 240, Item 8
The Miller's Three Sons
There wore three sons and I knowed then well,
He taken sick and he likened to die,
And he sent for sons . . .
For a fi-diddle-li-day.
The first he sent for was his oldest son,
"My son, my son, my race is run,
And if to you this mill I leave,
Pray tell to me what toll you'll take."
For a fi-diddle-li-day.
"Oh, Father, you know my name is Ralph,
And out of each bushel I'll take one half,
Of every bushel that I do grind,
I'll make as good a living as I can find."
For a fi-diddle-li-day.
"My son, my son, it's you won' t do,
It's you won't do as I have done.
The mill to you I cannot leave,
For by such toll no man can live."
For a fi-diddle-li-day.
And then he sent for his second son,
"My son, my son, my race is run,
And if to you this mill I leave,
Pray tell to me what toll you'll take."
For a fi-diddle-li-day.
"Father, you know my name is Dick,
A nd out of each bushel I'll take one peck.
Of every bushel that I do grind,
I'll make as good a living as I can find."
For a fi-diddle-li-day.
"My son, my son, it's you won't do,
It's you won't do as I have done.
The mill to you I cannot leave,
For by such toll no man can l ive."
For a fi-diddle-li-day.
(Cont'd) The Miller's Three Sons
Sung by Joan O'Bryant
Reel 240, Item 8
And then he called for his youngest son,
"My son, my son, my race is run,
And if to you this mill I leave,
Pray tell to me what toll you'll take."
For a fi-diddle-li-day.
"Father, you know I'm your darling Roy,
Stealing corn is all my joy.
I'll steal the corn and swear . . .
And box the boys when they get bad."
For a fi-diddle-li-day.
"My son, my son, it's you will do.
It's you will do as I have done.
The mill is yours," the old man cried,
And then he kicked up his heels and died,
For a fi-diddle-li-day.Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Two tales of a city: Salford in regional filmmaking, 1957-1973
No full textThis discussion considers the role of moving image in constructing aspects of regional identity, with particular reference to footage produced by two very different filmmakers who filmed in Ordsall, Salford during the 1960s. Their respective footage covers a period of profound social and physical change associated with housing clearance and urban renewal schemes. This article, which is based upon archival film footage in the North West Film Archive at Manchester Metropolitan University, seeks to convey the richness and multi-facetted nature of this footage and to highlight its value in the historical exploration of identity formation. The piece begins with a brief consideration of archival film as a source of historical evidence and associated issues of interpretation. This is followed by an introduction to the locality that features in the two filmmakers’ work and brief reference to how it has been represented in the past. Attention then turns to each of the filmmakers: first, John Michael Goodger, former lecturer at the University of Salford, who made a trilogy of films to chart the changing character of Ordsall in the late 1960s; second, Ralph Brookes, an amateur home movie maker who also documented the transformation of the terraced streets around where he lived. These contrasting versions of Ordsall highlight some of the challenges offered by using film in a study of regional identities. They also illustrate the enormous potential of such material in helping to elucidate the shifting and multiple nature of place meanings
Postcard from Burton S. Tandy to Ralph L. Cheney
No full textA postcard from Burton S. Tandy to Ralph L. Cheney, date unknown. The front of the postcard has a picture of Mont-Dore, a commune in Southern France located in the Massif Central. At the bottom of the image seems to be the address and location of the picture. On the back, Tandy tells Cheney that while on a seven-day leave, he wanders about in the mountains pictured and enjoying the town of Mont-Dore. Also on the back is the address of Cheney.Ralph L. Cheney served as the head of Springfield College’s Secretarial Department from 1907 to 1924. Before taking this position, he worked as a YMCA secretary in Albany and Niagara Falls, New York
Delph Carpenter, father of Colorado River treaties: text of Governor Ralph L. Carr's 1943 salute to Delph Carpenter
No full textSeptember 1991.Includes introductory material, text of Colorado River Compact.The rulebook for the Colorado River is the 1922 Colorado River Compact, a document now nearly 70 years old. Time said, "This critical document facilitated both the astonishing development of the West and the problems that followed as a result." The centerpiece of Delph Carpenter's career was the Colorado River Compact and the acknowledgement of his role came from no less a person than President Herbert Hoover. Hoover's admiration for the work of Carpenter is evident from the two letters included in the booklet. Not only was Delph Carpenter an institution in the field of western water law; he left a legacy through his son Donald, who became an attorney and accompanied his father to many water meetings including trips to see President Hoover. When Delph Carpenter became disabled with Parkinson's Disease but struggled to continue his work, his son Donald took care of his father's personal needs while he continued to work on the interstate water treaties. At the time that Governor Ralph Carr delivered the speech which is reprinted here, Donald was on the East Coast awaiting shipment to Europe in World War II. Ex-President Hoover arranged for Donald to attend the banquet. Donald Carpenter went on to a distinguished career as a district judge in Greeley, including presiding over the water court. Today's students of water resources management will benefit from the study of this speech and the vision held by Delph Carpenter and his peers about Western water management
George MacLeod’s open-air preaching: performance and counter-performance
No full textStuart Blythe uses the methodology of performance to analyse George MacLeod’s open-air preaching. He points out that MacLeod’s preaching was derived from a theology of the incarnation, and an understanding of the paradoxes and dichotomies of common human life. This preaching, Blythe suggests, was also a counter-performance in the context of outlooks and ideologies inimical to the gospel. The paper raises interesting issues related to preaching as performance, and the further question as to whether or not the life and work of the Church as a whole might now be better understood as a counter-performance.Publisher PD
Philip L. Bryson
No full textPhilip L. Bryson is called to the California Mission for the Church of Jesus Christ of Latter-day Saints. He is the son of Ralph and Elfreda Bryson
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