313 research outputs found
Book-keeper sat on an office stool
No full textFor voice and piano.Caption title.Includes advertising."Verses 1 and 2 from 'Bill of the U.S.A. by Kenneth Graham Duffield ... Verses 3, 4 and 5 by Alice Monroe Foster"--Bottom p. 2.Verses 4 and 5 presented as text at end of score; verse 5 includes alternative lines "For use in other English speaking countries."Cover illustration: Composer's name in a light blue circle."To all who have worn the khaki.""To all who have so faithfully served their country, whether at home or at the front my deepest appreciation and loving thanks! Fay Foster, New York 1919"--Reproduced handwriting on cover.Archived web conten
Recommended from our members
Notis Musycall: Essays on Music and Scottish Culture in Honour of Kenneth Elliott
No full textKenneth Elliott is widely acknowledged as the leading scholar in the field of early Scottish Music. As
performer, deviser of radio programmes and countless concerts, and as author on the history and criticism of
Scottish music, Kenneth has done much to promote Scottish ‘art music’ of the period up to 1800. This
volume of essays, offered to him on the occasion of his 75th birthday, covers a variety of themes from the
medieval era through to the 20th century, and embracing music, art and Scottish culture, history, religion and
literature
Recommended from our members
Government Privilege: A Cautionary Tale For Codifiers
Get PDFSome scholars want to codify the federal law of privilege but the history of the many governmental privileges suggests that converting common law privileges to statutory form may not do much to reform privilege law. After restating the conventional view of privileges, the author argues that both Congress and the courts can claim legitimate power to control them. He next outlines the political economy of the government secrecy that the privileges aim to protect and provides an econometric model to explain why our socio-political structure fosters bureaucratic secrecy. The author then uses the notorious “Quackgate” case [Cheney v. U.S.District Court, 124 S.Ct. 2576 (2004)] to illustrate how the secrecy-privilege system operates. The article concludes with thumbnail sketches of privilege cases to show that neither Congress nor the courts have the will to restrict government demands for privileged secrecy
Propositions and meaning : a study of denotationist theories of logical meaning
Get PDFThis thesis is partly an historical and partly a critical study of the philosophical view that propositions(argument components or logical meanings) are in some sense "objects" denoted by sentences. The author confines his at tent ion to theories developed during a revolutionary period in the history of logic - between the publication of Mill's A System of logic and that of Principia Mathematica by Russell and Whitehead. Starting from Mill, the
author traces the development of denotationist theories in the writings of Brentano, Meinong, Frege, and early
Moore and Russell. Broadly speaking, the views discussed represent two distinct theories of the proposition.
Firstly, there is the theory that propositions, in the sense of meaning-objects denoted by sentences, are identical
with or can be reduced to objects denoted by words and non-sentential phrases, This theory, the author argues, carl be found in Mill and early Frege, and is most explicitly stated by Brentano. Secondly, there is
the theory that the meaning-objects denoted by indicative sentences are fundamentally different from the objects denoted by words and phrases, and that propositions therefore
form a distinctive class of denotata, This view is represented in the writings of later Frege, Meinong and early Russell,
In the first chapter, the author discusses theories of the proposition suggested by Mill and early Frege, Firstly, he tries to bring out the conflicting strands
in Mill's thought, by contrasting Mill's "official" denotationist theory of propositions with other denotationist
doctrines suggested in the Logic. Secondly,
the author outlines Frege's early theory of meaning, and discuses some of the difficulties that lead Frege o modify his early denotationist assumptions,
The second chapter of the thesis begins with an xposition of Brentano's "intentional" theory of mental acts and objects, and then goes on to show how Brentano uses this theory in an attempt to explain the meaning of propositions "from the empirical standpoint". The author emphasises Brentano's debt to Mill, and his influence
on Meinong
The Dreamland Bus (1991) | Program
Get PDFPerformed: 17-21 October 1991; Kenneth Graham\u27s The Dreamland Bus is an autobiographic play based on the author\u27s own family. The comedy drama is about a family that gets together for an Easter weekend and Sunday dinner for their last family gathering in the house. The play was directed by Wayne Claeren, scene and lighting design by Carlton Ward, costume design by Freddy Clements and Joyce Tate, assistant costumer was Paul Odom, technical direction by David Keefer, stage management by Amber Norman and Barry Newell (assistant). This item is contained within the Clements drama production materials.https://digitalcommons.jsu.edu/productions_all/1138/thumbnail.jp
The Dreamland Bus (1991) | Image 001
No full textPictured: Damon Daffron, Colin Crews, Jay Ennis, Traci Miller; Performed: 17-21 October 1991; Kenneth Graham\u27s The Dreamland Bus is an autobiographic play based on the author\u27s own family. The comedy drama is about a family that gets together for an Easter weekend and Sunday dinner for their last family gathering in the house. The play was directed by Wayne Claeren, scene and lighting design by Carlton Ward, costume design by Freddy Clements and Joyce Tate, assistant costumer was Paul Odom, technical direction by David Keefer, stage management by Amber Norman and Barry Newell (assistant). This item is contained within the Theatre & Film Production Archive.https://digitalcommons.jsu.edu/productions_images/4098/thumbnail.jp
Recommended from our members
Crawford Interpreted: 2004-2005
Get PDFIn 2004, the Supreme Court redid once again its interpretation of the Confrontation Clause of the Sixth Amendment. The majority opinion by Justice Scalia created a dual track system for applying the right of confrontation to hearsay evidence. The first track subjected evidence the opinion called “testimonial” to a severe standard; the evidence was inadmissible unless the declarant was unavailable and the defendant had a prior opportunity to cross-examine the declarant. Non-”testimonial” evidence ran down the other track to an uncertain destination. The author has argued elsewhere [ see forthcoming article at http://repositories.cdlib.org/uclalaw/plltwps/5-10 ] that the Court might have found some support for a dual-track right of confrontation in the history of the Confrontation Clause where the Founders drew a distinction between “accusers” and “witnesses.”The present essay documents the interpretation of Crawford by state and lower federal courts in the year after the Supreme Court’s decision. The author believes these cases suggest that when the Supreme Court revisits Crawford, it might limit that case to hearsay that amounts to an “accusation” in common parlance. Moreover, in dealing with accusations and non-accusatorial hearsay, the Court would do well to consider the Confrontation Clause, not as an isolated provision of the Sixth Amendment, but as a part of a “holistic” Bill of Rights that captures what the Founders called “trial by jury” when they objected to the use of inquisitorial criminal procedures
Recommended from our members
Faculty Law Review Articles, 1894-2017
Get PDFA list of hundreds of law review articles written by faculty members on the subject of "evidence"---narrowly defined to include only those topics covered by the Federal Rules of Evidence or its state clones. Readers who find their articles missing should notify the author who will add them to the next supplement
Projective Space: Structuring a Beholder’s Imaginative Response
Get PDFThe thesis explores the reciprocal relationship between an artwork and the space of its reception. It proposes a distinctive position on spatiality and the virtual. The thesis is submitted in two parts: a written thesis (Part One), and a documentation of my own art practice (Part Two).
The artwork that comprises the practice component is not that of a painter, and yet the sculptural installations I present allude to perspectival paintings. Utilising perspectival geometry, these site-responsive works engage the threshold between two and three-dimensional representation in a way whereby implicit and actual beholder’s viewpoints are contrasted or fused.
The written thesis focuses on the reception of perspectival painting, rather than on my own artworks. Referencing analytical philosophical arguments on representational seeing, and the reception aesthetics of Wolfgang Kemp, it puts forward a distinctive position that contends that while the visual imagination does not define depiction, it plays a pivotal role in supplementing perception in works where the spectator attends to and/or imagines away the threshold separating the real and fictive realms. After Merleau-Ponty, I call such an imaginative engagement seeing-with, which describes a particular use to which painting is put. In providing a strongly felt pictorial depth, I argue that such an implied pictorial space incorporates the space between painting and spectator position.
I investigate two categories of works where such imagining facilitates a distinctive access to the picture’s content: (i) paintings containing what Wollheim refers to as an ‘internal spectator’; and (ii) paintings integrated into their architectural settings, where the internal onlooker is fused with the external spectator. I highlight differences afforded internal and external spectators: with the former, the viewer identifies with a spectator who already occupies an unrepresented extension of the ‘virtual’ space; with the latter, the beholder enters that part of the fictive world depicted as being in front of the picture surface, the work thus drawing the ‘real’ space of the spectator into its domain.
This distinction mirrors two distinct types of visualization: where a scene is imagined as elsewhere, and where it is situated, juxtaposed with an existing reality. Imagination provides a reciprocity that replicates the experience of our bodily situatedness, in that it structures our implied spatial access to the depicted scene. In establishing a bodily frame of reference, it draws upon nonconceptual content. The thesis tests the philosophical argument against specific paintings, including works that introduce a break from a situated relationship in order to depict the supernatural or the unconscious
- …
