209,661 research outputs found
Music of Hugo Weisgall
No full textRecorded during a live performance at Oakland Recital Hall, Western Michigan University, Kalamazoo, Michigan on October 21, 1981, 8:00 p.m., program no. 34 of the School of Music's 1981-1982 season.1st work: Marilyn Rose Nicholson, soprano ; Robert Byrens, piano. 2nd work: Joyce Zastrow, soprano ; Robert Byrens, piano. 3rd work: Elizabeth Patches, mezzo-soprano ; Phyllis Rappeport, piano. 4th work: Gail Smith, stepdaughter ; Corinne O'Heran, mother ; Rick Knapp, son ; Mark Cummings, father ; Rick Krzeczkowski, the director ; Monica Whitaker, the prompter ; Nadine Vorenkamp, the coloratura ; Mary Rempalski, the mezzo ; Matthew Elliott, the basso cantante ; Tom Manguem, the tenore buffo ; Sarah Coley, the wardrobe mistress ; Jennifer Little, the understudy.Reel 1: Introductory remarks by the composer -- Two madrigals. Nuptual song ; No more I will thy love importune -- Translations. Song ; Poem ; The rebelReel 2: Di goldene pave. Di Goldene Pave ; Undzer Rebenyu ; Der Rebe Elimeylekh ; Mayn Harts Veynt in Mir ; Baleboste Zisinke ; Shlof Mayn Kind, Sholf Keyseyder ; Lomir Zikh Bafrayen -- Six characters in search of an author. Act I / libretto by Dennis Johnston, based on the play by Luigi Pirandell
The Political Communication of Hugo Chávez: The Evolution of Aló Presidente
No full textAló Presidente was a weekly television programme anchored and produced by Hugo Chávez during his presidency in Venezuela. The show, a version of a phone-in, was broadcast live on national television at 11am on Sundays and lasted on average six hours. It followed the presidential agenda to a new location every week, where Hugo Chávez would inaugurate factories, read Latin American poetry, interview Fidel Castro, and sing llanero songs. This thesis investigates the role that Aló Presidente played in the making of the “Bolivarian Revolution”, Hugo Chávez’s political project. Through a critical reading of the transcripts of the show, it explores the 378 episodes, or 1656 hours, that aired between 1999 and 2012. Aló Presidente was the cornerstone of Chávez’s political communication, replacing press conferences and interviews. Chávez was known for his continuous presence on radio and television and his daily presidential addresses. However, only on the Sunday show could the audience phone the president and share their ideas, emotions and everyday life concerns. This thesis reviews the narratives that underlined the relationship between the audience/electorate and the host/president on Aló Presidente. It is argued that Aló Presidente played a fundamental role in articulating the identity of a public that shared the values and ideas of Chávez’s hegemonic project. Moreover, it is argued that the show Aló Presidente and the ideological process called the “Bolivarian Revolution” can be read as two co-related arms of a same project, and that they informed and defined each other throughout Chávez’s presidency. In this context, this thesis assesses the evolution of the programme in light of the political events taking place in Venezuela during that time. Aló Presidente is thus seen as a repository, or “black box”, of the discourses that articulated the Bolivarian identity and constructed the legitimacy of Hugo Chávez as the leader of a populist movement in Venezuela. Finally, the core of this thesis is that the co-relation between the show and the hegemonic project evolved over time to strengthen the authoritarian tendencies of Hugo Chávez’s regime. Following the activities of Aló Presidente over 13 years, the investigation charts that evolution in three different stages: 1) participation, 2) education, and 3) obedience, arguing that what started as a seemingly participatory space, progressively became a platform that presented Hugo Chávez’s figure as the ideologue of a populist movement, and ultimately secured his position as the indisputable leader and sole authority of Venezuela’s “Bolivarian Revolution”
Taxco, panorámica
No full textI.O. 4851 Nota: Inscripción en la guarda: Panorámica cd. de Taxco c/28022 neg. 28023 diap. La fotografía se encuentra en el libro de Pueblos y paisajes de Hugo Brehme, pag. 165
Men Who Talk About Love in Late Medieval Spain: Hugo de Urriés and Egalitarian Married Life
No full textIn the last third of the fifteenth century, Hugo de Urriés’s work can offer the modern reader a very rare and informative perspective from the points of view of social history and history of ideas. The Dezir del casamiento (Poem of Marriage) is a very extensive moralising poem written by Aragonese courtier Hugo de Urriés, known by critics as the devout lover of Spanish courtly literature because of his very unusual autobiographical celebration of his life with his wife. The poem is an enthusiastic encomium that was completely alien to the Castilian mainstream courtly canon.
This article analyses the literary, philosophical and religious traditions informing Urriés’s writing as well as the social, biographical, and historical circumstances shaping his ideas about gender relations.
The methodology of this work serves the purpose of going beyond erudite study of texts, traditions and sources and tries to reflect intimate experiences and beliefs of real people about marriage, perhaps the most important and visible regulator of personal relationships between men and women in the period prior to the changes introduced by the Council of Trent. The article identifies the universal thinking behind Urriés’s idyllic account of his life as a married man
[Textbook Card]
No full textTextbook card for Hugo C. Stolte, Jr. of Lower Valley School. The card lists Stolte's textbooks. It is signed by Hugo C. Stolte and William Tout
Konzerte Klavier Orchester Ausw. Arr / 12 W. A. Mozart's Clavier Conzerte
No full textfür das Pianoforte zu vier Händen eingerichtet von Hugo UlrichBibliogr. Nachweis: Hofmeister XIXVorlageform des Erscheinungsvermerks: Arrangement Eigenthum der Verlagshandlung. Breslau, Verlag von F. E. C. Leuckart (Constantin Sander). Lith. Anst. von C. G. Röder in Leipzig. ; Pr. 2 Thlr.Lithographi
Collage
No full textPhotographies collées sur papier aquarellé et encréDans cette grande composition, qui pourrait être d'inspiration anglo-saxonne et qui orne aujourd'hui la cage d'escalier de Hauteville House , Charles Hugo a intégré des photographies, les titres des œuvres théâtrales, poétiques et romanesques de son père, des inscriptions diverses. Au cœur de la composition, qui a la forme d'un ostensoir, figure la photographie de Victor Hugo en victime expiatoire du régime impérial, proscrit sur son rocher
Hugo de Folieto
No full textHUGO DE SANCTO VICTORE. De bestiis et aliis rebusNumérisation effectuée à partir d'un document original.F. 1 HUGO DE FOLIETO, De avibus, c. I-LVI, avec 2 prol. (P. L., CLXXVII, 13-55 ; forme le l. I du De bestiis et aliis rebus, attr. à Hugues de S. Victor) ; F. 31 De claustro animae, avec prol. en tête de chaque livre et table du l. IV (P. L., CLXXVI, 1017-1182) ; F. 144 De medicina animae, avec prol. et table (ibid., 1183-1202) ; F. 156v De nuptiis, avec prol. (ibid., 1201-1218). F. 167 Visio cujusdam monachi : « Flecte caput fili... »
Kuno Fischer und die litterarhistorische Methode / von Hugo Falkenheim
No full textKUNO FISCHER UND DIE LITTERARHISTORISCHE METHODE / VON HUGO FALKENHEIM
Kuno Fischer und die litterarhistorische Methode / von Hugo Falkenheim (1)
Cover (1)
Titelseite (3)
Vorwort. (5)
Inhalt. (7)
Einleitung. (9)
I. Philosophisches Stoffgebiet innerhalb der Litteraturgeschichte. (10)
II. Die entwicklungsgeschichtliche Methode. A) Allgemeines (30)
II. Die entwicklungsgeschichtliche Methode. B) Das historische Element. (35)
II. Die entwicklungsgeschichtliche Methode. C) Das psychologische Element. (50)
II. Die entwicklungsgeschichtliche Methode. D) Das ästhetische Element. (81)
II. Die entwicklungsgeschichtliche Methode. E) Ergänzendes. (108)
Schluß. (113
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