700 research outputs found
The Process of Community: Class, Culture, and Ethnicity in Nineteenth-Century Newark
No full textThis paper by Charles Stephenson, an Assistant Professor of History at the State University College at Brockport, New York, is from 'New Jersey's Ethnic Heritage: Papers Presented at the Eighth Annual New Jersey History Symposium, December 4, 1976.' Stephenson discusses the relationships between social class and ethnicity. Tables and statistics are included
Gilbert Thomas Stephenson Papers
No full textStephenson was graduated from Wake Forest College in 1902, and a lawyer by profession. He was an active Baptist layman and author.This collection consists of biographical materials on the Stephenson family; autobiographies of Stephenson and his wife, Grace White Stephenson; his diaries, 1902-71; a European travel journal; his office journals, 1913-15; journals of his son Thomas Wilson Stephenson, 1938-57; addresses and speeches; correspondence; education files; legal documents; memoranda of agreements; literary productions of Stephenson and others, including book reviews; photographs; printed materials; professional files; and his Wake Forest College file. The diaries and journals reflect his daily activities as a lawyer, an active Baptist layman, a Sunday School teacher, father, and author, in North Carolina and with the Dupont Company legal department, Wilmington, Delaware
An Interview with Rob Stephenson
No full textInterview Rob Stephenson is an author, composer, visual artist living in Queens, NY. He has been creating texts, music, video, films, drawings, paintings, and installations for over thirty years. He has a BA in Experimental and Interdisciplinary Art from San Francisco State University and an MFA in Electronic Media from Mills College. He is the author of Passes Through (FC2/University of Alabama Press) and frequently publishes in journals and anthologies. He received an outstanding achievemen..
Guide to MS341 Stephenson-Flores Family Papers
No full textJosé María Flores arrived in El Paso, Texas in 1852. He was the son of Teresa Valdéz and José Nicolás Flores, members of early San Antonio, Texas families. On June 19, 1858, he married Margarita Stephenson Ascarate, the daughter of El Paso pioneers, Hugh Stephenson and Juana María Ascarate. José María and Margarita had six children: Hugo, Nicolás, Margarita, Luisa, Isabel and José Jesús. Most of these children married the children of other prominent El Paso families, including the Daguerres and the Samaniegos. Many descendants of José María and Margarita Flores held elected positions in the city governments of El Paso, Texas and Ciudad Juárez, Chihuahua. José Jesús became the first elected mayor of Ciudad Juárez after the Madero Revolution. He married Josefina Samaniego Siqueiros, the daughter of Fernando Samaniego and Guadalupe Siqueiros. Josefina\u27s mother, Guadalupe Siqueiros, was the sister of Jesusita Siqueiros, who married Simeon Hart, an important figure in El Paso history. It is through this connection that the Flores family claims relation to the Hart family. José J. and Josefina had six children: Fernando, Enrique F., José M., Carlos F., Maria Luisa and Ana Margarita. The Stephenson-Flores family papers are composed primarily of family photographs, correspondence, documents, and news clippings relating to family members
The Stephenson family; a genealogical sketch of the Stephenson family from Henry Stephenson of Scotland, to the present time,
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The constructions of authorship and audience in the production and consumption of children’s film adaptations
No full textIn the public consumption of film adaptations of popular children’s literature, which is, particularly in relation to the popular press, influenced by the marketing communications of the filmmaking team, the discursive negotiation of author and audience constructs is pivotal in the endeavor to side-step or manage the seemingly unavoidable discourses of fidelity. In this, child audiences are imagined and constructed in a variety of ways; however, these constructions generally have very little to do with actual children and much more to do with how the filmmakers wish/need to manage and negotiate the significance of both book and film authors. This area is largely unexplored in adaptation studies, for whilst the topic of fidelity proliferates the discipline, its function as a marketing tool - as well as its links to how author(s) and audience(s) are imagined and constructed - needs further investigation. What is clear in the following case studies is that the representations of audience(s) vary depending on the culturally understood personas of the author(s) at hand, therefore as the representation of the various book and film authors shift from case study to case study, so does the representation of the audience. In Harry Potter and The Philosopher’s Stone, J.K. Rowling is deemed to be the primary authorial presence, and the audience are imagined as a cohesive, loyal group of avid readers. In Charlie and the Chocolate Factory, Tim Burton and Roald Dahl are equally significant (despite the lack of Dahl’s physical presence) because they are both deemed to be outsiders, much like the audience members are all (implicitly and paradoxically) also deemed to be. In The Chronicles of Narnia: The Lion The Witch and the Wardrobe, Andrew Adamson is unable to compete with the emotional attachment many adult journalists and critics have to the book, and the result of this is that the discursive presence of the child audience is largely absent. All of these films were within a few years of each other, yet the ‘child,’ childhood more generally, and the intended audience are all constructed in very different ways demonstrating that what is important to those promoting (and often those consuming) a film is a solid author construct, and any discussions of children or child audiences only serves to validate these author figures
O Sangue pútrido do colonialismo: a obra teatral inédita de Élie Stephenson: Tradução da apresentação do volume STEPHENSON, Élie. L’œuvre inédite d’Élie Stephenson (1974-1990). Paris: Karthala, 2018.
No full textÉlie Stephenson, born in Cayenne in 1944, is one of the great Guyanese writers of our time. He published books of the most different genres, producing a work marked by an explicitly political lyricism. In her dramatic work, this trait is revealed through an engaged writing, concerned with the problems arising from the complex relationship between the Guyanese territory, its people and France. This text is a translation of the presentation of Stephenson's unpublished theater plays, published in 2018, written by the critic and professor of Francophone literature Biringanine Ndagano. Author of several books and articles, in his preface, Ndagano addresses different traits of Stephenson's theater, drawing attention, however, to the engaged nature of his work. For this, the critic seeks to put the plays in the volume in question in dialogue with others that had already been published previously, building a kind of guide to all who want to start in the author's theater.*N. do T. Esse texto foi publicado originalmente como apresentação do volume STEPHENSON, Élie. L’œuvre inédite d’Élie Stephenson (1974-1990). Paris: Karthala, 2018.
Élie Stephenson, nascido em Caiena, em 1944, é um dos grandes escritores guianenses da atualidade. Publicou livros dos mais diferentes gêneros, produzindo uma obra marcada por um lirismo de caráter explicitamente político. Em sua obra dramática, esse traço se revela por meio de uma escrita engajada, preocupada com os problemas oriundos da complexa relação entre o território guianense, seu povo e a França. O presente texto é a tradução da apresentação da obra teatral inédita de Stephenson, publicada em 2018, feita pelo crítico e professor de literatura francófona Biringanine Ndagano. Autor de diversos livros e artigos, em seu prefácio, Ndagano aborda diferentes traços do teatro de Stephenson, chamando atenção, porém, para o caráter engajado do seu trabalho. Para isso, o crítico procura colocar em diálogo as peças do volume em questão com outras que já haviam sido publicadas anteriormente, construindo uma espécie de porta de entrada a todos e todas que queiram se iniciar no teatro desse autor.
Music for classical guitar by South African composers : a historical survey, notes on selected works and a general catalogue
No full textIncludes abstract.Includes bibliographical references (leaves 296-309).This is the first comprehensive investigation of music for, or including, the classical guitar by South African composers. The focus of this research has been, firstly, to uncover as much of the repertoire as possible, and, secondly, to collate, study, catalogue and report on the information. A brief historical survey of the guitar in South Africa provides the context within which this study was conducted. The primary sources of quantitative data collection were through the archival catalogues of the South African Music Rights Organisation and through personal contact with guitarists, composers and guitar teachers. Other sources consulted were publishers, broadcasting corporations, recording companies, libraries and the internet. The body of the dissertation comprises biographical sketches, background notes, analyses and technical notes on 17 selected solo and chamber works dating from 1947 to 2007 by some of South Africa's most prominent composers and guitaristcomposers. The repertoire ranges in style from the traditional and ethnically inspired to the experimental and abstract. As this is an empirical survey, each selected entry includes details on instrumentation, duration, level of difficulty, number of pages, scordatura, commissions or requests, sources or publishers, premières and recordings. A biography of each composer is provided as well as background notes which offer an overview of the selected work. The notes discuss historical, cultural, musical and extra-musical influences, and frequently include references to interview material. The commentaries on the selected works, with musical examples, include an analytical component describing structure, form, stylistic and compositional elements, while the technical observations include performance suggestions and a grading for each work
I Am Proud to be a Spanish-American War Veteran by Hugh L. Stephenson (Broadside 70)
No full textBroadside listing the reasons why the writer is Proud to be a Spanish-American War Veteran. The author of the piece is Hugh L. Stephenson, and it was printed by the William McKinley Camp of the United Spanish War Veterans of Long Beach, Calfironia. The item features blue ink text with red highlights.https://digitalcommons.wku.edu/tlw_secondary/1013/thumbnail.jp
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