30,567 research outputs found
Faculty concert: Michelle LaCourse, November 16, 1998
No full textThis is the concert program of the Faculty Concert of Michelle LaCourse performance on Monday, November 16, 1998 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Possessed by John Steinmetz, Sonata for Viola and Piano by George Rochberg, Elegy by Elliott Carter, and Chocolates (torch songs for viola and piano) by James Grant. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund
Faculty Concert, Michelle LaCourse, Wednesday, October 18, 2000
No full textThis is the concert program of the Faculty Concert of Michelle LaCourse on Wednesday, October 18, 2000 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Romance by Ralph Vaughan Williams, Sonata for Viola Solo, Op. 25 No. 1 by Paul Hindemith, Truffles by James Grant, and Sonata by Rebecca Clarke. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund
Faculty recital: Michelle LaCourse with Seth Beckman, January 22, 2004
No full textThis is the concert program of the Faculty Recital of Michelle LaCourse with Seth Beckman on Thursday, January 22, 2004 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Lachrymae, Op. 48 by Benjamin Britten, Sonata for viola and piano by George Rochberg, Just a Thought by James Grant, Infanta Marina, Op. 83 by Vincent Persichetti, and Sonata for viola and piano, Op. 11 No. 4 by Paul Hindemith. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund
Faculty concert: Michelle LaCourse, viola, Nadine Shank, guest artist, piano
No full textThis is the concert program of the Faculty Concert: Michelle LaCourse, viola, Nadine Shank, guest artist, piano performance on Tuesday, September 28, 1999 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed were Lachrymae, Op. 48 by Benjamin Britten, Waltz for Bets by James Grant, the Visitant by Robert Weirich, Six Studies inEnglish Folk-Song by Ralph Vaughan Williams, and Sonata for Viola and Piano, Op. 147 by Dmitri Shostakovich. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund
Engraved portrait of James Nayler (1618–1660)
No full textEngraved portrait of James Nayler (1618-1660) by Robert Grave (1768-1825). Inscribed, 'Born at Ardesloe, near Wakefield, in Yorkshire. Was an Independent and served Quarter Master in ye Parliament Army, about the Year 1641. turn'd Quaker in 1651. Punish'd as a Blasphemer 1656. Author of many Books & Dyed at Holm in Huntingtonshire 1660. Aged 44.
Polyphony and the anxiety of influence in the fiction of Henry James
No full textJames's fiction, especially in the Middle Phase, centres
on the figure of the artist and is characterized by, the two
interrelated aspects which previous criticism has largely
overlooked: the Bakhtinian 'polyphonic' -creation of
'author-thinkers'; and the conflict between ephebes and
precursors, for which Harold-Bloom's concept of 'the-anxiety of
influence' is the most illuminating model. Polyphony is the
narrative mode, and influence is the intra-artistic, theme.
These, as the Introduction to the thesis makes clear, are
rehearsed in James's inaugural novel, Roderick Hudson. Rowland
Mallet is an author-thinker, and his failure is caused by
authorial limitations. His monologism -is impaired by his
mistaking empathy for the authorial sympathy. Likewise,
Hudson's failure does not arise from a mercurial temperament,
but from a polyphonic shortcoming: not possessing the power of
fiction to contain the fiction of power in, his mentor. And the
relationships among the three artists - Gloriani, Hudson and
Singleton - perfectly exemplify the Bloomian-theme. It is these
two concepts, polyphony and influence, which are the major
preoccupation in the Middle Phase; as, the works chosen
demonstrate. These are a novella, a novel, and a number of
short stories all of which have been unjustifiably neglected.
Chapter One, on The Aspern Papers, argues that Tina Bordereau,
far from being, the artless victim seen by many critics,
actually challenges and defeats the narrator by the very form
of her narrative. Her 'realist' discourse undermines his
language of 'romance', and shows up its internal unstability.
Chapter Two is an extensive study of the critical reception of
The Tragic Muse. The most common areas of critical attention
have been its contemporary topicality, its relation to previous
novels on similar themes, and the possible genealogy of Gabriel
Nash. Those have all missed the core of the work. - Chapter Three
demonstrates how polyphony and the anxiety of influence make
the novel what it really is. Influence arises from the
juxtaposition of, and the wrestling between, artistic ephebes
and their precursors (Nick and Nash,, Miriam and Madame Carre).
The dialogic quality defined by Bakhtin is crucial to the
proper, and even-handed, characterization of all, the conflicts
in the novel. And since most of James's tales in the eighties
and nineties -are about 'masters - and acolytes, the anxiety of
influence remains central. Chapter Four is a study of 'The
Author of Beltraffiol' and 'The Lesson of the Master'. Again the
characters' manipulations are a crucial focus in a way that
G6rard Genette's terminology helps to illuminate. The fact that
the ephebe is the author-thinker emphasizes the inextricability
of the Bakhtinian and the Bloomian in James. Just as
polyphony offers a different focus for explicating the poetics
of James's fiction; so the ephebal conflict provides the basis
for a fresh perception of James's own artistic struggle
Dr. James Gillam, Spelman College, September 2011
No full textThis video is a conversation with Dr. James Gillam. Dr. Gillam talks about his book, "Life and Death in the Central Highlands: An American Sergeant in the Vietnam War 1968-1970". Daniel Le, AUC Woodruff Library, is the interviewer
James Bond: international man of gastronomy
No full textThis article is concerned with the representation of food and drink in Ian Fleming’s James Bond novels. In particular, it examines how the author uses Bond’s culinary knowledge and habits of consumption as an important constituent of his hero’s character. Similarly, the food choices of other characters, notably villains, are shown to be linked, by Fleming, to core aspects of their identity − principally their ethnicity. Bond’s impulse to observe and classify, very much in evidence in the novels’ food sequences, is examined in terms of the texts’ construction of Bond as a skilled identifier of signs
A Tripartite Post-Recession Rebalancing
No full textIn this latest Advance & Rutgers Report, entitled “A Tripartite Post-Recession Rebalancing,” Dean James W. Hughes and Professor Joseph J. Seneca deliver an incisive assessment of the current market conditions and obstacles in the path of our economic recovery. They offer a statistical cautionary tale that the private and public sector need to hear and acknowledge in order for the economy to make continued progress.This report was published as Issue Paper Number 7, November 2011, in Advance & Rutgers Report
Seumas O'Kelly and James Stephens
No full textSO: Ben-Merre, Diana A. (ed.); Murphy, Maureen (ed.). 1989. James Joyce and His Contemporaries. (pp. 155-159). Westport, CT: Greenwood, xii, 188 pp.Source type: Print(0
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