6,328 research outputs found
The British ‘Bluesman’ Paul Oliver and the Nature of Transatlantic Blues Scholarship
No full textRecent revisionist studies have argued that much of what is known about music known as the blues’ has been 'invented' by the writing of enthusiasts far removed from the African American culture that created the music. Elijah Wald and Marybeth Hamilton in particular have attempted to sift through the clouds of romanticism, and tried to unveil more empirical histories that were previously obscured by the fallacious genre distinctions conjured up during the 1960s blues revival. While this revisionist scholarship has shed light on some previously ignored historical facts, writers have tended to concentrate on the romanticism of blues writing strictly from an American perspective, failing to acknowledge the genesis and influence of transatlantic scholarship, and therefore ignoring the work of the most prolific and influential blues scholar of the twentieth century, British writer Paul Oliver. By examining the core of Oliver’s research and writing during the 1950s and 1960s, this study aims to place Oliver in his rightful place at the centre of blues historiography. His scholarship allows a more detailed appreciation of the manner in which the blues was studied, through lyrics, recordings, oral histories, photography and African American literature. These historical sources were interpreted in accordance with the author’s attitudes to the commercial popular music, which allowed the ‘reconstruction’ of an African American ‘folk’ culture in which the blues became the antithesis of pop. Importantly, this study seeks to transcend dominant discourses of national cultural ownership or ethnocentrism, and demonstrate that representations of African American music and culture were constructed within a transatlantic context. The blues is music with roots in the African American experience within the United States; however, as Paul Oliver’s writing shows, its reception and representation were not limited by the same national, cultural or racial boundaries
A range extension for the New Guinea gecko Cyrtodactylus arcancus Oliver, Sistrom and Richards 2012 (Squamata: Gekkonidae)
No full textRecognised diversity of geckos in the genus Cyrtodactylus from Melanesia currently stands at over 30 species (Tallowin et al. 2018), of which more than half have been described in the last two decades (Rösler 2001; Rösler et al. 2007; Kraus 2008; Oliver et al. 2012, 2016; Nielsen & Oliver 2017). However, like many other tropical lizards (Meiri et al. 2018) several Melanesian species of Cyrtodactylus remain known from very few specimens and/or have imprecise collection locality data (e.g., Crytodactylus irianjayensis Rösler, 2001 and Cyrtodactylus minor Oliver & Richards, 2012).
Cyrtodactylus arcanus Oliver, Sistrom and Richards, 2012 was hitherto known from only two female specimens held at the Australian Museum that were collected in 1987 from the vicinity of Bundi village (~5.47S, 145.27E: exact locality and altitude unknown) in Madang Province, Papua New Guinea. It is morphologically distinct from all other Cyrtodactylus in New Guinea (Oliver et al. 2012). Since its description no additional specimens appear to have been collected or reported in the literature. Accordingly, this species was classified as Data Deficient by the IUCN (Tallowin and Oliver 2015).Full Tex
Ch. 17 : Hellenistic Asia Minor, G. Reger
No full textOliver G. J. Ch. 17 : Hellenistic Asia Minor, G. Reger. In: Topoi, volume 17/1, 2011. pp. 78-89
Recommended from our members
Letter from Emmett L. Bennett, Jr. to Ruth Hale Oliver, July 14, 1964
No full textBennett accepts Hale Oliver's summary of his reception of her work for her upcoming article on the Phaistos Disc in Borderline magazine. He offers minor, optional corrections and directs Hale Oliver to Ernst Grumach's recent bibliography on the Phaistos Disc, among other topics of Minoan and Mycenaean scripts.Classic
A Reading By Poet Mary Oliver
No full textMary Oliver\u27s poetry, with her lyrical connection to the natural world, has firmly established her in the highest realm of American poets. She is renowned for her evocative and precise imagery, which brings nature into clear focus, transforming the everyday world into a place of magic and discovery. As poet Stanley Kunitz has said, Mary Oliver\u27s poetry is fine and deep; it reads like a blessing. Her special gift is to connect us with our sources in the natural world, its beauties and terrors and mysteries and consolations. Please join Pulitzer Prize-winning poet Mary Oliver as she shares her joyous, accessible, and intimate observations of the natural world.
Mary Oliver is the celebrated author of more than a dozen books of poetry and prose. With her lyrical connection to the natural world, Oliver\u27s poetry has firmly established her in the highest realm of American poets. Oliver has been honored with the National Book Award for Poetry, the Pulitzer Prize for Poetry, and a Guggenheim Foundation Fellowship, among others
"Hi, fellas. come on in." Norman Carlson, the Federal Bureau of Prisons, and the Rise of Prison Fellowship
No full textThis is a pre-copyedited, author-produced version of an article accepted for publication in the Journal of Church and State following peer review. The version of record - Kendrick Oliver; “Hi, Fellas. Come on in.” Norman Carlson, the Federal Bureau of Prisons, and the Rise of Prison Fellowship, Journal of Church and State, Volume 55, Issue 4, 1 December 2013, Pages 740–757 - is available online at: https://doi.org/10.1093/jcs/css05
Biography of Mary Jane Oliver
No full textTypescript of a sketch biography about Mary Jane (Oliver) Barlow, who came came from England around 1851 and with her husband, Oswald Barlow, helped to settle Saint George. Author unknown, but copied on January 13, 1937 by Virginia M. Lee of the Federal Writers Project, WPA, at Ogden, Uta
A conversation between Sandy Oliver of Isleboro, cookery author and columnist, a
No full textA conversation between Sandy Oliver of Isleboro, cookery author and columnist, and Melissa Kelly, author, chef, and founder of Primo restaurants in Rockland, Tucson, and Orlando. Oliver is updating Marjorie Mosser\u27s Good Maine Food, and Kelly is updating Marjorie Standish\u27s Cooking Down East . They share their thoughts on traditional Maine food, vegetable gardening, using local and seasonal food, and raising livestock for food
Jungjin Kim, Violoncello assisted by Phillip Oliver, piano, October 26, 1983
No full textThis is the concert program of the Jungjin Kim, Violoncello assisted by Phillip Oliver, piano performance on Wednesday, October 26, 1983 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were Suite No. 5 in C minor, BWV 1011, for unaccompanied violoncello by Johann Sebastian Bach, Sonata No. 1 in D minor for violoncello and piano by Claude Debussy, and Sonata No. 1 in E minor, Op. 38 for violoncello and piano by Johannes Brahms. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund
Rehearsing the Mirror: The Gaze as Thought in “Capadocia”, by Mariana Oliver
No full textEl ensayo “Capadocia”, de Mariana Oliver, propone una reflexión sobre la mirada como forma de pensamiento. A partir de una poética de la observación, Oliver convierte la imagen en un dispositivo de conocimiento que vincula percepción y lenguaje. Este artículo examina cómo, en Aves migratorias, la autora desarrolla una escritura híbrida que conjuga elementos narrativos, cronísticos y reflexivos para explorar la tensión entre superficie y profundidad, tanto en el plano espacial como en el epistemológico. La mirada, entendida no solo como acto físico sino como proceso intelectual, permite a Oliver contrastar la visión del pasado con la del presente y articular una crítica a la superficialidad de la mirada contemporánea, representada por el turismo performativo y la fotografía como simulacro. En este marco, “Capadocia” se configura como un ensayo que piensa desde lo visible, donde la observación se convierte en un modo de conocimiento y en una ética del mirar.
Mariana Oliver’s essay “Capadocia” offers a reflection on vision as a form of thought. Through a poetics of observation, Oliver transforms the image into a cognitive device that links perception and language. This article analyzes how, in Aves migratorias, the author develops a hybrid form of writing that combines narrative, chronicle, and reflective elements to explore the tension between surface and depth, both spatially and epistemologically. Vision, understood not only as a physical act but also as an intellectual process, enables Oliver to contrast past and present ways of seeing, articulating a critique of contemporary superficiality embodied in performative tourism and photography as simulacrum. Within this framework, “Capadocia” emerges as an essay that thinks through the visible, where observation becomes both a mode of knowledge and an ethics of seeing
- …
