1,544 research outputs found
Interview of Harold L. Enarson by William J. Studer
No full textTom Popejoy: President, University of New Mexico (pp. 17-24)
-- Dr. James Miller: Academic Vice President at Cleveland State (pp. 29-30)
-- Gordon Hansen: Vice President for Business & Finance, Cleveland State (pp. 28-29)
-- Walter Waetzer: Enarson's successor as president of Cleveland State (pp. 32-33)
-- Jim Shocknessy: powerful Chairman of the OSU Board of Trustees (pp. 35-36)
-- Albert J. Kuhn: Provost (pp. 39, 82, 89, 120-22)
-- John Mount: Vice President for Regional Campuses, and Dean of University College (p.121)
-- Ned Moulton: Secretary of the Board of Trustees (pp. 39-40)
-- Dan Galbreath: rich and powerful supporter of OSU (p. 46)
-- John Millett: Chancellor of the Ohio Board of Regents (pp. 47-48, 72)
-- Vern Riffe: powerful Speaker of the House (p. 53)
-- Mike Stinziano: unhelpful local member of the State Legislature (p. 54)
-- James Rhodes: Governor of Ohio (pp. 51, 98, 128, 145)
-- Bill Napier: Legislative liaison (pp. 52-53, 71, 131)
-- Vern Riffe: Speaker of the House in Ohio (pp. 53-54)
-- John Mount: Vice President of OSU (pp. 61-62)
-- Woody Hayes: Football coach fired by Enarson (pp. 67, 80, 98-103, 111)
-- Warren Bennis: President of University of Cincinnati (pp. 73, 81)
-- Roy Kottman: Dean of the College of Agriculture (pp. 75-77)
-- Ed Weaver: Athletic Director (pp. 78-79)
-- Hugh Hindman: Athletic Director (p. 100)
-- Richard Meiling: Dean of the College of Medicine (pp. 87, 89)
-- Bill Vandament: Head of Business and Finance (pp. 90, 92, 122-23, 151)
-- Ann Reynolds: Provost (who succeeded Al Kuhn) (pp. 92, 107, 109-10, 151)
-- Austin â Dutchâ Knowlton: major donor to School of Architecture (pp. 105-06)
-- Max Fisher: major donor to School of Business (p. 106)
-- Joan Leitzel: Professor of Mathematics (pp. 125-26)
-- Paul Underwood: author of The Enarson Years (pp. 136-37)
-- Clifford Wharton: President of Michigan State University (p. 140)
-- Audrey Enarson: wife of Harold (pp. 159-61)Tex
Harold Pinter and the Performance of Power: Considerations of Affect in Select Plays, Screenplays and Films, Poetry and Political Speeches
No full textThis thesis looks at selections of Harold Pinter's work across multiple media: written dramatic texts, screenplays and poetry, activity in theatrical and film production and his political activism. It has been argued that Pinter's dramatic medium is exceeded by movements, intensities and
forces that operate on and circulate within the corporeal bodies of Pinter's 'audiences'. However, approaches to Pinter to date remain overly focused on representation and hermeneutics and tied to a decidedly idealist conception of being, perception and knowledge. I argue that in order to
appreciate the politics of Pinter's aesthetics, readings of Pinter's work need to move in a more decidedly materialist direction. To do so, I enlist the conceptual tools of Gilles Deleuze and felix Guattari, specifically 'affect'. In bringing affect theory to Pinter I illustrate how 'the direct, mutual involvement of language and extra-linguistic forces,1 must be taken into account at every
critical step, and that meaning need be construed as a material process, the expression of forces
acting upon each other. The diversity of Pinter's work is explored over six chapters with a view to its aesthetic disposition and function, how it enters into noteworthy relations with those who engage with it, and how it establishes conditions that are propitious for transitory but ultimately productive trans formative encounters. Proceeding as such necessitates appraisal of ethical and
political positions in relation to Pinter's expression without distinguishing politics from aesthetics - a trend common to intellectual enterprise. Rather, the three keywords in the title of this thesis - performance, power and affect - function as concepts to advance the argument for Pinter's aesthetics as a politics. In considering the aesthetics of Pinter's work in varied media, this thesis invites the reader to see the strategies by which Pinter intervenes in each area as interrelated and political
A Pilgrimage Through English History and Culture (F-L)
No full textAn Annotated Bibliography of Books Printed in England before 1700 and housed in the L. Tom Perry Special Collections Harold B. Lee Library
The city and landscapes beyond Harold Pinter's rooms
No full textPinter's dramas have been labelled as 'absurd', 'mysterious', 'enigmatic', 'taciturn'.
There has been a constant tendency to reduce the idea of the 'Pinteresque' to language
when Pinter is preoccupied with the tensions between reality and the world of the
imagination. He has, actually and accurately, used theatre as a 'critical act' to denote
the abstracted realities, and he has applied his language to embody his world-view - his
concerns in the contemporary capitalist world.
Pinter has journeyed from the room to the outside world, from the private to the public
social space, and has identified an inescapable sense of pessimism and alienation, and
investigated an alarming world of atrocities. There are cities and landscapes beyond
Pinter's rooms, cities peopled by wandering, displaced figures surveying the self-estranged city that is modern consciousness, and landscapes where his people retreat
into the private realms of memory and fantasy.
This thesis explores the virtual geographies beyond Pinter's rooms through the
vocabulary of some modernist theoreticians and social scientists, as there are significant
parallels between their analytical observations and the poetic perceptions of Pinter, a
practising artist, and the phantom images of his characters.
Pinter's plays and film adaptations tend to portray the city as a colonial present, and the
country as a mythological past. The 1970s' plays portray a community of isolation,
urban decay, dispossession and suffering, through the figure of the 'flâneur' - his
characters' subjective experiences, memories and fantasies in the metropolis. In these
memory plays, men and women have different mental landscapes and desires. To some
extent the city is both a male-constructed world and an image of the twentieth century;
in both senses it is anti-human and in decline.
In his 1980s mature plays, Pinter's lyrical interiors and serene landscapes are colonised
by the metropolis. Here Pinter investigates a universally oppressive space filled with
misery and social dislocation. The city destroys humanity in a decaying modem world.
These plays identify the global city as the locus of existential alienation and as the
centre of political power and oppression - a world of brute masculine power.
The last two plays, in this study explore other wastelands of human isolation and
suffering, and criticise the British suspicion of the 'intelligentsia'. Using scenes that are
ingrained in the contemporary audience's physical memory, Pinter makes the
distinction between being an active participant and being a witness, a 'spectator' in this
alarming world. And thus, he criticises the tradition of mockery of the artistic and the
intellectually curious in Britain, and urges a need for a 'politically curious', at politically questioning theatre-going society
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World War II Pacific Theater (Naval Engagements) Oral History Project
No full textInterview with Harold L. Gensler, a Navy veteran (USS Edgecombe), concerning his experiences in the Pacific Theater during World War II. Youth in Ossining, New York; employment with the New York Central Railroad during the late 1930s and early 1940s; enlistment in the Navy SeaBees, 1943; basic training, Camp Perry, Virginia, 1943; temporary assignment as a clerk at the Oakland Naval Supply Center, 1943-44; assignment to the USS Edgecombe (APA-164), 1944; marital problems; operations around Leyte, Philippines, 1944-45; Operation MAGIC CARPET, 1945; postwar civilian activities
World War II Pacific Theater (Naval Engagements) Oral History Project
No full textInterview with Harold L. Gensler, a Navy veteran (USS Edgecombe), concerning his experiences in the Pacific Theater during World War II. Youth in Ossining, New York; employment with the New York Central Railroad during the late 1930s and early 1940s; enlistment in the Navy SeaBees, 1943; basic training, Camp Perry, Virginia, 1943; temporary assignment as a clerk at the Oakland Naval Supply Center, 1943-44; assignment to the USS Edgecombe (APA-164), 1944; marital problems; operations around Leyte, Philippines, 1944-45; Operation MAGIC CARPET, 1945; postwar civilian activities
Portrait of some of the yard staff, left to right, Kevin Ross, Alby Hoare, Doug Saunders, Ray Perry, Doug Bradsahaw, Alan Dougherty, Harold Sweet, Ron Sullivan and Dick Christie, at the Birkenhead shipping terminal, November, 1952 [picture] /
No full textPart of the collection: Ampol and Caltex photograph collection.; Title devised by cataloguer based on information supplied by donor.; Inscriptions: "November 1952. Top: Some Yard Staff photographed by Mr. Cottrell. L. to R: Kevin Ross, Alby Hoare, Doug. Saunders, Ray Perry, Doug. Bradshaw (Pump Fitter), Alan Dougherty, Harold Sweet (Maince. Fitter), Ron Sullivan, Dick Christie." -- typed in ink on label below photo.; Condition: Good.; Also available in an electronic version via the Internet at: http://nla.gov.au/nla.pic-an24665450
President\u27s Council of Black Education Correspondence 1970
No full textCorrespondence between President of USF, Albert R. Jonsen, Herold L. Perry, Samuel L. Kountz, Terry A. Francois, and Burl A. Toler regarding the creation of the President\u27s Council of Black Education
The Elegant Brush: Chinese Painting under the Qianlong Emperor 1735-1795
No full texttableOfContents: Forward
Lenders to the Exhibition
Chinese Painting under the Qianlong Emperor, 1735-1795 by Ju-hsi Chou Page 1
A Matter of Taste: The Monumental and Exotic in the Qianlong Reigh by Harold L. Kahn Page 288
Court Painting under the Qianlong Emperor by Howard Rogers Page 303
The Painting Academy of the Qianlong Period: A Study in Relation to the Taipei National Palace Museum Collection by She Ch'eng Page 318
Court Painting in the Yongzheng and Qianlong Periods of the Qian Dynasty with Reference to the Collection of the Palace Museum, Peking by Yang Xin Page 343
Selected Bibliography Page 358
Glossary of Chinese Characters Page 360
Credit
[Statement issued by the Secretary of the Interior]
No full textStatement by Harold L. Ickes, the Secretary of the Interior made in San Francisco recharging the program of the War Relocation Authority.The War Relocation Authority (WRA), together with the Wartime Civil Control Administration (WCCA), the Civil Affairs Division (CAD) and the Office of the Commanding General (OFG) of the Western Defense Command (WDC) operated together to segregate and house some 110,000 men women and children from 1942 to 1945. The collection contains documents and photographs relating to the establishment and administrative workings of the (WDC), the (WRA) and the (WCCA) for the year 1942
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