7,342 research outputs found
Traduire le "spoken word" : deux poèmes de Jacob Sam-La Rose et leur traduction française
No full textOn 5 October 2018, Jacob Sam-La Rose was invited by VALE, POEM (Sorbonne Nouvelle) and Sorbonne Université to perform his poems at the Institut du Monde Anglophone in Paris.The performance was held in the main lecture hall of the Institut du Monde Anglophone, in Paris, an unlikely venue for a spoken word event. Yet Sam-La Rose’s wit and his enthusiastic use of the hall’s acoustics made for a memorable performance, one that certainly made the poems “take place.” In order to record something of that special part of the conference, Jacob Sam-La Rose has agreed to let me translate two of the poems he performed.Le 5 octobre 2018, sur l’invitation des centres de recherche VALE, POEM (Sorbonne Nouvelle), et de Sorbonne Université, Jacob Sam-La Rose est venu performer ses poèmes à l’Institut du Monde Anglophone, à Paris. L’événement s’est déroulé dans l’amphithéâtre de l’Institut, c’est-à-dire dans un endroit passablement improbable pour ce type de manifestation poétique improvisationnelle. Et pourtant, Jacob Sam-La Rose a si bien su déployer des trésors d’esprit et d’enthousiasme que cette performance est restée dans les mémoires – par la voix du poète ces poèmes ont “eu lieu” à maints égards. Afin d’en laisser une trace, Jacob Sam-La Rose m’a autorisé à traduire deux des poèmes qu’il a performés à cette occasion
Letter from Bertha Rose to Sam Davidson - Apr 7, 1942
No full textCorrespondence by Bertha Rose to Sam Davidson regarding a request for WPA Form 501e
Letter from Hayao (Sam) Chuman to the American Friends Service Committee
No full textA letter from Hayao (Sam) Chuman to the American Friends Service Committee, donating a portion of his redress check from the U.S. government to the Committee.The Chuman (Hayao "Sam" and Toshiko) Papers documents the World War II experiences of Hayao "Sam" and Toshiko Chuman, who were Kibei Nisei born in the United States but grew up and completed school in Japan, and then returned to the U.S. prior to the war. It chronicles the Chuman's incarceration from the Santa Anita Assembly Center, through Jerome, Rohwer, Tule Lake camps, and the Santa Fe and Crystal City internment camps as well as their struggle for restoring their U.S. citizenships in the 1960s. The digital collection consists of mostly textual material, including correspondence, affidavits, incarceration camp records, lease agreements, financial documents, receipts, pamphlets, and booklets
Letter from Hayao (Sam) Chuman to Earl Warren and "Attorney General Clark"
No full textA letter from Hayao (Sam) Chuman to Chief Justice of the Supreme Court Earl Warren and "Attorney General Clark". The letter is a request to regain his citizenship after renouncing his U.S. citizenship and requesting repatriation to Japan during his time incarcerated in World War II.The Chuman (Hayao "Sam" and Toshiko) Papers documents the World War II experiences of Hayao "Sam" and Toshiko Chuman, who were Kibei Nisei born in the United States but grew up and completed school in Japan, and then returned to the U.S. prior to the war. It chronicles the Chuman's incarceration from the Santa Anita Assembly Center, through Jerome, Rohwer, Tule Lake camps, and the Santa Fe and Crystal City internment camps as well as their struggle for restoring their U.S. citizenships in the 1960s. The digital collection consists of mostly textual material, including correspondence, affidavits, incarceration camp records, lease agreements, financial documents, receipts, pamphlets, and booklets
Sam "Kangaroo"
No full textabstract: Sam left Sudan when he was six years old. He also witnessed many people die when they tried to cross the Gilo river.
“Lost Boys Found” is an ongoing, interdisciplinary project that is collecting, recording and archiving the oral histories of the Lost Boys/Girls of Sudan. The collection is a work-in-progress, seeking to record the oral history of as many Lost Boys/Girls as are willing, and will be used in a future book.Age: 23Region: Upper Nile (Bor)This picture and bio was donated to the "Lost Boys Found" oral history project from The Arizona Lost Boys Cente
Did Plant Patents Create the American Rose?
No full textThe Plant Patent Act of 1930 was the first step towards creating property rights for biological innovation: it introduced patent rights for asexually-propagated plants. This paper uses data on plant patents and registrations of new varieties to examine whether the Act encouraged innovation. Nearly half of all plant patents between 1931 and 1970 were for roses. Large commercial nurseries, which began to build mass hybridization programs in the 1940s, accounted for most of these patents, suggesting that the new intellectual property rights may have helped to encourage the development of a commercial rose breeding industry. Data on registrations of newly-created roses, however, yield no evidence of an increase in innovation: less than 20 percent of new roses were patented, European breeders continued to create most new roses, and there was no increase in the number of new varieties per year after 1931.
Letter from Paul A. Taylor to Hayao (Sam) Chuman
No full textA letter from Paul A. Taylor, Project Director at Jerome incarceration camp, to Hayao (Sam) Chuman informing him that he would be moved from Jerome to the Rohwer incarceration camp.The Chuman (Hayao "Sam" and Toshiko) Papers documents the World War II experiences of Hayao "Sam" and Toshiko Chuman, who were Kibei Nisei born in the United States but grew up and completed school in Japan, and then returned to the U.S. prior to the war. It chronicles the Chumans's incarceration from the Santa Anita Assembly Center, through Jerome, Rohwer, Tule Lake camps, and the Santa Fe and Crystal City internment camps as well as their struggle for restoring their U.S. citizenships in the 1960s. The digital collection consists of mostly textual material, including correspondence, affidavits, incarceration camp records, lease agreements, financial documents, receipts, pamphlets, and booklets
Izvori informacija u dostupnim EBSCO bazama podataka za istraživanja u visokom školstvu u Srbiji = Academic research in Serbia and available database resources
No full textUniversities in Serbia have access to large amounts of quality information through online full text databases. Specific details regarding the world’s two most comprehensive full text research data-bases, Academic Search Premier and Business Source Premier are provided. The paper examines which databases are strongest in each discipline, and covers issues such as the availability of journals most-cited, full text formats, peer-review status, embargo periods, backfills, and other important facets. Additional information depicts reasons for tremendous increase in the availability of information in the Serbia, and the value that these resources bring to researchers in universities
Art and Form: From Roger Fry to Global Modernism
No full textFrom the publisher:
This important new study reevaluates British art writing and the rise of formalism in the visual arts from 1900 to 1939. Taking Roger Fry as his starting point, Sam Rose rethinks how ideas about form influenced modernist culture and the movement’s significance to art history today.
In the context of modernism, formalist critics are often thought to be interested in art rather than life, a stance exemplified in their support for abstract works that exclude the world outside. But through careful attention to early twentieth-century connoisseurship, aesthetics, art education, design, and art in colonial Nigeria and India, Rose builds an expanded account of form based on its engagement with the social world. Art and Form thus opens discussions on a range of urgent topics in art writing, from its history and the constructions of high and low culture to the idea of global modernism. Rose demonstrates the true breadth of formalism and shows how it lends a new richness to thought about art and visual culture in the early to mid-twentieth century.
“This book is a gem. It gives the most comprehensive and accessible account of the importance of form in the last hundred years of writing about art. It should be compulsory reading not just for art historians, but also for aestheticians and anyone interested in visual culture.” —Bence Nanay, author of Aesthetics as Philosophy of Perception
“This is an exceptionally wide-ranging and successful study of a central topic in the history of modernism. Rose moves with enviable facility between archival research and historical concerns and a crisply incisive discussion of the status and integrity of the key ideas. The final section, which extends the story outward into new areas, will be an invaluable spur to future research.” —David Peters Corbett, author of The World in Paint: Modern Art and Visuality in England, 1848–1914
“It’s time we had a sophisticated account of form in the modern visual arts to replace the crude caricatures that have dominated the literature on so-called modernist formalism. Sam Rose supplies this with precision (in his careful readings of modernist texts that have too often been oversimplified) and imagination (in relating them to wider, sometimes surprising, contexts). Demolishing the notion that formalism must be escapist, he provides a cogent explanation for how the study of the Old Masters could go hand in hand with the theorization of a modern art. This lucidly written book not only challenges preconceptions about formalism but shows why we cannot ignore the question of form in discussions of the visual arts up to and including the present day.” —Elizabeth Prettejohn, author of Art for Art’s Sake: Aestheticism in Victorian Painting
“A brilliant and timely account of aesthetic form and formalism. Debates about form are fundamental to modernism, and indeed to the story of the arts in the twentieth and twenty-first centuries, yet until now we have been lacking a sustained investigation of how this came to be. Art and Form is a great work of art history, and it will also prove indispensable to literary scholars, philosophers, and cultural critics.” —Rebecca Beasley, author of Ezra Pound and the Visual Culture of Modernis
Art and Form: From Roger Fry to Global Modernism
No full textFrom the publisher:
This important new study reevaluates British art writing and the rise of formalism in the visual arts from 1900 to 1939. Taking Roger Fry as his starting point, Sam Rose rethinks how ideas about form influenced modernist culture and the movement’s significance to art history today.
In the context of modernism, formalist critics are often thought to be interested in art rather than life, a stance exemplified in their support for abstract works that exclude the world outside. But through careful attention to early twentieth-century connoisseurship, aesthetics, art education, design, and art in colonial Nigeria and India, Rose builds an expanded account of form based on its engagement with the social world. Art and Form thus opens discussions on a range of urgent topics in art writing, from its history and the constructions of high and low culture to the idea of global modernism. Rose demonstrates the true breadth of formalism and shows how it lends a new richness to thought about art and visual culture in the early to mid-twentieth century.
“This book is a gem. It gives the most comprehensive and accessible account of the importance of form in the last hundred years of writing about art. It should be compulsory reading not just for art historians, but also for aestheticians and anyone interested in visual culture.” —Bence Nanay, author of Aesthetics as Philosophy of Perception
“This is an exceptionally wide-ranging and successful study of a central topic in the history of modernism. Rose moves with enviable facility between archival research and historical concerns and a crisply incisive discussion of the status and integrity of the key ideas. The final section, which extends the story outward into new areas, will be an invaluable spur to future research.” —David Peters Corbett, author of The World in Paint: Modern Art and Visuality in England, 1848–1914
“It’s time we had a sophisticated account of form in the modern visual arts to replace the crude caricatures that have dominated the literature on so-called modernist formalism. Sam Rose supplies this with precision (in his careful readings of modernist texts that have too often been oversimplified) and imagination (in relating them to wider, sometimes surprising, contexts). Demolishing the notion that formalism must be escapist, he provides a cogent explanation for how the study of the Old Masters could go hand in hand with the theorization of a modern art. This lucidly written book not only challenges preconceptions about formalism but shows why we cannot ignore the question of form in discussions of the visual arts up to and including the present day.” —Elizabeth Prettejohn, author of Art for Art’s Sake: Aestheticism in Victorian Painting
“A brilliant and timely account of aesthetic form and formalism. Debates about form are fundamental to modernism, and indeed to the story of the arts in the twentieth and twenty-first centuries, yet until now we have been lacking a sustained investigation of how this came to be. Art and Form is a great work of art history, and it will also prove indispensable to literary scholars, philosophers, and cultural critics.” —Rebecca Beasley, author of Ezra Pound and the Visual Culture of Modernis
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