7,117 research outputs found
Samuel Torres, percusión (Colombia)
No full textConcierto celebrado por el percusionista Samuel Torres, en compañía de los músicos Michel Rodríguez, Peter Brainin, Manuel Valera, Diego Valdés, Ernesto Simpson y Lara Bello. Samuel es un músico y percusionista académico, graduado en composición musical de la Pontificia Universidad Javeriana de Bogotá. Con el tiempo, Torres comenzó a actuar con las grandes figuras del jazz, el pop latino y la salsa, incluyendo músico como: Tito Puente, Paquito O' Rivera, Chick Corea, Michael Brecker, Don Byron, Claudio Roditi, Richard Bona, Poncho Sánchez, Lila Downs, Marc Anthony, Thalía y Shakira. Su talento también ha sido destacado en conciertos con el Boston Pops, la Filarmónica de Los Ángeles y la Nashville Symphony, así como en una multitud de festivales de música alrededor del mundo
Writing and the rights of reality: usurpation and potentiality in Derrida, Plato, Nietzsche, and Beckett
Get PDFThe thesis critically evaluates Jacques Derrida's conferral of the rights of reality on writing, focussing on his theory of an arche-text in light of the speculative nature of this theory. The theory is initially considered in the context of Derrida's elucidation of the usurpatory status of writing within the Platonic and Nietzschean texts. This consideration reveals an admission of writing's usurpatory status by both writers while at the same time demonstrating their awareness of the intrinsically speculative nature of this view, the significance of writing lying in its ability to exteriorise the radically indeterminate status of consciousness m relation to reality rather than its ability to displace consciousness or reality The analyses, therefore, not only bring the Derridean hypothesis of a repressive or phonocentric metaphysical episteme into question but also exhibit the historical and philosophical role of potentiality in relation to writing, writing's ultimate significance lying in its capacity to exteriorise our existence as a mode of potentiality. Accordingly, in the second half of the thesis the Derridean theory of writing is countered with a specifically Aristotelian theory of the text as it is exhibited in the prose of Samuel Beckett, an author whose significance lies in his close alignment with Derridean theory within contemporary criticism. It is demonstrated that this identification has obviated an awareness of the significance of potentiality within the Beckettian text, his work consequently being appraised in the previously neglected context of Aristotelian metaphysics
Angels in the wind: future directions for educational research
Get PDFOpening address at the 2014 SAERA conference
Michael Samuel(Chair of the Local Organizing Committee
Samuel Beckett and the Writers of Port-Royal
Get PDFIt has been observed that ‘the literary influences on Beckett have been far more important than has been acknowledged, and more important indeed, than the philosophical influences’ (Smith 2002: 3). The truth of this statement is evidenced by the description that scholars have given of Samuel Beckett’s relationship to seventeenth century French classicism. To date, critical interest has been limited for the most part to the figure of the philosopher René Descartes on the (fragile) grounds that Beckett was exclusively concerned with the Cartesian imperative of clarity and order, the fundamental dualism between body and mind, and Nominalism.
Together with the assumption that Beckett’s vision was essentially Cartesian, his literary filiation with Pascal was suggested by critics, but only in terms of Beckett’s formal approach to the theatre. In his short article on En attendant Godot in 1953, the playwright Jean Anouilh was among the first reviewers to suggest that Beckett’s drama synthesizes the encounter between ‘classicism’ and a ‘modern’ form of art. It is well known that Beckett retained a lifelong admiration for Pascal – indeed, Pascal was one of his ‘old chestnuts’ (Knowlson 1997: 653). Little attention has been paid, however, to the originality of Pascal’s thought, the specific nature of his prose, and the impact these might have had upon Beckett’s mature work, especially the trilogy and the subsequent short prose. Yet, in the literary and philosophical context of post-war France, Beckett’s filiation with Pascal, their corresponding preoccupations, were evident to his contemporaries, who identified Pascal as an underlying presence in his works
Music in words : the music of Anthony Burgess, and the role of music in his literature
No full textTheý principal focus of the thesis is Anthony Burgess, a prolific novelist whose first and
enduring creative passion was music in general and composition in particular. Burgess
criticism is limited and largely out-of-date, showing little recognition of the aural or musical
elements in his fiction, and virtually no specialist commentary on the music and its
relationships with the literature. The main aim of the thesis, therefore, is to demonstrate the
variety and strength of the widespread musical elements in Burgess's literature, including the
importance he attaches to the sonic basis of language, and to show that these are supported by
the musical sensibility and technical competence evident in his. compositions. It is suggested
that in the inevitable reassessmenot f his work following his death in 1993, the effects of his
musicianship on his literary work should play a greater part than hitherto, and the thesis makes
a contribution to this reassessmenbt oth through its original critical commentaries on his music
and through the music-orientated discussion of his literature.
After an introduction and literature review, the first chapter examines three examples of
Burgess's little-known music. All are associated with verbal texts, though the range is
otherwise wide, and through them it is possible to draw conclusions about the competence of
his handling of musical language and structure. The second and third chapters examine the
more familiar work of Burgess the acclaimed author, but from the unfamiliar viewpoint of its
musical content, including not only surface references but also hidden allusions and technical
puzzles aimed at the musician reader. Two instances of music serving as a structural template
for literature are analysed in detail, and attention is also drawn to Burgess's awareness of
musical elements in the content and language of the, work of some. of his predecessors. The
final core-chapter,e xamines the fusion of Burgess's literary and,m usical skills in the context of
his music and words for stage and radio.
What emerges is the clear intermeshing of his parallel careers;, and the production within his
distinctive literary output of work which, due to the radical extent of its musicalisation, has to
be viewed as musically-aware literature for specialised readers, at times evincing, it is
proposed, a logic which springs primarily from music
Congressional ideology and administrative oversight in the New Deal era
No full textHistorians of the U.S. Congress often draw claims from interpretations of legislators’ rhetoric and the outcomes of key votes. In this article, the author tells a cautionary tale: Such strategies ignore the correspondence between roll-call voting on select issues and broader coalitional structures in Congress. He does so by examining contrary positions about a key issue during the New Deal: On the one hand, some researchers claim that reasoned congressional deliberation on the issue of administrative oversight was separate from the prevailing legislative concerns of the day. Other scholars, on the other hand, assert that the prevailing issue dimensions in Congress included administrative oversight. Using a Bayesian measurement method, Ordinary Least Squares, and probit regression, and a novel selection of roll-call data, the author tested these claims, concluding that broader coalitional structures subsumed issues of administration
Review of \u3cem\u3e Social Workers Count: Numbers and Social Issues \u3c/em\u3e by Michael Anthony Lewis
No full textLewis, Michael Anthony. 2017. Social Workers Count: Numbers and Social Issues. 2019. New York: Oxford University Press. 223 pp. ISBN 978-019046713-5
The numeracy movement, although largely birthed within the mathematics community, is an outside-the-box endeavor which has always sought to break down or at least transgress traditional disciplinary boundaries. Michael Anthony Lewis’s book is a testament that this effort is succeeding. Lewis is a social worker and sociologist with an impressive resume, author of Economics for Social Workers, co-editor of The Ethics and Economics of the Basic Income Guarantee, and member of the faculty at the Silberman School of Social Work at Hunter College and the City University of New York Graduate Center. Although explicitly targeted to social work students and professionals, the nine chapters here provide a good quantitative literacy education accessible to the general public and include a great many of the topics one would find in a standard quantitative literacy text written by a mathematician. The examples, despite being rooted in social work, are interesting and relevant to those outside that discipline, and speak to Lewis’s breadth of knowledge and the skill of being able to make connections between different types of knowledge and evidence that is inherent in being a numerate person
The paradox of self-annihilating expression : representations of ontological instability in the drama of Samuel Beckett
Get PDFOne of the central critical problems about Beckett - how can we
praise without feeling uneasy the work of an artist for whom "to
be an artist is to fail"? - parallels the creative predicament
of a writer whose "art of failure" can only exist in an inherently
expressive medium. How can an art which is anti-art remain true
to itself? Is a truly self-annihilating expression possible?
Two perspectives on the problem are opened. The first is theoretical:
a consideration of the Duthuit Dialogues confirms that Beckett refuses
to countenance an art which survives by making artistic
failure itself the occasion of artistic creation. Rather he "dreams"
of a genuine "art of failure": without occasion, in-expressive and
indefinable. The second perspective (itself suggested by Beckett's
critical tendency in the Duthuit Dialogues) is literary-historical:
pertinent Romantic, nineteenth-century and Modernist attitudes
towards artistic failure are outlined and briefly considered. Such
a consideration serves both to define the particular (and unique)
nature of Beckett's response to what may be seen as a traditional
Romantic and Modernist problem, and to confirm the essentially
ontological nature of what Beckett sees as the creative "obligation".
(Failure to create as failure to be.)
The Beckettian creative predicament is thus considered next in terms
of individual identity, by way of the recurring motif of the
"imperfect birth", and the paradoxical quality of Beckett's response
to his creative problem is most clearly seen in the theatre, where he
needs to represent degrees of ontological absence in what has been
seen as the medium of "presence".
Studies of the individual plays show that Beckett's method is to
exploit the essence of theatre, which is playing, so as to suggest
that the players are never really present, only playing, because
obliged to play, over the void of (their own) identity. In order to
render the creative-ontological situation of the imperfectly born
subject, Beckett seeks to produce, both in the text and the stage-picture
and by a precise counterpointing of the two elements, the
effect of parody presence.
Examination of the plays in chronological order illustrates a
development towards abstraction and an increasing emphasis on shape
and pattern. The central character becomes more and more obviously
a creator and (by the same token) is revealed more and more clearly by
the effect of parody presence as a created being, though imperfectly
created. Thus theatrical presence is undermined and the Beckett play
enacts its own self-annihilation
A case study of Mathematics teaching and learning at a rural school in KwaZulu-Natal.
Get PDFMasters Degree. University of KwaZulu-Natal, Durban.Abstract available in the PDF.Could not find the advisors second initial name. (de Villiers, Michael D
Music and language in the work of Samuel Beckett.
Get PDFAvailable from British Library Document Supply Centre-DSC:DXN009584 / BLDSC - British Library Document Supply CentreSIGLEGBUnited Kingdo
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