4,220 research outputs found
Judith Sander collection 1904-1940s
No full textMaterials by and about the opera soprano Judith Sander, including original documents, clippings, photographs and sound recordings.Materials by and about the opera soprano Judith Sander had been donated to the LBI by her sister Eva Ronell and had been placed in the Eva Ronell collection, AR 6452, as well as in the Ring family collection, AR 5080.21 shellac sound discs (78rpm) have been moved to the LBI A/V collection.The opera soprano Judith Sander was born as Gisela Judith Ring in 1904 in Berlin, the daughter of Jakob Ring and his wife Rosa née Lövinson. In the 1930s she embarked on a career in Austria and in Switzerland, before emigrating to England and then moving on to Stamford, Connecticut. Judith Sander and her husband Frank committed suicide together in 1968.In early 1946 Judith Sander produced a series of 78 rpm shellac sound discs at the Melotone Recording Studio in New York, probably to revive her pre-war career that she had enjoyed in Austria and Switzerland. Accompanied by the pianist Otto Herz, she chose a wide range of arias, chansons and other songs from the classical as well as from the popular repertoire.Finding aid available onlinedigitize
Judith Sander as Saffi in "Der Zigeunerbaron" with Alfred Rauch as Barinkay.
No full textThe opera soprano Judith Sander was born as Gisela Judith Ring in 1904 in Berlin, the daughter of Jakob Ring and his wife Rosa née Lövinson. In the 1930s she embarked on a career in Austria and in Switzerland, before emigrating to England and then moving on to Stamford, Connecticut.Digital Imag
Stephanie Mathson interviews poet and author Judith Kerman
No full textPoet and author Judith Kerman talks about her experience as a Fulbright scholar in the Dominican Republic, her work translating poems by Cuban poet Dulce Mar\ueda Loynaz, learning Spanish, translating poems from Spanish, and her book "Retrofitting Blade Runner". Kerman is interviewed by Stephanie Mathson of the Michigan State University Libraries. Part of the MSU Libraries' Michigan Writers Series
Judith Sander as Saffi in "Der Zigeunerbaron" : with Alfred Rauch as Barinkay and Mabella Benetti as Czipra.
No full textThe opera soprano Judith Sander was born as Gisela Judith Ring in 1904 in Berlin, the daughter of Jakob Ring and his wife Rosa née Lövinson. In the 1930s she embarked on a career in Austria and in Switzerland, before emigrating to England and then moving on to Stamford, Connecticut.Digital Imag
Judith Sander as Saffi in Johann Strauss' "Der Zigeunerbaron" with Alfred Rauch as Barinkay and Mabella Benetti as Czipra.
No full textThe opera soprano Judith Sander was born as Gisela Judith Ring in 1904 in Berlin, the daughter of Jakob Ring and his wife Rosa née Lövinson. In the 1930s she embarked on a career in Austria and in Switzerland, before emigrating to England and then moving on to Stamford, Connecticut.Digital Imag
Book review: Subversive pedagogies: radical possibility in the academy edited by Kate Schick and Claire Timperley
No full textIn Subversive Pedagogies: Radical Possibility in the Academy, Kate Schick and Claire Timperley bring together contributors to explore teaching as a subversive space of radical possibility, drawing attention to pedagogies that are situated, embodied, caring and decidedly political. Judith Leijdekkers and Sander Hölsgens offer a conversation around the book, reading the collection as an invitation for fellow pedagogues to scrutinise, transform and resist the ready-made roles of teachers
Poet and author Judith Kerman reads her selected works at the Michigan Writers Series
No full textPoet and author Judith Kerman reads selected poems, including the English translation of poems by Cuban poet Dulce Mar\ueda Loynaz, and answers questions from audience. Kerman is introduced by Michigan State University Librarian Jeanne Drewes. Part of the MSU Libraries' Michigan Writers Series. Held in the Main Library
Book review: Subversive pedagogies: radical possibility in the academy edited by Kate Schick and Claire Timperley
No full textIn Subversive Pedagogies: Radical Possibility in the Academy, Kate Schick and Claire Timperley bring together contributors to explore teaching as a subversive space of radical possibility, drawing attention to pedagogies that are situated, embodied, caring and decidedly political. Judith Leijdekkers and Sander Hölsgens offer a conversation around the book, reading the collection as an invitation for fellow pedagogues to scrutinise, transform and resist the ready-made roles of teachers. Subversive Pedagogies: Radical Possibility in the Academy. Kate Schick and Claire Timperley (eds). Routledge. 2021
Variations on the Author
No full text“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Michel Foucault and Judith Butler: troubling Butler's appropriation of Foucault's work
No full textOne of the main influences on Judith Butler‘s thinking has been the work of Michel Foucault. Although this relationship is often commented on, it is rarely discussed in any detail. My thesis makes a contribution in this area. It presents an analysis of Foucault‘s work with the aim of countering Butler‘s representation of his thinking. In the first part of the thesis, I show how Butler initially interprets Foucault‘s project through Nietzschean genealogy, psychoanalysis and Derridean discourse, and how she later develops this interpretation in line with the progress of her own project. In the main part of the thesis, I present an analysis of Foucault‘s thinking in the period from The Archaeology of Knowledge (1969) to The History of Sexuality volume 1 (1976). This analysis focuses on the aspect of his work which has most influenced Butler‘s thinking: namely the notion of a relationship between knowledge, discourse and power. The other issues in his work which Butler addresses—genealogy, the subject, the body, abnormality, and sexuality—are discussed within this framework. I show how, in the early 1970s, Foucault develops the notion of power-knowledge, and sets out a relationship between power-knowledge and discourse which is overlooked by Butler. I argue that Butler interprets Foucaultian power through the notions of repression and social norms, and ignores the concepts of technology and strategy which form a key part of Foucault‘s thinking. I show how, from The Archaeology of Knowledge on, Foucault develops a socio-historical ontology and a genealogy of the subject, both of which are at variance with Butler‘s interpretation of his thinking
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