1,306 research outputs found
W. L. Quint Oga-Baldwin's Quick Files
No full textThe Quick Files feature was discontinued and it’s files were migrated into this Project on March 11, 2022. The file URL’s will still resolve properly, and the Quick Files logs are available in the Project’s Recent Activity
W. L. Quint Oga-Baldwin's Quick Files
No full textThe Quick Files feature was discontinued and it’s files were migrated into this Project on March 11, 2022. The file URL’s will still resolve properly, and the Quick Files logs are available in the Project’s Recent Activity
Nine New Poets: An Anthology by Arlo Quint
No full textNine New Poets: An Anthology by Arlo Quint is an experimental poetry/poetics project that explores issues of style, form, sincerity, persona, canonmaking, and meaning in modern poetry. Its title gets at the basic form of the project; it is a poetry anthology written by one person. The fictional premise of the anthology is that there are a group of poets hand-making poetry booklets whose only distribution is at the Boston Public Library and whose only readership is each other and whoever else might discover the books in the stacks. A librarian discovers this coterie and edits an anthology of their work intended to introduce them to the outside world. This fictional anthology is the main text of this thesis. The fiction is broken at the end of the anthology, with an afterword by the author. The anthology has been a major tool used in the world of modem poetry in attempts to define what kind of poetry people read. The two most important wouldbe canon makers in modem poetry are Donald Allen and Donald Hall who began what has been called the battle of the anthologies in the early 1960\u27s. The terms of this battle are not exact but, in general, Hall\u27s anthology promotes a style of poetry grounded in the New Critical understanding of poetry whereas the Allen could be said to promote poetry grounded in styles or theories identified with a few particular locales and poetry movements, namely Black Mountain College, the Beat movement, the New York School, and the San Francisco Renaissance. There is a strong division in contemporary poetry that can be traced back to these competing anthologies. Those that see themselves in the tradition promoted by Allen might accuse the other tradition of using a rhetoric of sincerity or being overly reliant on the lyric I. Those poets that are more in line with Hall\u27s tradition might accuse the other tradition of being cliquish, having no substance, or writing nonsense. This thesis attempts to explore this division in contemporary poetry in its own terms. What might be considered the mark of a poetry clique, their very own anthology, is adopted as a formal device. Within the poetry of this anthology the lyric I is used while openly adopting the styles of other poets and the styles of other poets are used as the substance of poetry. The personae of the poets are established in prose pieces and interviews as well as the poetry in an attempt to see how a grouping of not just poets butpmonaktie~m ight really function as a formal device. My hope is that this experiment reveals something of the way in which meaning is made in contemporary poetry
O encontro como categoria teol?gica a partir da obra de Alfonso L?pez Quint?s
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Previous issue date: 2018-06-26The definition of encounter, according to the Spanish philosopher Alfonso L?pez Quint?s, is the starting point for to draw around the encounter as a theological category. The purpose was to clearly identify the essential characteristics and the fruits of the interpersonal encounter, as well as the discovery of the values and the longing for transcendence. When contrasting the theory of the encounter of L?pez Quint?s with the work of different philosophers, theologians and thinkers who focused on the idea of "encounter with God", it is possible to glimpse and make explicit, in the work of this author, the main features of a legitimate theology of the encounter.A partir do pensamento do fil?sofo espanhol Alfonso L?pez Quint?s, tenciona-se delinear nesta disserta??o o encontro como categoria teol?gica, identificando com clareza as caracter?sticas essenciais, as exig?ncias e os frutos do encontro interpessoal, da descoberta dos valores que decorrem do encontro e do desejo de transcend?ncia. Contrastando a teoria do encontro de L?pez Quint?s com o trabalho de diferentes fil?sofos, te?logos e pensadores que se debru?aram sobre a ideia de um ?encontro com Deus?, ? poss?vel vislumbrar e explicitar na obra deste autor os principais tra?os de uma leg?tima teologia do encontro
Organ Stops According to the Treatise „Spiegel der Orgelmacher und Organisten” [1511]
No full textZ postulatów przedstawionych w Spiegel der Orgelmacher und Organisten [1511] można wnioskować, że registry w organach Schlicka, zgodnie z panującą już od końca XIV w. tendencją, były głosami solowymi naśladującymi barwę brzmienia jakiegoś instrumentu aerofonicznego [np. Gemshorn, Rauschpfeife, Zink]. Stanowiły one przeciwwagę dla głosów miksturowych, zawierających współbrzmienie kwint, a nawet tercji, zacierających polifoniczność utworu. Autor traktatu jest przeciwnikiem budowy bardzo wielu registrów w organach. Jego zdaniem, odbiorcom muzyki można dostarczyć przeżyć estetycznych za pomocą ośmiu lub dziewięciu głosów, rozróżnianych ze względu na inną barwę. Według sugestii heidelberskiego organisty registry miały być także samodzielne oraz odpowiednio ze sobą łączone. Manubria [klucze] powinny być przy tym zamontowane tak, aby nie przeszkadzały grającemu. Dla literatury organologicznej ważna wydaje się wzorcowa dyspozycja organów, którą autor Spiegel podaje. Schlick wyróżnia w niej i obsadza głosami: Hauptwerk, Rückpositiv oraz Pedal.From the postulates presented in Spiegel der Orgelmacher und Organisten [1511] one can conclude that stops in Schlick’s organ were, in line with the end of the fourteenth century tendency, the solo registers imitating the timbre of certain aerophones [e.g. Gemshorn, Rauschpfeife, Zink]. They were a counterbalance to the mixture stops, consisting of quint and even tierce ranks, resulting in a less clear texture of polyphonic structures. The author of the treatise does not support the construction of a great number of stops in a single organ. In his opinion, eight or ten skilfully differentiated stops can provide the listener with enough aesthetic experiences. According to a suggestion of the Heidelberg organist, the stops could be used alone or in adequate combinations. The stop knobs should be placed in such a way that they do not disturb the player. The model stoplist of an organ proposed by the author of Spiegel seems to be particularly important for the organ literature. Schlick names here Hauptwerk, Rückpositiv and Pedal with their respective stops
Barbara Ehrenreich, author of Blood Rites: Origins and History of the Passions
No full textBarbara Ehrenreich, author of Blood Rites: Origins and History of the Passions of War and a prolific writer, spoke at the Maine People\u27s Alliance awards dinner in Portland last week. Others receiving awards from the organization included Maine Rural Workers Coalition Director Juan Soto, state representative Michael Quint, and health-care reform advocate Peg Tebbets
Weighing up risk factors for pneumonia: the role of mental illness and benzodiazepine use.
No full textCity piece on Portland Press Herald political reporter Joshua Weinstein, who w
No full textCity piece on Portland Press Herald political reporter Joshua Weinstein, who was pulled off the Michael Quint campaign story just a couple of weeks before the June 11 primary amid allegations of inappropriate behavior. According to ael Quint of Portland, who complained to Blethen Maine Newspapers officials that Weinstein was trying to establish a relationship with Quint\u27s roommate in order to obtain inside information on Quint, who lost his bid for the state Senate District 28 seat being vacated by Ann Rand
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