31,208 research outputs found
Kimberly Wright and Mark Lawrence in a Guest Artist Recital
No full textThis is the program for the guest artist recital featuring horn player Kimberly Wright and trombonist Mark H. Lawrence. Pianist Russell Hodges assisted the performance. This recital took place on April 8, 1994, in the Maybee Fine Arts Recital Hall
Kimbery Wright and Mark H. Lawrence in a Guest Artist Recital
No full textThis is the program for the guest artist recital featuring horn player Kimberly Wright and trombonist Mark H. Lawrence. Pianist Russell Hodges accompanied the performance. This recital took place on April 8, 1994, in the Mabee Fine Arts Center Recital Hall
The sense of a beginning : Bakhtinian dialogic criticism on 'the gospel' in Mark.
No full textContemporary literary approaches have caused paradigm shifts in Biblical Studies in the last two decades as it appears in a great deal of Markan studies using narrative, reader-response, deconstructive, feminist, and new historicist approaches. However, literary studies on the Gospel of Mark have not taken into account theoretical questions underlying those approaches. As a result biblical critics are driven by new trends without ever having a chance to examine the critical baggage of the approaches. Consequently, there is a gap of communication between the old and the new one. Therefore this thesis is an attempt to meet the need of enhancing the quality of critical endeavour in biblical studies. In the light of most recent competing critical theories of literature, the first contribution of this thesis is the methodological finding that Bakhtinian dialogic criticism contains the most profound philosophical and practical foundations for solving some crucial theoretical problems in contemporary literary theories. It is a critique to a Saussurian linguistic system of language which becomes the very foundation of modern and postmodern literary criticism. Bakhtinian literary theory shifts the foundation of literary criticism on linguistic signs into the creative activity of the socio-cultural production of human communication. The shift into socio-cultural reality of language communication makes the notion of 'genre' very important to unlock the problem of text and context in literary studies. Since the Gospel of Mark has fascinated most literary critics in Biblical Studies, the problem of 'genre' of this gospel is chosen as the focus of this study. Secondly, as no agreement is reached as to what 'genre' the Gospel of Mark belongs, this thesis makes its contribution to the discussion by locating the problem of 'genre' of Mark in the context of genre theories and argues that the Bakhtinian suggestion to find genre in the socio-cultural sphere by analysing artistic intercourse between narrative agents in Mark has freed the competing analysis from the unresolved problem between the kerygmatic (content oriented) approach and the analogical (form oriented) approach. To achieve finding 'genre' in the socio-cultural sphere, this thesis focuses on Bakhtinian analysis of the process of artistic intercourse between narrative agents. The narrative communicative interrelationships between narrative agents is constructed in this thesis as a 'stereophonic' Bakhtinian model of dialogic communication. This model is an original contribution of this thesis for revising the traditional two dimensional model of narrative communication. Based on this dialogical model of communication, a special role is given to the Bakhtinian 'author-creator' in the realization process of genre through the interaction of polyphonic voices. Through the interaction of voices of the author-artist and the hero we are led to discover a relatively stable type of portraying and controlling reality in Mark, known as the genre of Roman 'satire'. The closest literary affinity is Satyrica by Petronius. This narrative strategy of 'satire' in Mark has its root in the prophetic discourse of the Old Testament which is saturating the speech of the narrator, John the Immerser, the centurion, the people, and even Jesus. Finally, the whole search for Markan 'genre' culminates in the analysis of the realization of genre through the analysis of Bakhtinian chronotope. The reality of the genre of Mark is its social reality that is in its role as dpxrj/ 'beginning'. As the Gospel of Mark proclaims itself as 'a beginning', it defines its claim of socio-cultural 'authority' in early Christianity. It is this 'sense of beginning' which enables the narrating and the narrated world of Mark to interact dialogically
[Interview with Mark Lane in Playboy Magazine #3]
No full textPoor quality photocopies of a magazine article which appeared in Playboy Magazine. The article features an extensive interview with Mark Lane, an attorney and author, who is critical of the Warren Commission's assessment of the assassination of President Kennedy
[Interview with Mark Lane in Playboy Magazine #2]
No full textPoor quality photocopies of a magazine article which appeared in Playboy Magazine. The article features an extensive interview with Mark Lane, an attorney and author, who is critical of the Warren Commission's assessment of the assassination of President Kennedy
Social Ecology's Australian Metamorphosis: David Wright Talks with Mark A. Schroll
No full textThe name Social Ecology (for those of us who are familiar with it) brings to mind an immediate association with the work of Murry Bookchin. This too was my first thought when I heard about the book Social Ecology: Applying Ecological Understanding to our Lives and our Planet (2011), edited by David Wright, Catherine Camden-Pratt and Stuart Hill. This article provides a sneak preview of the ideas represented in Social Ecology that unfolded as a series of email exchanges between myself and Wright; a review of this book is planned for a future issue of The Trumpeter on “Ecosophies of Communication.”
This article begins with a short summary of Bookchin's perspective—and the way we have come to understand Social Ecology. Followed by a brief definition of what I mean by transpersonal ecosophy. This sets the stage for my communication with Wright, where we will begin to see how the views of Social Ecology have metamorphosed at the University of Western Sydney into a fresh multidisciplinary inquiry. An inquiry that is different only in the name with which it has chosen to identify itself, yet otherwise shares the deep ecology movement's orientation and (following Arne Naess and Alan Drengson) what I now prefer to call transpersonal ecosophy
Mark V release mechanism and Mark III high explosive bombs on a De Havilland DH-4 at the Dayton-Wright Airplane Company South Field April 15, 1918
No full textThe photograph shows the Mark V release mechanism attached to the wing of a De Havilland DH-4 at the Dayton-Wright Airplane Company South Field. Mark III high explosive bombs are on the ground beneath the wing and two bombs hang from the release mechanism. The title of the negative is Dayton Wright Airplane South Field Apr.-15-18.https://corescholar.libraries.wright.edu/special_ms152_photographs/1114/thumbnail.jp
[Interview with Mark Lane in Playboy Magazine #1]
No full textMagazine article which appeared in Playboy Magazine. The article features an extensive interview with Mark Lane, an attorney and author, who is critical of the Warren Commission's assessment of the assassination of President Kennedy
Contact Zones and Elsewhere Fields: The Poetics and Politics of Environmental Sound Arts
No full textHow is agency distributed “in the field” and how can the practice of field recording critically manifest the relationship between humans and non-humans?
This thesis posits an original art practice of field recording based on a perspective I am calling “Inter-agential”. Employing the self-reflexive anthropological turn of the 1970’s as parallel critique throughout, I argue environmental sound art has ignored the politics of observer-subject relations and instead engaged place and sound through divisive legacies of conservation and composition.
I propose a hybrid conceptual framework from contemporary sound and anthropological studies that foregrounds issues relating to ethics, agency and representation. These subjects are examined in practice by converting “the field” into a collaborative and contested arena for intervention and performance. The result is a unique and formally diverse body of work that seeks to actively disrupt, critique and re-imagine the ontological foundations of field recording through an original and politicised aesthetics.
All practice-based experimentation has been conducted in one fixed location along the North-East Coast of England called South Gare. It is an industrial and ecologically embroiled site, both in terms of its history and present day impact. I situate this site-specific setting through artistic legacies found in Land Art. This context helps to re-imagine modes of documentation, production and subjectivity within field recording and builds a nuanced understanding of the field in relation to the representation of place and sonic experience
Democracy Sausage with Mark Kenny: How to be a liberal with Ian Dunt
No full textOn this Democracy Sausage Extra, Ian Dunt - host of the Oh God, What Now? podcast and author of How to be a liberal - joins Mark Kenny to discuss the history of liberal thought, how it has shaped present day politics, and the origins of the ‘culture wars’. Have the culture wars emerged out of the failures of liberalism? Why haven’t contemporary political actors done more to protect people from prejudice and the tyranny of the majority? And is liberalism a natural corollary to democracy? On this Democracy Sausage Extra, author, political journalist and broadcaster Ian Dunt joins Professor Mark Kenny to discuss the history of political thought, present day politics, and liberalism’s trajectory
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