Commonwealth Times 1976-09-17

https://scholarscompass.vcu.edu/com/1259/thumbnail.jp

The BG News September 23, 1979

The BGSU campus student newspaper September 23, 1979.https://scholarworks.bgsu.edu/bg-news/4643/thumbnail.jp

John F. Kennedy History, Memory, Legacy: An Interdisciplinary Inquiry

On September 25, 1963, President John F. Kennedy traveled to Grand Forks, North Dakota, greeted its citizens while touring the city, and delivered a speech at the University of North Dakota Field House, which addressed important issues still vital today: environmental protection, conservation of natural resources, economic development, the struggle between democracy and totalitarianism, and the importance of education and public service. The University conferred on the President an honorary Doctor of Laws degree. Over 20,000 people assembled on campus that day to see JFK -- the largest campus gathering in UND history. Tragically, less than two months later, the thirty-fifth President of the United States was assassinated in Dallas. To commemorate the forty-fifth anniversary of the President\u27s Grand Forks visit, and in tandem with the University\u27s one hundred and twenty-fifth anniversary, UND organized a September 25-27, 2008 conference to foster interdisciplinary discussion and analysis of the issues addressed in JFK\u27s UND speech, as well as other significant issues of the Kennedy era, including civil rights, space exploration, the nuclear threat, and the influence of the media on presidential politics. The Conference also explored issues related to the President\u27s assassination within weeks of his UND visit. This publication of conference proceedings collects the papers presented during this conference as well as transcripts of significant addresses and discussions.https://commons.und.edu/oers/1002/thumbnail.jp

Missed cues: music in the American spoken theater c. 1935-1960

The period from the end of World War I through the 1950s has been called “the Golden Age of Drama on Broadway.” Subsumed within this period is another sort of golden age, of music in the American spoken theater, Broadway and beyond, c. 1935-60. Unlike more familiar, and better-studied, genres of dramatic music such as opera, ballet, and the Broadway-style musical, music composed for spoken dramas is neither a definitive part of the dramatic form nor integral to the work’s original conception. Rather, it is added in production, like sets, costumes, and lighting. This study traces the roots of this rich period of spoken-dramatic music to the collaboration of producer John Houseman, director Orson Welles, and composer Virgil Thomson on the Federal Theatre Project, beginning in 1936. The musical ramifications of that collaboration eventually extended to include composers Paul Bowles and Marc Blitzstein, influential theater companies such as the Theatre Guild and Group Theatre, innovative directors such as Elia Kazan and Margo Jones, and major playwrights such as Lillian Hellman and Tennessee Williams. Following a consideration of the forces that gave rise to this musically rich nexus and the people, materials, and practices involved, three high-profile theatrical collaborations are examined, along with three scores that resulted from them: Thomson’s score for Houseman’s 1957 “Wild West” Much Ado About Nothing; Blitzstein’s score for Welles and the Mercury Theatre’s 1937-38 “anti-Fascist” Julius Caesar; and Bowles’s score for the original production of Williams’s The Glass Menagerie (1944-45). Each score is located within the musico-dramatic history that produced it, and analyzed within the context of the production for which it was written. This work aims to begin to recover a vast body of forgotten American dramatic music, to limn the role of the spoken theater in the careers of these three noteworthy American musical artists, to probe a busy intersection of high and commercial art forms, and to suggest music’s important role in the development of the American spoken theater

A Hospital in situ: Maternity Nursing Practice in Freetown since 1892

This study is an ethnographic history of nursing, midwifery, and childbirth in Sierra Leone. Combining rigorous attention to a historical longue durée as well as evidence collected via ethnographic immersion, this dissertation’s focus is on practice, dress, and prestige in a single West African hospital. Written as a contribution to the history and anthropology of medicine in Africa, it also engages with literatures on bioethics, nursing, science and technology studies, dress, and visuality. It explores clinical practices, and situates these as knowledge and embodied memory. Its focus is the Princess Christian Maternity Hospital founded in Freetown, Sierra Leone by British missionaries in 1892. The lack of basic necessities and socioeconomic circumstances often mean that the hospital receives emergent, destitute cases. All the while its nurses wear uniforms that suggest complex, color-coded, historical hierarchies. This study asks what is at stake and for whom in this sartorial work and how the clinical and historical intersect on the wards. How have the perceptions of maternity nurses informed habits of giving and seeking maternity care in Freetown? The questions emerged during 15 months of historical research and ethnographic fieldwork, mining archives in Britain and Sierra Leone, and interviewing and coming to know childbearing women, students, and staff at maternity centers throughout Freetown. At PCMH, in particular, six months of intensive participant observation and semi-structured interviews enabled data collection and analysis. The arguments of this dissertation are several: Nursing practice at PCMH emerged through decades with maternity care providers contending with varying degrees of scarcity, precarity, and inequality. The context is a sedimented one, requiring a sedimented, visual methodology. The practice of nursing, much like the city of Freetown, was established with British ideals on African soil; they have long been inflected by social and spatial practices. Practices of circulation, mobility, and nursing care have been translated and transformed across generations. The seemingly anachronistic uniforms of PCMH nurses bear important evidence about intersecting logics, revealing much about prestige, hierarchies, humiliation, and implicit violence; consciously and unconsciously, these affective, material, and visual logics signify at multiple registers.PHDAnthropology and HistoryUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttp://deepblue.lib.umich.edu/bitstream/2027.42/135784/1/tddiener_1.pd

Volume 54, Number 09 (September 1936)

Good Humor in Music: Do Composers Tend Toward the Sombre Colors, or Do They Inclinde Toward the Gay? Radio and Music (interview with David Sarnoff) Music at Harvard: From a Historical Review Memories of William Mason and His Friends Whetting the Children\u27s Appetite for Music A-440 by National Broadcast Origin of Sousa\u27s Name: Ridiculous and False Stories about the Ancestry of John Philip Sousa Which Should be Corrected by Etude Readers Making Tempo Rubato Understandable When Should Piano Study Be Commenced? A Question Asked by Thousands Roll of Honor Finger Independence as Applied to Bach\u27s Fugues How They Gave Early Concerts Publisher and Composer Marking Lessons Stimulates Interest in Practice Empty-the-Basket Game Strengthening the Finger Tipshttps://digitalcommons.gardner-webb.edu/etude/1847/thumbnail.jp