53,877 research outputs found

    Boston University Wind Ensemble, Tuesday, October 17, 2000

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    This is the concert program of the Boston University Wind Ensemble performance on Tuesday, October 17, 2000 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Fanfare from "La Peri" by Paul Dukas, Petite Symphonie, Op. 90 by Charles Gounod, Passacaglia and Fugue in C minor by Johann Sebastian Bach, Impressions of Japan by James Barnes, On a Hymnsong of Lowell Mason by David R. Holsinger, and Armenian Dances (Part II) by Alfred Reed. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

    “Thou art translated”: Remapping Hideki Noda and Satoshi Miyagi’s A Midsummer Night’s Dream in Post-March 11 Japan

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    As an example of this, I read A Midsummer Night’s Dream as adapted by Hideki Noda originally in 1992 and then directed by Miyagi Satoshi for the Shizuoka Performing Arts Centre in 2011. Drawing on my experience as the surtitle translator of Noda’s Japanese adaptation “back” into English, I discuss the linguistic and cultural metamorphosis of Noda’s reworking and the effects of its mediation in Miyagi’s rendition, and ask to what extent the production, adapted in post-March 2011 Japan, can be read as a “contact zone” for a translingual Japanese Shakespeare. In what way did Miyagi’s reading of the post-March 11 events inflect Noda’s adaption along socio-political lines? What is lost and gained in processes of adaptation in the wake of an environmental catastrophe

    Josai on academic cooperation with V-4 universities

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    Uniwersytet Josai z Tokio podejmuje wzmożone wysiłki w zakresie rozwoju wzajemnych relacji z krajami Grupy Wyszehradzkiej. W rezultacie tych działań, w ciągu ostatnich pięciu lat gwałtownie rozszerzył współpracę w dziedzinie szkolnictwa wyższego, szczególnie w zakresie wymiany studentów. Całkowita liczba studentów przyjeżdżających na Josai osiągnęła liczbę ponad 100, podczas gdy liczba studentów z Uniwersytetu Josai oraz Josai International University, zmierzających na naukę do uczelni w krajach V-4 wyniosła około 200 osób. Opierając się na wcześniejszych doświadczeniach wymiany międzynarodowej, w roku 2013 Uniwersytet Josai uruchomił, jako pierwszy w Japonii, Instytut Studiów Europy Środkowej, aby promować w Japonii działalność badawczo-rozwojową w odniesieniu do krajów Grupy Wyszehradzkiej. W lutym 2014 r. na kampusie tokijskim Josai Instytut ten zorganizował konferencję studencką pod nazwą ”V-4 + Japan”. Przesłaniem konferencji było promowanie wzajemnego zrozumienia wśród przedstawicieli młodszej generacji naszych krajów. Studenci-uczestnicy konferencji, oprócz uświadomienia sobie regionalnych i kulturowych różnic między Japonią i krajami V-4, mogli skorzystać z okazji i pogłębić wzajemne zrozumienie w toku praktycznych dyskusji. A. Shirahata konkluduje, że wynik tych dyskusji pozostawił wśród władz uczelni silne przekonanie, że pewnego dnia uczestnicy tego wydarzenia utworzą „most dobrej woli” między Japonią i krajami V-4. Powyższy artykuł omawia dotychczasowe osiągnięcia i przybliża plany dotyczące dalszego rozwoju i zróżnicowania współpracy naukowo-dydaktycznej między naszymi uczelniami.The organizers of the conference wish to acknowledge the National Bank of Poland’s generous funding of this publication

    Family Weekend Concert, Saturday, October 14, 2000

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    This is the concert program of the Family Weekend Concert performance on Saturday, October 14, 2000 at 8:00 p.m., at the Boston University Concert Hall, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were Te Deum by Franz Joseph Haydn; Communio by Heinrich Isaac; Epitaph for Moonlight by R. Murray Schafer; Algernon by Ralph Vaughan Williams; In the Beginning and From Old American Songs by Aaron Copland; Impressions of Japan by James Barnes; On a Hymnsong of Lowell Mason by David R. Holsinger; and Armenian Dances (Part II) by Alfred Reed. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

    The Logic of Spectacle c. 1970

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    This paper examines the site plan and theme exhibit of the Osaka Expo of 1970, together with a week-long protest staged in the Tower of the Sun, which was the main element of the Theme Exhibit. Attempts to communicate a critical account of contemporary society and so transform the visitor were undercut by the Expo's ability to accommodate diverse interests and investments and to account for almost anything that was exhibited or staged on site. The Expo thus suggests that we need to supplement our understanding of spectacle as communication with an analysis of spectacle as a system

    Alea III, Iannis Xenakis in First Person, November 14, 2012

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    This is the concert program of the Alea III, Iannis Xenakis in First Person performance on Wednesday, November 14, 2012 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Dipli Ziya, Evryali, Elecroacoustic Sonorities, Persépolis, Persephassa, Okkho, and Charisma by Iannis Xenakis. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

    Magnificent Distance: Five Site-Specific Installations Washington DC 2012

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    5x5, Washington DC’s inaugural public art festival, was conceived as a flagship biennial in which five curators would each be invited to curate new site-specific artworks by five artists – leading to the simultaneous installation of twenty-five artworks across Washington DC. The primary research question explored in the curation of the five Magnificent Distance artworks was the slippage between the symbolic DC of the worldwide public imagination and the ‘domestic’, human DC with its complex histories and communities. Many of the exhibition sites, selected as part of my curatorial role, were at the interstices of these two DC realities – at the meeting point between federal and community environments, in locations undergoing transformation from one use to another, and at points where differing scales of architecture meet

    Accented Body and Beyond: a Model for Practice-Led Research with Multiple Theory/Practice Outcomes

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    Dance has always been a collaborative or interdisciplinary practice normally associated with music or sound and visual arts/design. Recent developments with technology have introduced additional layers of interdisciplinary work to include live and virtual forms in the expansion of what Fraleigh (1999:11) terms ‘the dancer oriented in time/space, somatically alive to the experience of moving’. This already multi-sensory experience and knowledge of the dancer is now layered with other kinds of space/time and kinetic awarenesses, both present and distant, through telematic presence, generative systems and/or sensors. In this world of altered perceptions and ways of being, the field of dance research is further opened up to alternative processes of inquiry, both theoretically and in practice, and importantly in the spaces between the two
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