Faculty recital series: James Demler and Shiela Kibbe with Penelope Bitzas, October 23, 2006

This is the concert program of the faculty recital of James Demler, Shiela Kibbe, and Penelope Bitzas on Monday, October 23, 2006 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were "Rivolgete a lui lo sguardo" by Wolfgang Amadé Mozart, Vier Duetes, Op. 28 by Johannes Brahms, Tit for Tat by Benjamin Britten, Four Songs by Henri Duparc, and War Scenes (to poetry of Walt Whitman) by Ned Rorem. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

La aventura de patentar

Mientras que la ciencia la reflejamos en artículos, la tecnología desarrollada queda empaquetada en patentes de invenció

The Pacifican\u27t, March 31, 1978

https://scholarlycommons.pacific.edu/pacifican/2414/thumbnail.jp

J M Barrie and the ballets russes

Barrie’s playlet The Truth about the Russian Dancers (written as a direct response to the impact upon British cultural life of Diaghilev’s Ballets Russes) has been hardly discussed in the literary scholarship dedicated to his writings. By placing the playlet in the social and political context of the age, as well as focusing on close analysis of the textual variants of the manuscript, the paper discusses Barrie’s exploration of the impressionistic notion of the unfamiliar and the exotic. It is shown that as a searching piece of dramatic criticism, the work provides a penetrating reflection on cultural dialogism produced within the framework of a modernist, rather than Edwardian platform, and thus puts into new perspective certain aspects of the British perception of what was notoriously categorised as the Russian myth

Sound-Spelling Correspondences

The introduction to the American Heritage Dictionary contains a list showing the variety of spellings which give particular sounds. Although it gives most of the common spellings, it omits many others. This list is an attempt to fill in the gaps

Sorna, crítica y humor: el arte chileno visto desde la caricatura (1858-1910)

The caricature, as an aesthetic and cultural expression, echoes most often of contingency, from a satirical and humorous view. In its content there is always a critical attitude and a tune with respect to facts and characters from the social and political world. This work reviews the work of some Chilean cartoonists and some events and figures related to the visual arts, mainly during the second half of the nineteenth century and until the beginning of the twentieth. The artists and events that are recorded provide us with interesting information regarding assessments, debates, leadership and conflicts, constituting a kind of historical correlate about our aesthetic processes related, mainly, to painting and sculpture.La caricatura, como expresión estética y cultural, se hace eco las más de las veces de la contingencia, ello desde una mirada satírica y humorística. En su contenido hay siempre una actitud crítica y una sintonía con respecto a hechos y personajes del mundo social y político. Este trabajo revisa la labor de algunos caricaturistas chilenos y algunos acontecimientos y figuras relacionados con las artes visuales, principalmente durante la segunda mitad del siglo XIX y hasta los inicios del XX. Los artistas y eventos que se registran nos proveen de una interesante información referida a valoraciones, debates, liderazgos y conflictos, constituyéndose en una especie de correlato histórico sobre nuestros procesos estéticos relacionados, principalmente, con la pintura y la escultura

Murillo y lo contemporáneo

Hablar de un artista como Bartolomé Esteban de Murillo (1617- 1682), cuatrocientos años después de su nacimiento, no deja de ser fascinante por lo arriesgado de evaluar a un autor tan singular dentro de un tiempo contemporáneo convulso. El eco de su época continúa manifestándose de múltiples formas, sobre todo a través de una mutación en la que persiste una simbiosis de realidad y fantasía con lo superficial; ahora, más que nunca

Tradition or revolution? The difficult "turning point" in Italian Children\u2019s Literature

The 1960s and 1970s in Italy was a complex period, full of often contrasting stimuli from different directions. The imaginary worlds of children participated in what was happening at a social and cultural level, albeit in a more muted way. By analysing sources from the publishing world, TV programmes for children and other mass media, it is possible to identify a profound ambiguity and ambivalence in the material proposed. On the one hand there was an abundance of writers, artists and thinkers ready to place childhood at the very centre of educational processes, attributing to it a heretofore unthinkable autonomy and dignity. On the other, it is possible to sense in many narrators a firm retreat into tradition, conservatism and the maintenance of a status quo based on stories of \u201cfine sentiments\u201d, filial love and containment of emotions\u2026Even though there was much distance between these contradictory visions, their incongruity was able to spark new curiosities in (perhaps not only) children, to suggest new existential questions and open up new interpretive perspectives