An Evening of Ensemble Performances, November 15, 1984

This is the concert program of the Boston University Wind Ensemble, Brass Ensemble, and Symphony Orchestra performance on Thursday, November 15, 1984 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were Old Wine in New Bottles by Gordon Jacob, Suite Française by Francis Poulenc, Fantasia for Brass Choir and Timpani by Robert Ward, Fantasia on a Theme by Thomas Tallis by Ralph Vaughan Williams, and "Till Eulenspiegels Lustige Streiche" by Richard Strauss. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Boston University Wind Ensemble, October 26, 1995

This is the concert program of the Boston University Wind Ensemble performance on Thursday, October 26, 1995 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Athletic Festival March by Sergei Prokofiev, Variations on "America" by Charles Ives, Suite Française by Francis Poulenc, Three Merry Marches, Op. 44 by Ernst Krenek, Amazing Grace by Frank Ticheli, and Passacaglia by Ron Nelson. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

You\u27ve Gotta Read This: Summer Reading at Musselman Library (2007)

Each year Musselman Library asks Gettysburg College faculty, staff, and administrators to help create a suggested summer reading list to inspire students and the rest of our campus community to take time in the summer to sit back, relax, and read. These summer reading picks are guaranteed to offer much adventure, drama, and fun!https://cupola.gettysburg.edu/summerreads/1006/thumbnail.jp

Suite française: Visages de l'occupation

Quand on songe à la période de l’occupation allemande en France, la première idée qui nous vient à l’esprit est qu’elles ont été «des années noires ». Dans le présent travail nous abordons cette page noire de l’histoire de France à partir du roman Suite française d’Irène Némirovsky, qui a vécu l’exode des Parisiens sur les routes de France en 1940 et les débuts de l’occupation allemande et les a retracés sur le vif dans le roman. Nous avons essayé de comparer comment ces faits historiques sont abordés par les historiens et par une personne qui le fait sans préjugés historiques puisqu’elle n’a pas vécu le côté le plus atroce de la guerre. Ainsi nous avons pu constater que Suite française offre une fresque très intéressante de la période de 1940-1942. Irène Némirovsky avait l’intention d’élaborer un roman frappant et en effet, elle y a réussi, nous offrant en même temps un témoignage historique et montrant que l’exode et l’occupation n’ont pas été si noirs

The Don de langue and the archival pledge: Dado's Les Oiseaux d’Irène and Némirovsky's Suite française

© Edinburgh University Press. Accepted manuscript version deposited in accordance with SHERPA RoMEO guidelines. The definitive version is available at http://www.euppublishing.com/doi/abs/10.3366/nfs.2012.0031.This article considers the underlying archival poetics of the collaboration between the artist Dado (Miodrag Djuric) and the author Claude Louis-Combet. In particular I consider the collaborative work Les Oiseaux d'Irène (2007), in which a specific archival encounter is documented: Dado appeals to the imaginary figure of Irène Némirovsky while simultaneously engaging with the unique history of the manuscript of Némirovsky's Suite française. Dado's illustrations of Némirovsky's manuscript folios point to a deep ethical engagement with the archive which recalls the function of the manuscript as pledge and legacy in Némirovsky's biography. The archival function is related, via Derrida's account of the archive, to the late phase of Dado's work in which the creation of an internet archive, L'Anti-musée virtuel, is accompanied by the creation of a second Dado archive, at IMEC

"Just a good Frenchwoman": How gender roles are reinforced and questioned in Irène Némirovsky's Suite Française (2004) in the context of WWII

32 p. : il. -- Bibliogr.: p. 29-32There is an ongoing debate among historians and Gender Studies’ scholars regarding the effect war has on gender roles. Some believe that war has in many occasions offered new opportunities to women, that they were liberated from some gender roles, while others assert that, although in wartime women have taken new roles or been liberated from traditional roles, these changes were not preserved after the war. In this dissertation I argue that although the Paris exodus and the National Socialist occupation during WWII reinforce gender roles on women in Irène Némirovsky’s Suite Française, that situation also provides an opportunity of liberation from these, since the historical context helps them women to free from the traditional roles they have been assigned. In order to show this, I will first provide the sociohistorical context of women before and after WWII in France (the novel’s setting) and Germany (from which Nazi soldiers that occupy France are from). Then I will explain Irène Némirovsky’s life, literary career and the situation in which she wrote the novel. Afterwards, I will analyse the text through a feminist perspective highlighting the different instances of reinforcement and liberation of gender roles in female characters. The analysis conducted in this dissertation shows that regarding the reinforcement of gender roles, perpetuation of traditional roles resides in young male characters and that in some cases there is a double burden for women (due to gender and social class) as well as double standards with regard to men and women. On the other hand, liberation from gender roles is in some cases not definitive or a double-edged weapon. Nevertheless, in the case of some characters there is deep development, which results in independence. After the war, however, it is highly possible for women to be assigned the roles they were liberated from during the war

Irene Nemirovsky and the 'Jewish Question' in Interwar France

Literature and Comparative LiteratureRomance Languages and Literature

Boston University Wind Ensemble, October 5, 1990

This is the concert program of the Boston University Wind Ensemble performance on Friday, October 5, 1990 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Octet-Partita, Op. 57 by Franz Krommer, Nonet for Brass by Wallingford Riegger, Expansions by Larry L. Stukenholtz, Suite Française by Darius Milhaud, and March from Symphonic Metamorphoses of themes by Carl Maria von Weber by Paul Hindemith. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Boston University Wind Ensemble, November 3, 1990

This is the concert program of the Boston University Wind Ensemble performance on Saturday, November 3, 1990 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Old Wine in New Bottles by Gordon Jacob, Suite Française, d'apres Claude Gervaise by Francis Poulenc, English Folk Song Suite by Ralph Vaughan Williams, Concerto for Alto Saxophone and Wind Orchestra by Ingolf Dahl, and On Winged Flight: A Divertimento for Band by Gunther Schuller. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Oh, the places you\u27ll go!, Lawrence University Symphonic Band, May 26, 2018

Memorial Chape