Aesthetics, Video Art and Television

The author reviews two symposia: \u27The Video Arts: Demonstration and Discussion\u27, The American Society for Aesthetics, New York City, 28 Oct. 1978, and \u27The Aestheticians Look at Television\u27, National Association of Education Broadcasters, Washington, D.C., 30 Oct. 1978. He also presents an evaluation of the current state of video art in terms of philosophical aesthetics. Furthermore, he attempts to make a clear distinction between television and video art. The differences cited include corporate studio efforts vs efforts of individual artists, commercial vs artistic purpose and the substantial differences between production methods. Other issues considered are style, intimacy and narcissism

Gustav Mahler, Symphony No. 2 in C Minor "Resurrection", November 6, 2006

This is the concert program of the Boston University Symphony Orchestra and Symphonic Chorus performance on Monday, November 6, 2006 at 8:00 p.m., at Symphony Hall, 301 Massachusetts Avenue, Boston, Massachusetts. The work performed was Symphony No. 2 in C Minor "Resurrection" by Gustav Mahler. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Editorial Note: The book review as "performance"

The growth of the Internet presents challenges to knowledge transfer; such knowledge is formed contextually and dialogically, a negotiated discursive construct that is created between people. The editorial makes a case for book reviews and review essays which are auto-ethnographic, "performative" and critical. The shift to a more dialogic exploration of emergent knowledge through the book review as social discourse is discussed. The essence of qualitative research itself is explored as the bedrock of book reviews. Reviews are considered as polyvocal attempts at interfacing with cultural/relational/linguistic accounts of the real. A narrative approach to reporting on reviewed books is encouraged, permitting authors to reveal themselves in the relationships presented through their writing. A case is made that a phenomenological approach to writing reviews would be more interested in the person who writes than in the act of writing itself. It is through the creative representations of the reviewed book that reviewers can fashion their own individual Gestalt or worldview woven from the writing under review. The report itself mediates between researcher/writer and reviewer/reader. Such an approach opens up opportunities to write book reviews "performatively". Finally, reviewers are encouraged to create both a dialogue with the author under consideration as well as with their reader

Boston University Concert Chorus with Worcester Children's Chorus, November 6, 2010

This is the concert program of the Boston University Concert Chorus with Worcester Children's Chorus performance on Saturday, November 6, 2010 at 3:00 p.m., at Marsh Chapel, 735 Commonwealth Avenue, Boston, Massachusetts. Works performed were Missa Brevis in D major, op. 63 by Benjamin Britten, Mind You, Now by Libby Larsen, Al Shlosha D'varim by Allan E. Naplan, Epilogue: Design for October by Irving Fine, Selections from Frostiana by Randall Thompson, and Epitaph for Moonlight by R. Murray Schafer. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Nell Gwyn’s many after-lives : taming ‘the Protestant Whore’ in 21st century popular fiction

Ever since her supposed self-fashioning as ‘the Protestant Whore’ in the 1660s, Nell Gwyn has become a figure of fascination, revamped and reinterpreted in a multitude of ways along the years: from the black and white films of the 1930s, the story of this Restoration orange seller turned Royal concubine continues to excite the imagination of not just film makers, but of novelists, artists and even jam makers nowadays, as much as it inflamed Restoration audiences. The aim of this paper is to analyse the discourse that lays at the basis of three modern-day reconstructions of Nell Gwyn’s figure in an attempt at drawing a connection between celebrity, pop culture and historical fiction so as to explain the reimagining of this actress as an innocent strumpet, a scheming shrew, a dignified lady and all things in between; this paper takes ideas on celebrity and historical fiction as the theoretical basis upon which to build the criticism of these revampings of Nell Gwyn to better understand the survival of her figure three centuries after her death.peer-reviewe

John Daverio Memorial Concert, October 23, 2003

This is the concert program of the John Daverio Memorial Concert performance on Thursday, October 23, 2003 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Concerto Grosso in A minor, RV 522 by Antonio Vivaldi, Sonata for Violin and Piano in A Major, Op. 100 by Johannes Brahms, and Piano Quintet in Eb Major, Op. 44 by Robert Schumann. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Performance and authentic expression : the soliloquies in William Shakespeare’s Hamlet

In William Shakespeare’s Hamlet, soliloquies portray a solitary character in midst of a private struggle, voicing emotions and thoughts about the human condition. They throw light on Shakespeare’s prowess in representing the human being; what Harold Bloom calls Shakespeare’s ‘invention of the human’ and what Samuel Johnson refers to as Shakespeare’s chief skill in presenting ‘a map of life.’ And yet, this suggestion constitutes a paradox: soliloquies – which constitute the most contrived speeches in drama – have been accepted as being authentic expressions of human emotions and forming part of faithful representations of the human being. This paper examines the different soliloquies in Hamlet, taking into consideration their power to reveal a character’s emotions. The relation between the audience and the soliloquists is also addressed, especially in relation to the question of whether a soliloquy should be regarded as a private and authentic expression of emotions or as a calculated performance which the character stages intentionally knowing that he is being heard by an audience. The paper also discusses Hamlet’s attempts to introspect about his feelings through the language of theatre and performance, as well as his interest in theatricality and its power to provoke an emotional response.peer-reviewe

The Culture of Race, Class, and Poverty: The Emergence of a Cultural Discourse in Early Cold War Social Work (1946-1963)

Through a primary source historical analysis, this article discusses the emergence of a cultural discourse in the early cold war (1946-1963) social work literature. It traces the evolution of social work\u27s cultural narrative in relation to social scientific perspectives, changing race relations, and increasing welfare caseloads. Social work scholars originally employed their cultural discourse to account for racial and ethnic difference and eventually came to examine class and poverty from this viewpoint as well. This cultural framework wrestled with internal contradictions. It simultaneously celebrated and problematized cultural difference and foreshadowed both latter twentieth century multiculturalism as well as neo-conservative thought