A case study of the community school relations of a rapidly growing, medium-sized suburban town in expanding school facilities.

Thesis (M.S.)--Boston Universit

Arms and the Man (December 9, 1938)

Program for Arms and the Man (December 9, 1938)

O\u27Flaherty V.C.

A one-act comedy by George Bernard Shaw, this play follows an Irish soldier in the British army returning home after winning the Victoria Cross. October, 1972. The LTS Workshop is a special project of the John Carroll University Speech Department to encourage original and creative work in the performing arts.https://collected.jcu.edu/plays/1057/thumbnail.jp

SPECIAL CONTRIBUTION

The first public speech I made was a vote of thanks. That was in 1966 to Ruth Smalley, an American Professor of Social Work speaking at Stellenbosch University in honour of the centenary celebrations. The visitor was intended to be Florence Hollis, another academic in Social Work, but Professor Hollis was not available

Gruach / The Dark Lady of the Sonnets (May 3, 1957)

Program for Gruach / The Dark Lady of the Sonnets (May 3, 1957) To view the photos from this production of Gruach / The Dark Lady of the Sonnets, please click here

Cloey / Dark Lady of the Sonnets (May 1, 1968)

Program for Cloey / Dark Lady of the Sonnets (May 1, 1968). To view the photos from this production of Cloey / Dark Lady of the Sonnets, please click here

Candida

The programme was scanned from an original held in the University Archives.This play was produced under the direction of Roy Leaney and was staged at The Hut from the 11 - 13 October 1951

“Feeling for Beauty”

May Morris (1862–1938), renowned craftswoman and daughter of William Morris, had an unconventional Victorian childhood in a home where all the members of the family were engaged in various forms of aesthetic labor, either as amateurs or professionals, and shared an aesthetic philosophy that blended the artisanal and the experimental from which would develop the Arts and Crafts movement. This article will examine the fragmentary recollections of her childhood recorded by May Morris in the introductions she wrote for the twenty-four-volume edition of The Collected Works of William Morris as a rich resource for Victorian sensory history because of the emphasis she places on the development of the child's sensorium, especially in relation to touch as the vital sense that linked family intimacy with creative activity. Employing the term “tactile aesthetics,” I show how, in the Morris household, the pleasurable sensual apprehension of the objects or materials worked by the hands of the craftsperson was inseparable from the complex feelings of connection with others. In such an environment, a feeling for beauty comprised a vital component of habitus, the embodied knowledges and aptitudes that, according to Pierre Bourdieu, are acquired from earliest childhood through the practices of everyday life within a specific social setting

“Feeling for Beauty”

May Morris (1862–1938), renowned craftswoman and daughter of William Morris, had an unconventional Victorian childhood in a home where all the members of the family were engaged in various forms of aesthetic labor, either as amateurs or professionals, and shared an aesthetic philosophy that blended the artisanal and the experimental from which would develop the Arts and Crafts movement. This article will examine the fragmentary recollections of her childhood recorded by May Morris in the introductions she wrote for the twenty-four-volume edition of The Collected Works of William Morris as a rich resource for Victorian sensory history because of the emphasis she places on the development of the child's sensorium, especially in relation to touch as the vital sense that linked family intimacy with creative activity. Employing the term “tactile aesthetics,” I show how, in the Morris household, the pleasurable sensual apprehension of the objects or materials worked by the hands of the craftsperson was inseparable from the complex feelings of connection with others. In such an environment, a feeling for beauty comprised a vital component of habitus, the embodied knowledges and aptitudes that, according to Pierre Bourdieu, are acquired from earliest childhood through the practices of everyday life within a specific social setting