U.S. Crackdown on Illegal Immigration Creates Alarm in Central America

Weulersse Georges. Histoire du Catholicisme libéral en France, 1828-1908, par Georges Weill, professeur à l’Université de Caen. Paris, F. Alcan, 1909. In: La revue pédagogique, tome 56, Janvier-Juin 1910. pp. 196-200

Cabaret: a historical and musical perspective of a struggling era

A historical time rich with change, the turn of the twentieth century was not without its hardships as well as its accomplishments. Musically speaking, it was a celebrated and popular time of diversified and large orchestrated symphonies and operas. Yet, as classical music was at a zenith of popularity, it was an uneasy and confusing era. Closing in on the accepted, supported and successful romantic style of music was a social revolution that affected all art forms and worldwide attitudes. World War I was looming and the Second Industrial Revolution was about to explode initiating change and fears throughout civilization. Art forms have always reflected the times of which they exist, and this critical time of 1880-1933, like any other era, mirrors a highly diversified time of enormous change and renaissance. This study is an examination of what the cabaret genre consisted of during this fifty year period. I explain the beginning, the peak and the slow but constant changes which occurred through the onset years in France, Germany and eventually America. I introduce and detail the idea that there are really two forms of cabaret that eventually amalgamate into one idea. I present the effects of world history and events that utilized the Cabaret as a tool of expression for a generation and will surmise those effects have indeed provided a bridge to many of the musical styles and entertainment venues that we hold in present day society. In the recital portion of my dissertation, I perform a selection of cabaret songs which show specifically different styles and languages that depict the essence of the Cabaret genre style as it has evolved from its inception in 1881. These works, garnered by research of Cabaret history, provide tangible evidence of the musical stylistic changes which occurred through Cabaret`s roots in France, to its height of popularity in Germany and how it was perceived and developed in Britain and America

Faculty recital series: Jonathan Bass, January 29

This is the concert program of the faculty recital of Jonathan Bass on Monday, January 29, 2007 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Partita No. 2 in C minor by Johann Sebastian Bach, Ballade No. 2, op. 38 by Frédéric Chopin, Mazuraks, op. 24 by Chopin, Ballade No. 4 in F minor, Op. 52 by Chopin, Excursion, Op. 20 by Samuel Barber, Etude in B-flat minor, Op. 8, No. 11 by Alexander Scriabin, Sonata No. 4, Op. 30 by Scriabin, Etude in F-sharp Major, Op. 42, No.4 by Scriabin, and Sonata No. 5, Op. 53 by Scriabin. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Nanotechnologies and health: juridical and philosophical implications

Although their applications have not yet extended widely due to their incipient state, nano-technologies and nano-medicines may be presumed to be at the origin of the next great technological revolution, foreseeably contributing to a new stage with respect to evolutions in mankind’s progress. Their possibilities are truly immense in enormously varied spheres, but the risks and uncertainties they engender are enormous too. Because access and use of the unceasingly increasing mega-quantity of information they generate will place further strain on the protection of personal life, privacy, the exercise of freedom, as well as the safeguarding of other fundamental principles and rights

Muir String Quartet, November 18, 1997

This is the concert program of the Muir String Quartet performance on Tuesday, November 18, 1997 at 8:00 p.m., at Tsai Performance Center, 685 Commonwealth Avenue. Works performed were Quartet in D major, K. 499 by Wolfgang Amadeus Mozart, Quartet No. 2 in F major, Op. 92 by Sergei Prokofiev, and Sextet in D minor, Op. 70 "Souvenir de Florence" by Pytor Il'ych Tchaikovsky. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Retinal Vascular Tortuosity in a Patient with Weill-Marchesani Syndrome

Weill-Marchesani syndrome (WMS) is a rare connective tissue disorder with characteristic phenotypic skeletal and ocular manifestations. A 28-year-old myopic female presented with an 8-month history of bilateral blurred vision. On examination, she was noted to be of short stature with brachydactyly. On ocular examination, she was found to be spherophakic with bilateral inferiorly subluxated lenses. Serum and urine homocysteine were normal and a syphilis screen was negative. A diagnosis of Weill-Marchesani syndrome was made. Fundoscopy revealed bilateral tortuous retinal vessels. We report the first illustrated case of retinal vascular tortuosity as an ocular manifestation of Weill-Marchesani syndrome

On the Backwardness in Macroeconomic Performance of European Socialist Economies

This paper aims to compare the macroeconomic performance of three European socialist economies (Hungary, Poland, Yugoslavia) with developing and developed countries during the eighties. Using panel data for 87 countries, we measure macroeconomic performance with two frontier efficiency techniques: the stochastic frontier approach, and the time-varying WITHIN model proposed by Cornwell, Schmidt and Sickles (1990). We conclude in favor of the underperformance of socialist countries in relation to developed countries but also to developing countries, which may be explained by the features of the socialist economic system.Productivity analysis, socialist system, stochastic frontier approach, growth.

Domenico Scarlatti Festival, February 19-21, 1998

This is the concert program of the Domenico Scarlatti Festival on Thursday, February 19 through Saturday, February 21, 1998 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed on Program I in February 19, 1998 were the following by Domenico Scarlatti: Sonata K. 185, F minor, Sonata K. 184, F minor, Sonata K. 193, E-flat major, Sonata K. 192, E-flat major, Sonata K. 99, C minor, Sonata K. 215, E major, Sonata K. 216, E major, Sonata K. 115, C minor, Sonata K. 466, F minor, Sonata K. 467, F minor, Sonata K. 255, C major, Sonata K. 402, E minor, Sonata K. 403, E minor, Sonata K. 105, G major, and Sonata K. 119, D major. Works performed on Program II on February 20, 1998 were the following by D. Scarlatti: Sonata for Flute and Harpsichord, K. 91, Sonata for Violin and Harpsichord, K. 90, Cantata for Soprano, Two Violins and Basso Continuo "Tinte a note de sangue," Harpsichord Sonata K. 132, Harpsichord Sonata K. 461, Sonata for Flute and Harpsichord, K. 81, and "Scritte con falso inganno," Cantata for Soprano, Two Violins and Basso Continuo. Works performed on Program III on February 21, 1998 were Diferencias sobre el "Canto del Caballero" by Antonio de Cabezon, Three Dances from the 17th Century: Chacona, Marizápalos, and Canario by A. de Cabezon, Pasacalles de primer tono from "Bailes de Comedias del Retiro" by Juan Cabanilles, Xácara by J. Cabanilles, Recercata, Fuga y Sonata No. 1 en re by Sebastiánde Albero, Sonata en fa sostenido mayor by Antonio Soler, Sonata K. 107 by Domenico Scarlatti, Sonata K. 239 by D. Scarlatti, Sonata K. 141 by D. Scarlatti, Sonata K. 208 by D. Scarlatti, Sonata K. 209 by D. Scarlatti, Sonata K. 490 by D. Scarlatti, Sonata K. 491 by D. Scarlatti, Sonata K. 491 by D. Scarlatti, Sonata K. 492 by D. Scarlatti, and Fandango by D. Scarlatti. The festival also included lectures by Roberto Pagano, Frederick Hammond, Malcom Boyd, and James Iffland. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Do Islamic banks have greater market power?

The aim of this paper is to investigate whether Islamic banks have greater market power than con-ventional banks. An Islamic bank, for example, might enjoy enhanced market power if a captive clientele adhering to religious principles permits it to charge higher prices. To measure market power, we compute Lerner indices for a sample of banks from 17 countries where Islamic and conventional banks coexist. Comparison of Lerner indices shows no significant difference between Islamic banks and conventional banks over the period 2000-2007. When including control variables, regression of Lerner indices even suggests that Islamic banks have less market power than conventional banks. A robustness check with the Rosse-Panzar model confirms that Islamic banks are no less competitive than conventional banks. Thus, any reduced market power of Islamic banks can be attributed to differences in norms and incentives.Islamic banks; Lerner index; bank competition

Boston University Glee Club, April 23, 1964

This is the concert program of the Boston University Glee Club performance on Thursday, April 23, 1964 at 8:30 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were Sing to the Lord a New Song (Psalm XCVIII) by Heinrich Schutz, Crucifixus (SSATTB) and Crucifixus (SSAATTBB) by Antonio Lotti, Tenebrac Factae Sunt by Giovanni Pierluigi da Palestrina, Sixth Chandos Anthem by Georg Frideric Handel, Beautiful Savior by F. Melius Christiansen, Tansen und Springen by Hans Leo Hassler, Weep, O Willow (Southern Mountain Tune) by Sven Lekberg, In Peace and Joy I Now Depart by David Fetler, and O Magnify the Lord With Me from the Bay State Collection. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund