Establishing Cultural Identity in American Concert Dance: How Corporate Funding Can Revitalize the World of Dance

In a country that has rapidly evolved in many industries, it has always mystified me as to why advancement in the arts, specifically dance, has lagged behind. My hypothesis as to why this is occurring is that concert dance in America is not as synonymous to the cultural identity of the nation as it is in comparison to its European ancestors. I began my research with the creation of ballet in order to determine the cultural roots that were established within particular societies. I then compared the funding models between the nations with this deep attachment to the funding models of our country. After making the comparison, it was evidently clear that the difference lies within our economic structure. America being capitalistic and the European nations being socialist, the state can only have so much influence in its contributions to the companies. I also realized that the companies, being primarily nonprofit institutions, are not fully utilizing their resources. I then proposed that the only way to establish the cultural identity of concert dance within America is to do what America does best: establish corporate sponsorships. By understanding the current sports marketing, advertising, and sponsorship tactics being utilized by major corporations, I proposed the same tactics be used for concert dance companies. The financial risks would then be lifted from the companies whose sole purposes should be to create meaningful art. One way to fully test the effectiveness of this method would be a corporate sponsorship of a small dance company to see how it affects its growth. Because major companies have already established a rapport with its community, the effectiveness of the tactics would not be as apparent. After its effectiveness is evaluated, corporations could see the potential benefits of associating their brand with the brand of a cultural institution

Russia's 'Little Slav Brother'?

Dubois Patrick. CHÉRON (Adolphe). In: , . Le dictionnaire de pédagogie et d'instruction primaire de Ferdinand Buisson : répertoire biographique des auteurs. Paris : Institut national de recherche pédagogique, 2002. p. 54. (Bibliothèque de l'Histoire de l'Education, 17

Our Liberation and the Liberation of Our Images: Friedrich Schiller and the Politics of the Image

In this paper, I will compare the aesthetic philosophies put forward in Friedrich Schiller’s On the Aesthetic Education of Man and Plato\u27s Republic. Using Schiller\u27s more robust aesthetic philosophy and its political import, I will argue that the government of Plato\u27s Republic would not create freedom for its citizens. Then, I will carry Schiller\u27s aesthetics and politics forward to argue, using Freud and a number of thinkers who champion Freud’s work, that economic interests can also limit the freedoms of a nation\u27s citizens. Finally, I will argue that Schiller\u27s aesthetic philosophy can deliver a political freedom free from the state control depicted in Republic and the economic control of modern consumer culture

Balance in Tristram Shandy: Laurence Sterne through Friedrich Schiller’s Eyes

Many critics of Laurence Sterne’s Tristram Shandy see the novel’s narrative elements and structure as a form of narrative play, which reject Enlightenment systems of understanding. In this paper, through the philosophy of Friedrich Schiller, I will argue that the novel’s narrative structure is best understood as a balance of aesthetic impulses. For most scholars, to understand the narrative form, digressions, philosophy of knowledge, and/or history in Tristram Shandy, one must understand how the novel subverts the categorization and systematization of Enlightenment thinking. The patterns of subversion in the text lend themselves to arguments that characterize the novel as one of narrative play. This is understandable, but it ultimately does not do justice to the complexity of the novel. To address this complexity, I turn to Friedrich Schiller, a German poet and philosopher. I argue that the text enacts Schiller’s aesthetic framework by synthesizing the competing impulses he describes in his aesthetic philosophy. Tristram Shandy does not seek the order and systems of Locke and the Enlightenment, nor the overwhelming feeling of the Romantics’ sublimity; instead, Tristram Shandy, setting a precedent for Schiller’s philosophy, seeks the most beautiful aesthetic goal, balance