This is the first volume of a basic course organized around the concept that to learn another language is to internalize another set of linguistic rules.
A set of 11 audiocassettes totaling 11 hours is available to accompany this volume.
This second volume of the basic Portuguese course contains additional readings for vocabulary refinement and development of cultural knowledge.
A set of 10 audiocassettes is available to accompany Volume II.
Phonetics and Diction in Singing was first published in 1967. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
This book provides rules and illustrative examples for the study of songs and operas in the leading foreign languages of musical literature. The author is conductor and chorus master of the Metropolitan Opera. He has drawn the material from his larger book, The Art of Accompanying and Coaching,to provide a handbook or textbook especially suitable for use by voice teachers, singers, students in high schools, colleges, and schools of music, and members of choruses, church choirs, and opera workshops and their directors. Following a general discussion of phonetics and diction in singing there are separate chapters on Italian, French, Spanish, and German phonetics and diction. The text is illustrated with drawings and diagrams of vocal techniques and musical examples.
Hayek Book Prize Finalist
An Economist Best Book of the Year
A Foreign Affairs Best Book of the Year
A Financial Times Summer Reading Favorite
“Sweeping, authoritative and—for the times—strikingly upbeat…The overall argument is compelling and…it carries a trace of Schumpeterian subversion.”
—The Economist
“[An] important book…Lucid, empirically grounded, wide-ranging, and well-argued.”
—Martin Wolf, Financial Times
“Offers…much needed insight into the sources of economic growth and the kinds of policies that will promote it…All in Washington would do well to read this volume carefully.”
—Milton Ezrati, Forbes
Inequality is on the rise, growth stagnant, the environment in crisis. Covid seems to have exposed every crack in the system. We hear calls for radical change, but the answer is not to junk our economic system but to create a better form of capitalism.
An ambitious reappraisal of the foundations of economic success that shows a fair and prosperous future is ours to make, The Power of Creative Destruction draws on cutting-edge theory and hard evidence to examine today’s most fundamental economic questions: what powers growth, competition, globalization, and middle-income traps; the roots of inequality and climate change; the impact of technology; and how to recover from economic shocks. We owe our modern standard of living to innovations enabled by free-market capitalism, it argues, but we also need state intervention—with checks and balances—to foster economic creativity, manage social disruption, and ensure that yesterday’s superstar innovators don’t pull the ladder up after them.
Magical realism has become almost synonymous with Latin American fiction, but this way of representing the layered and often contradictory reality of the topsy-turvy, late-capitalist, globalizing world finds equally vivid expression in U.S. multiethnic and British postcolonial literature and film. Writers and filmmakers such as Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie have made brilliant use of magical realism to articulate the trauma of dislocation and the legacies of colonialism that people of color experience in the postcolonial, multiethnic world.
This book seeks to redeem and refine the theory of magical realism in U.S. multiethnic and British postcolonial literature and film. Frederick Aldama engages in theoretically sophisticated readings of Ana Castillo's So Far from God, Oscar "Zeta" Acosta's Autobiography of a Brown Buffalo, Salman Rushdie's Midnight's Children, Shame, The Satanic Verses, and The Moor's Last Sigh, Julie Dash's Daughters of the Dust, and Stephen Frears and Hanif Kureishi's Sammy and Rosie Get Laid. Coining the term "magicorealism" to characterize these works, Aldama not only creates a postethnic critical methodology for enlarging the contact zone between the genres of novel, film, and autobiography, but also shatters the interpretive lens that traditionally confuses the transcription of the real world, where truth and falsity apply, with narrative modes governed by other criteria.
This volume of Proceedings of the Harvard Celtic Colloquium is graced with two J. V. Kelleher lectures: the 2019 lecture by Máire Ní Mhaonaigh on Irish chronicles and the 2021 presentation by Ruairí Ó hUiginn assessing the Irish genealogical corpus in its sociological context. It also includes Georgia Henley’s 2021 keynote on the differing literary receptions in Norman Ireland and Wales of Geoffrey of Monmouth’s history of Britain and related prophecies.
Other articles in Volume 40 survey a wide array of topics in Celtic Studies, centering on Irish and Welsh material with the smaller language areas appearing as well, and ranging from medieval to modern times. While most are literary or linguistic in their focus, some historical context is also provided.
Our frequent urban companion, cooing in the eaves of train stations or scavenging underfoot for breadcrumbs and discarded French fries, the pigeon has many detractors—and even some fans. Written out of love for and fascination with this humble yet important bird, Barbara Allen’s Pigeon explores its cultural significance, as well as its similarities to and differences from its close counterpart, the dove. While the dove is seen as a symbol of love, peace, and goodwill, the pigeon is commonly perceived as a filthy, ill-mannered flying rodent, a “rat with wings.”
Readers will find in Pigeon an enticing exploration of the historical and contemporary bonds between humans and these two unique and closely related birds. For polluting statues and architecture, the pigeon has earned a bad reputation, but Barbara Allen offers several examples of the bird’s importance—as a source of food and fertilizer, a bearer of messages during times of war, a pollution monitor, and an aid to Charles Darwin in his pivotal research on evolutionary theory. Allen also comments on the literary love and celebration of pigeons and doves in the work of such writers and poets as Shakespeare, Dickens, Beatrix Potter, Proust, and Isaac Bashevis Singer. Along the way, Allen corrects the many stereotypes about pigeons in the hope that the rich history of one of the oldest human-animal partnerships will be both admired and celebrated.
Symbol and psyche are twin concepts in contemporary symbological studies, where the symbol is considered to be a "statement" by the psyche. The psyche is a manifold of conscious and unconscious contents, and the symbol is their mediator. Because Lorca's dramatic characters are psychic entities made up of both conscious and unconscious elements, they unfold, grow, and meet their fate in a dense realm of shifting symbols.
In Psyche and Symbol in the Theater of Federico García Lorca, Rupert Allen analyzes symbologically three dramatic works of Lorca. He has found Perlimplín to be a good deal more complex in both psyche and symbol than it has been admitted to be. Yerma involves psychological complications that have not been considered in the light of modern critical analysis, and the symbolic reaches ofBlood Wedding have until this book remained largely unexplored.
Lorca was no stranger to the "agony of creation," and this struggle sometimes appears symbolically in the form of his dramatic characters. Both Yerma and Blood Wedding reflect specific problems underlying the creative act, for they are "translations" into the realm of sexuality of the creative turmoil experienced by Lorca the poet. Perlimplín portrays the paradoxical suicide as a self-murder born out of the futile attempt to create not a poem, but a self.
Previous criticism of these three plays has been dominated by critical assumptions that are transcended by Lorca's own twentieth-century mentality. Allen's analysis provides a new view of Lorca as a dramatist and presents new material to students of symbology.
Proceedings of the Harvard Celtic Colloquium, 38 collects papers ranging widely on topics of the literary and material culture of the Celtic regions of Ireland, Wales, and Breton in the medieval and modern periods. Several articles concern the self-awareness of the literary elite in Ireland and Wales, whose members respected the traditional forms of their literature but used them to further contemporary purposes. For example, they introduce new references to foreign places and cultures, or use older topographical lore to describe and justify contemporary land use and settlement. Other articles review material culture as it is reflected in literary works of their respective periods and discuss how this in turn illuminates the attitudes of the authors and their intended readers. A number of contributions concern the grammatical structure and linguistic formation of the languages of Ireland, Wales, and Brittany, both early and modern.
The special lecture for the Harvard Celtic Colloquium this year was given by Dr. Aled Jones, Senior Lecturer in Welsh and Medieval Studies at Bangor University, Wales, comparing modern astrophysics to the plasticity of time in medieval Celtic literature, a thought-provoking consideration of congruences in modern and medieval conceptions of time and space. This volume also contains the 2018 Kelleher lecture given by Dr. William Gilles of the University of Edinburgh on a problematic early Scots-Gaelic text, the Harlaw Brosnachadh.
This volume of the Proceedings of the Harvard Celtic Colloquium offers a wide range of articles on topics across the field of Celtic Studies.
It includes the 2017 J. V. Kelleher lecture delivered by Paul Russell, Professor of Celtic, University of Cambridge, entitled “‘Mistakes of All Kinds’: The Glossography of Medieval Irish Literary Texts.” In this address Russell offers cogent analysis of this rarely addressed facet of medieval Irish codicology. The articles from other presentations at the Colloquium extend the focus on Celtic glossing into other areas of Celtic linguistics and literary studies. In addition, the volume includes articles on the medieval folkloric, religious, legal, and material culture of Celtic communities, some aspects of which persist into modernity. This volume exemplifies the broad range of topics and time periods characteristic of the Harvard Celtic Colloquium.
Ranging from the humorous to the ironic, from the personal to the theoretical, and from sports as dissimilar as baseball and rugby, gambling and karate, this issue explains fandom itself and explores the intersections of sport and politics, sport and class, and sport and identity. One timely essay addresses the use of Native American imagery and nicknames and the recent NCAA ban on these references. Another classifies gambling as a popular American sport, one that in 2003 attracted three times as many attendees as all Major League Baseball franchises combined. Another essay delves into the history of the golfing mecca of Pinehurst, North Carolina, discussing the resort’s roots in the age of Jim Crow. Among the other topics addressed in this issue are how soccer fandom and commodity culture can be one and the same; why Liverpool’s 2005 victory in the European Champion’s League proves that God is red; and why the Olympic Games can represent performative nationalism.
Contributors. David L. Andrews, Amy Bass, Norman K. Denzin, Grant Farred, Keya Ganguly, John Hartley, Jane Juffer, Liz Moor, Jeffrey T. Nealon, Annie Paul, George Ritzer, Jim Shepard, Orin Starn, Kenneth Surin
Aristotle, great Greek philosopher, researcher, reasoner, and writer, born at Stagirus in 384 BCE, was the son of Nicomachus, a physician, and Phaestis. He studied under Plato at Athens and taught there (367–47); subsequently he spent three years at the court of a former pupil, Hermeias, in Asia Minor and at this time married Pythias, one of Hermeias’s relations. After some time at Mitylene, in 343–2 he was appointed by King Philip of Macedon to be tutor of his teen-aged son Alexander. After Philip’s death in 336, Aristotle became head of his own school (of “Peripatetics”), the Lyceum at Athens. Because of anti-Macedonian feeling there after Alexander’s death in 323, he withdrew to Chalcis in Euboea, where he died in 322.Nearly all the works Aristotle prepared for publication are lost; the priceless ones extant are lecture-materials, notes, and memoranda (some are spurious). They can be categorized as follows:I. Practical: Nicomachean Ethics; Great Ethics (Magna Moralia); Eudemian Ethics; Politics; Oeconomica (on the good of the family); Virtues and Vices.
II. Logical: Categories; On Interpretation; Analytics (Prior and Posterior); On Sophistical Refutations; Topica.
III. Physical: Twenty-six works (some suspect) including astronomy, generation and destruction, the senses, memory, sleep, dreams, life, facts about animals, etc.
IV. Metaphysics: on being as being.
V. On Art: Art of Rhetoric and Poetics.
VI. Other works including the Athenian Constitution; more works also of doubtful authorship.
VII. Fragments of various works such as dialogues on philosophy and literature; and of treatises on rhetoric, politics and metaphysics.The Loeb Classical Library® edition of Aristotle is in twenty-three volumes.
Aristotle, great Greek philosopher, researcher, reasoner, and writer, born at Stagirus in 384 BCE, was the son of Nicomachus, a physician, and Phaestis. He studied under Plato at Athens and taught there (367–47); subsequently he spent three years at the court of a former pupil, Hermeias, in Asia Minor and at this time married Pythias, one of Hermeias’s relations. After some time at Mitylene, in 343–2 he was appointed by King Philip of Macedon to be tutor of his teen-aged son Alexander. After Philip’s death in 336, Aristotle became head of his own school (of “Peripatetics”), the Lyceum at Athens. Because of anti-Macedonian feeling there after Alexander’s death in 323, he withdrew to Chalcis in Euboea, where he died in 322.Nearly all the works Aristotle prepared for publication are lost; the priceless ones extant are lecture-materials, notes, and memoranda (some are spurious). They can be categorized as follows:I. Practical: Nicomachean Ethics; Great Ethics (Magna Moralia); Eudemian Ethics; Politics; Oeconomica (on the good of the family); Virtues and Vices.
II. Logical: Categories; On Interpretation; Analytics (Prior and Posterior); On Sophistical Refutations; Topica.
III. Physical: Twenty-six works (some suspect) including astronomy, generation and destruction, the senses, memory, sleep, dreams, life, facts about animals, etc.
IV. Metaphysics: on being as being.
V. On Art: Art of Rhetoric and Poetics.
VI. Other works including the Athenian Constitution; more works also of doubtful authorship.
VII. Fragments of various works such as dialogues on philosophy and literature; and of treatises on rhetoric, politics and metaphysics.The Loeb Classical Library® edition of Aristotle is in twenty-three volumes.
Inductive zoology.
Aristotle, great Greek philosopher, researcher, reasoner, and writer, born at Stagirus in 384 BC, was the son of a physician. He studied under Plato at Athens and taught there (367–347); subsequently he spent three years at the court of a former pupil in Asia Minor. After some time at Mitylene, in 343–342 he was appointed by King Philip of Macedon to be tutor of his teen-aged son Alexander. After Philip’s death in 336, Aristotle became head of his own school (of “Peripatetics”), the Lyceum at Athens. Because of anti-Macedonian feeling there after Alexander’s death in 323, he withdrew to Chalcis in Euboea, where he died in 322.
Nearly all the works Aristotle prepared for publication are lost; the priceless ones extant are lecture-materials, notes, and memoranda (some are spurious). They can be categorized as follows:
I Practical: Nicomachean Ethics; Great Ethics (Magna Moralia); Eudemian Ethics; Politics; Economics (on the good of the family); On Virtues and Vices.
II Logical: Categories; Analytics (Prior and Posterior); Interpretation; Refutations used by Sophists; Topica.
III Physical: Twenty-six works (some suspect) including astronomy, generation and destruction, the senses, memory, sleep, dreams, life, facts about animals, etc.
IV Metaphysics: on being as being.
V Art: Rhetoric and Poetics.
VI Other works including the Constitution of Athens; more works also of doubtful authorship.
VII Fragments of various works such as dialogues on philosophy and literature; and of treatises on rhetoric, politics, and metaphysics.
The Loeb Classical Library edition of Aristotle is in twenty-three volumes.
The philosopher’s toolkit.
Aristotle, great Greek philosopher, researcher, reasoner, and writer, born at Stagirus in 384 BC, was the son of a physician. He studied under Plato at Athens and taught there (367–347); subsequently he spent three years at the court of a former pupil in Asia Minor. After some time at Mitylene, in 343–342 he was appointed by King Philip of Macedon to be tutor of his teen-aged son Alexander. After Philip’s death in 336, Aristotle became head of his own school (of “Peripatetics”), the Lyceum at Athens. Because of anti-Macedonian feeling there after Alexander’s death in 323, he withdrew to Chalcis in Euboea, where he died in 322.
Nearly all the works Aristotle prepared for publication are lost; the priceless ones extant are lecture-materials, notes, and memoranda (some are spurious). They can be categorized as follows:
I Practical: Nicomachean Ethics; Great Ethics (Magna Moralia); Eudemian Ethics; Politics; Economics (on the good of the family); On Virtues and Vices.
II Logical: Categories; Analytics (Prior and Posterior); Interpretation; Refutations used by Sophists; Topica.
III Physical: Twenty-six works (some suspect) including astronomy, generation and destruction, the senses, memory, sleep, dreams, life, facts about animals, etc.
IV Metaphysics: on being as being.
V Art: Rhetoric and Poetics.
VI Other works including the Constitution of Athens; more works also of doubtful authorship.
VII Fragments of various works such as dialogues on philosophy and literature; and of treatises on rhetoric, politics, and metaphysics.
The Loeb Classical Library edition of Aristotle is in twenty-three volumes.
Natural causes.
Aristotle, great Greek philosopher, researcher, reasoner, and writer, born at Stagirus in 384 BC, was the son of a physician. He studied under Plato at Athens and taught there (367–347); subsequently he spent three years at the court of a former pupil in Asia Minor. After some time at Mitylene, in 343–342 he was appointed by King Philip of Macedon to be tutor of his teen-aged son Alexander. After Philip’s death in 336, Aristotle became head of his own school (of “Peripatetics”), the Lyceum at Athens. Because of anti-Macedonian feeling there after Alexander’s death in 323, he withdrew to Chalcis in Euboea, where he died in 322.
Nearly all the works Aristotle prepared for publication are lost; the priceless ones extant are lecture-materials, notes, and memoranda (some are spurious). They can be categorized as follows:
I Practical: Nicomachean Ethics; Great Ethics (Magna Moralia); Eudemian Ethics; Politics; Economics (on the good of the family); On Virtues and Vices.
II Logical: Categories; Analytics (Prior and Posterior); Interpretation; Refutations used by Sophists; Topica.
III Physical: Twenty-six works (some suspect) including astronomy, generation and destruction, the senses, memory, sleep, dreams, life, facts about animals, etc.
IV Metaphysics: on being as being.
V Art: Rhetoric and Poetics.
VI Other works including the Constitution of Athens; more works also of doubtful authorship.
VII Fragments of various works such as dialogues on philosophy and literature; and of treatises on rhetoric, politics, and metaphysics.
The Loeb Classical Library® edition of Aristotle is in twenty-three volumes.
Natural causes.
Aristotle, great Greek philosopher, researcher, reasoner, and writer, born at Stagirus in 384 BC, was the son of a physician. He studied under Plato at Athens and taught there (367–347); subsequently he spent three years at the court of a former pupil in Asia Minor. After some time at Mitylene, in 343–342 he was appointed by King Philip of Macedon to be tutor of his teen-aged son Alexander. After Philip’s death in 336, Aristotle became head of his own school (of “Peripatetics”), the Lyceum at Athens. Because of anti-Macedonian feeling there after Alexander’s death in 323, he withdrew to Chalcis in Euboea, where he died in 322.
Nearly all the works Aristotle prepared for publication are lost; the priceless ones extant are lecture-materials, notes, and memoranda (some are spurious). They can be categorized as follows:
I Practical: Nicomachean Ethics; Great Ethics (Magna Moralia); Eudemian Ethics; Politics; Economics (on the good of the family); On Virtues and Vices.
II Logical: Categories; Analytics (Prior and Posterior); Interpretation; Refutations used by Sophists; Topica.
III Physical: Twenty-six works (some suspect) including astronomy, generation and destruction, the senses, memory, sleep, dreams, life, facts about animals, etc.
IV Metaphysics: on being as being.
V Art: Rhetoric and Poetics.
VI Other works including the Constitution of Athens; more works also of doubtful authorship.
VII Fragments of various works such as dialogues on philosophy and literature; and of treatises on rhetoric, politics, and metaphysics.
The Loeb Classical Library® edition of Aristotle is in twenty-three volumes.
An investigative reporter for a statewide newspaper connects the dots on an interstate jewel fencing scheme which leads to the capitol city mayor’s door, and implicates a would-be governor. The reporter, a Vietnam vet whose keeps his black ops background under wraps, is attacked by rogue cops, who also threaten his daughter and his girlfriend. His USMC training, unknown to his assailants, saves him from serious injury, but danger on the national scene draws his attention. With a former United States Senator who shares his concern for the unstable new administration in Washington, the reporter finds himself in the midst of a plot to return the federal government to stability, but by means that shock him to the core. A political thriller born of our current national turmoil, this first novel by a seasoned journalist will leave the reader with wide eyes and a quickened heartbeat.
Problems of Administration in Social Work was first published in 1940. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Dean of the Harvard Medical School and School of Public Health in the 1920's and '30's,David Edsall was one of the leaders in a period of great change and progress in medicine. At the beginning of Edsall's career, a doctor's chief weapons were his informed mind and trained senses. By the end of it, the permanent alliance of the sciences and medicine had profoundly altered the doctor's practice and his education. It was a time of struggle, of conflict, and of enduring accomplishment.
Edsall was at the center of this revolutionary effort in three leading schools of medicine: the University of Pennsylvania, Washington University in St. Louis, and Harvard. He began his career in Pennsylvania as recording clerk to the famous Dr. William Pepper, Jr., at the same time making scientific contributions in metabolism through his work in the Pepper Laboratory of Clinical Medicine. By 1907 he had become Professor of Therapeutics and Pharmacology. In 1910 and '11, for one stormy year, he was the school's Professor of Medicine. This was a key year -in 1910 the publication of Abraham Flexner's Medical Education in the United States and Canada had led to the eradication of one quarter of U. S. medical schools and radical reform of many others.
From Pennsylvania Edsall went to St. Louis as Professor of Preventive Medicine, and his part in the reform of that medical school is both controversial and fascinating.
,Edsall's appointment in 1912 to a double post at Harvard and the Massachusetts General Hospital brought him to Boston -the field of his major contributions. This remarkable period was the day of such people as Harvard's Walter Cannon, Otto Folin, Harvey Cushing, Alice Hamilton, L. J. Henderson. It saw the founding of the School of Public Health, the major endowment of the Medical School. In his ten years at the hospital and his seventeen years as dean, as in his influence as a trustee of the Rockefeller Foundation, Edsall gave direction to many developments in American medicine which bear his mark to this day.
Philip Freneau was a poet, editor, and mariner. A graduate of Princeton, he was the roommate of James Madison and a classmate of Hugh Henry Brackenridge and Aaron Burr. When the colonies rebelled against England, he supported his newly born nation as a privateer, spending some time in a British prison as a result. He also served, more effectively, as “the poet of the Revolution.” Later he became the journalistic voice of the democrats.
Ardently devoted to liberty, he believed himself to be a defender of the common man, for whom he fought selflessly and often vitriolicly throughout his life. In newspapers such as The Freeman’s Journal, The New York Daily Advertiser, The National Gazette, The Jersey Chronicle, and The Time-Piece, he published articles, letters, and poems, instructing the citizens of the new Republic about their rights, and attacking those who, he believed, were infringing on those rights. In the midst of the controversy in which he was so often involved, he also found time to write a small body of poetry whose sensitivity and beauty mark him as the poetic equal of his European contemporaries, and, in fact, as a precursor of the new Romantic movement
In Philip Freneau: Champion of Democracy Jacob Axelrad provides a detailed biography of this pensman of the Revolution and early Republic. He gives a sympathetic, imaginative, perceptive, yet objective interpretation of Freneau and his place in history, and at the same time he presents a delightfully readable and clear picture of the period during which the poet lived.
These pages not only re-create the battles between Whig and Tory, federalist and democrat, but they also are alive with the activities and philosophies of the men who made American history. James Madison, Thomas Jefferson, Alexander Hamilton, George Washington, John Adams, James Monroe go about the business of creating and shaping a new country, and as they do, they move into and out of the life of the poet of Monmouth, influencing him in a variety of ways.
Above all, Axelrad brings to life for the reader the man Freneau: simple, direct, often uncritical in his devotion to the cause he believed in; courageous in sustaining his stand against strong opposition; disillusioned and pessimistic about human nature, yet boldly optimistic about the future of humanity and of his country. And always behind the furor the reader is aware of the man struggling to provide a living for himself and his family, and never quite succeeding.
This is the first volume of a four-volume set that will reprint in their entirety the texts of 72 pamphlets relating to the Anglo-American controversy that were published in America in the years 1750–1776. They have been selected from the corpus of the pamphlet literature on the basis of their importance in the growth of American political and social ideas, their role in the debate with England over constitutional rights, and their literary merit. All of the best known pamphlets of the period, such as James Otis’s Rights of the British Colonies (1764), John Dickinson’s Farmer’s Letters (1768), and Thomas Paine’s Common Sense (1776) are to be included. In addition there are lesser known ones particularly important in the development of American constitutional thought: Stephen Johnson’s Some Important Observations (1766), John Joachim Zubly’s An Humble Enquiry (1769), Ebenezer Baldwin’s An Appendix Stating the Heavy Grievances (1774), and Four Letters on Interesting Subjects (1776). There are also pamphlets illustrative of the sheer vituperation of the Revolutionary polemics, and others selected for their more elevated literary merit. Both sides of the Anglo-American dispute and all genres of expression—poetry, dramatic dialogues, sermons, treatises, documentary collections, political “position papers”—that appeared in this form are included.
Each pamphlet is introduced by an essay written by the editor containing a biographical sketch of the author of the document, an analysis of the circumstances that led to the writing of it, and an interpretation of its contents. The texts are edited for the convenience of the modern reader according to a scheme that preserves scrupulously the integrity of every word written but that frees the text from the encumbrances of eighteenth-century printing practices. All references to writings, people, and events that are not obvious to the informed modern reader are identified in the editorial apparatus and where necessary explained in detailed notes.
This first volume of the set contains the texts of 14 pamphlets through the year 1765. It presents, in addition, a book-length General Introduction by Bernard Bailyn on the ideology of the American Revolution. In the seven chapters of this essay the ideological origins and development of the Revolutionary movement are analyzed in the light of the study of the pamphlet literature that went into the preparation of these volumes. Bailyn explains that close analysis of this literature allows one to penetrate deeply into the colonists’ understanding of the events of their time; to grasp more clearly than is otherwise possible the sources of their ideas and their motives in rebelling; and, above all, to see the subtle, fundamental transformation of eighteenth-century constitutional thought that took place during these years of controversy and that became basic doctrine in America thereafter.
Bailyn stresses particularly the importance in the development of American thought of the writings of a group of early eighteenth-century English radicals and opposition politicians who transmitted to the colonists most directly the seventeenth-century tradition of anti-authoritarianism born in the upheaval of the English Civil War. In the context of this seventeenth- and early eighteenth-century tradition one sees the political importance in the Revolutionary movement of concepts the twentieth century has generally dismissed as mere propaganda and rhetoric: “slavery,” “conspiracy,” “corruption.” It was the meaning these concepts imparted to the events of the time, Bailyn suggests, as well as the famous Lockean notions of natural rights and social and governmental compacts, that accounts for the origins and the basic characteristics of the American Revolution.
Political Theory and Praxis was first published in 1977. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Nine distinguished contributors—philosophers and political scientists at universities and colleges in the United States, Europe, Canada, and Australia—write essays for this volume in political philosophy. The book is dedicated to the memory of Hannah Arendt, the writer and philosopher who died in 1975. The contributors discuss various aspects of the concepts of theory and practice and their interrelationship. All of the essays were written expressly for this volume. In an introduction, Professor Ball, the volume editor, notes that the essays reflect the diversity of conceptions of theory, of practice, and of their conceptual and practical interrelations, and that the contributors explore various ways and byways of approaching the age-old questions of theory and its relation to practice.
Part I: Origins
"On the History of 'Theory' and 'Praxis'," Nicholas Lobkowicz; "Creatures of a Day: Thought and Action in Thucydides,"J. Peter Euben; " Plato and Aristotle: The Unity Versus the Autonomy of Theory and Practice." Terence Ball.Part II: Developments
"Kant on Theory and Practice," Carl Raschke; "Theory and Practice in Hegel and Marx: An Unfinished Dialogue,"Peter Fuss; "The Unity of Theory and Practice: The Science of Marx and Nietzsche," Edward Andrew.Part II: Dilemmas and New Directions
"Hannah Arendt: The Ambiguities of Theory and Practice," Richard J. Bernstein; "Rebels, Beginners, and Buffoons: Politics as Action," Raymond L. Nichols; "How People Change Themselves: The Relationship between Critical Theory and Its Audience," Brian FayPlaywrights for Tomorrow was first published in 1969. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Three plays are published in this sixth volume of a series of collections of plays by dramatists who have participated in an experimental program conducted by the Office for Advanced Drama Research (O.A.D.R.), University of Minnesota. Dr. Arthur H. Ballet, editor of the series, is the director of the program.
The plays in this volume are The Thing Itself by Arthur Sainer, The Marriage Test by Jonathan Gillman, and The End of the World; or, Fragments from a Work in Progress by Keith Neilson. In an introduction Dr. Ballet briefly describes the O.A.D.R. program and comments on the three plays.
Of Mr. Sainer and his play Dr. Ballet writes: "Arthur Sainer represents a new wave in theatrical writing, the semi-improvisational piece which really takes on life only in production, but which also speaks with a voice as old and honorable as theatre itself. The Firehouse Theatre, with its unique and skillful dedication to innovative theatre, brought The Things Itself to exciting production for enthusiastic audiences." Jonathan Gillman's The Marriage Test is, he writes, "a rare and sparkling work for the stage: a classic farce." On the third play and its author he comments: "The End of the World by Keith Neilson was the first play provided with facilities under the O.A.D.R. outside the Minneapolis-St. Paul area in an attempt to see if the program could work at long distance as well as it has at home. The play, the playwright, and the O.A.D.R. were blessed with a wonderful company, theatre, and audience at the Playhouse in the Park, Cincinnati, Ohio, and above all with a dedicated and talented director in Brooks Jones. Neilson is a continuous creator in theatre."
Playwrights for Tomorrow was first published in 1975. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Four plays by writers who have worked under the auspices of the Office for Advanced Drama Research (O.A.D.R.) at the University of Minnesota are published in this volume, the thirteenth in the series of such collections. The O.A.D.R. program, which is directed by Arthur H.. Ballet, the series editor, provides an opportunity for promising playwrights to work with cooperating theatres in the production of their plays.
The plays in this volume are The Tunes of Chicken Little by Robert Gordon, The Inheritance by Ernest A. Joselovitz, Blessing by Joseph Landon, and The Kramer by Mark Medoff. Three of the plays—those by Robert Gordon, Joseph Landon, and Mark Medoff—were produced by the American Conservatory Theatre of San Francisco. The play by Mr. Joselovitz was presented by the University of Minnesota Theatre in Minneapolis.
In his introduction Mr. Ballet comments on the achievements and problems of the O.A.D.R. program. He reports that since the program began it had had about one hundred plays produced in some sixty theatres, not only in the United States but also in Australia, New Zealand, Scotland, and Canada. However, he writes, it became increasingly difficult to find playhouses willing to risk the challenge of new plays and playwrights. "More dangerous still," he writes, "has been the tendency for some directors to make theatre their own, highly personal art. Because so many of these directors only like what they know, and they don't know what to make of new work at all, they cannot truly judge and anticipate as a stage piece anything beyond their immediate ken. The rejections are cavalier and unthinking. The directors' lament that there are no new, exciting playwrights must be answered with the accusation that there really are damned few new, exciting, perceptive directors."
Playwrights for Tomorrow was first published in 1966. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
This is the second volume of a collection of plays by writers who have participated in an experimental program at the University of Minnesota under the auspices of the Office for Advanced Drama Research, of which Arthur H. Ballet is the director. Three young playwrights, Maria Irene Fornes, Nick Bortez, and Lee H. Kalcheim, are represented in the collection with two one-act plays and two three-act plays.
Under the program, which is described by Dr. Ballet in his introduction, promising young playwrights are given assistance in developing their talents. Among other opportunities, they are offered the chance to have their plays actually produced.
The plays in this volume are Tango Palace and The Successful Life of Three: A Skit for Vaudeville,two one-act plays by Maria Irene Fornes; Shelter Area, a three-act play by Nick Boretz; and The Boy Who Came to Leave,a three-act play by Lee H. Kalcheim. In addition to the scripts, each playwright provides a discussion of his work in a preface. Production data for each play are given also.
Both of the plays by Miss Fornes were produced at the Firehouse Theatre in Minneapolis, and Tango Palace also was given at the Actor's Workshop in San Francisco. Shelter Area was presented in the Playwrights' Premiere Season at the University of Minnesota. Mr. Kalcheim's play was given at the Theatre in the Round, Minneapolis.
The plays in this volume and in Volume 1 of the collection range widely in theme and subject matter but they share a common trait - each represents a new and exciting voice in the American theatre.
Playwrights for Tomorrow was first published in 1969. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
This is the fifth volume in a continuing series of collections of plays by dramatists who have participated in an experimental program conducted at the University of Minnesota under the auspices of the Office of Advanced Drama Research (O.A.D.R.). Dr. Arthur H. Ballet, editor of the series, is the director of the O.A.D.R.
The plays published here are Fair Beckoning One by Sarah Monson Koebnick and The New Chautauqua by Frederick Gaines. In an introduction Dr. Ballet comments briefly on the work of the playwrights included in this volume. Of Mrs. Koebnick and her play, Fair Beckoning One,he writes: "Without intending or implying condescension, it is quite safe to say that Sarah Koebnick is the rarest of all theatre birds: a primitive who is both a skilled writer and a keen observer. Her tradition is not modern, unless Ibsen is still considered a modernist, but her awareness and her ability to create touching characters and situations are qualities seldom evident in what comes into our office. Her play, Fair Beckoning One, is about a century away from the work of a Gaines or a Sainer, but her compassion is very 'with it.'"
Of Mr. Gaines and The New Chautauqua he writes: "A graduate-student enterprise, the AnyPlace Theatre, in the summer of 1968 turned Minnesota into a commedia dell'arte territory by carrying plays to the people in the streets. It was, by all measures, enormously successful, and it can be most proud that it presented works of two new writers, with the aid of the O.A.D.R. Fred Gaines is himself a graduate student and an exciting prolific new writer in the theatre. The New Chautauqua is one of his best works (and perhaps one of the best pieces O.A.D.R. has worked with): part commedia, part protest, part entertainment, part commitment, and part sheer, marvelous theatre."
Playwrights for Tomorrow was first published in 1972. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
This is the ninth volume in the continuing series Playwrights for Tomorrow,which makes available collections of plays by dramatists who have participated in the program of the Office for Advanced Drama Research at the University of Minnesota. Arthur H. Ballet, the series editor, is the director of the program.
Professor Ballet writes an introduction to the volume, sketching a history of the O.A.D.R. program, telling about some of its accomplishments and programs, and giving information about the playwrights and productions of the plays included here. He explains: "The O.A.D.R. was established in 1963 at the University of Minnesota, with financial aid from the Rockefeller Foundation, to provide an opportunity for playwrights seeking to try fresh paths, an opportunity to have their work performed without the pressures endemic to the commercial theatre."
The plays in this volume are Encore by David Korr, Madam Popov by Gladden Schrock, Children of the Kingdom by The Company Theatre Ensemble with script by Don Keith Opper, and Psalms of Two Davids by Joel Schwartz. Encore and Madam Popov were presented, in separate productions, at the Other Place Theatre of the Tyrone Guthrie Theater in Minneapolis. Children of the Kingdom was presented by The Company Theatre in Los Angeles. Psalms of Two Davids was produced at the College of Marin in California under the direction of James Dunn. Two of the plays—Children of the Kingdom and Psalms of Two Davids —are full-length and the other two are one-act plays.
Playwrights for Tomorrow was first published in 1967. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Five writers are represented in this third volume of a series of collections of plays by dramatists who have participated in an experimental program conducted at the University of Minnesota by the Office for Advanced Drama Research. Dr. Arthur H. Ballet, editor of the series, is the director of the program. The plays in this volume are Five Easy Payments by John Lewin, Where Is de Queen? by Jean-Claude van Itallie, The Great Git-Away by Romeo Muller, With Malice Aforethought by John Stranack, and I, Elizabeth Otis, Being of Sound Mind by Philip Barber.
As Dr. Ballet explains in his introduction, the program of the Office for Advanced Drama Research provides a testing ground for promising playwrights by giving them a chance to have their plays actually produced. Publication of the plays makes them available to larger audiences and to further critical appraisal.
Playwrights for Tomorrow was first published in 1966. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Four young playwrights, James Schevill, Megan Terry, Elizabeth Johnson, and Terrence McNally, are represented in this collection, which includes four one-act plays and one three-act play. The authors are writers who have participated in an experimental program at the University of Minnesota under the auspices of the Office for Advanced Drama Research, of which Arthur H. Ballet is the director.
The program of the Office for Advanced Drama Research, established with the aid of a grant from the Rockefeller Foundation, provides an opportunity for promising young playwrights to develop their talents in a situation which offers them, among other advantages, the chance to have their plays actually produced. Dr. Ballet describes the project in an introduction.
The plays which make up this collection are two related one-act plays, The Space Fan and The Master (titled together American Power), by James Schevill; Ex-Miss Cooper Queen on a Set of Pills by Megan Terry; A Bad Play for an Old Lady by Elizabeth Johnson; and And Things That Go Bump in the Night by Terrence McNally. Each playwright provides a discussion of his work, and production data are given. All except one of the plays were produced at the Tyrone Guthrie Theatre in Minneapolis. In addition, one of them, And Things That Go Bump in the Night, has been given on Broadway.
Just as the experimental productions helped the playwrights evaluate their work, publication of the plays will, it is hoped, contribute further to the critical process by giving the plays the benefits of wider audiences and broader appraisal.
Another collection of plays by writers associated with the program of the Office for Advanced Drama Research is available in a second volume.
Playwrights for Tomorrow was first published in 1975. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
This twelfth volume in the series of collections of plays by writers who have worked under the auspices of the Office for Advanced Drama Research (O.A.D.R.) at the University of Minnesota contains four plays and an introduction by Arthur H. Ballet. The O.A.D.R., of which Professor Ballet is the director, is an experimental project which provides promising playwrights with the opportunity to work with cooperating theatres in the production of their plays.
The plays which make up this collection are The Root by McCarthy Coyle, Wilson by George Greanias, A Lean and Hungry Priest by Warren Kliewer, and A Bunch of the Gods Were Sitting Around One Day by James Spencer. The plays by Mr. Coyle and by Mr. Spencer were produced at the American Conservatory Theatre of San Francisco. Mr. Greanias's play was staged at the Alley Theatre in Houston, and Mr. Kliewer's was given, in an earlier version, at the Scorpio Rising Theatre, Los Angeles.
In his introduction Professor Ballet points out that works by playwrights in the O.A.D.R. program have been produced not only in cooperating theatres in the United States but in Australia, New Zealand, Scotland, and Canada as well. It grows increasingly difficult, he writes, to find playhouses willing to risk an "imperfect" new play and playwright or to challenge their audiences to dare explore unknown dramatic and theatrical territory. "More dangerous still," he comments, "has been the tendency for some directors to make theatre their own, highly personal art. Many important, and many more unimportant, theatres have become showcases for artistic directors who impose their will on all work, old or new."
Playwrights for Tomorrow was first published in 1972. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Three playwrights are represented in this, the eighth volume of the continuing series Playwrights for Tomorrow, which makes available the work of playwrights who have been sponsored by the University of Minnesota Office for Advanced Drama Research. Under the program of the O.A.D.R., which is aided by a grant from the Rockefeller Foundation, writers are given the opportunity to work on their scripts and have their plays produced by cooperating theater companies. The program is directed by Arthur H. Ballet, the series editor.
The three plays in this volume are A Gun Play by Yale M. Udoff, Anniversary on Weedy Hill by Allen Joseph, and The Nihilist by William N. Monson. Professor Ballet provides an introduction in which he explains the purpose and scope of the O.A.D.R. program, recounts some of its history and accomplishments, and tells a little about the O.A.D.R. productions of each of the plays included here.
A Gun Play was produced by the Hartford Stage Company in Hartford, Connecticut, under the direction of Paul Weidner. Later it had an off-Broadway run in New York City, staged by commercial producers. The author, Yale Udoff, is a professional writer primarily involved in the mass media.
Anniversary on Weedy Hill was produced by Theatre West, a professional company in West Hollywood, California. Allen Joseph, the author, a professional actor in film and television, turned to playwriting in the midst of a well-established career in the theater.
The Nihilist was the second play of the O.A.D.R. offered through the facilities of the University of California at Davis Theatre under the direction of Alfred Rossi. William Monson, the playwright, is from the world of academe.
Playwrights for Tomorrow was first published in 1967. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
This is the fourth in a series of volumes which offer collections of plays by dramatists who have participated in an experimental program conducted at the University of Minnesota under the auspices of the Office of Advanced Drama Research (O.A.D.R.). Dr. Arthur H. Ballet, editor of the series, is the director of the O.A.D.R.
This volume contains three full-length plays and one short play. They are The World Tipped Over, and Laying on Its Side (one act) by Mary Feldhaus-Weber, Visions of Sugar Plums by Barry Pritchard, The Strangler by Arnold Powell, and The Long War by Kevin O' Morrison. Mary Feldhaus-Weber is a St. Paul poet who has chosen to work in the theatre. Mr. Pritchard, a former playwright in residence at Theatre St. Paul, now writes for television and films in Hollywood. Mr. Powell is a teacher and theatre director at Birmingham-Southern College in Atlanta, and Mr. O'Morrison pursues an acting career in the Broadway theatre.
As Dr. Ballet explains in his introduction, the program of the O.A.D.R. is designed to give promising playwrights a testing ground for their ideas, skills, and talents by providing them with a chance to have their plays actually produced and, whenever possible, the opportunity of working with the producing groups. He points out that a number of the writers associated with the O.A.D.R. have subsequently moved into the mainstream of contemporary American theatre. Publication of the plays will, it is hoped, bring them to the attention of larger audiences and stimulate further critical appraisal.
Playwrights for Tomorrow was first published in 1973. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
This volume presents four plays by writers who have worked under the program of the Office for Advanced Drama Research (O.A.D.R.) at the University of Minnesota, an experimental project which provides promising playwrights with the opportunity of working with cooperating theatres in the production of their plays. Arthur H. Ballet, the editor, is director of the
O.A.D.R.
The plays in this volume and the theatres which cooperated in their production are Boxes by Susan Yankowitz, Magic Theatre, Berkeley, California; Canvas by David Roszkowski, Scorpio Rising Theatre, Los Angeles; Bierce Takes on the Railroad! by Philip A. Bosakowski, Theatre III, College of Marin, Kentfield, California; and Chamber Piece by John O'Keefe, Magic Theatre, Berkeley, California.
In an introduction Professor Ballet discussed the program and accomplishments of the O. A.D.R., which was established with the aid of a Rockefeller Foundation grant. He writes: "It seemed obvious that no artist worked in more lonely isolation and needed more direct contact with the theatre than the playwright. Despite loud pronouncements . . . that theatres outside of New York were searching for new plays and writers, the evidence indicates that very few theatres really wanted to work with unknown but living playwrights. The O.A.D.R., in its small way, has tried to open a highway . . . between new, often untried writers and willing, even brave theatres.
As Speech and Drama (England) pointed out in a review of earlier volumes of the Playwrights for Tomorrow series: "Schemes like this one at Minnesota deserve the highest praise. On the evidence of these volumes, the executive committee which operates this venture is not attempting to impose any single imprint on its authors—a further example of the generosity of the patronage."
Here is a benchmark study of voter attitudes in a Latin American country. This volume is based on extensive survey research conducted during the Venezuelan elections of 1973. The methods employed by Baloyra and Martz to poll an "unpollable" society successfully challenge previously established paradigms.
The authors interviewed a representative sample of over 1,500 voters to determine relationships between class, status, community, context, religion, ideology, and partisanship on the one hand and political attitudes and preferences on the other. They found that the Venezuelan electorate is defined by a series of contradictory tendencies, and they place their conclusions in the context of contemporary political science literature regarding class and party, ideology and party, and inequality and participation.
Bringing together a diverse group of contributors ranging from Roane Carey of the Nation to scholars in Arab, Jewish, and comparative literary studies, this special issue considers Palestinian gender and identity and their relationship to the conflict with Israel as represented in film, literature, and photography. Essays explore the failed peace process, misrepresentations of the Oslo meetings, the devastating effect of continued Israeli occupation of the Palestinian territories, and the growing controversy over the call for U.S. military divestment from Israel.
Contributors. Ammiel Alcalay, Amal Amireh, Mohammed Bamyeh, Roane Carey, Thomas W. Lockwood, Lisa Suhair Majaj, Saree Makdisi, Melani McAlister, Brinda J. Mehta, John Michael, Andrew N. Rubin, Kenneth Surin
This book is a dialogue about poverty in North America, especially in Mexico and the United States. Poverty has different roots and different manifestations, and requires different responses, whether in the Mississippi delta, in Native American reservations, among single-parent families in inner cities, or in Mexico’s rural southern states and in its urban areas.
In this book, twelve poverty scholars in Mexico and the United States contribute to the understanding of the roots of poverty and build knowledge about effective policy alleviation strategies. After setting the context of poverty and place in North America, the book focuses on three areas of policy response: macroeconomic policy, education policy, and safety nets. Within each section, the authors explore the dimensions of the poverty problem and alternative responses. A final chapter by the editors—from the United States and from Mexico—raises provocative questions about poverty in North America as a whole.
With a little knowledge and a lot of practice, you can do more than just sound more professional when you skillfully use commas, semicolons, and other forms of punctuation. You can, importantly, become more persuasive.
That’s what students who have taken Professor Patrick Barry’s classes at the University of Michigan Law School, the University of Chicago Law School, and the UCLA School of Law have learned, as have the over 100,000 people who have enrolled in his online course “Good with Words: Writing and Editing” on the educational platforms Coursera and FutureLearn.
Now, thanks to this book, you can undergo that same rhetorical transformation. Punctuation doesn’t have to be a pain point. When properly mastered, it can be a powerful tool for all kinds of advocates.
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