American Choral Directors Association (ACDA) initiatives for September 2018 are: (1) registration opens for February 27-March 1 ACDA National Conference; (2) online tools for the conference; (3) ...audits for National Finances; (4) staff training; and (5) exhibit and showcase planning for the National Conference.
Since the dichotomy of humans/nature paves the way for human beings' supremacy to treat nature as they desire, this dichotomy has obtained a primary role in environmental ethics. Discerning the ...entanglement of human beings and nature, the deep ecology movement by criticizing this dichotomy, provided some useful results for environmental ethics, worth to mention the uprising against the humans' aggressive dominance in culture and civilization in Western countries, true humane self-realization through self-transcendence, and the consideration of the rehabilitation of missing rights of nonhuman beings. Despite these valuable points, this movement has some deficiencies which can be cured by the reformation of its ideas through a religious-theological perspective. Having no coherence philosophy that results in vague and general claims about ecological issues, the absence of a comprehensive program as a ground for a specific life hierarchy, neglecting the high status of humanity, and its ineffectiveness in undeveloped countries are among the deficiencies of this movement. This article explains these issues analytically.
*12. März 1710 in London, †5. März 1779 ebd., Komponist. Sohn von Thomas Arne aus der King Street, Covent Garden, einem Polsterer und – nach Angaben von Ch. Burney (GB-Lbl, Add.48345, fol. 4.) – ...Sch...
Abstract
When Jephtha an Oratorio was published by John Walsh in April 1752, music allocated to the character Hamor was headed as sung by ‘Mr. Brent’. William Barclay Squire began his Dictionary of ...national biography entry (1885) on the soprano Charlotte Brent by stating that she was the daughter of ‘a fencing-master and alto singer, who sang in Handel’s “Jephtha” in 1752’, and this has been generally accepted. Charlotte’s father, Charles, was a leading fencing-master, but he was in his late 50s at the time of the Jephtha premiere and his only known ‘musical’ appearance was as the player of the salt-box in a burlesque ode at his daughter’s benefit at Ranelagh in 1763. Handel began composing the oratorio expecting that the alto castrato Gaetano Guadagni would create the role of Hamor, but when the premiere took place in February 1752 Guadagni was unavailable. For the revival of the oratorio in 1758 Hamor was sung by the 17-year-old Isabella Young, who probably also took the role in 1756. No male singer called Brent is recorded in concerts or on the London stage, so it is extremely likely that the singer at the premiere of the oratorio was the young Charlotte Brent.
Nordheim, Arne Herresthal, Harald
MGG Online,
03/2016
Reference
*20. Juni 1931 in Oslo, †5. Juni 2010 in Oslo, Komponist. Nordheim studierte 1948 bis 1952 am Osloer Kons. und wurde anschließend in Kopenhagen von Vagn Holmboe in die Kompositionstechnik B. Bartóks ...e...
Precarious work in China has drawn increasing attention, and this paper examines its changing trends from 2006 to 2017. It finds that as the state intensifies its intervention in the labor market, ...employers face a conflicting institutional environment with the demands of the technological environment. Employers meet the legitimacy requirements of state policy by increasing the number of stable jobs on the one hand and reducing the labor costs of unstable workers on the other hand to smooth out the increase in labor costs caused by the increase in stable workers, resulting in a stronger segmentation of the “stable–unstable” dichotomy. These two processes are more pronounced in the private sector because of the stronger tensions between legitimization and performance maximization.
Rather than meeting her as a character, we only observe Eustacia as part of the landscape, for the 'form was so much like an organic part of the entire motionless structure that to see it move would ...have impressed the mind of a strange phenomenon'.1 For readers looking solely at this introductory scene, it would be most natural to conclude that the relationship between Eustacia and the barrow is a symbiotic one. The goal of this essay is to do two things: 1) posit that Thomas Hardy, in The Return of the Native, attempts to blur the ontological boundaries between 'character' and 'setting', both by granting a form of personhood to Egdon Heath as well as giving Eustacia a capacity for something like place, and; 2) suggest a 'deep ecological' reading of Hardy's novel that can offer a beneficial alternative lens through which to understand Eustacia's struggle against the heath and its implications for the rest of the narrative. Acknowledging that much good work has already been done to analyse the relationship of Eustacia and Egdon Heath, my intention of offering this new reading is to add another layer to the many existing layers of critical analysis surrounding The Return of the Native, thereby expanding the ways in which readers can understand the text and its greater implications for Victorian society as well the present. *·· As previously mentioned, there is an abundance of allusion throughout Hardy's novel, which, at first glance, clearly places Eustacia Vye and Egdon Heath in an antagonistic relationship towards each other. Clay Daniel writes convincingly of the influence of Paradise Lost on The Return of the Native, claiming that 'Hardy fuses Heaven and Hell and Eden (and several other Miltonic oppositions) into a monolithic, "modernist" landscape, from which not only God, but also Satan has disappeared'.7 In such an amalgamated wasteland, Eustacia then enters the scene as a rebellious Satan, banished from Heaven into the netherworld.
Publication of Arne Kalleberg’s Good Jobs, Bad Jobs provides a welcome opportunity to re-examine the theoretical and conceptual frameworks that scholars bring to bear on precarious employment. An ...exemplar of what was once called the “new structuralism,” Kalleberg’s book provides a rigorous, multidimensional analysis of the changes impinging on job stability and security. Although it identifies a vitally important trend toward a growing polarization in the distribution of job rewards, it does so in ways that illustrate the limits of the genre of research to which it belongs. Constrained to view the subjective experience of work as merely dependent variables, the book cannot explore how social, political, and cultural processes have both shaped and legitimated the rise of precarious employment. Drawing on recent studies of the popular business press and other media representations, we document the rise of a culture of enterprise that has idealized the uncertainties that have come to grip the labor market, defining the latter as a site on which individual agency can freely unfold. Only by addressing the interplay between job structures and such discursive and political developments can we hope to understand the rise of labor market precarity, let alone expand workers’ rights to protection against market uncertainty.
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