Programme.

Title from cover.

The Atlantic monthly

Mode of access: Internet.

Die Neue Schaubühne.

Mode of access: Internet.

Funding for the John F. Kennedy Center [microform] : hearing before the Committee on Environment and Public Works, United States Senate, Ninety-sixth Congress, first session, on S. 1532 ... July 20, 1979.

Reuse of record except for individual research requires license from Congressional Information Service, Inc.

Realizing the Witch : Science, Cinema, and the Mastery of the Invisible /

Realizing the Witch follows the unfolding of Benjamin Christensen’s visual narrative in his 1922 film, Häxan (The Witch). Through a close reading of Häxan, Baxstrom and Meyers examine the study of witchcraft from historical and anthropological perspectives, as well as the intersection of popular culture, artistic expression and scientific ideas. This title was made Open Access by libraries from around the world through Knowledge Unlatched.

Spectacular Disappearances : Celebrity and Privacy, 1696-1801 /

How can the modern individual control his or her self-representation when the whole world seems to be watching? This question is a familiar one amid the the twenty-first century's architecture of 24-hour newsrooms, chat rooms and interrogation rooms, but this book traces this question back to the stages, the pages, and the streets of eighteenth-century London--and to the strange and spectacular self-representations performed there by England's first modern celebrities. These self-representations include the enormous wig that the actor, manager, and playwright Colley Cibber donned in his most famous comic role as Lord Foppington--and that later reappeared on the head of Cibber's cross-dressing daughter, Charlotte Charke. They include the black page of 'Tristram Shandy,' a memorial to the parson Yorick (and his author Laurence Sterne), a page so full of ink that it cannot be read. And they include the puffs and prologues that David Garrick used to hiehgten his publicity while protecting his privacy; the epistolary autobiography, modeled on the sentimental novel, of Garrick's protégée George Anne Bellamy; and the elliptical poems and portraits of the poet, actress, and royal courtesan Mary Robinson, known throughout her life as Perdita. Linking all of these representations is a quality that Fawcett terms "over-expression." 'Spectacular Disappearances' theorizes over-expression as the unique quality that allows celebrities to meet their spectators' demands for disclosure without giving themselves away. Like a spotlight so brilliant it is blinding, these exaggerated but illegible self-representations suggest a new way of understanding some of the key aspects of celebrity culture, both in the eighteenth century and today. They also challenge many of the disciplinary divides between theatrical character and novelistic character in eighteenth-century studies, or between performance studies and literary studies today. Drawing on a wide variety of materials and methodologies, 'Spectacular Disappearances' provides an overlooked but indispensable history for scholars and students of celebrity studies, performance studies, and autobiography--as well as to anyone curious about the origins of the eighteenth-century self.

Beyond the Bauhaus : Cultural Modernity in Breslau, 1918-1933 /

The Breslau arts scene during the Weimar period was one of the most vibrant in all of Germany, yet it has disappeared from memory and historiography. Breslau was a key center for innovative artistic production during the Weimar Republic; recovery of its history will shed new light on German cultural dynamics in the 1920s. Such a study has art historical significance because of the incredible extent of innovation that occurred in almost every intellectual field, advances that formed the basis for aesthetic modernism internationally and continue to affect the course of visual art and architecture today. Architecture education, just one example in many, is still largely based on a combination of the Bauhaus model from the 1920s and the model developed at the Breslau Academy of Fine and Applied Art. The exploratory attitude encouraged in Weimar era arts endeavors, as opposed to the conformism of academic art, is still a core value promoted in contemporary art and architecture circles. Given the long-lasting influence of Weimar culture on modernism one would expect to find a spate of studies examining every aspect of its cultural production, but this is not the case. Recent scholarship is almost exclusively focused on Berlin and the Dessau Bauhaus. Although both interests are understandable, the creative explosion was not confined to these cities but was part of a larger cultural ethos that extended into many of the smaller regional centers. The Expressionist associations the Blaue Reiter in Munich and Brücke in Dresden are two well-known examples. Equally, innovation was not confined to a few monumental projects like the Stuttgart Weissenhofsiedlung but part of a broader national cultural ethos. The dispersion of modernism occurred partly because of the political history of Germany as a loosely joined confederation of small city states and principalities that had strong individual cultural identities before unification in 1871 but also because of the German propensity to value and take intense pride in the Heimat, understood both as the hometown and the region. Heimatliebe translated into generous support for cultural institutions in outlying cities. Host to a roster of internationally acclaimed artists and architects, major collectors, arts organizations, museums, presses, galleries, and one of the premier German arts academies of the day, Breslau boasted a thriving modern arts scene until 1933 when the Nazis began their assault on so-called "degenerate" art. This book charts the cultural production of Breslau-based artists, architects, art collectors, urban designers, and arts educators, who were especially interesting because they operated in the space between the margins of Weimar-era cultural debates. Rather than accepting the radical position of the German avant-garde or the reactionary position of German conservatives, many Breslauers sought a middle ground. It is the first book in English to address this history and presents the history in a manner unique to any studies currently on the market. 'Beyond the Bauhaus' explores the polyvalent and contradictory nature of cultural production in Breslau in order to expand the cultural and geographic scope of Weimar history; the book asserts a reciprocal dimension to the relationship between regional culture and national culture, between centers like Breslau and the capital Berlin. With major international figures like the painters Otto Mueller and Oskar Moll, architects Hans Scharoun and Adolf Rading, urban planners Max Berg and Ernst May, collectors Ismar Littmann and Max Silberberg, and an art academy that by 1929 was considered the best in Germany, Breslau clearly had significance to narratives of Weimar cultural production. 'Beyond the Bauhaus' contributes the history of German culture during the Weimar Republic. It belongs alongside histories of art, architecture, urban design, exhibition, collecting, and culture; histories of the Bauhaus; histories of arts education more broadly; and German history. The readership would include those interested in German history; German art, architecture, urban design, planning, collecting, and exhibition history; in the avant-garde; the development of arts academies and arts pedagogy; and the history of Breslau and Silesia.

Artists fellowships program : guidelines and application.

Cover title.

Scenisk konst.

Vols. for 1902-07 issued without vol. numbering but constitute v. 1-6.

Power Center dressing room

Kevin Roche, John Dinkeloo and Associates, architect. On verso: University of Michigan News Service ... Negative number 3221 (?)

Home and family life in a changing civilization : held by the United States Office of Education in cooperation with the State University of Iowa and the Iowa State College of Agriculture and Mechanic Arts at Ames, Iowa, November 10 and 11, 1930 /

"January, 1931."

Report of the Task Force on the Education, Training and Development of Professional Artists and Arts Educators.

Cover title.

Industrial arts & vocational education.

Readers' guide to periodical literature