1951 University of Michigan Men's Golf Team

Back Row: John Fraser, Dean Lind, Hugh Wright(?)

Front Row: Robert Olson. captain Richard Evans, coach Bet Katzenmeyer, Lowell LeClair

Final report to the Industrial Commissioner. October-November 1951. Port of New York.

Members of the Board: Martin P. Catherwood, chairman, Dean Alfange, John P. Boland.

A report of the trail of the cause of John Taylor vs. Edward C. Delavan : prosecuted for alleged libel ; tried at the Albany circuit, April, 1940 ; and Mr. Delavan's correspondence with the ex. committee of the Albany city temperance society, &c.

"This action ... is brought for two publications in the Evening journal, in the month of February, 1835 ... The declaration sets forth that the defendant meant to charge that impure, dirty and filthy water ... had, for years, been carted to the malt-house of the plaintill; ant that he had been guilty of using that water in preparing barley for malt."--p. 45.

A national southerner: Ransdell of Louisiana. Foreword by Charles P. Greco; pref. by John E. Swift.

Mode of access: Internet.

Supplement to the 25th, 35th, 45th, 55th, 65th, 75th annual report of the registrar-general of births, deaths and marriages in England ... 1862, 1872, 1882, 1892, 1902, 1912, [Mortality in England and Wales during the period of ten years 1851-60, 1861-60, 1871-80, 1881-90]

Compilers: William Farr, 1862, 1872.--William Ogle, 1882.--John Tatham, 1892.

Annual of scientific discovery; or, Year-book of facts in science and art, for [1850]-1871, exhibiting the most important discoveries and improvements in mechanics, useful arts, natural philosophy, chemistry, astronomy, geology, biology, botany, mineralogy, meteorology, geography, antiquities, etc., together with notes on the progress of science, a list of recent scientific publications; obituaries of eminent scientific men, etc

Title varies slightly

The relation of John Locke to English deism,

Mode of access: Internet.

Moravian bicentenary pamphlets.

"Publications on Moravian doctrine": p. 89.

The personal letters of John Fiske;

Introduction by H. H. Harper.

John Tzetzes and the pseudo-Aristotelian Peplos in middle-Byzantium. The testimony of the Matritenses 4562 and 4621

Tras mi reciente edición de los pseudo-aristotélicos Pepli Epitaphia, el presente trabajo se centra en los apochrypha a dichos epitafios que compuso Juan Tzetzes en el siglo xii, un conjunto de ocho dísticos elegíacos para los héroes que consideró meritorios de tal tarea, y para quienes no pudo encontrar un epitafio conservado en las fuentes manuscritas a las que tuvo acceso. Para lograr dicho propósito, también se investiga el grado de conocimiento y la transmisión de ese corpus epigramático en la literatura bizantina, además de considerar las lecciones y el sentido mismo de dos códices guardados en la Biblioteca Nacional de España (M y Md). En ellos, Constantino Láscaris copió, directamente a partir de Tzetzes, dos breves antologías de dichos componentes.

Nietzsche's orphans: music and the search for unity in revolutionary Russia, 1905-1921

At the dawn of the twentieth century, Imperial Russia was in the throes of immense social, political and cultural upheaval. The effects of rapid industrialization, rising capitalism and urbanization, as well as the trauma wrought by revolution and war, reverberated through all levels of society and every cultural sphere. In the aftermath of the 1905 revolution, amid a growing sense of panic over the chaos and divisions emerging in modern life, a portion of Russian educated society (obshchestvennost’) looked to the transformative and unifying power of music as a means of salvation from the personal, social and intellectual divisions of the contemporary world. Transcending professional divisions, these “orphans of Nietzsche” comprised a distinct aesthetic group within educated Russian society. While lacking a common political, religious or national outlook, these philosophers, poets, musicians and other educated members of the upper and middle strata were bound together by their shared image of music’s unifying power, itself built upon a synthesis of Russian and European ideas. They yearned for a “musical Orpheus,” a composer capable of restoring wholeness to society through his music. My dissertation is a study in what I call “musical metaphysics,” an examination of the creation, development, crisis and ultimate failure of this Orphic worldview. To begin, I examine the institutional foundations of musical life in late Imperial Russia, as well as the explosion of cultural life in the aftermath of the 1905 Revolution, a vibrant social context which nourished the formation of musical metaphysics. From here, I assess the intellectual basis upon which musical metaphysics rested: central concepts (music, life-transformation, theurgy, unity, genius, nation), as well as the philosophical heritage of Nietzsche and the Christian thinkers Vladimir Solov’ev, Aleksei Khomiakov, Ivan Kireevskii and Lev Tolstoi. Nietzsche’s orphans’ struggle to reconcile an amoral view of reality with a deeply felt sense of religious purpose gave rise to neo-Slavophile interpretations of history, in which the Russian nation (narod) was singled out as the savior of humanity from the materialism of modern life. This nationalizing tendency existed uneasily within the framework of the multi-ethnic empire. From broad social and cultural trends, I turn to detailed analysis of three of Moscow’s most admired contemporary composers, whose individual creative voices intersected with broader social concerns. The music of Aleksandr Scriabin (1871-1915) was associated with images of universal historical progress. Nikolai Medtner (1879-1951) embodied an “Imperial” worldview, in which musical style was imbued with an eternal significance which transcended the divisions of nation. The compositions of Sergei Rachmaninoff (1873-1943) were seen as the expression of a Russian “national” voice. Heightened nationalist sentiment and the impact of the Great War spelled the doom of this musical worldview. Music became an increasingly nationalized sphere within which earlier, Imperial definitions of belonging grew ever more problematic. As the Germanic heritage upon which their vision was partially based came under attack, Nietzsche’s orphans found themselves ever more divided and alienated from society as a whole. Music’s inability to physically transform the world ultimately came to symbolize the failure of Russia’s educated strata to effectively deal with the pressures of a modernizing society. In the aftermath of the 1917 revolutions, music was transformed from a symbol of active, unifying power into a space of memory, a means of commemorating, reinterpreting, and idealizing the lost world of Imperial Russia itself.

A list of desiderata; to help in completing the great library of Mr. John G. White in Cleveland.

Caption-title.

John Frazer

John Frazer, Professor, trained at the Architectural Association, taught first at Cambridge University and then the AA in the 1970s and again in the '90s. He was Head of School of Design Research History and Criticism at the University of Ulster in the 1980s, he also ran a systems and design consultancy with his wife Julia (including projects for Cedric Price and Walter Segal) and was founder and chairman of Autographics software. He is currently Swire Chair Professor and Head of School of Design in Hong Kong.----- This is a very personal perspective on a concept of universal and future significance. It is personal, both is the sense that it is an unashamedly biased view of both the significance of the project, and the nature of that significance and because the author was personally involved as one of the consultants on GENERATOR and subsequently involved Cedric Price in its educational application at the Architectural Association. GENERATOR is still very much alive and was still developing whilst this chapter was being written.