Albert T. Morgan

On verso: This is my beloved father. A.M.

Albert A. Stanley

First director of the School of Music, University of Michigan

School of Nursing Class of 1994

Top Row: Laura Anderson, Sherry Armstrong, Sarah Arnoldi, Rosalie Arzadon, Leslie Bair, Angela Baker, Kristy Barker, Elizabeth Barrios, Tamara J. Becker, Kristen Bekker, Kathryn Birkmeier, Lucinda Brach, Stacy Brege, Pamela K. Burke, Nicole Bushey

Row 2: Nancy Byington, Heidi Campbell, Jason Patton, Jodi Kaplan, Dawn Buhl, Colleen Carolan, Elizabeth Conklin, Krisanne Kircos, Margie Tucker, Jennifer Sanders, Angela Vitale, Kathleen S. Kemp, Tom Atkinson, Tanya M. Cerbins, Tamra Chute

Row 3: Kirsten A. Covell, Michelle Currie, Kristina Davis, Albert Deogracias, Deana Diokno, Elizabeth Donovan, Kathryn Drobitch, Andrea Dunbar, Carol Dunlap, Kelley Dutcheshen

Row 4: Shannon Fitzpatrick, Tracy Fouchey, Carol Gerstner, Holly Gray, Jacqueline Hair, Lisa Hart, Kristen Hawley, Joanna Hesford, Nicole Hill, Denise Hines, Matthew Hoffmann, Christa Holland

Row 5: Debra Horvath, Lisa Hottmann, Paul Howell, Susan Isley, Violet H. Barkauskas, Elisabeth Pennington, Rhetaugh G. Dumas, Janice Lindberg, Beverly Jones, Susie Jahan, Denielle Jordan, Kellie Kennon, Hanah Kiernan

Row 6: Sally A. Klyn, Ellen Kraft, Sheri Kurashige, Nancy Kushman, Jeannine Marie LaDouceur, Opal Lesse, Heather Joy Lirette, Dana Lloyd, Eileen Mac Innis, Sara MacKeigan, Marilyn Martin, Stephanie Martino, Lynette May, Amy Marie Mazur, Tracy McIntyre, Amy Marie McManur

Row 7: Lynne Michalski, Jennie Mille, Jennifer Moran, Marvella M. Muzik, Tara Nichols, Teri Nies, Maria Nistal, Lori Olivet, Constance Paglis, Andrea Pelham-Reichel, Michelle Perkins, Barbara persensky, Julianne Plaza, Sonia Prichard, Sarah Prush

Row 8: Michael Ranieri, Shanda Richards, Carleen Roberts, Marie Antoinette Robinson, Kelly A. Saran, Deborah Saunders, Christine Sawicki, Donna Schaldenbrand, Noelle Schellig, Marci Simon, Colleen Sirhal, Kathryn Smay, Susan Snyr, Diane Sobecki, Wendy Stevens, Carolyn A. Storck

Row 9: Maria Tandoc, Linda Tate, Nicole Theodore, William Troy, Diana Underwood, Maria Villegas, Jennifer Vite, Marianne Weir, Kelly Whitman, Angela Willbrandt, Wendy Winkler, Yvette Wright, Jill Yatcho, Catherine Zawacki, Theresa Zeiler

La fin du dix-huitième siècle. Études et portraits.

I. L'opinion publique au XVIIIe siècle. Montesquieu. Jean-Jacques Rousseau d'après des publications nouvelles. Le secret du roi. Diderot inédit.--II. La société français en 1765. Deux types de femmes: mme Du Defíand et mme Roland. La famille de Mirabeau. Coppet et mme de Staël. André Chénier inédit; sa lutte contre la terreur, son procès, sa mort.

Celebrating difference/censoring difference? : Marie Chouinard’s bODY rEMIX

This paper examines performances that defy established representations of disease, deformity and bodily difference. Historically, the ‘deformed’ body has been cast – onstage and in sideshows – as flawed, an object of pity, or an example of the human capacity to overcome. Such representations define the boundaries of the ‘normal’ body by displaying its Other. They bracket the ‘abnormal’ body off as an example of deviance from the ‘norm’, thus, paradoxically, decreasing the social and symbolic visibility (and agency) of disabled people. Yet, in contemporary theory and culture, these representations are reappropriated – by disabled artists, certainly, but also as what Carrie Sandahl has called a ‘master trope’ for representing a range of bodily differences. In this paper, I investigate this phenomenon. I analyse French Canadian choreographer Marie Chouinard’s bODY rEMIX/gOLDBERG vARIATIONS, in which 10 able-bodied dancers are reborn as bizarre biotechnical mutants via the use of crutches, walkers, ballet shoes and barres as prosthetic pseudo-organs. These bodies defy boundaries, defy expectations, develop new modes of expression, and celebrate bodily difference. The self-inflicted pain dancers experience during training is cast as a ‘disablement’ that is ultimately ‘enabling’. I ask what effect encountering able bodies celebrating ‘dis’ or ‘diff’ ability has on audiences. Do we see the emergence of a once-repressed Other, no longer silenced, censored or negated? Or does using ‘disability’ to express the dancers’ difference and self-determination usurp a ‘trope’ by which disabled people themselves might speak back to the dominant culture, creating further censorship?

The citizen's voice : Albert Hirschman's Exit, Voice and Loyalty and its contribution to media citizenship debates

This paper analyses Albert Hirschman's Exit, Voice and Loyalty (Hirschman 1970) as a basis for understanding the relationship between media and citizenship. It considers the significance of Hirschman's concept of voice in relation to media policy, media participation through user-created content, and the rise of 'citizen media' and 'citizen journalism'. It associates these developments with a 'de-centering' of both media practice and media studies, as considered by Couldry (2006a, 2006b). It concludes by suggesting that voice and participation, rather than citizenship, may constitute a more suitable foundation for understanding new digital media initiatives.