856 resultados para Lincoln University history
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Includes bibliographical references and index.
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This book has been painstakingly researched by a scholar whose intellectual competencies span several disciplines: history, sociology, criminology, culture, drama and film studies. It is theoretically sophisticated and yet not dense as it reads like a novel with an abundance of interesting complex characters.
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An Interview with John Rajchman, Department of Art History, Columbia University, on Architecture, Deleuze and Foucault at his apartment, Riverside Drive, New York City, February 10, 2003.
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An investigation of the use of historically accurate scenery in Victorian revivals of Shakespeare's history plays.
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This publication is a short address made by William H. Kilpatrick to the Southern Club of Columbia University calling on Southerners to gather and preserve their own history.
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The County of Lincoln dates back to 1798, when the first Lincoln County was formed. It was comprised of the townships of Clinton, Grimsby, Saltfleet, Barton, Ancaster, Glanford, Binbrook,Gainsborough, Caistor, Newark (Niagara),Grantham, Louth, Stamford, Thorold, Pelham, Bertie, Willoughby, Crowland, Humberstone and Wainfleet. The County boundaries were revised over the years, and the formation of Welland County in 1856 left only 7 townships in Lincoln County (Niagara, Grantham, Louth, Clinton, Gainsborough, Caistor and Grimsby). A County Council was also established at this time, which consisted of a Clerk, Warden, and a representative from each township. In 1862, the County Seat was moved from Niagara-on-the-Lake to St. Catharines. In 1970, Lincoln and Welland Counties were amalgamated to form the Regional Municipality of Niagara.
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From 1991, when the Dublin Gate Theatre launched their Samuel Beckett Festival featuring nineteen of Beckett’s stage plays, to more recent years, the Gate dominated Irish productions of Beckett’s theater. The Gate Beckett Festival was remounted in 1996 at the Lincoln Center, New York, and at the Barbican Centre, London, in 1999, and individual or grouped productions have toured regularly since then in Ireland and internationally. However, since the Irish premiere of Waiting of Godot at the Pike Theatre in 1955, in addition to several Beckett plays mounted by the National Theatre, many independent Irish theater companies, such as Focus Theatre, Druid Theatre, and more recently Pan Pan Theatre, Blue Raincoat Theatre, The Corn Exchange, and Company SJ (under director Sarah Jane Scaife), have produced Beckett’s drama. While acknowledging earlier Irish productions, this essay will consider the role of the Dublin Gate Beckett Festival and the Beckett Centenary celebrations in Dublin in 2006 in greatly enhancing the marketability of Beckett’s work, and will discuss the proliferation of productions of Beckett’s stage plays (as opposed to stage adaptations of the prose work, which is a topic for another essay) in the independent theater sector in the Republic of Ireland since 2006. In addition to giving an overview of these recent productions, the essay will consider some issues at stake in creating or constructing performance histories