Peggy Shaw's "RUFF"

Peggy Shaw has always had a host of crooners, lounge singers, movie stars, rock and roll bands, and eccentric family members living inside her. Ruff is a tribute to those who have kept Shaw company over the last 68 years, a lament for the absence of those who disappeared into the dark holes left behind by her recent stroke, and a celebration that her brain is able to fill the blank green screens with new insight. The original set and media environment for RUFF was conceived during a Split Britches residency hosted at QUT from June-August 2012, funded by Arts Queensland. After a preliminary season at Out North in Alaska RUFF premiered at Performance Space 122 2013 COIL festival, PS122 @ Dixon Place, New York in January 2013 and has since toured to the Chelsea Theatre in London and the Arches Festival in Glasgow. Co Written and Performed by Peggy Shaw, Co Written and Directed by Lois Weaver, Original Music Composed by Vivian Stoll, Choreography by Stormy Brandenburger, Set and Media Design by Matt Delbridge, Lighting Design by Lori E Said.

Light of Extinction

Light of Extinction presents a diverse series of views into the complex antics of a semi-autonomous gaggle of robotic actants. Audiences initially enter into the 'backend' of the experience to be rudely confronted with the raw, messy operations of a horde of object-manipulating robotic forms. Seen through viewing apertures these ‘things’ deny any opportunity to grasp their imagined order. Audiences then flow on into the 'front end' of the work where now, seen through another aperture, the very same forms seemingly coordinate a stunning deep-field choreography, floating lusciously within inky landscapes of media, noise and embodied sound. As one series of conceptions slip into extinction, so others flow on in. The idea of the 'extinction of human experience' expresses a projected fear for that which will disappear when biodiverse worlds have descended into an era of permanent darkness. ‘Light Of Extinction' re-positions this anthropomorphic lament in order to suggest a more rounded acknowledgement of what might still remain - suggesting the previously unacknowledged power and place of autonomous, synthetic creation. Momentary disbelief gives way to a relieving celebration of the imagined birth of ‘things’ – without need for staples such as conventional light or the harmonious lullabies of long-extinguished sounds.

Just dawn

Commissioned for the It’s Timely exhibition at the Blacktown Arts Centre, Just Dawn is a response to two speeches that former Australian Prime Minister Gough Whitlam delivered in Blacktown in 1972 and 1974. Throughout the video, a series of white words and phrases fade in and out as a virtual camera flies towards an abstract horizon line. The narrative thread of the text is directed towards an unnamed Whitlam through the repeated appearance of the words ‘you said’. As the video progresses, the colours of the animated background slowly brighten to resemble an emerging dawn, and the sound, text and camera movements build in frequency and intensity. As they do so, the once optimistic outlook becomes increasingly unsteady. In these ways, Just Dawn is equal parts homage and lament for the ideological acuity and ambition of Whitlam’s agenda. It explores how Whitlam’s words can become markers for the complexities of both his own specific transformative policies, and the character of the socially progressive movement more broadly.

Women's contribution to the development of the English novel: 1621-1818

Women's contribution to literature is no arbitrary or artificial distinction. However much the reformer may welcome, or the conservative lament, the growth of a harmonious sharing of ideals between men and women, that growth has been a hard-fought struggle. It has been an escape from a prison, which, when it did not entirely shut out the greater world, at least enclosed a little world of education meant for women, literature adapted to the supposed limitations of their intellect, and a course of action prescribed by the other sex. To show how the literary efforts of women developed and justified their claims to free activity is the purpose of this thesis.

AMERICAN WOMEN COMPOSERS: SELECTED PUBLISHED WORKS FOR FLUTE AND PIANO AND FOR UNACCOMPANIED FLUTE COMPOSED BETWEEN 1930 AND 2008

The music of women composers often comprises only a small percentage of flutists‘ repertoire, yet there are actually many active women composers, many of whom have written for the flute. The aim of this dissertation is to chronicle a selection of works by several American women composers that have contributed to accessible flute repertoire. For the purpose of this dissertation, accessibility is described by the following parameters: works that limit the use of extended techniques, works that are suitable for performers from high school through a reasonably advanced level, works that are likely to elicit emotionally musical communication from the performer to the listener, and works that are reasonably available through music stores or outlets on the Internet that have a fairly comprehensive reach to the general public. My subjective judgment also played a role in the final selection of the 25 works included as part of this dissertation, and performed on three musically well-balanced recitals. A variety of resources were consulted for the repertoire, including Boenke‘s Flute Music by Women Composers: An Annotated Catalog, and the catalogs of publishers such as Arsis Press and Hildegard Publishing, both of which specialize in the music of women composers. The works performed and discussed are the following: Adrienne Albert – Sunswept; Marion Bauer – Prelude and Fugue, Op. 43.; Marilyn Bliss – Lament; Ann Callaway – Updraft; Ruth Crawford – Diaphonic Suite; Emma Lou Diemer – Sonata; Vivian Fine – Emily’s Images; Cynthia Folio – Arca Sacra; Nancy Galbraith – Atacama; Lita Grier – Sonata; Jennifer Higdon – The Jeffrey Mode; Edie Hill – This Floating World; Katherine Hoover – Masks; Mary Howe – Interlude between Two Pieces; Laura Kaminsky – Duo; Libby Larsen – Aubade; Alex Shapiro – Shiny Kiss; Judith Shatin – Coursing Through the Still Green; Faye-Ellen Silverman – Taming the Furies; Augusta Read Thomas – Euterpe’s Caprice; Joan Tower – Valentine Trills; Ludmila Ulehla – Capriccio; Elizabeth Vercoe – Kleemation; Gwyneth Walker – Sonata; and Judith Lang Zaimont – ‘Bubble-Up’ Rag. All of these works are worthy alternatives to the more frequently played flute repertoire, and they serve as a good starting point for anyone interested i n exploring the works of women composers.

Pastoral

This chapter argues that Milton’s Epitaphium Damonis, a neo-Latin pastoral lament on the death of Charles Diodati, is marked by the author's Petrarchan self-fashioning. This is achieved through intertextual engagement with Petrarch's Bucolicum Carmen (especially Ecls. 1 and 10). Milton as the wandering Thyrsis, undertaking a methaphorical and literal journey into the world of Italian humanism, appropriates and adapts the metaphorical departure from and return to a pastoral world now shattered by plague and death. Recourse to the quasi-Augustinian monasticism of Petrarchan neo-Latin pastoral facilitates the poem's crossing of a monastic limen via its subtle interaction with a hagiographic intertext, the Vita Sancti Deodati. Now pastoral saint and scholar become united in death and in subsequent apotheosis.

The Complete Works of John Milton: Volume III: The Shorter Poems (826pp.)

Stephen B. Dobranski, Milton Quarterly 49.3 (October, 2015), 181-4:

'By addressing classical and neo-Latin works with which Milton's poems appear to engage, Haan has pursued something unattempted yet. Her erudite and engaging commentary on the Poemata is the most extensive and impressive that I have encountered in any edition ... Haan's discussion of Milton's Poemata - including the Testimonia, the one Italian and four Latin encomia by the poet's acquaintances published in 1645 and 1673 - is remarkably detailed and well-researched. In these sections, readers learn, for example, how Milton's Epitaphium Damonis borrows from both classical writers (Theocritus, Moschus) and contemporary models (Castiglione, Zanchi) while transcending all of them through a pattern of resurrection motifs. Or, readers can discover affinities between Milton's lament on the death of the Bishop of Ely and a poem by the Italian humanist Hieronymo Aleander, Jr., or learn about the connections between Milton's Elegia Quinta and George Buchanan's Maiae Calendae ... The Shorter Poems is a scholarly achievement of the highest order.'

Noam Reisner, Review of English Studies 65 (2014), 744-5:
‘Haan shines with her Neo-Latinist expertise by offering a vivid separate introduction to the Latin poems, which sets up Milton’s poemata specifically within the Neo-Latin contexts of the seventeenth century, thereby dispelling any remaining view of these poems as juvenilia (a view which results from reading the poems chronologically). … The present volume will instantly establish itself as the definitive resource for any reader interested in Milton’s shorter poems, and it is scarcely imaginable that it will ever be eclipsed or be in need of replacing. Its contribution is important in all areas, especially in providing for the first time in a single volume truly valuable documents which can teach us a lot more about Milton’s poetic development than simply reading the poems in chronological sequence. But perhaps, this edition’s greatest achievement is the way in which it succeeds in giving Milton’s Latin poems the pride of place they have long deserved as fully integral to Milton’s complete poetic imagination. Haan’s specific achievement in this regard is less in updating the translations than in providing a different context through which to look at the Latin poems themselves. Haan’s detailed commentaries set the Latin poems in a completely fresh light which looks beyond the obvious classical references and allusions, noted by Carey and many other editors, to Milton’s complex engagement with the Neo-Latin literary culture of his time. It is this aspect of the volume, more than anything else, which vindicates its essentialness.'

Biblia sacra, pars II.

Avec prologues. Ezechiel (1v) ; Daniel (32v) ; XII Proph. min. (45v) ; Isaias (75v) ; Jeremias (104v) ; Jeremiae Lament. et Oratio (138, 141) ; Baruch (141v). — Actus Apost. (145) ; VII Epist. canon. (164v) ; XIV Epist. Pauli (175) ; Apocalypsis I,1-XXII,13 (220v).

Biblia Ludovici XI regis Franciae.

Avec quelques prologues, arguments et « capitula ». Genesis, sans prologue (2), etc. — Reg. I-IV (82) ; Isaias (125v) ; Jeremias (140v) ; Jeremiae Lament. et Oratio (157v, 159v) ; Ezechiel (160) ; Daniel, I, 1-XIV, 41 (175v) ; XII Proph. min. (181) ; Job (193v), etc. — Ecclesiasticus (239v) ; Oratio Salomonis (252v) ; Paralip. I-II (253v) ; Oratio Manasse (273) ; Esdras I-II (273v) ; Esther (282) ; Tobias (286) ; Judith (289) ; Macchab. I-II (293v). — Evang. Matthaei (311v), Marci (321v), Lucae (328v-329, 338-343v, 336-337, 330), Johannis (331-335v, 344-346) ; Actus Apost. (347) ; VII Epist. canon. (358) ; Apocalypsis (364v) ; XIV Epist. Pauli (370v).

Biblia sacra.

Avec quelques prologues, arguments et « capitula ». Genesis (2), etc. — Reg. I-IV (109v) ; Isaias (147v) ; Jeremias (165v) ; Jeremiae Lament. et Oratio (186v, 187v) ; Ezechiel (188) ; Daniel (205v) ; XII Proph. min. (212v) ; Job (226v), etc. — Ecclesiasticus (276v) ; Oratio Salomonis (291) ; Paralip. I-II (291v) ; Esdras I-II (315v) ; Esther (324) ; Tobias (328) ; Judith (331v) ; Macchab. I-II (336v). — Evang. Matthaei (359v), etc. — VII Epist. canon. (409v) ; Apocalypsis (415) ; V Epist. Pauli, jusqu'à Epist. ad Ephes. I,20 (421v).

Vetus Testamentum, pars.

Avec quelques prologues et « capitula ». Genesis (sans prologue), avec « capitula » incomplets du début (1) ; Exodus (22) ; Levit. (40) ; Numeri (52) ; Deuteron. (69v) ; Josue (86v) ; Judices (97v) ; Ruth (109v) ; Reg. I-III,XI,38 (112) ; Isaias (150) ; Jeremias (175) ; Jeremiae Lament. et Oratio (209, 212) ; Ezechiel V,3-XIII,6 (213).

Biblia Sancti Martialis Lemovicensis, pars. I

Deuteron. (2) ; Josue (14) ; Judices (22v) ; Ruth, I,1-22 (31v) ; Isaias (32) ; Jeremias (48v) ; Jeremiae Lament. et Oratio jusqu'au v. 3 (66v, 67v) ; Ezechiel, III, 17, etc. (68) ; Daniel, I, 1-XIV, 19 (84) ; XII Proph. min. depuis Os., IV, 9, etc. (90) ; Job (104) ; Psalmi, I,1-LXXXVII,11 (112). En marge des ff. 109v-110 et 118v, prières (XIIIe-XIVe s.) : « Domine Deus omnipotens, qui es trinus... », « Mane intende ad me... »

Biblia Sancti Martialis Lemovicensis altera. I

Genesis (5v) ; Exodus (25v) ; Levit. (41) ; Numeri (52) ; Deuteron. (67v) ; Josue (82) ; Judices (91) ; Ruth (101v) ; Isaias (103) ; Jeremias (122v) ; Jeremiae Lament. et Oratio (146, 148) ; Ezechiel (149) ; Daniel (171) ; XII Proph. min. (180) ; Job (198) ; Psalmi (208v).

Vetus Testamentum, pars.

Ce volume a été relié avec le BnF, Ms., Latin 104 pour former une bible complète, mais il semble que ces deux manuscrits ont été réalisés séparément, à une date et par un atelier différent. F. B, plusieurs notes du XIIIe siècle de mains différentes : au centre du feuillet : "Anno MCIII (sic) setagesimo IIII fu la fami per tutto lu mundu, et vauze lu tumenu de lu granu tr. XII" ; "Pahnutius humilis servus vestre sanctitatis".Au bas du feuillet : "Pahnutius humilis servus vestre sanctitatis" ; "Religioso viro venerabili abbati Santi Stephani de Nemore, salutem in Domino" ; "apnutius". F. 1, titre du XIIIe siècle : "Incipit epistula sancti Jeronimi presbiteri ad Paulinum de studio Scripturarum." Le manuscrit contient : Genesis (4) ; Exodus (20v) ; Levit. (34) ; Numeri (44v) ; Deuteron. (59) ; Josue (73) ; Judices (81v) ; Ruth (90) ; Reg. I-IV (91) ; Isaias (136) ; Jeremias (152) ; Baruch (170v) ; Jeremiae Lament. et Oratio (173, 174v) ; Ezechiel (175) ; Daniel (191v) ; XII Proph. min. (199).Avec prologues et « capitula » (sauf aux f. 90, 136, 152, 175, 192 et 199) . Quelques leçons en marge. F. 1-3v: Frater Ambrosius tua mihi munuscula perferens destulit...-... scripti sunt libri in latinum eos transferre sermonem. Explicit prefatio.F. 3v, tablesF. 4-124. "In principio creavit Deus caelum et terram ...-... et percutiam terram anathemate. Explicit Malachias propheta.

Biblia sacra cum glossa ordinaria, pars VI.

Avec prologues. Isaias (2), Jeremias (93), Jeremiae Lament. et Oratio (178v, 207v).