African-American Composers for the Concert Saxophone: A Look at Three Prolific Composers

African-American composers within the field of classical music have made very profound contributions to the literature. In the field of chamber music, Scott Joplin, William Grant Still, Adolphus Hailstork and other composers illustrious composers have created an established and well-documented body of repertoire for many orchestral wind instruments. The saxophone repertoire, however, has not been developed as fully due to its limited tradition as an orchestral instrument and its prominence in the tradition of jazz and popular music. African-American composers in particular appear to be significantly under-represented within the standard concert saxophone literature. My personal experiences with saxophone repertoire in academic settings, solo recitals, conferences and in surveys of standard repertoire from nationally-recognized saxophone teachers support this assertion. There are many African-American composers who have made substantial contributions to the body of repertoire for the concert saxophone. This dissertation examines the works of three prolific African-American composers for the concert saxophone; Dr. Yusef A. Lateef, Andrew N. White III, and Dr. David N. Baker. All have composed more than five separate works featuring the concert saxophone. This project comprises three recitals, each dedicated to one of the three composers selected for this dissertation. Each recital presented will present their compositions featuring the saxophone as a soloist with various types of accompaniment. The project also includes newly-created piano reductions of Dr. David Baker's works for saxophone and orchestra made collaboratively with Baker and arranger John Leszczynski.

Fictitious toponyms in the responsa: Bashan's ruleset revisited

Fictitious personal names and toponyms are not infrequent in legal casenotes as used for didactic purposes nowadays. There is a long tradition of fictitious names being used in the legal literature. The problem with medieval or early modern legal (here, rabbinical) responsa is that if they are used as evidence for historical purposes, as though they were chronicles, confusion may occurs. Historian Eliezer Bashan showed that this is the case, indeed, with particular reference to rabbinical responsa from the Ottoman empire where Holy Land toponyms occur. He set forth several tentative rules to decide whether a toponym is there to literally refer to the place it names, or whether, instead, the name is used fictitiously. This paper formalizes the ruleset.

University education as a public service

There is no tradition of public service in large parts of English higher education. This is because historically HE in England has seen itself as independent of the state and unaccountable to the public for its twin roles of research and teaching. These serve its own interests conceived as advancing knowledge and ensuring the continued transmission of that knowledge to future generations. The dominance of this conception explains the so-called ‘academic community’s’ Gaderene rush to abandon free HE in England. Resistance to preserve and extend public service HE will therefore predictably come mainly from former-local authority further and higher education institutions.

‘Close as a kiss’: Gyn/Affection in Margaret Atwood’s The Penelopiad

Margaret Atwood’s novella The Penelopiad (2005) seemingly celebrates Penelope’s agency in opposition to Homer’s myth in The Odyssey. However, the twelve murdered maids steal the book to suggest the possibility of what Janice Raymond calls gyn/affection, a female bonding based on the logic of emotion that, in Atwood’s revision, verges on Kristevan abjection, the sinister and the fantastic, and serves a cathartic effect not only in the maids but also in the reader. This essay aims to question the generally accepted empowerment of Atwood’s Penelope and celebrates the murdered maids as the locus of emotion, where marginal aspects of gender and class merge to weave a powerful metaphorical tapestry of popular and traditionally feminized literary genres that, in plunging into and embracing the semiotic realm, ultimately solidify into an eclectic but compact alternative tradition of women’s writing and myth-making.

Philosophy, Social Hope and Democratic Criticism:Critical Theory for a Global Age

The attempt to connect philosophy and social hope has been one of the key distinguishing features of critical theory as a tradition of enquiry. This connection has been questioned forcefully from the perspective of a post-philosophical pragmatism, as articulated by Rorty. In this article I consider two strategies that have been adopted by critical theorists in seeking to reject Rorty's suggestion that we should abandon the attempt to ground social hope in philosophical reason. We consider argumentative strategies of the philosophical anthropologist and of the rational proceduralist. Once the exchanges between Rorty and these two strands of critical theory have been reconstructed and assessed, an alternative perspective emerges. It is argued that philosophical reasoning best helps to sustain social hope in a rapidly changing world when we consider it in terms of the practice of democratic criticism.

Convict Criminology: Provocazioni da Oltreoceano. La Ricerca Etnografica in Carcere

This review essay describes the New School of Convict Criminology through an analysis of its main manifesto and some of the more recent articles which have been published on the subject. It suggests that this new brand of criminology is placed on a continuum with the established tradition of critical criminology without arriving at its most radical consequences: abolitionism. The school’s endeavor is that of launching a “realist criminology” able to change prisoners’ conditions and facilitating their re-entry in society, starting from consideration of their personal needs rather than from legislative issues. The School which was led by John Irwin is constituted by former prisoners and embrace ethnographic research as the only way to understand inmates’ conditions.

Every Situation has its Rhythm: Acoustic Mimesis and Sonic Exoticism in Tambours Sur La Digue.

This article examines the soundscapes of Ariane Mnouchkine’s Tambours Sur La Digue and explores the concept of acoustic mimesis located in the performance as a dramaturgical strategy to create, aurally, an imagined Far East. In Tambours, mimesis is the performative principle exemplified by the presentation of the mise en scène, and most distinctly Mnouckine’s decision to adapt the Japanese performance tradition of Bunraku through a process of 'reversed' mimicry (in which human bodies simulate the wooden marionettes of the Japanese style). Mimesis pervades the acoustemologies of the performance as it is heard in the extracted sounds, styles, and rhythms of Asian musical modes and movements that consequently become dislocated from context; the sounds become imitated, iconicised and exoticised as sonic signatures as they reify the Orientalist spectacle. The 'oriental' soundscape, reverberating with exotic overtones, becomes the means by which the production creates an imaginary Orient – one in which the Orient Other is silenced, and is resounded only through the musical sensibilities of the Occidental Self.

Soundspace: A Manifesto

The manifesto is a long-standing and powerful tool for challenge within architecture, deployed by those as diverse as Vitruvius and Frank Lloyd Wright (who proposed a Walt Whitman-inspired “Work Song” of 1896) to those publishing in blogs across the designing planet today. Manifestos are locations for dreaming, for the banging of shoes, for passion in words about the environment we invent. Our manifesto follows in that tradition of poetry and critical optimism in calling for a new architecture of soundspace.

Here we wish to act as Markus Miessen’s “uninvited outsider” (Miessen 2010), a transgressive voice that disturbs the status quo beyond comfortable familiarity and brings together different types of thinkers and various modes of critique.[1] In this article we seek to probe “fundamental questions about how and for whom the built environment is produced and … conventional frameworks or oldestablished rules and regulations” through the interdisciplinarity that sound studies demands.[2] The ear to transgression is open.[3]

Belfast: A study on built heritage

This book is a compilation of 5th year architecture dissertations dealing with the value of the existing built fabric of Belfast city center and the potential reuse of that fabric. This hopefully begins a tradition of disseminating the extensive work students undertake in describing, understanding and analyzing built heritage in Belfast and Northern Ireland. It does not aim to be innovative in its findings nor revolutionary in its position, but hopefully it will be a seed in a quest to get architecture students involved in their city and the value of the existing built fabric.

England's Citizenship Education Experiment - Active Citizenship or Service?

This chapter explores the history of active citizenship education in English schools in relation to the more established tradition of service learning in the US.

The Testimonium Flavianum (again)

Recent research on the textual tradition of Latin versions of the Testimonium Flavianum prompts another enquiry into the original text and the transmission of the famous passage. It is suggested here that the Greek/Latin versions highlight a western/eastern early history of the Testimonium and that in turn directs our attention back to the original circumstances of its composition and publication in the city of Rome in the later years of the first century.Restored to its original historical context, the Testimonium emerges as a carefully crafted attack upon the post-Pauline community of Christ-followers in the city.

A Gendered Profession

A Gendered Profession, RIBA Publications, Oct 2016

For a profession that claims to be so concerned with the needs of society, the continuing gender imbalance in architectural education and practice is a difficult subject. Difficult, because it’s been stagnant for some thirty years. This book seeks to change that.
Beyond the profession, the emergence of fourth wave feminism has broken a twenty-year drought in the discourse[1]. A new generation of feminist critique is emerging, characterised by a broader civic commitment, one fuelled by the recognition that time and again, women and minorities have been the first casualties of neo-liberalism.
Whereas after World War II the architectural profession rallied around its obligation to fulfil a social need, today architecture has all but capitulated its absolute servitude to capitalism. Recognising that feminist thinking is a meaningful response to the inequalities of capitalism, A Gendered Profession will be a forum for a discussion about the failure of our profession – one that is so explicitly concerned with the design of inclusive environments – to resolve its own inequalities. Contributions have been sought and responses elicited from all corners of the discipline to propose strategies, attitudes and solutions to this crisis in representation.
At stake is more than just the lack of female representation. Male architects suffer from the same ingrained mechanisms of gender stereotyping, obliged to place professional commitments above those to their family and children. And while three quarters of lesbian, gay, bisexual and transsexual architects report being comfortable about being open about their sexuality in the workplace, that number drops to just sixteen per cent when on the building site.
A Gendered Profession will aim to perform a diagnostic check of the architecture profession from one end of the spectrum to the other. Whereas much has been written on feminism and architecture, the majority is produced exclusively by women. A Gendered Profession has worked hard towards gender parity in both its contributions and editorial structure and therefore does not limit its understanding of gender to an either/or analogue. The chapters featured in the book are written by artists, academics, practitioners and students.
Through its diverse authorship, this book will provide the first ever attempt to move the debate beyond the tradition of gender-partitioned diagnostic or merely critical discourse on the gender and wider inclusivity debate towards something more propositional, actionable and transformative.

Engaging the Senses: Object-based learning in higher education

The use of museum collections as a path to learning for university students is fast becoming a new pedagogy for higher education. Despite a strong tradition of using lectures as a way of delivering the curriculum, the positive benefits of ‘active’ and ‘experiential learning’ are being recognised in universities at both a strategic level and in daily teaching practice. As museum artefacts, specimens and art works are used to evoke, provoke, and challenge students’ engagement with their subject, so transformational learning can take place. This unique book presents the first comprehensive exploration of ‘object-based learning’ as a pedagogy for higher education in a broad context. An international group of authors offer a spectrum of approaches at work in higher education today. They explore contemporary principles and practice of object-based learning in higher education, demonstrating the value of using collections in this context and considering the relationship between academic discipline and object-based learning as a teaching strategy.

French Autopathography

Reacting against the assumption that ill people ‘surrender’ their bodies to medicine, first-person illness narratives attempt to restore the patient’s voice to an often dehumanizing and bewildering medical experience. This special issue complements recent medical humanities scholarship on English-language illness narratives by investigating a distinctly rich tradition of French autopathography. Diverse approaches and methodologies will be used to consider first-person perspectives on a range of illnesses, disabilities and disorders, including AIDS, cancer, physical pain, mental health issues, anorexia, and locked-in syndrome. The issue aims to promote interdisciplinary dialogue across genres (literature, film, philosophy) and examine the creative potential that lies at the interface of medicine and the arts.

Dissenting Exhibitions by Artists (1968-1998). Reframing Marxist Exhibition Legacy.

The goal of this thesis is to look at the critical and dissenting value of exhibitions through the examination of four cases studies, based on six exhibitions taking place between 1968 and 1998 in Latin and North America. The exhibitions belong to the history of modern and contemporary exhibitions and curating, a field of research and study that has only started to be written about in the last two decades. This investigation contributes to it, in its creation of new genealogies by connecting previously overlooked antecedents, or by proposing new relations within established lineages, at the intersection of a specific historiography; to address exhibitions, a tradition of artists acting as curators and an emerging history of curating. The examined exhibitions were put together by artists or artist collectives and were placed in a liminal position between artistic and curatorial practice. All the cases presented a distinct proposal in relation to art and social change, a fact that connects them, in their aims and modus operandi, to a Marxist and neo-Marxist critical and transformative legacy. The cases address the following connections: exhibition as political site (Tucumán Arde, 1968); exhibition as social space (The People’s Choice (Arroz con Mango), 1981); exhibition as encounter (Rooms with a view, We the People, Art/Artifact, 1987-88); and exhibition as an exchange situation (El Museo de la Calle, 1998-2001). Key to their analysis is the concept of dissensus, as put forward by Jacques Rancière. Within this theoretical framework, these exhibitions put into practice particular cases of dissensus in a given distribution of the sensible. All of them tried to deal with their thematic concerns by performing them as a praxis. They dissent with the way in which reality was formatted in their historical moment and challenge the exhibition medium itself opening new ways of doing and making in the exhibition field. Therefore, in this thesis the dissenting value of exhibitions is closely related to its main features as a medium, namely their temporality, heterogeneity and flexibility, which contribute to their potential for creative analysis and propositioning. In the case of these exhibitions, this capability is brought into play for institutional interrogation, for offering alternative cultural narratives and also for inspiring new imaginary realms.