Payment for the Cogswell, Howard and Sample accounts

Payment for the Cogswell, Howard and Sample accounts, Aug. 29, 1884.

Payment for the Cogswell, Howard and Sample accounts

Payment for the Cogswell, Howard and Sample accounts, Feb. 27, 1885.

Letter to Samuel Woodruff from Jarvis, Conklin and Co. regarding Conklin, Dennis, Griffin and Howard

Letter to Samuel Woodruff from Jarvis, Conklin and Co. regarding Conklin, Dennis, Griffin and Howard accounts, Sept. 23, 1882.

Une méthode dangereuse : comprendre le processus créateur en musique de film, le cas de Norman McLaren et Maurice Blackburn, David Cronenberg et Howard Shore

Cette version de la thèse a été tronquée des certains éléments protégés par le droit d’auteur. Une version plus complète est disponible en ligne pour les membres de la communauté de l’Université de Montréal et peut aussi être consultée dans une des bibliothèques UdeM.

Desarrollo de un programa de inteligencias múltiples propuestas por Howard Gardner en un grupo de 8 niños de transición del jardín infantil colorines

Cada vez son más los estudios a nivel educativo, que serealizan sobre las enseñanzas “uniformes” que prevalecen en las escuelascontemporáneas, donde existen currículos básicos que constituyen unconjunto de hechos que todos deben conocer pero muy pocas alternativaselectivas.

Inteligencias múltiples : Howard Gardner en el Colegio Montserrat.

En la actualidad la educación de la infancia trata de incorporar propuestas relacionadas con el desarrollo multidimensional. Una de estas propuestas es la relativa a las inteligencias múltiples, cuyo máximo introductor es Howard Gardner. Se expone la conferencia impartida por Gardner en un congreso para padres de familia y profesores, en el que se explica las bases de las inteligencias múltiples. La teoría se apoya en que cada persona tiene unas ocho inteligencias, pero cada individuo desarrolla un perfil de inteligencia diferente.

Howard Barker’s ‘monstrous assaults’: eroticism, death and the antique text

Howard Barker is a writer who has made several notable excursions into what he calls ‘the charnel house…of European drama.’ David Ian Rabey has observed that a compelling property of these classical works lies in what he calls ‘the incompleteness of [their] prescriptions’, and Barker’s Women Beware Women (1986), Seven Lears (1990) and Gertrude: The Cry (2002), are in turn based around the gaps and interstices found in Thomas Middleton’s Women Beware Women (c1627), Shakespeare’s King Lear (c1604) and Hamlet (c1601) respectively. This extends from representing the missing queen from King Lear, who Barker observes, ‘is barely quoted even in the depths of rage or pity’, to his new ending for Middleton’s Jacobean tragedy and the erotic revivification of Hamlet’s mother. This paper will argue that each modern reappropriation accentuates a hidden but powerful feature in these Elizabethan and Jacobean plays – namely their clash between obsessive desire, sexual transgression and death against the imposed restitution of a prescribed morality. This contradiction acts as the basis for Barker’s own explorations of eroticism, death and tragedy. The paper will also discuss Barker’s project for these ‘antique texts’, one that goes beyond what he derisively calls ‘relevance’, but attempts instead to recover ‘smothered genius’, whereby the transgressive is ‘concealed within structures that lend an artificial elegance.’ Together with Barker’s own rediscovery of tragedy, the paper will assert that these rewritings of Elizabethan and Jacobean drama expose their hidden, yet unsettling and provocative ideologies concerning the relationship between political corruption / justice through the power of sexuality (notably through the allure and danger of the mature woman), and an erotics of death that produces tragedy for the contemporary age.