Symbol for a Community: The Dickens Opera House and Theaters of the American West

This paper reveals the importance of the Dickens Opera House to the local history of Longmont, Colorado. Through an exploration of pioneer history and of architectural patronage and audience accommodation, this paper illustrates how the Dickens Opera House participated in the construction of cultural identity and civic aspirations of the city of Longmont. Using the Tabor Opera House of Leadville and Wright Opera House of Ouray as framing examples to place the Dickens Opera House within its proper architectural and historical context, I approach the building’s inception, construction, and early years as a way to track the early civic identity of a community through a work of architecture. The Dickens Opera House provided a point for the citizens of Longmont to focus their hopes of success and respectability in a newly formed community. An opera house provided a high-class perception of a town that provided a projection of respectability. Such a construction was built from various sources – the architecture of the building, simply calling the building an ‘opera house’, furnishings in the latest fashions and equipment of the latest technology, and extravagant scenery and curtains. In addition to these outward projections, opera houses also provided a place for community events. It was the location in town that brought people together.

Traduzione dal cinese all'italiano e commento di estratti dell'opera "Chengwei Heping Fandian" di Chen Danyan

Questa tesi è costituita dalla traduzione di alcuni estratti del romanzo "Chengwei Heping Fandian", dell'autrice cinese Chen Danyan, corredata da un commento traduttivo incentrato soprattutto sulla traduzione dei realia e dei chengyu dal cinese all'italiano. Il commento prende inoltre in considerazione le ambientazioni e gli aspetti storico-culturali che fanno da sfondo alle vicende del romanzo, in particolare l'Hotel della Pace di Shanghai e la Campagna dei "Cinque anti" portata avanti dal regime maoista.

Habes humane lector, Gabrielis de Tarrega ... opera breuissima, theorica[m] et prathica[m], medicinalis scie[n]tie pro maiori parte amplexa[n]tia facili ingeniosoq[ue] stillo per ipsum accumulata, medicis instrue[n]dis vtilissima ...

Fecha tomada del colofón en M4v de la cuarta secuencia

Opera / L. Annaei Senecae et ad dicendi facultatem, et ad bene viuendum vtilissima, per Des. Erasmum Roterod. & Matthaeum Fortunatum ... emendata ; adiecta sunt Scholia D. Erasmi Roterodami in bonam partem operis ; Beati Rhenani in Ludum de morte Claudij Caesaris ; Rodolphi Agricolae in Declamationes aliquot commentarioli ; Fernandi Pinciani castigationes in vniuersum opus ; index rerum & verborum locuples

Sign.: a8, a-z6, A-Z6, 2A-2M6, 2N4, 2A-2G6, 2H8, 2I-2K6, 2L4

Mediodia (opera) Hay un prólogo de Amado Nervo.

Poems.

Rubén Darío; discurso leído en el Teatro de la opera de Buenos Aires, la noche del 21 de mayo de 1916, en el homenaje público que los intelectuales argentinos tributaron a la memoria de Rubén Darío.

Mode of access: Internet.

Hill's Opera House, Ann Arbor, Mich. : the Strakosch concert

Front page of four-page program which contains complete list of performers, works performed, and advertisement for Weber pianos

L'opera del Moretto.

Includes bibliographical references (p. [127]-137)

El día la noche. Opera cómica en cuatro actos de Alberto Vanloo y Enrique Leterrier. Música de Carlos Lecocq.

Without music.

R.P. Francisci Suarez Granatensis, e Societate Iesu Doctoris Theologi; et in Conimbricensi Academia Sacrarum Litterarum olim Primarij Professoris Emeriti De diuina gratia pars prima[-postrema] : continens prolegomena sex, & duos priores libros de necessitate diuinæ gratiæ ad honesta opera.

Signatures: vol. 1: )(⁶ A-Z⁶ 2A-2P⁶ 2Q⁴; vol. 2: )(² A-Z⁶ 2A-2Z⁶ 3A-3C⁶ 3D⁸ (3D₈ blank).