Myrtle Smith Livingston

Myrtle Smith Livingston became a physical education instructor in 1928 at Lincoln University, and while at Lincoln she established several formal athletic programs for female students. Livingston’s contributions made it possible for females to engage in principal sports for the first time. Livingston was also very active as a dancer and formed the first chapter of the Orchesis Group in 1936; the first chapter to be formed at a black college. The group gave both indoor and outdoor performances in tap and interpretive dance. In addition to these activities, she taught first aid to Jefferson City citizens during World War II and wrote several plays during this time period. Livingston’s most famous play, For Unborn Children, was published in the July 1926 issue of The Crisis magazine after winning 3rd prize in a literary competition. The play, which is about miscegenation and lynching, reflects the historical movements that helped shape her generation. Since then, scholars of black drama have recognized the play’s value and have ensured its availability by including it in anthropologies. Livingston died in Hawaii, only one and a half years into her retirement. There is a park named in her honor on Lincoln University’s campus that remains open today. Livingston’s life reflected the movements of her time and her dedication to community centered art.

Investigations in the gas and oil fields of Alberta, Saskatchewan, and Manitoba,

Mode of access: Internet.

Quain's Elements of anatomy /

Mode of access: Internet.

Novellettes of a traveller; or, Odds and ends from the knapsack of Thomas Singularity, journeyman printer.

Microfilm. Ann Arbor, Mich., University Microfilms [n.d.] (American culture series, Reel 202.2)

September Morn

Dancer in stream

The lyrical drama. Essays on subjects, composers, & executants of modern opera.

Extinction of the ballet. Operatic management. Musical agents. Libretti. Operatic and theatrical anomalies. The literary maltreatment of music. Dictionaries of music. Grove's musical dictionary. Quartett concerts and the classical in music. Reasonableness of opera. Tatra Füred, and the music of the Hungarian gipsies. The byeways of bookmaking.

Eigenvalues of Casimir invariants for Uq[osp(m|n)]

For each quantum superalgebra U-q[osp(m parallel to n)] with m > 2, an infinite family of Casimir invariants is constructed. This is achieved by using an explicit form for the Lax operator. The eigenvalue of each Casimir invariant on an arbitrary irreducible highest weight module is also calculated. (c) 2005 American Institute of Physics.

Generalized Perk-Schultz models: solutions of the Yang-Baxter equation associated with quantized orthosymplectic superalgebras

The Perk-Schultz model may be expressed in terms of the solution of the Yang-Baxter equation associated with the fundamental representation of the untwisted affine extension of the general linear quantum superalgebra U-q (gl(m/n)], with a multiparametric coproduct action as given by Reshetikhin. Here, we present analogous explicit expressions for solutions of the Yang-Baxter equation associated with the fundamental representations of the twisted and untwisted affine extensions of the orthosymplectic quantum superalgebras U-q[osp(m/n)]. In this manner, we obtain generalizations of the Perk-Schultz model.

Higher-order factor structures and intercorrelations of the 16PF5 and FIRO-B

This study investigated the intercorrelations and the independent and combined factor structures of the Sixteen Personality Factor Questionnaire Fifth Edition (16PF5) and the Fundamental Interpersonal Orientation-Behaviour Scale (FIRO-B). Four thousand four hundred and fourteen U.S. participants completed these measures as part of executive assessments between 1994 and 2003. Exploratory factor analyses supported the five-factor higher-order structure of the 16PF5; however, the three-component structure for the FIRO-B was not supported. A six-factor structure was found to underlie the variance in the measures in combination. Five of these were close to the 16PF5 higher-order structure, but a sixth factor labelled Social Independence also emerged. This new factor consisted of the 16PF5 primaries of Liveliness and Social Boldness, and the FIRO-B Wanted Control scale.

The effects of solid contamination in hydraulic fluids on axial piston pumps

The fluids used in hydraulic systems inevitably contain large numbers of small, solid particles, a phenomenon known as 'fluid contamination'. Particles enter a hydraulic system from the environment, and are generated within it by processes of wear. At the same time, particles are removed from the system fluid by sedimentation and in hydraulic filters. This thesis considers the problems caused by fluid contamination, as they affect a manufacturer of axial piston pumps. The specific project aim was to investigate methods of predicting or determining the effects of fluid contamination on this type of pump. The thesis starts with a theoretical analysis of the contaminated lubrication of a slipper-pad bearing. Statistical methods are used to develop a model of the blocking, by particles, of the control capillaries used in such bearings. The results obtained are compared to published, experimental data. Poor correlation between theory and practice suggests that more research is required in this area before such theoretical analysis can be used in industry. Accelerated wear tests have been developed in the U.S.A. in an attempt to predict pump life when operating on contaminated fluids. An analysis of such tests shows that reliability data can only be obtained from extensive test programmes. The value of contamination testing is suggested to be in determining failure modes, and in identifying those pump components which are susceptible to the effects of contamination. A suitable test is described, and the results of a series of tests on axial piston pumps are presented and discussed. The thesis concludes that pump reliability data can only be obtained from field experience. The level of confidence which can be placed in results from normal laboratory testing is shown to be too low for the data to be of real value. Recommendations are therefore given for the ways in which service data should be collected and analysed.

Performing in a night-time leisure venue: a visual analysis of erotic dance

This article analyses a range of different meanings attached to images of erotic dance, with a particular focus on the 'impression management' (Goffman 1959) enacted by dancers. It presents a visual analysis of the work of a female erotic performer in a lesbian erotic dance venue in the UK. Still photographs, along with observational data and interviews, convey the complexity and skill of an erotic dancer's diverse gendered and sexualised performances. The visual data highlights the extensive 'aesthetic labour' (Nickson et al. 2001) and 'emotional labour' (Hochschild 1983) the dancer must put in to constructing her work 'self'. However, a more ambitious use of the visual is identified: the dancer's own use of images of her work. This use of the visual by dancers themselves highlights a more complex 'impression management' strategy undertaken by a dancer and brings into question the separation of 'real' and 'work' 'selves' in erotic dance. © Sociological Research Online, 1996-2012.

La ballerine illettrée:transformations of the feminine in Mallarmé's sance writings

Stéphane Mallarmé's texts on dance criticism occupy a prominent place in dance literature. They have also been of major interest to the Mallarme specialists who have seen in them the key to a greater understanding of the whole of his work. In this article I determine how his dance writings can be interpreted in the context of the whole of the œuvre, including for example the women's magazine he wrote and produced, La Dernière Mode. I establish to what extent the female presence in Mallarmé's poetry tends towards metaphors, women's bodies absent or negated by the gaze of the poet. As the poet responds to the stimulus of the dance, he divests the female dancer of her womanly characteristics, recasting her in his own imagination both as feminine principle and incarnation of 'l'Idée', and also as mythical being, 'au-delà de toute vie possible', a composite of other female characters inhabiting his œuvre, constantly poised between presence and absence, stillness and movement, a locus for a precarious balance which is endlessly re-enacted in h.is own writing practice.

Musculoskeletal effects and injury risk in collegiate Indian classical and ballet dancers

Dancers of all forms often engage in aesthetic yet challenging movements. Their training, choreography, and performances require strength, stamina, flexibility, grace, passion, and emotion. Ballet and Bharatanatyam (an Indian classical dance form) dancers utilize two movements in each of their dance forms that are similar—a half-sitting pose and a full-sitting pose, both requiring external rotation of the legs and bending at the knee joints. The purpose of this study was to examine and compare the biomechanics of joint reaction forces and knee angles in both styles of dance for these particular poses. The study included nine female ballet dancers and seven female Bharatanatyam dancers. Hamstring and gastrocnemius flexibility were measured for each dancer. Knee angles, vertical peak forces, and moments were determined for dancers at the lowest point of their bending positions. Mann-Whitney U tests found significant differences in hamstring flexibility, right gastrocnemius flexibility, and knee angles for the full-sitting poses between ballet and Bharatanatyam dancers. No significant difference was found in the vertical peak forces as a ratio to total body weight and moments between the two styles of dance. Further research can be done to more directly assess a difference in injury risk between the ballet and Bharatanatyam dancers.

The Narrative Value of Dance Communication: "habitus", musicality and emotion

The richness of dance comes from the need to work with an individual body. Still, the body of the dancer belongs to plural context, crossed by artistic and social traditions, which locate the artists in a given field. We claim that role conflict is an essential component of the structure of collective artistic creativity. We address the production of discourse in a British dance company, with data that spawns from the ethnography ‘Dance and Cognition’, directed by David Kirsh at the University of California, together with WayneMcGregor-Random Dance. Our Critical Discourse Analysis is based on multiple interviews to the dancers and choreographer. Our findings show how creativity in dance seems to be empirically observable, and thus embodied and distributed shaped by the dance habitus of the particular social context.