Survey Research Center National Elections Study

l-r Philip Converse, asst. study director, Warren E. Miller research associate, Angus Campbell, dir.

Survey Research Center National Elections Study

1-r Philip Converse, asst. study director, Warren E. Miller research associate, Angus Campbell, dir.

Survey Research Center National Elections Study

l-r: Philip Converse, asst. study director, Warren E. Miller research associate, Angus Campbell, dir.

Survey Research Center National Elections Study

l-r; Philip Converse, asst. study director, Warren E. Miller research associate, Angus Campbell, dir.

White attitudes toward black people.

Includes bibliography.

Public use of the library and other sources of information,

"Presents the major findings of a survey undertaken by the Survey Research Center for the Public Library Inquiry."

Do Institutional Participatory Projects Contribute to the Development of Political Capabilities?

Participation usually sets off from the bottom up, taking the form of more or less enduring forms of collective action with varying degrees of infl uence. However, a number of projects have been launched by political institutions in the last decades with a view to engaging citizens in public affairs and developing their democratic habits, as well as those of the administration. This paper analyses the political qualifying capacity of the said projects, i.e. whether participating in them qualifi es individuals to behave as active citizens; whether these projects foster greater orientation towards public matters, intensify (or create) political will, and provide the necessary skills and expertise to master this will. To answer these questions, data from the comparative analysis of fi ve participatory projects in France and Spain are used, shedding light on which features of these participatory projects contribute to the formation of political subjects and in which way. Finally, in order to better understand this formative dimension, the formative capacity of institutional projects is compared with the formative dimension of other forms of participation spontaneously developed by citizens.

Photograph - Colin Campbell and Helen Stanley Smith with Judge Campbell, 1910.

A photograph of Colin Campbell and Helen Stanley Smith sitting in a horse buggy in front of the Campbell home. Judge Campbell is saddled on a horse behind the buggy. There are two other unidentified females sitting on the porch of the Campbell home on Church Street.

1910 University of Michigan Baseball Team

Top Row: Ath. Dir. Philip Bartelme, Alfred Verheyen, Howard (?) Campbell, Elmer Mitchell, John J. Walsh, Wilfred Waltner, student mngr Harold I. Haskins

Middle Row: J. Griffith Hayes, Norman Hill, coach Branch Rickey, Clarence Enzenroth, Thompson Lothrop

Front Row: Stanley Drake, John Campbell, Lloyd Marlin

Campbell, Alan Johnston (1895–1982)

Born in 1895, Alan Johnston Campbell was a grazier and political party organiser. In December 1914 he enlisted in the Australian Imperial Force and saw action with the 2nd Light Horse Regiment at Gallipoli and, as a lance corporal, in the Sinai and Palestine. After the war Campbell became active in the Roma branch of the Maranoa Graziers’ Association. In 1935, at Roma, he formed one of the first branches of the Queensland Country Party. In 1943, Campbell was elected president of the QCP. Impressed by the Australian Labor Party’s organisation, Campbell centralised power and rebuked parliamentarians whom he believed were neglecting their constituents. By 1951 the highly disciplined structure had attracted 35,000 members. Campbell died in 1982.

Canon and Beyond : Edvard Fazer and the Imperial Russian Ballet 1908 - 1910

The study explores the first appearances of Russian ballet dancers on the stages of northern Europe in 1908 1910, particularly the performances organized by a Finnish impresario, Edvard Fazer, in Helsinki, Stockholm, Copenhagen and Berlin. The company, which consisted of dancers from the Imperial Theatres of St. Petersburg, travelled under the name The Imperial Russian Ballet of St. Petersburg. The Imperial Russian Ballet gave more than seventy performances altogether during its tours of Finland, Sweden, Denmark and central Europe. The synchronic approach of the study covers the various cities as well as genres and thus stretches the rather rigid geographical and genre boundaries of dance historiography. The study also explores the role of the canon in dance history, revealing some of the diversity which underlies the standard canonical interpretation of early twentieth-century Russian ballet by bringing in source material from the archives of northern Europe. Issues like the central position of written documentation, the importance of geographical centres, the emphasis on novelty and reformers and the short and narrow scholarly tradition have affected the formation of the dance history canon in the west, often imposing limits on the historians and narrowing the scope of research. The analysis of the tours concentrates on four themes: virtuosity, character dancing, the idea of the expressive body, and the controversy over ballet and new dance. The debate concerning the old and new within ballet is also touched upon. These issues are discussed in connection with each city, but are stressed differently depending on the local art scene. In Copenhagen, the strong local canon based on August Bournonville s works influenced the Danish criticism of Russian ballet. In Helsinki, Stockholm and Berlin, the lack of a solid local canon made critics and audiences more open to new influences, and ballet was discussed in a much broader cultural context than that provided by the local ballet tradition. The contemporary interest in the more natural, expressive human body, emerging both in theatre and dance, was an international trend that also influenced the way ballet was discussed. Character dancing, now at low ebb, played a central role in the success of the Imperial Russian Ballet, not only because of its exoticism but also because it was considered to echo the kind of performing body represented by new dance forms. By exploring this genre and its dancers, the thesis brings to light artists who are less known in the current dance history canon, but who made considerable careers in their own time.