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1 online resource (15 pages).
Green Library
400 pages ; 24 cm.
Before Jane Austen's novels explored heroines in English society, writers Sarah Fielding and Jane Collier dared to provide commentary on gender and education through self-conscious narratives. Published in 1754 in five parts and divided into three volumes, The Cry stands as one of the most distinctive and intriguing works by women during the florescence of their writing in eighteenth-century England.Strikingly experimental - mixing fiction and philosophy, drama and exposition, satire and irony, and singular and choral voices - The Cry revolves around a main character, Portia, who tells a series of stories to an audience that includes Una, the allegorical representation of truth, and ""The Cry"" itself, a collection of characters who serve as a kind of Greek chorus. A story about the story-making female subject, the novel serves as a catalyst to convey that women are capable of doing all of the things that men can do - discuss ethics, learn, and think rationally - and should be allowed to do these things publically. Throughout, editor Carolyn Woodward offers essential historical and editorial context to the work, demonstrating that this novel continues to facilitate discussions about women and public life.
(source: Nielsen Book Data)9780813174105 20180213
SAL3 (off-campus storage)
Green Library
Green Library
xv, 478 pages : illustrations (some color) ; 26 cm.
  • Media : The materials of the artist, 1935 / by Max Doerner
  • Current exhibitions : abstract painting in America, 1935
  • In America you feel, 1935-36
  • An expression of emotion that cannot be put into words, 1935-36
  • The concept is primary, 1938-39
  • The architect should be able to judge, 1939-40
  • Modern sculpture and society, 1939-40
  • Abstract art in America, 1940
  • Medals for dishonor, responses to questions from Elizabeth McCausland, 1940
  • Sculpture : art forms in architecture-new techniques affect both, 1940
  • Medals for dishonor, 1940
  • The recurrences of totemism, c. 1945
  • The visual arts, 1945
  • I have erected a solid, c. 1945
  • A river mts, c. 1945
  • The sculpture produces an environment, c. 1945
  • To keep from becoming enslaved, c. 1945
  • The technique, brushstrokes, chisel marks, c. 1946
  • Landscape fish clouds, 1946-47
  • The question-what is your hope, c. 1947
  • One of the early impressions, c. 1947
  • Lecture, Skidmore College, 1947
  • The landscape, spectres are, sculpture Is, 1947
  • Design for progress-cockfight, 1947
  • The sculptor's relationship to the museum, dealer, and public, 1947
  • The golden eagle-a recital; Robinhood's Barn, 1948
  • Foreword, Dorothy Dehner : drawings, paintings, 1948
  • Report for interim week, 1950
  • Statement, Herald Tribune Forum, 1950
  • Sculpture hopes to be, 1950
  • Notes on books, 1950
  • The question-what are your influences, 1950
  • Autobiographical notes, 1950
  • What I believe about the teaching of sculpture, 1950
  • The flight paths of birds moths insects, 1950-51
  • Notes-watch a torn sheet, c. 1951
  • What happens to barnyard grass, 1951
  • Foreword (apology of a juryman), 1951
  • Notes on seven sculptures, 1951
  • Progress report and application for renewal of Guggenheim Fellowship, 1951
  • And so this being the happiest-is disappointing, 1951
  • Notes for Elaine de Kooning, 1951
  • The joint is foul with smoke, 1951
  • Sketchbook notes : The red of rust; The metaphor of a symbol; The position for vision; Reading, 1951-52
  • Sketchbook notes : Music; The cloud; Space; And in the best of squares, 1951-52
  • Lecture, Williams College, 1951
  • Problems of the contemporary sculptor, 1952
  • The language is image, 1952
  • The new sculpture,
  • 1952
  • Atmosphere of early '30s, 1952
  • A head is a drawing, c. 1952
  • The modern sculptor and his materials, 1952
  • I have seen some critics, 1952
  • Lecture, Skowhegan School of Painting and Sculpture, 1952
  • Lecture, Fourth Annual Woodstock Art Conference, 1952
  • Relative to Tanktotem I (Pouring), 1952
  • How far away from imitation of reality, 1952
  • Statement, WNYC Radio, 1952
  • Who is the artist?, 1952
  • Notes on details-technical, c. 1952-53
  • Do we dare to do bad works, 1952-53
  • Sometimes a drawing gets too complete, 1953
  • Lecture, Portland Art Museum, 1953
  • Books : African classics for the Modern, 1953
  • Sketchbook notes : From the textures; The part to the whole; There is something rather noble about junk, 1953
  • Notes while driving, 1953
  • The artist and Art in America, 1953
  • I sat by my window, 1953
  • Thoughts on sculpture, 1953
  • Art and religion, 1953
  • How little I know, 1953-54
  • The artist's image, 1954
  • Notes from a sketchbook titled "Nature," 1954
  • Second thoughts on sculpture, 1954
  • The artist, the critic, and the scholar, 1954
  • Tradition, 1954
  • Lecture, Skowhegan School of Painting and Sculpture, 1954
  • Contribution by the aesthetician, 1954-55
  • Define technique, c. 1955
  • Editions, duplication, c. 1955
  • It has got to make big, 1955
  • Notes-improved upon, 1955
  • To make a mark, 1955
  • The artist in society, 1955
  • Drawing, 1955
  • And drawings before the etching or the print, 1955
  • Sketch-oil painting-the influence-the historian, c. 1956
  • González : first master of the torch, 1956
  • Lecture, Skowhegan School of Painting and Sculpture, 1956
  • Sketchbook notes : He may be intuitive enough to make it; nothing put down with force and conviction is meaningless, 1957
  • Sculpture and architecture, 1957
  • Selden Rodman, conversation with David Smith, 1957
  • False statements, 1957
  • Contemporary sculpture and architecture, 1957
  • American art at the MET, 1958
  • Is today's artist with or against the past?, 1958
  • Culture and the ideal of perfection, 1959
  • Lecture, Ohio State University, School of Fine Arts, 1959
  • Notes on my work, 1960
  • Interview by David Sylvester, 1960
  • Thoughts travel and come unexpectedly, 1960
  • Memories to myself, 1960
  • Protests
  • against vandalism, 1960
  • What is the triumph, 1961
  • Letter to the Board of Trustees of the Carnegie Institute, 1961
  • Collective concept, 1961
  • Interview by Katharine Kuh, 1962
  • Sculpture today, 1962
  • Sketchbook notes : The great decision; To think-to dream; I do not care for the home environment, 1962
  • Sketchbook notes : The found object; Isn't it good, 1962
  • Letter to David Sylvester, on working at Voltri, 1962
  • Report on Voltri, 1962-63
  • A bin full of balls, c. 1963
  • Sketchbook notes : CUBE III; Drawings are a change; Once in a lifetime you meet an ironworks; You rule your own world, 1962-63
  • Jim and Minnie Ball, c. 1963
  • I like to eat, c. 1964
  • Interview by Thomas B. Hess, 1964
  • The subject is me, c. 1964
  • Interview by Marian Horosko, 1964
  • Interview by Frank O'Hara, 1964
  • Some late words from David Smith, 1964
  • Chronology.
"This comprehensive sourcebook is destined to become a lasting and definitive resource on the art and aesthetic philosophy of the American artist David Smith (1906-1965). A pioneer of twentieth-century modernism, Smith was renowned for the expansive formal and conceptual ambitions of his broadly diverse and inventive welded-steel abstractions. His groundbreaking achievements drew freely on cubism, surrealism, and constructivism, profoundly influencing later movements such as minimalism and environmental art. By radically challenging older conventions of monolithic figuration and refuting arbitrary distinctions between painters and sculptors, Smith asserted sculpture's equal role in advancing modern art. A compilation of Smith's poems, sketchbook notes, essays, lectures, letters to the editor, reviews, and interviews, these previously unpublished texts underscore the varied ways in which his writing functioned as a means to examine and articulate his private identity and to promote the social ideals that made him a key participant in contemporary discourses surrounding modernism, art and politics, and sculptural aesthetics. All the documents in David Smith: collected writings, lectures, and interviews have been newly corrected against the original manuscripts, typescripts, and audiotapes. Each text in this collection is annotated with historical and contextual information that reflects Smith's own process of continually reviewing and revising his writings in response to his evolving aspirations as a visual artist."--Provided by publisher.
Art & Architecture Library (Bowes)
Stanford Libraries
1 p.
The objective of this paper is to identify the manifold security threats confronting the Republic of Niger. It examines if and how various domestic and external actors may exploit Niger’s adverse structural conditions to their benefit and derives possible future scenarios and recommendations for policymakers. Foreign-based jihadist groups such as Al Qaeda in the Islamic Maghreb (AQIM) and Boko Haram will continue to threaten Niger’s domestic stability. However, these groups are unlikely to make further inroads into Nigerien territory. The Tuareg community and conservative Sunni groups are unlikely to rise up against the state as both are well integrated into the political and societal landscape. The most viable threat to Niger’s stability is the continued inability of the current administration to translate macroeconomic gains and donor support into pro-poor growth and social inclusion. The increasing use of authoritarian measures against citizens and journalists has the potential to escalate further and to undermine the legitimacy of the government in the long-term.
xiii, 250 pages : illustrations ; 24 cm
  • The character of post-World War II America
  • Singin' in the (HUAC) rain : job security, stardom, and the abjection of Lena Lamont
  • It's all about Eve
  • "What starts like a scary tale ... " : the right to work On the waterfront
  • "Life could not better be" : disorganized labor, the little man and the court jester
  • Citizens of the free world unite : international tourism and postwar identity in Roman holiday, Teahouse of the August moon, and Sayonara
  • Expedient exaggeration and the scale of Cold War farce in North by northwest
  • Defiant desegregation with no (liberal) way out
  • "'I want to be in America' : urban integration, Pan American friendship, and West Side story."
Prolific literature, both popular and scholarly, depicts America in the period of the High Cold War as being obsessed with normality, implicitly figuring the postwar period as a return to the way of life that had been put on hold, first by the Great Depression and then by Pearl Harbor. Demographic Angst argues that mandated normativity-as a political agenda and a social ethic-precluded explicit expression of the anxiety produced by America's radically reconfigured postwar population. Alan Nadel explores influential non-fiction books, magazine articles, and public documents in conjunction with films such as Singin' in the Rain, On the Waterfront, Sunset Boulevard, and Sayonara, to examine how these films worked through fresh anxieties that emerged during the 1950s.
(source: Nielsen Book Data)9780813565491 20180205
Green Library
xxxii, 265 pages ; 23 cm.
  • Series editor's preface (Michael Gagarin)
  • Translator's preface (Edward Harris)
  • Series introduction (Michael Gagarin)
  • Oratory in Classical Athens
  • The orators
  • The works of the orators
  • Government and law in Classical Athens
  • The translation of Greek oratory
  • Abbreviations
  • Note on currency
  • Bibliography of works cited
  • Introduction to Demosthenes (Michael Gagarin)
  • Life
  • Works
  • Style
  • Significance
  • Introduction to this volume (Edward Harris)
  • Demosthenes (Edward Harris)
  • 23. Against Aristocrates
  • 24. Against Timocrates
  • 25/26. Against Aristogeiton I and II.
Green Library
Law Library (Crown)
SAL3 (off-campus storage)
126 Seiten Illustrationen, Notenbeispiele
Music Library
92 p. : ill. ; 21x28 cm.
  • Foreword and acknowledgements
  • Acronyms and abbreviations
  • Executive summary
  • Assessment and recommendations
  • Regulatory and sector context
  • Governance of the Commission for Regulation of Utilities
  • Methodology.
As “market referees”, regulators contribute to the delivery of essential public utilities. Their organisational culture, behaviour and governance are important factors in how regulators, and the sectors they oversee, perform. The OECD Performance Assessment Framework for Economic Regulators (PAFER) looks at the institutions, processes and practices that can create an organisational culture of performance and results. The report uses PAFER to assess elements linked to both the internal and external governance of Ireland's Commission for Regulation of Utilities (CRU). The review acknowledges the achievements and good practices put in place by the regulator since its creation. It also analyses the key drivers of CRU’s performance and proposes an integrated reform package to help the regulator prepare for the future.