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". . .and God bless daddy and all the American workers who are doing so much to protect freedom and make this a better world for us to live in." PRODUCE FOR VICTORY!
Date:
Creator:
Description: A young woman in a color photograph, which is located at the top of the poster, looks upward and outward toward the viewer. Her skin is completely smooth. She wears blush, lipstick, and her red hair is styled into two braids on the right and left sides of her head. She is wearing a blue-striped shirt with a frilly trim around the shoulder area. The quote is printed in black below the image, while "Produce for Victory" is printed in blue near the bottom of the poster.
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"Between the Staves" - Adaptations of Debussy's Six épigraphes antiques and Creative Tasks of the Performer
Date: 2007-12
Creator: Astilla, Christopher
Description: The Six épigraphes antiques represent a cross-section of Debussy's creative output that traces the composer's germ-seed from his original setting of the work in 1901 as incidental music to accompany the recitation of several poems, to the four-hand piano version of 1914, and its consequent reduction for solo piano. What can be gleaned by the methods of derivation from his original sketches to the final, mature works is an understanding of Debussy's use of musical metaphor and his connection to the poetry - the Chansons de Bilitis of Pierre Louÿs. Embedded literary procedures create a new musical expression of the work whereby text and music become integrated. Rather than serving as accompaniment to the poems, the Épigraphes function as the primary vessel for the conveyance of these ancient scenes. Several of Debussy's hallmark symmetrical and structural moulds, such as the whole-tone, chromatic, octatonic, and mirroring techniques reflect the omnipresent symmetry of Classical Greece. Various other artistic creations emanated from the Épigraphes, most significantly the orchestration of Ernest Ansermet in 1939. A look at the techniques used by Ansermet for the augmentation of the piano work serves to extrapolate the multifarious layers relevant in performance. In order to facilitate the four-hand version for solo piano, Debussy used a variety of reductive methods. There are, however, means by which some of the extracted material might be restored to the solo version. Like the late work of many great masters, the Épigraphes are redolent of the tendency so many artists have near the end of their days - to revert back to the purest techniques of their language. The scoring of Debussy's Épigraphes is scaled back, compared to his Préludes (often consisting of three staves of notation), and incorporates leaner textures generated from lapidary motifs which transmit the antique realms evoked by the poetry of Louÿs.
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"Ch'io t'abbandono" by Felix Mendelssohn Bartholdy: A Dramatic Image of the Education and Aptitudes of the Composer
Date: 2002-08
Creator: Turley, Charles William
Description: The unpublished concert aria, "Ch'io t'abbandono," by Felix Mendelssohn Bartholdy (1825), is representative of the adolescent composer's developing musical aesthetic. In this study, Mendelssohn's education, work ethic, and perfectionism are revealed, paradoxically, as both the catalysts for the piece's composition and also the reasons it was not published during Mendelssohn's lifetime. An exploration of the text, form, thematic usage, and performance demands of the aria yields specific examples of his uniquely balanced romantic-classicist style. A consideration of possible original performers of the piece, Franz Hauser and Eduard Devrient, leads to further discussion about the nature of the work as both a reflection of Mendelssohn's romantic self-expression and his appreciation for the Baroque melismatic style. The significance of the aria, both stylistic and biographical, is further delineated by a presentation of possible motivations for its composition. The musical setting of the text, as well as the text itself, indicates both Mendelssohn's awareness of himself as a maturing adolescent composer and his desire to be a composer of operatic works, a desire that was never fully realized.
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"Distance" and Other Stories
Date: 2004-08
Creator: Drummond-Mathews, Angela
Description: "Distance" and Other Stories is a collection of four short stories and a novella that explore the themes of isolation and personal revelation. The dissertation opens with a preface which describes my background as a writer and the forces that shape my work, including science fiction, technology and the internet, cultural marginalization, and Joseph Campbell's hero's motif.
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"Documenting" East Texas: Spirit of Place in the Photography of Keith Carter
Date: 2000-08
Creator: Lutz, Cullen Clark
Description: This thesis examines similarities in photographs made by the contemporary photographer Keith Carter and photographers active with the Farm Security Administration during the 1930s. Stylistically and in function, works by Carter and these photographers comment on social and cultural values of a region. This thesis demonstrates that many of Carter's black and white photographs continue, contribute to, and expand traditions in American documentary photography established in the 1930s. These traditions include the representation of a specific geographic place that evokes the spirit of a time and place, and the ability to communicate to a viewer certain social conditions and values related to such a place.
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"Every man woman and child is a partner" President Roosevelt. In 1942, 60,000 planes, 45,000 tanks, 20,000 A.A. guns, 8,000,000 tons of ships.
Date: 1942
Creator: President of United States. Emergency Management Office. War Production Board.
Description: This is black and white and color poster. The colored parts of the poster are a large, translucent, red arrow that runs from the left hand side of the poster and points toward the right at a large blue rectangle that is not translucent. In the red arrow in large white letters is the quote from President Roosevelt. The black and white part of the poster is the image of a crowd of people that is amiably walking from a distant top left hand corner to a close bottom right corner.
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"Every rivet we drive-every bolt we turn-every ounce we sweat, brings victory a little closer. Breaking production records is the American way ofdoing things!" PRODUCE FOR VICTORY!
Date:
Creator: Shafer, Paul
Description: A man who has black stubble, dark eyes, and a closely-shaved head on the sides looks down at the viewer. He has crow's feet around his eyes. He is not smiling and has deep wrinkles across his forehead and around his eyebrows, extending vertically into his forehead. He wears a brown hat with a button attached to it. The button is red with a white stripe across the middle. He wears a brown shirt with a safety pin attached to the first button next to the collar, and he wear dark blue overalls. He stands in front of and below "I" beams used in building construction to make the load-bearing walls. The reamining area of the background is black. The words "Courtesy of Paul Shafer" are printed in black on the right side below the image. "Every rivet we drive-every bolt we turn-every ounce we sweat, brings victory a little closer. Breaking production records is the American way ofdoing things!" appears below the image. "Produce for Victory!" is printed in blue at the bottom of the poster.
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"For Reformation and Uniformity": George Gillespie (1613-1648) and the Scottish Covenanter Revolution
Date: 2003-05
Creator: Culberson, James Kevin
Description: As one of the most remarkable of the Scottish Covenanters, George Gillespie had a reputation in England and Scotland as an orthodox Puritan theologian and apologist for Scottish Presbyterianism. He was well known for his controversial works attacking the ceremonies of the Church of England, defending Presbyterianism, opposing religious toleration, and combating Erastianism. He is best remembered as one of the Scottish Commissioners to the Westminster Assembly in London, which sought to reform the English Church and establish a uniform religion for the two kingdoms. This study assesses his life, ideas, and legacy. In Gillespie's estimation revelation and reason played complementary roles in the Christian life. While the Fall had affected man's reasoning abilities, man could rely upon natural law and scholarship as long as one kept them within the limits of God's truth revealed in Scripture. Moreover, he insisted that the church structure its worship ceremonies, government, and discipline according to the pattern set forth in the Bible. In addition, he emphasized the central role of God's Word and the sacraments in the worship of God and stressed the importance of cultivating personal piety. At the heart of Gillespie's political thought lay the Melvillian theory of the two kingdoms, which led him to reject Erastianism as subordinating the church to the power of the state. Furthermore, his delineation of the limits of the authority of the civil magistrate, presented a challenge to the state's authority and led him to formulate a radical version of the Covenanter doctrine of resistance to the state. While Gillespie supported uniformity of religion between England and Scotland, opposed religious toleration, and rejected the Engagement with King Charles, none of these causes proved successful in his lifetime. Yet these ideas influenced generations of Resolutioners, Protestors, Cameronians, and other heirs of the Scottish Covenanter tradition.
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"Full speed ahead! Every moment counts. Time out helps the enemy. That's why we're drivin' hard every minute . . . C'mon, fella, let's step on it." PRODUCE FOR VICTORY!
Date:
Creator:
Description: A man who has red hair, grey-blue eyes, and yellow teeth looks out at the viewer. His hair forms a small curl on his forehead and his eyebrows are raised. He is doing something with a piece of machinery. His face is reflected in a small, round, shiny object in the right corner of the image. He is wearing a red-brown hat. His mouth is open and his tongue is visible. He wears a dark shirt. "Every rivet we drive-every bolt we turn-every ounce we sweat, brings victory a little closer. Breaking production records is the American way ofdoing things!" appears below the image. "Produce for Victory!" is printed in blue at the bottom of the poster.
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"God will get me through": African American women coping with breast cancer and implications for support groups.
Date: 2005-05
Creator: McCoy, Brenda G.
Description: This research examines the coping processes of African American women with breast cancer and how those processes relate to low usage of cancer support groups by these women. Prior coping research has utilized predominantly White samples. The limited research on African American coping responses is conflicting and characterized by small samples and non-probability sampling techniques. In this study, 26 respondents from Central and North Texas metropolitan areas were interviewed, including 9 key informants, 9 African American breast cancer survivors, and 8 White survivors. The data suggest that African American and White women cope with breast cancer in significantly different ways. Culture appears to account for the differences. All African American breast cancer survivors identified faith as their primary coping strategy. In contrast, only half of the White survivors claimed faith as their primary coping strategy, but like the other White survivors, tended to rely on multiple coping strategies. The African American survivors conceptualized God as an active member of their support network. Most prayed for healing, and several attributed examples of healing to God's intervention. The White survivors found God's presence in the actions of other people. They prayed for strength, peace, and courage to endure the illness. The use of faith as a coping strategy was the most significant difference between the African American and White breast cancer survivors, but different social support needs were also evident. White survivors readily disclosed the details of their illness and actively sought the assistance of other people. African American women were much less likely to discuss their illness with other persons and expressed a greater inclination to rely on themselves. This study indicates that cancer support groups must be structured to consider cultural coping differences for wider African American usage. Coping research conducted on primarily African American samples is necessary to develop interventions intended to serve African Americans.
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