Painting outside the Lines: Patterns of Creativity in Modern Art. By David W. Galenson. Cambridge, MA and London: Harvard University Press, 2001. Pp. xvi, 251. $29.95.

2003 ◽  
Vol 63 (1) ◽  
pp. 308-310
Author(s):  
Gary Schwartz
Keyword(s):  
Modern Art ◽  
Harvard University ◽  
Central Problem ◽  
Statistics Analysis ◽  
Initial Question ◽  
General Explanation ◽  
Complex Question

In this engaging book, David Galenson formulates a complex question about modern art that he tries to answer with statistics, analysis, and exposition, enlivened with a rich sprinkling of well-chosen quotes. Posing an initial question “At what stage of their lives have modern painters normally done their best work?,” he finds that this age varies widely from artist to artist. This leads to the central problem: “is it by chance that some have made their greatest contributions early in their careers, and others late in theirs, or is there some general explanation that accounts for the variation?” (p. 4).

The Orchestra as Acting Area in Greek Tragedy

Ramus ◽  
1985 ◽  
Vol 14 (2) ◽  
pp. 75-84 ◽  
Author(s):  
Graham Ley ◽  
Michael Ewans
Keyword(s):  
Greek Tragedy ◽  
Close Relation ◽  
Central Problem ◽  
Classical Drama ◽  
Considerable Experience

For some years past there has been a welcome change of emphasis towards the consideration of staging in books published on Greek tragedy; and yet with that change also a curious failure to be explicit about the central problem connected with all stagecraft, namely that of the acting-area. In this study two scholars with considerable experience of teaching classical drama in performance consider this problem of the acting-area in close relation to major scenes from two Greek tragedies, and suggest some general conclusions. The article must stand to some extent as a critique of the succession of books that has followed the apparently pioneering study of Oliver Taplin, none of which has made any substantial or sustained attempt to indicate where actors might have acted in the performance of Greek tragedy, though most, if not all, have been prepared to discard the concept of a raised ‘stage’ behind the orchestra. Hippolytus (428 BC) is the earliest of the surviving plays of Euripides to involve three speaking actors in one scene. Both Alcestis (438 BC and Medea (431 BC almost certainly require three actors to be performed with any fluency, but surprisingly present their action largely through dialogue and confrontation — surprisingly, perhaps, because at least since 458 BC and the performance of the Oresteia it is clear that three actors were available to any playwright.

A Tribute to the Late William J. Curran

1996 ◽  
Vol 24 (3) ◽  
pp. 274-275
Author(s):  
O. Lawrence ◽  
J.D. Gostin
Keyword(s):  
Mental Health ◽  
Health Care ◽  
Mental Illness ◽  
United Nations ◽  
Mental Health Care ◽  
Harvard University ◽  
Legal Medicine ◽  
General Assembly ◽  
International Institute ◽  
University Professor

In the summer of 1979, a group of experts on law, medicine, and ethics assembled in Siracusa, Sicily, under the auspices of the International Commission of Jurists and the International Institute of Higher Studies in Criminal Science, to draft guidelines on the rights of persons with mental illness. Sitting across the table from me was a quiet, proud man of distinctive intelligence, William J. Curran, Frances Glessner Lee Professor of Legal Medicine at Harvard University. Professor Curran was one of the principal drafters of those guidelines. Many years later in 1991, after several subsequent re-drafts by United Nations (U.N.) Rapporteur Erica-Irene Daes, the text was adopted by the U.N. General Assembly as the Principles for the Protection of Persons with Mental Illness and for the Improvement of Mental Health Care. This was the kind of remarkable achievement in the field of law and medicine that Professor Curran repeated throughout his distinguished career.

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