Belief and the Free Man - 1.Michael de la Bedoyere: Christian Crisis. New York: The Macmiilan Co., 1942. Pp. xiii, 210, $1.75. - 2.Thomas F. Woodlock: The Catholic Pattern. New York: Simon and Schuster, 1942. Pp. xxii, 201, $2.00. - 3.Radoslav A. Tsanoff: Religious Crossroads. New York: Dulton & Co., 1942. Pp. vii, 375, $3.75. - 4.Isaiah Bowman and others: The University and the Future of America. Stanford University Press, 1941. Pp. viii, 274, $3.00. - 5.D. Luther Evans: Essentials of Liberal Education. New York and Chicago: Ginn and Co., 1942. Pp. vi, 196, $1.50. - 6.Herbert Ellsworth Cory: The Emancipation of a Freethinker. Milwaukee: The Bruce Co., 2nd ed., 1942. Pp. xvii, 304, $3.00.

1943 ◽  
Vol 5 (2) ◽  
pp. 246-250
Author(s):  
Leo R. Ward
Keyword(s):  
New York ◽  
Liberal Education ◽  
Stanford University ◽  
The Future ◽  
The University

scholarly journals Misoprostol: An emerging technology for women's health—Report of a seminar

2004 ◽  
Author(s):  
Caitlin S. Shannon ◽  
Beverly Winikoff
Keyword(s):  
New York ◽  
Women’S Health ◽  
Women's Health ◽  
San Francisco ◽  
Clinical Aspects ◽  
Advocacy Organizations ◽  
Health Report ◽  
The Future ◽  
Key Issues ◽  
The University

On May 7–8, 2001, the Population Council and the Center for Reproductive Health Research & Policy of the University of California, San Francisco, convened a technical seminar in New York City on the use of misoprostol for women’s health indications. The seminar was designed to provide a forum for researchers, providers, women’s health advocates, and educators to exchange information with the goal of advancing the potential of misoprostol to improve women’s health. Participants discussed the state of the art in research, examined current clinical use of misoprostol, and created strategies for the future. The first day focused on scientific and clinical aspects of misoprostol use. The second day’s discussion centered on the future of misoprostol for women’s health, including identifying priorities for research and the role of provider groups and women’s health and advocacy organizations in helping to ensure misoprostol’s continued, appropriate use. At the end of each session, the group had an opportunity to share ideas and discuss unanswered questions. This report covers the key issues raised by each speaker and highlights general areas of discussion among participants.

scholarly journals Trends of Change in and the Future of Higher Education

2018 ◽  
Author(s):  
Ngo Tu Lap
Keyword(s):  
Higher Education ◽  
New York ◽  
Culture Wars ◽  
Significant Trend ◽  
American Education ◽  
The Future ◽  
Operational Models ◽  
Education Model ◽  
The University

Since the foundation of the first modern university in Berlin in 1809 as a realization of Immanuel Kant’s idea, this special institution has gone through many changes in terms of its functions and operational models. The most significant trend today is probably Uberization involving all aspects of higher heducation. Uberization, in our opinion, will lead to the non-campus higher education model and perhaps the death of the traditional university.  Keywords Higher education, Uberization, new techonologies, non-campus higher education References [1] Graff, Gerald, Beyond the Culture Wars: How Teaching the Conflicts Can Revitalize American Education, New York: Norton, 1993.[2] Readings, Bill, The University in Ruins, Cambridge: Harvard U.P., 1996.[3] Kant, Immanuel, The Conflict of the Faculties [1798], trans. Mary J. Gregor, New York: Abaris Books, 1979. [4] Kant, Immanuel, What is Enlightenment? 1784.[5] Bộ giáo dục và đào tạo, Thông tư Số 22 / 2017/TT-BGDĐT, Ban hành Quy định điều kiện, trình tự, thủ tục mở ngành đào tạo và đình chỉ tuyển sinh, thu hồi quyết định mở ngành đào tạo trình độ đại học.

scholarly journals KEANEKARAGAMAN BUDAYA SEBAGAI JATI DIRI KOMUNITAS TUALANG SIAK TERHADAP PERTUNJUKAN MUSIK KOMPANG

2021 ◽  
Vol 10 (1) ◽  
pp. 107
Author(s):  
Nursyirwan Nursyirwan ◽  
Delfi Enida ◽  
Alfalah Alfalah
Keyword(s):  
New York ◽  
Field Research ◽  
Purposive Sampling ◽  
The Future ◽  
Research Interviews ◽  
Qualitative Descriptive ◽  
Music Research ◽  
Community Area ◽  
The University ◽  
Area Data

Research on cultural diversity as the identity of Tualang people in playing kompang music, is the development of previous kompang music research. In finding the identity of tualang people must start things for themselves, certainly not easy in the discovery of that identity, as a characteristic of heterogeneous areas. The purpose of maintaining the existence of kompang music for the Tualang community as a binding solidarity of the community area. Data is collected through observation, field research, interviews, and documentation. Analyzed with qualitative descriptive techniques, interpretative analysis. Interviews were conducted by purposive sampling. The result of the study : the context of kompang music in Tualang community, namely at wedding celebrations, aqiqah, welcoming party for important guest, festival events  and religious celebrations. Its exixtence is seen inthe development of kompang music area in Tualang area. The concept of kompang music is inseperable from the philosopihical background of various cultures, religions, and creativity of the community over the development of market taste. Creativity is not only the birth of music as an expression but is the result of the interaction of the players in it which gives bitrh to a variety of creativity in performance.Keywords: music, kompang, identity, multiculture.AbstrakPenelitian keanekaragaman budaya sebagai jati diri orang-orang Tualang dalam memainkan musik kompang, adalah pengembangan penelitian musik kompang sebelumnya. Dalam menemukan jati diri masyarakat Tualang harus memulai hal-hal untuk diri sendiri, tentu tidak mudah dalam penemuan jati diri itu, sebagai penciri khas daerah yang heterogen. Tujuan tetap mempertahankan keberadaan musik kompang bagi masyarakat Tualang sebagai pengikat solidaritas kedaerahan komunitas. Data dikumpulkan melalui observasi, penelitian lapangan, wawancara, dan dokumentasi. Dianalisis dengan teknik deskriptif kualitatif, analisis interpretatif. Wawancara dilakukan dengan cara purposive sampling. Hasil penelitian: konteks musik Kompang dalam masyarakat Tualang, yakni pada perayaan pernikahan, khitanan, aqikahan, penyambutan tamu penting, acara festival, perayaan agama. Eksistensinya terlihat pada perkembangan wilayah musik kompang di daerah Tualang. Konsep musik kompang tidak terlepas dari latar belakang filosofi bermacam budaya, agama, dan kreativitas masyarakat atas perkembangan selera pasar. Kreativitas tidak hanya pada pelahiran musik sebagai ekspresi akan tetapi merupakan hasil dari adanya interaksi pemain di dalamnya yang melahirkan variasi kreativitas dalam sebuah pertunjukan.Kata Kunci: musik, kompang, jati diri, multiculture.Authors:Nursyirwan : Institut Seni Indonesia PadangpanjangDelfi Enida : Institut Seni Indonesia PadangpanjangAlfalah : Institut Seni Indonesia PadangpanjangReferences:­Armes, Hengki. (2015). Interaksi Sosial Dalam Kesenian Kompang Di Masyarakat Dusun Delik  Kecamatan Bantan Kabupaten Bengkalis. Tesis tidak diterbitkan. Padangpanjang: Program Pascasarjana ISI Padangpanjang.Brannen,  Julia. (2005). Memandu Metode Penelitian Kualitatif dan Kuantitatif. Samarinda: Pustaka Pelajar.Depdiknas. (2008). Kamus Besar Bahasa Indonesia. Jakarta: Gramedia Pustaka Utama.Enida, Delfi. (2019). “Notasi Pukulan Kompang”. Hasil Dokumentasi Pribadi: 7 Maret 2019, Kecamatan Tualang.Hadi, Y. Sumandiyo. (2012). Seni Pertunjukan dan Masyarakat Penonton. Yogyakarta: BP ISI Yogyakarta.Hatley, Barbara. (2014). Seni Pertunjukan Kontemporer di Jawa Tengah: Memanggungkan Identitas, Membangun Komunitas dalam Seni Pertunjukan Indonesia Pasca Orde Baru. Yogyakarta: Univ. Sanata Dharma.Hauser, Arnold. (1982). The Sosiology of Art. Terj. Kenneth J. Northcoot. Chicago and London: The University of Chicago Press.McHale, John. (1969). The Future of the Future. New York: George Braziller.Nettl, Bruno. (1964). Theory and Method in Ethnomusicology.  London: The Free Press of Glencoe.Nursyirwan. (2019). “Bunyi Pukulan Kompang”. Hasil Dokumentasi Pribadi: 7 Maret 2019, Kecamatan Tualang.Nursyirwan. (2000). Paradima Musikologis Musik Kompang Di Kelakap Tujuh Dumai Barat. Laporan penelitian tidak diterbitkan. Padangpanjang: STSI Padangpanjang.Sari, Fani Dila, Haria Nanda Pratama, Indra Setiawan. (2020). Identifikasi Umah Adat Pitu Ruang sebagai Produk Kebudayaan Gayo. Studi Kasus: Umah Reje Baluntara Di Aceh Tengah. Gorga: Jurnal Seni Rupa, 09(2), 451-454. https://doi.org/10.24114/gr.v9i2.22116.Simatupang,  Lono. (2013). Pergelaran sebuah Mozaik Penelitian Seni-Budaya. Yogyakarta: Jalasutra.Steijlen, Fridus. (2014). Pasar Malam Indo-Eropa: Identitas dan Pertunjukan Kebudayaan Di Belanda”, dalam  Seni Pertunjukan Indonesia Pasca Orde Baru. Yogyakarta: Univ. Sanata Dharma. Suwardi MS. (2014). Dari Melayu ke Indonenesia. Yogyakarta: Pustaka Pelajar.Whitehead, Alfred North. (1929). Process and Reality. New York: Free Press.Wolf. R, Eric. (1983). Petani suatu Tinjauan Antropologis.  Terjemahan TIM Yayasan Ilmu-Ilmu Sosial.  Bandung: Rajawali.

The Shtetl in the Hebrew Theatre of Mandatory Palestine during the 1930s

2020 ◽  
Vol 36 (2) ◽  
pp. 177-191
Author(s):  
Shelly Zer-Zion
Keyword(s):  
New York ◽  
Eastern European ◽  
Cultural Meaning ◽  
New York University ◽  
Theatre Companies ◽  
The Future ◽  
European Jewish ◽  
The University ◽  
Large Corpus

During the 1930s, the two Hebrew repertoire theatre companies in Palestine – the Habima and the Ohel – performed a large corpus of plays dealing with the landscapes of the Eastern European Jewish shtetl. Their fascination with the shtetl is surprising, considering the fact that these two companies were deeply committed to the Zionist project, whose ethos was building a new society in Eretz-Israel and negating the diasporic condition of Jewish existence. This article explores the landscapes of the shtetl as they were presented on the Hebrew stage of the 1930s and analyzes their aesthetic and cultural meaning for their audiences at that time. It shows that the shtetl plays formed a memory landscape that served the formation of a modern, consolidated, ethnic Jewish collective in Palestine, which shared a unified narrative of its past, as well as national aspirations for the future. Shelly Zer-Zion is a lecturer of theatre at the University of Haifa and was previously a Fulbright post-doctoral scholar at New York University. Her recent publications include Habima in Berlin: The Institutionalization of a Zionist Theatre (Magness Press, 2015), and her research is currently supported by the Israeli Science Foundation.

NIXON'S GRIN AND OTHER KEYS TO THE FUTURE OF CULTURAL AND INTELLECTUAL HISTORY

2012 ◽  
Vol 9 (1) ◽  
pp. 217-231
Author(s):  
JOAN SHELLEY RUBIN
Keyword(s):  
New York ◽  
Intellectual History ◽  
Symphony Orchestra ◽  
New York Times ◽  
American Composers ◽  
School Of Music ◽  
Eastman School Of Music ◽  
The Future ◽  
Mormon Tabernacle Choir ◽  
The University

In January 1969, just before his inauguration as president, Richard M. Nixon attended a concert in his honor at Constitution Hall. The program consisted entirely of works by American composers, including Howard Hanson, then the director of the Eastman School of Music at the University of Rochester. Hanson's choral work “Song of Democracy,” a setting of two excerpts from poems by Walt Whitman, was the last number of the evening. Here is New York Times music critic Harold Schonberg's commentary on the event, which featured the National Symphony Orchestra and the Mormon Tabernacle Choir: “Song of Democracy” is not a very original or strong piece, but it makes a big brave sound in its concluding measures, and the well-trained Mormon Tabernacle Choir had a lusty time with it . . . Mr. Nixon listened intently, but grinned his way between numbers. At the end of the Hanson work, he was determined to be the first to applaud. He brought his fist down in a great downbeat, anticipating the conductor's by a good half measure. Afterwards, Schonberg reported, Nixon left the presidential box to congratulate Hanson personally.

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