Fuller, Loie (1862–1928)

2018 ◽  
Author(s):  
Rhonda Garelick
Keyword(s):  
Modern Dance ◽  
Early Career ◽  
Stephane Mallarme ◽  
World's Fair ◽  
Women Filmmakers ◽  
Art Nouveau ◽  
Auguste Rodin ◽  
The World ◽  
Popular Subject ◽  
Loie Fuller

Loie Fuller was a founding figure of modern dance. After an early career in American vaudeville, she moved to Paris where she created a new genre that drew on popular cabaret motifs combined with free-flowing, more natural movements performed in bare feet and flowing robes, and—crucially—the incorporation of technology. Gaining acclaim for her incorporation of electric lights, mechanical stagecraft, and her oversized silk costumes—all her own design—she used her many patented inventions to transform herself on stage into whirling sculptures of colored light and floating fabric. Known as the electricity fairy, Fuller was extremely popular with audiences, was often considered as a kind of magician, and became one of the most famous Americans in Europe. Midway through her career Fuller assembled a troupe of young dancers—Les Ballets Loie Fuller—who toured the world performing with her. In her later years she experimented with cinema, becoming one of the first women filmmakers in the world. Prominent artists and writers such as Auguste Rodin, Henri de Toulouse-Lautrec, and Stéphane Mallarmé were particularly interested in Fuller, and used her as a subject for their sculpture, painting, and poetry. She was also a popular subject for early photographers. Her fame was so great, and the French embraced her so thoroughly, that at the 1900 Paris World’s Fair, she was the sole performer to be granted her own theater, designed for her by esteemed Art Nouveau architect, Henri Sauvage.

scholarly journals HPLSE editorial tribute to Professor David Neely

2021 ◽  
Vol 9 ◽  
Author(s):  
Colin Danson ◽  
Paul McKenna
Keyword(s):  
High Power ◽  
Board Member ◽  
Editorial Board Member ◽  
Early Career ◽  
High Power Laser ◽  
Power Laser ◽  
Science And Engineering ◽  
The World

Abstract David Neely was an internationally recognised scientist who formed collaborations and friendships across the world. His passion for his work always shone through. He always made time for early-career scientists and became a mentor and supervisor to many. He was an active Editorial Board Member of the international journal High Power Laser Science and Engineering. Sadly, David was taken from us much too early. In this Editorial we pay tribute to his work through his publications in the journal.

An Essay in Critical Biography—Charles Churchill

PMLA ◽  
1920 ◽  
Vol 35 (2) ◽  
pp. 226-246 ◽  
Author(s):  
Joseph M. Beatty
Keyword(s):  
Personal Information ◽  
Early Career ◽  
Original Material ◽  
University Of Cambridge ◽  
Robert Southey ◽  
The World ◽  
New Material ◽  
Edinburgh Review ◽  
The University ◽  
National Biography

A writer in The Annual Register, soon after the death of Charles Churchill, gave to the world the first account of his life; this was followed by The Genuine Memoirs of Mr. Charles Churchill. To Bell's edition of the poet's works is prefixed a life of the author by Doctor Johnson; this does not add anything new. Kippis, in his Biographia Britannica, followed most of the inaccuracies of the first biographer, but added some new material from his personal information. Anderson used these sources in the British Poets (1795). Robert Southey in his Life of Cowper, and William Tooke in an edition of Churchill's Works (1804) made more elaborate studies of the poet's life, but, unfortunately, were satisfied with earlier biographies or neglected to give careful references to original material. John Forster, in The Edinburgh Review (1845) pointed out many of Tooke's inaccuracies. Every biographer of Churchill from Chalmers in his English Poets to Leslie Stephen in The Dictionary of National Biography, followed Tooke, or Tooke modified by Forster. In 1903, R. F. Scott in his Admissions to the College of St. John the Evangelist in the University of Cambridge, made several valuable contributions to our knowledge about the early career of the satirist. Ferdinand Putschi, in Charles Churchill, sein Leben und seine Werke (1909), had not seen Mr. Scott's book, and followed the earlier biographers.

Kazuo Ohno's World from Without and Within. By Kazuo Ohno and Yoshito Ohno. Translated by John Barrett. Middletown, CT: Wesleyan University Press, 2004; pp. 344. $34.95 paper.

2005 ◽  
Vol 46 (2) ◽  
pp. 315-317
Author(s):  
Kurt Wurmli
Keyword(s):  
Academic Research ◽  
Modern Dance ◽  
Deep Understanding ◽  
Research Centers ◽  
The West ◽  
Avant Garde ◽  
Art Form ◽  
The World ◽  
Inside View ◽  
Scholarly Attention

Kazuo Ohno and Tatsumi Hijikata are recognized as the most influential creators of the contemporary Japanese dance form known today as butoh. Since its wild and avant-garde beginnings in the late 1950s, butoh has evolved into an established and appreciated art form throughout the world. Despite its popularity and strong influences on the international modern dance world, butoh only recently became an accepted subject for academic research in Japan as well as in the West. With the new opening of butoh research centers and archives—such as the Ohno Dance Studio Archives at BANK ART 1929 in Yokohama, the Kazuo Ohno Archives at Bologna University in Italy, and the Hijikata Tatsumi Archives at Keio University in Tokyo—serious scholarly attention has been given to the art of butoh's founders. However, the lack of firsthand sources by butoh artists reflecting their own work still poses great limitations for a deep understanding of the art form. Kazuo Ohno's World from Without and Within is not only the first full-length book in English about the master's life and work, but also offers a rare inside view of butoh.

The Sunshine State Emerges on the World Stage

2019 ◽  
pp. 189-197
Author(s):  
David J. Nelson
Keyword(s):  
New York ◽  
Great Depression ◽  
Entire Population ◽  
World's Fair ◽  
Tourist Industry ◽  
Tourist Attractions ◽  
The Great Depression ◽  
New York World's Fair ◽  
The World ◽  
Park Service

Near the end of the Great Depression, Florida ends the decade with a triumphant tenure at the 1939 New York World’s Fair, dozens of thriving tourist attractions, and a newly built Florida Park Service. By 1940, Florida enjoyed a thriving tourist industry that attracted more than double the entire population of the Sunshine State.

Elizabeth Anscombe versus the World

2021 ◽  
pp. 135-170
Author(s):  
Benjamin J.B. Lipscomb
Keyword(s):  
Moral Philosophy ◽  
Original Work ◽  
Early Career ◽  
Honorary Degree ◽  
The World ◽  
Harry Truman ◽  
Radio Broadcast ◽  
Modern Moral Philosophy

This chapter chronicles the philosophical development of the abrasive, brilliant Elizabeth Anscombe and her contribution to her friends’ implicit project of reshaping mid-century ethics: her all-out attack against “Oxford Moral Philosophy” epitomized by R.M. Hare, and her publication of the influential “Modern Moral Philosophy.” Anscombe was Wittgenstein’s apprentice and translator for much of her early career, rarely publishing original work. She was, nonetheless, a fearsome adversary of anyone she saw as glib or insufficiently serious, including C.S. Lewis and J.L. Austin. Anscombe’s real engagement with ethics began with her attempt to stop Oxford from bestowing an honorary degree on Harry Truman; she abhorred his decision to bomb Hiroshima and Nagasaki. She was invited to give a radio broadcast, “Oxford Moral Philosophy: Does It Corrupt the Youth?”—the opening salvo in a fight with R.M. Hare, which resulted in her influential essay “Modern Moral Philosophy.”

Bunster, Patricio (1924–2006)

2018 ◽  
Author(s):  
Jens Richard Giersdorf
Keyword(s):  
Early Modern ◽  
National Culture ◽  
Latin American ◽  
Modern Dance ◽  
Artistic Expression ◽  
Manual Labor ◽  
The Core ◽  
The World ◽  
Political Structures ◽  
Corporeal Awareness

Patricio Bunster’s career was emblematic of a Latin American engagement with European modernism and unique in its exchange with German modern dance (Ausdruckstanz). Trained in Chile by immigrant German members of Kurt Jooss’s company, Bunster merged a local vocabulary with globalized movements—such as modern dance vocabulary derived from Ausdruckstanz and ballet—with the goal of restructuring existing nationally defined movement. This merger was utopian in its rethinking of national culture toward a global artistic expression. Such a utopian understanding of the capacity of movement as a global unifier and transformer recalled early modern dance’s vision for a changed world through corporeal awareness and choreographed emancipation. Influenced by Laban as well as Jooss and Leeder, Bunster observed and deployed movement found in manual labor, leisure, daily rituals, nature, and the structure of architecture. In Bunster’s opinion, all of these sources carried traces of future choreographies that could express a new transnational, (Latin) American, and utopian society. Different utopian models, such as the radical rethinking of political structures through a breakdown of the barrier between art and life or the embracing of technology in relation to design for the bettering of society were at the core of modernist conviction that the world needed to be fundamentally changed.

Wiesenthal, Grete (1885–1970)

2018 ◽  
Author(s):  
Alexandra Kolb
Keyword(s):  
New York ◽  
Body Image ◽  
Modern Dance ◽  
Ballet Dancer ◽  
Art Nouveau ◽  
Cultural Traditions ◽  
Isadora Duncan ◽  
The Aesthetic

The Austrian dancer and choreographer Grete Wiesenthal was a transitional figure at the crossroads of ballet and modern dance. Initially trained and employed as a ballet dancer at the court opera in Vienna, she soon became disillusioned with the aesthetic traditionalism of ballet and in 1907 embarked on an independent career. Performing with two of her sisters and later as a soloist, she devised a new dance style and technique that emphasized bodily expressivity with motivational impulses provided by music. In the context of Viennese modernism, Wiesenthal’s work offered a novel interpretation of the Viennese waltz as a theatre dance form, oscillating between art nouveau and symbolism. She was groundbreaking in the Austro-German dance scene, exploring female creativity and individualism while contravening balletic principles. Although her career began in Vienna, she toured extensively across much of Europe and overseas, notably in New York, and hence extended her influence internationally. Wiesenthal shared with female contemporaries Anna Pavlova and Isadora Duncan a natural grace, expressive artistry, and flexibility of hands and arms. However, unlike Pavlova, Wiesenthal transgressed the confines and repertory of ballet – for instance, eschewing pointe work. Like Duncan, her body image was liberated, but she was less daring in her choice of costumes – for instance, dancing in sandals rather than barefoot – and drew inspiration from local cultural traditions and not from Greek antiquity.

IYCN: A Journey That Has Just Begun

2017 ◽  
Vol 39 (2) ◽  
Author(s):  
Christine Dunne ◽  
Fernando Gomollón-Bel
Keyword(s):  
International Collaboration ◽  
Early Career ◽  
Research Institutions ◽  
Know How ◽  
International Airport ◽  
The World

AbstractInternational collaboration varies across the world. Your first reaction when hearing those words—international collaboration—may lead you to myriad different thoughts and ideas: research institutions, famous scientists, your own coworkers, or even airports –flying through Tesla International Airport in Serbia, you can’t help it! When reading this article, however, IUPAC is probably the first thing that comes to mind. IUPAC has the ability to bring together scientists, crossing nations and borders in the pursuit of knowledge. Early career chemists, however, often do not know how to breach these barriers to start their international scientific journey.

Deus Ex Machina

2012 ◽  
Vol 134 (12) ◽  
pp. 42-45
Author(s):  
Samuel C. Florman
Keyword(s):  
United States ◽  
The United States ◽  
General Construction ◽  
World's Fair ◽  
Sequence Of Events ◽  
The World ◽  
Construction Firm

In this article, Samuel C. Florman, the chairman of Kreisler Borg Florman General Construction Co. recalls how a sequence of events in 1963 led his young construction firm to $2 million in billings at the World’s Fair. During the summer of 1962, Norman Winston was appointed as the United States Commissioner to the World Fair. He was specifically charged with supervising development and construction of an American pavilion. The construction contract for the pavilion had gone to famous developer Del Webb. However, in late 1963, due to some issues, Del Webb walked out of the project. The job of finishing the federal pavilion was then offered to Florman’s firm. Florman’s firm was to perform miscellaneous finishing items and provide “general oversight.” While the original fee of the firm was a measly $45,000, the amount grew rapidly as the scope of the activities increased. By the time the Fair closed in 1965, Florman’s firm had billed some $2 million on which it earned approximately 20% in gross profit.

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