A Nice Dish for a Bad Time

2019 ◽  
pp. 167-184
Author(s):  
Bernard L. Herman
Keyword(s):  
Oral History ◽  
Creative Work ◽  
Documentary Evidence ◽  
Eastern Shore ◽  
Oyster Industry

This chapter explores the long arc of the modern oyster pie from its origins in 16th-century England to its place as a fallback mainstay of the Eastern Shore of Virginia diet. Through storytelling, oral history, documentary evidence, and recipes, it places oyster pie in the heyday of the oyster industry and the multitude of oyster recipes from the turn of the 20th century, many published in cookbooks and newspaper columns. The challenge embedded in pursuit of oyster pie is in negotiating the balance between those that were “ordinary” and those that were “precious.” With the archaeology of oyster pie sorted and recipes collected, the chapter turns to the creative work of contemporary chefs related to cuisine and terroir.

Panfish

2019 ◽  
pp. 104-118
Author(s):  
Bernard L. Herman
Keyword(s):  
Oral History ◽  
Chesapeake Bay ◽  
Small Fish ◽  
Documentary Evidence ◽  
Eastern Shore ◽  
History Of ◽  
History Of Place

Panfish on the Eastern Shore of Virginia simply refers to a host of small fish that include spot, croaker, sand mullet, jumping mullet, hogfish, swelling toads, and more. The idea of the panfish relies on four characteristics: size (they fit whole into a skillet), status (they tend to be associated with less desirable fish—often linked to qualities of oiliness or boniness), procurement (although netted, seined, or trapped commercially, panfish are commonly associated with amateur angling), and preparation (largely fried). In essence, panfish, spot in particular, are notable for their everydayness, remarkable only in the moments of their absence. The spot's culinary associations are tightly knit into the history of place. This chapter explores that connection through documentary evidence, oral history, local foodways, and the Chesapeake Bay fishery.

An Essay on Evidence and Authority

2019 ◽  
pp. 213-224
Author(s):  
Wesley C. Hogan
Keyword(s):  
Young People ◽  
Oral History ◽  
Knowledge Production ◽  
Public Access ◽  
Future Generations ◽  
Documentary Evidence ◽  
Historical Evidence ◽  
Entire Nation

Movements themselves are important sites of knowledge production. They have the potential to illuminate how young people, often under 25 years old, shape the entire nation for the better. Their history is our public patrimony, one that should not be held hostage by bureaucratic restrictions that universities and archives often follow. Public access to creativity and memory, not reserved or made secret, has the potential to open up gatekeeping so that scholars and archivists are not the center of reference for knowledge production. This essay examines topics of extractive versus collaborative scholarship, oral history methodologies, and documentary epistemologies to address two questions: Who gets to tell the story? What counts as historical evidence? These are deceptively simple questions and so vital to knowledge production that this essay at the end of the book addresses them more thoroughly. Such inquiries lead to thornier issues underneath: who gets to establish what does and does not “count” as documentary evidence on freedom movements, and thus what is left in the archive for future generations of civic actors to build on?

scholarly journals From Theater to Cinematography: Creative Search of Les Kurbas

2020 ◽  
pp. 109-119
Author(s):  
Violeta Demeshchenko
Keyword(s):  
Young People ◽  
Political Theater ◽  
Creative Work ◽  
Documentary Evidence ◽  
Relevant Today ◽  
Cultural Life ◽  
Life Itself ◽  
History Of ◽  
Positive Memories

The article examines the artistic path and creative pursuits of Les Kurbas, the Ukrainian and soviet director, who undoubtedly remains an outstanding figure in the history of Ukrainian cultural life in the 1920s and 1930s. He was the founder of Ukrainian political theater, and later philosophical theater; also fruitfully worked in early cinematography. The article emphasizes the relevance of studying the creative work of the director, his original creative method of educating actors nowadays. In his own way, Kurbas became a standalone theatrical institute for young people, raised more than four dozen professional directors who later became theater managers and directors of Ukrainian theaters, teachers. The director created Ukrainian theater and cinema school of acting; his innovative artistic ideas still remain relevant today. He developed his own aesthetic-theatrical concept of conditional-metaphorical theater based on life itself. Being the man of art, Kurbas influenced the formation of stage constructivism in Ukrainian theatrical art. In addition to the positive memories of his contemporaries, we also encounter some legends, various testimonies and assessments of events of that time, which create a certain mythological space around the artist. Hence, today we need to carefully analyze numerous documentary evidence, facts, memoirs, literary and theatrical sources, as well as try to be objective in reconstructing events and reflecting on the fate and work of the director.

Notes Concerning Bartók's Solo Vocal Music (I)

Tempo ◽  
1955 ◽  
pp. 16-26
Author(s):  
John S. Weissmann
Keyword(s):  
Vocal Music ◽  
Creative Work ◽  
Documentary Evidence

September will mark the tenth anniversary of Bartók's death. The excitement provoked by the newness of his art has long since calmed down, and the time now seems convenient to attempt a sober and balanced evaluation of his creative work. It is to be free, of course, of uncritical and unsubstantiated enthusiasm, but equally free of that speculative and aphoristic conscience-searching based on dubious postulates which has recently become fashionable. What is wanted is not a definitive biography—the distance of ten years is too short for that—but a just assessment of the various facets of his music and his personality, and a well-grounded correlation of his art to his life. Though publication of his correspondence began some years ago, little systematic attention has been paid to other documentary evidence of his life and activities.

scholarly journals Clara Schumann #digital. 40 Jahre Frau und Musik und der Start in die Digitalisierung

2020 ◽  
Author(s):  
Elisabeth Treydte
Keyword(s):  
Oral History ◽  
Digital Archive ◽  
Creative Work ◽  
Safe Storage ◽  
Women In Music

The Archives of Women in Music based in Frankfurt a. M. (Germany) was founded in 1979. Its goals are increasing the visibility of women in music, achieving programming parity and making the wealth of creative work by women in music available for performance and research. The Archives assure long-term safe storage of both analogue and digital archive and library content. During the last three years it focused on two collection digitization projects and an oral history project.

Review of Interactive Oral History Interviewing.

1996 ◽  
Vol 41 (3) ◽  
pp. 288-288
Author(s):  
Terri Gullickson
Keyword(s):  
Oral History

Women in child development: Themes from the SRCD Oral History Project.

2005 ◽  
Vol 8 (3) ◽  
pp. 289-316 ◽  
Author(s):  
Claire E. Cameron ◽  
John W. Hagen
Keyword(s):  
Child Development ◽  
Oral History
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