Robert Andrew Glendinning Carson 1918–2006

2008 ◽  
Author(s):  
Andrew Burnett ◽  
Roger Bland
Keyword(s):  
British Museum ◽  
Roman Coins ◽  
International Reputation ◽  
The 1950S ◽  
High Standards

Robert Andrew Glendinning Carson (1918–2006), a Fellow of the British Academy, spent his career at the British Museum, where he rose to be Keeper of the Department of Coins & Medals. He was the leading British expert in Roman numismatics of his generation. Carson was a prolific scholar and his bibliography runs to more than 350 items. He had been set high standards by his mentor, Harold Mattingly, who served as Curator of Roman coins at the British Museum from 1910 to 1947. But perhaps Carson's most influential contribution to the study of Roman coins lay in the work he carried out in collaboration with John Kent. As Curator of Roman coins at the British Museum, it was perhaps inevitable that Carson should take an interest in the coins of the British usurpers Carausius and Allectus, and he published a series of papers on their coinages. Carson had an international reputation: he was actively involved in the organisation of international numismatic congresses from the 1950s.

Moshe Safdie at Yad Vashem: Architecture, Politics, Identity

Pólemos ◽  
2019 ◽  
Vol 13 (1) ◽  
pp. 43-62
Author(s):  
Paolo Coen
Keyword(s):  
Initial Phase ◽  
The State ◽  
Jewish State ◽  
History Museum ◽  
The Holocaust ◽  
International Reputation ◽  
The 1950S ◽  
State Of Israel ◽  
Yad Vashem

Abstract This article revolves in essence around the contributions made by the architect Moshe Safdie to the Yad Vashem memorial and museum in Jerusalem. Both probably need at least a brief introduction, if for no other reason than the nature of the present publication, which has a somewhat different scope than the type of art-historical or architectural-historical journals to which reflections of this kind are usually consigned. The first part draws a profile of Safdie, who enjoys a well-established international reputation, even if he has not yet been fully acknowledged in Italy. In order to better understand who he is, we shall focus on the initial phase of his career, up to 1967, and his multiple ties to Israel. The range of projects discussed includes the Habitat 67 complex in Montreal and a significant number of works devised for various contexts within the Jewish state. The second part focuses on the memorial and museum complex in Jerusalem that is usually referred to as Yad Vashem. We will trace Yad Vashem from its conception, to its developments between the 1950s and 1970s, up until the interventions of Safdie himself. Safdie has in fact been deeply and extensively involved with Yad Vashem. It is exactly to this architect that a good share of the current appearance of this important institute is due. Through the analysis of three specific contributions – the Children’s Memorial, the Cattle Car Memorial and the Holocaust History Museum – and a consideration of the broader context, this article shows that Yad Vashem is today, also and especially thanks to Safdie, a key element in the formation of the identity of the state of Israel from 1967 up until our present time.

‘Tutt' ora vivente’: Petrassi and the concerto principle

Tempo ◽  
1995 ◽  
pp. 2-11
Author(s):  
Calum MacDonald
Keyword(s):  
Old Age ◽  
20Th Century ◽  
Musical Life ◽  
10Th Anniversary ◽  
The Third ◽  
International Reputation ◽  
The 1950S ◽  
Santa Cecilia ◽  
Peter Maxwell Davies

Italian masters seem habitually to survive to a ripe old age. The proverbial example is Verdi, dying at 87, but Gianfrancesco Malipiero had turned 91 by his death in 1973, and his longevity has now been equalled, and seems likely to be surpassed, by Goffredo Petrassi. Long an eminent and respected figure in Italian musical life, and routinely named in the reference books as a significant 20th-century composer, Petrassi has never been well known in this country. His international reputation was at its height in the 1950s and 60s, and probably reached its apogee here with the London premiere, in 1957, of his Sixth Concerto for Orchestra, commissioned by the BBC for the 10th anniversary of the Third Programme. During those decades he travelled, conducted and adjudicated widely; he was closely associated with the ISCM (and was its President in the years 1954–56); as Professor of Composition at the Conservatorio di Santa Cecilia in Rome, he exercised a powerful influence on his country's musical life. He is especially celebrated as a teacher: his Italian pupils have included Aldo Clementi, Riccardo Malipiero, the film composer Enrico Morricone and the conductor Zoltán Pesko, but composers of many nations have studied with him. Among his British pupils, one need only instance Peter Maxwell Davies, Cornelius Cardew, and the late Kenneth Leighton to see that his teaching was never stylistically prescriptive.

Bacon, Francis (1909–1992)

2018 ◽  
Author(s):  
Fionna Barber
Keyword(s):  
Human Condition ◽  
Francis Bacon ◽  
Leading Role ◽  
Emotional Appeal ◽  
International Reputation ◽  
Critical Attention ◽  
The 1950S ◽  
Post War ◽  
The Human Condition

British painter Francis Bacon was one of the most important figures of international post-war modernism. During the 1940s and 1950s, he developed a characteristic painting format used throughout his career, generally featuring an isolated figure within an armature or stage-like setting. Bacon’s work is renowned for its raw emotional appeal, and also its ability to convey an existential sense of the human condition. Bacon’s painting developed sporadically until Three Studies for Figures at the Base of a Crucifixion (1944) attracted considerable critical attention. During the 1950s, a series of variations on Diego Velazquez’s Portrait of Pope Innocent X (c. 1650) supported the development of Bacon’s international reputation, consolidated by a major retrospective at the Tate in 1962. In 1970, however, on the eve of his major retrospective exhibition at Grand Palais, Paris, his former lover George Dyer died of an overdose, a tragedy Bacon later commemorated in a group of triptychs. After this event he withdrew considerably from Soho Bohemia, in which he had played such a leading role during the previous two decades.

Roman Coins from the Masson and Mackenzie Collections in the British Museum

2013 ◽  
Vol 29 (2) ◽  
pp. 177-193
Author(s):  
Sushma Jansari
Keyword(s):  
British Museum ◽  
Roman Coins

Hoards of Roman Coins Found in Britain and a Coin Survey of the Roman Province

1932 ◽  
Vol 22 (1) ◽  
pp. 88-95 ◽  
Author(s):  
H. Mattingly
Keyword(s):  
General Rule ◽  
British Museum ◽  
George Macdonald ◽  
Roman Coins ◽  
Roman Province

On finding that I was to share in the tribute which we are bringing to Sir George Macdonald, I vowed, as do those who mean to give of their best, the first thing that should meet me on my way home. Such vows have a way of turning out badly—or, at least, awkwardly— for the vowers, and this has been no exception to the general rule. The first subject that met me on my next appearance at the British Museum was the question of Roman coins found in Britain, and I felt, as Jephthah might have done if, instead of his daughter, his pet mongrel had come out to meet him: was the offering good enough ?

Spotlight on the Clinician in the Life Participation Approach to Aphasia: Balancing Relationship-Centered Care and Professionalism

2020 ◽  
Vol 5 (2) ◽  
pp. 414-424
Author(s):  
Rochelle Cohen-Schneider ◽  
Melodie T. Chan ◽  
Denise M. McCall ◽  
Allison M. Tedesco ◽  
Ann P. Abramson
Keyword(s):  
Social Workers ◽  
Therapeutic Relationship ◽  
Interprofessional Collaboration ◽  
Opportunity To Learn ◽  
Subjective Experiences ◽  
Speech Language Pathologists ◽  
Self Disclosure ◽  
Centered Care ◽  
High Standards ◽  
Therapeutic Encounter

Background Speech-language pathologists make clinical decisions informed by evidence-based theory and “beliefs, values and emotional experiences” ( Hinckley, 2005 , p. 265). These subjective processes, while not extensively studied, underlie the workings of the therapeutic relationship and contribute to treatment outcomes. While speech-language pathologists do not routinely pay attention to subjective experiences of the therapeutic encounter, social workers do. Thus, the field of social work makes an invaluable contribution to the knowledge and skills of speech-language pathologists. Purpose This clinical focus article focuses on the clinician's contribution to the therapeutic relationship by surfacing elements of the underlying subjective processes. Method Vignettes were gathered from clinicians in two community aphasia programs informed by the principles of the Life Participation Approach to Aphasia. Results and Discussion By reflecting on and sharing aspects of clinical encounters, clinicians reveal subjective processing occurring beneath the surface. The vignettes shed light on the following clinical behaviors: listening to the client's “whole self,” having considerations around self-disclosure, dealing with biases, recognizing and surfacing clients' identities, and fostering hope. Speech-language pathologists are given little instruction on the importance of the therapeutic relationship, how to conceptualize this relationship, and how to balance this relationship with professionalism. Interprofessional collaboration with social workers provides a rich opportunity to learn ways to form and utilize the benefits of a strong therapeutic relationship while maintaining high standards of ethical behavior. Conclusion This clinical focus article provides speech-language pathologists with the “nuts and bolts” for considering elements of the therapeutic relationship. This is an area that is gaining traction in the field of speech-language pathology and warrants further investigation.

Sign in / Sign up

Export Citation Format

Share Document