Academic literature on the topic 'Bruce Mason'

Abstract Process engraver and printer Emery Walker was a pivotal figure in the English, American, and continental European Private Press Movement from the 1880s until his death in 1933. This article looks at his theories for the typography, design, and production of books, and how those theories were developed by key designers and close associates of Walker such as William Morris, T. J. Cobden Sanderson, and Bruce Rogers and through the practical teaching of figures such as J. H. Mason and Edward Johnston. It examines how the theories were then taken up by the exponents of fine printing from the early 20th century through to the 1930s, focusing on the presses of Bernard Newdigate, Harry Kessler, Harold Curwen, and Francis Meynell. From these presses, and also via Stanley Morison and the Monotype Corporation, Walker’s theories are shown to have spread into mainstream book publishing in the first half of the 20th century. The article considers questions of whether the improvement in the readability of books in the early 20th century has had a continuing impact in book publishing, and makes suggestions how to access the incunabula referenced by the designers discussed, as well as collections of private press books and other early 20th-century fine printing.

AbstractThe reign of Peter the Great is regarded as one of the most significant and contentious epochs in Russian history. It has been customary to view the reforms of the period as either a progressive transformation of an antiquated society or the destructive suppression of traditional Russian culture. This dichotomy rests on an accepted perception of Peter the Great and his reign as rational and secular.This paper attempts to revise this dichotomy by focussing on the Masonic and occult influence prevalent at the Petrine Court. These two complimentary aspects of Petrine society and culture have been censured or overlooked by successive generations of historians, yet they exerted a considerable hold on some of the most powerful statesmen of the period, including the Tsar himself. The importance of studying Masonic and occult influence in Petrine Russia lies in the fact that it can help to overcome the starkly secular image of Peter the Great, without denying the progressive nature of his reforms.The first section of the article examines the powerful symbolic representations of the Tsar as a "Mason King" and architect of a new Russia. It reveals a concerted campaign to portray Peter the Great as a new King David, leading his people—new Israelites—to their promised land and a New Jerusalem, crystallised by the foundation of St. Petersburg. This is then followed by examining how Peter the Great's worldview—encompassing religious tolerance, a scientific curiosity open to esotericism and a passion for chivalrous societies—was wholly compatible with the ideals of Freemasonry as it developed at the beginning of the eighteenth-century.The second part of the paper focuses on the Masonic links and strong occult interests of Jacob Bruce (1669-1735), Feofan Prokopovich (1681-1736) and Robert Erskine (1677-1718)—three of the most prominent statesmen in Petrine Russia. Bruce came from a Scottish Jacobite family and played an active role in practically all fields of Russian state life, ranging from the military to the promotion of science and education. Prokopovich was the most eminent ecclesiastic figure in Petrine Russia and a loyal stalwart of Peter the Great's state reforms. Erskine, like Bruce, also descended from a powerful Jacobite family in Scotland. He enjoyed a close relationship with Peter the Great and was his Chief Physician and Head of the Russian Medical Chancellery, as well as being Director of the St. Petersburg Kunstkamera and Library.This triumvirate played an active role in transforming the Russian State, but do not represent the archetypal embodiments of purely rational and secular enlighteners. They all displayed a strong religiosity and a marked interest in esoteric matters and Bruce and Erskine, in particular, had strong ties to Jacobite Freemasonry. Peter the Great displayed similar interests and acted as their enthusiastic patron. Thus, it is hoped that this paper will reveal the significant extent to which Masonic ideals and a fascination with the occult were rife at the Petrine Court and helped to shape the transformations enacted during this pivotal period in Russian history. Le règne de Pierre le Grand est considéré comme étant l'une des époques la plus marquante et contestée de l'histoire russe. Les réformes de cette période ont souvent été envisagées en tant que transformation ascendante d'une société désuète ou comme l'abrogation pernicieuse de la culture russe traditionnelle. Cette dichotomie réside dans une idée convenue du rationnel et du séculier de Pierre le Grand et de son règne.Cette communication tente de réévaluer la dichotomie par l'étude de l'influence occulte et maçonnique qui prévalait à la cour de Pierre le Grand. Ces deux aspects complémentaires de la société et la culture pétrine ont été censurés ou mis à l'écart par des générations successives d'historiens, pourtant ceux-ci ont exercé une influence considérable sur certains des hommes d'état les plus puissants de l'époque, y compris le Tsar lui-même. L'examen de l'influence maçonnique et occulte de la Russie pétrine peut aider à surpasser l'image séculière forte de Pierre le Grand, sans remettre en cause la nature progressiste de ses réformes.La première partie de l'article envisage les représentations symboliques solides du Tsar en tant que "Roi Maçon" et architecte d'une nouvelle Russie. Celle-ci dévoile une campagne convergente pour décrire Pierre le Grand comme le nouveau Roi David, conduisant son peuple (les nouveaux Israélites) vers les terres promises et la Nouvelle Jérusalem, concrétisée par la fondation de St. Pétersbourg. Nous examinerons ensuite comment la vision du monde de Pierre le grand (sa tolérance religieuse, sa curiosité scientifique tournée vers l'ésotérisme et sa passion pour les sociétés chevaleresques) était entièrement compatible avec les idéaux de la Franc-Maçonnerie, telle qu'elle se développait au XVIIIIème siècle.Dans la deuxième partie de l'article, nous nous concentrerons sur les liens maçonniques et les forts intérêts occultes de Jacob Bruce (1669-1735), Feofan Prokopovich (1681-1736) et Robert Erskine (1677-1718)—trois des plus grands hommes d'état de la Russie pétrine. Bruce, issu d'une famille jacobite écossaise, jouait un rôle actif dans presque tous les ressorts de la vie d'état russe, de l'armée à la promotion des sciences et de l'éducation. Prokopovich était la figure ecclésiastique la plus éminente de la Russie pétrine et un fidèle partisan des réformes de l'Etat de Pierre le Grand. Erskine, comme Bruce, descendait d'une famille Jacobite puissante d'Ecosse; il appréciait être proche de Pierre le Grand. Il était son Médecin en Chef, Directeur de la Chancellerie Médicale Russe et Directeur de la Kunstkamera de St. Pétersbourg et de la bibliothèque.Ce triumvirat a joué un rôle actif dans la transformation de l'état Russe, toutefois, ils ne symbolisent pas des incarnations archétypes des lumières purement rationnelles et séculières. Ils affichaient tous un grand sentiment religieux et un intérêt marqué pour l'ésotérisme. Bruce et Erskine, en particulier, avaient de fortes attaches avec la Franc-Maçonnerie Jacobite. Pierre le Grand exhibait des intérêts similaires et était leur fervent bienfaiteur. Ainsi, nous espérons que notre article mettra en avant la prédominance nette des idéaux Maçonniques et d'une fascination pour l'occulte dans la Cour pétrine et permettra de façonner les transformations édictées durant cette période pivot de l'histoire russe.

Dr. Bruce M. Unger, professor of political science at Randolph-Macon College, died of cancer at his home January 31, 2008. A native of Brooklyn, and life-longBrooklynDodgers fan, Bruce received his BA at Queens College in 1964, MA at Tulane University in 1967, and Ph.D. at Tulane in 1973. He joined the faculty at Randolph-Macon in 1968, and served 39 years on the faculty. He was Charles J. Potts Professor of Social Sciences when he retired in 2007.

SUMMARYThe period 1875–1925 was remarkable in the history of parasitology partly because of the number of significant discoveries made, especially the elucidation of important life cycles, and partly because of the achievements of the clinicians and scientists who made these discoveries. What is remarkable is that so many of these individuals were Scots. Preeminent in this pantheon was Patrick Manson, who not only discovered the mosquito transmission of filarial worms but was instrumental in directly encouraging others to make significant discoveries in the fields of malaria, Guinea worm disease (dracunculiasis), onchocerciasis, loiasis and schistosomiasis and, indirectly, sleeping sickness and leishmaniasis. This chapter describes and discusses the contributions made by Douglas Argyll-Robertson, Donald Blacklock, David Bruce, David Cunningham, Robert Leiper, William Leishman, George Low, Patrick Manson, Muriel Robertson and Ronald Ross together with short biographical notes.

Cet article décrit quelques-unes des modalités d’appropriation de l’archive dans quatre récits de Pierre Bergounioux, La Maison rose, Miette, B-17 G et La Mort de Brune, depuis les photographies anciennes jusqu’à l’édifice qui abrite les archives elles-mêmes. Par une appropriation dynamique où le récit convoque l’archive pour débattre avec elle et la mettre à l’épreuve, ces textes l’incorporent au projet d’ensemble de l’oeuvre attachée à la compréhension de ce qui du passé détermine le présent.

This thesis explores solo performance in New Zealand. That solo performance has been widely used in New Zealand's relatively brief theatre history is usually ascribed to the economy, manoeuvrability and adaptability of the form - common reasons for the popularity of solo performance elsewhere as well. But this thesis considers solo performance as a kind of theatre that has been suited to New Zealand in a distinctive way. In particular, I argue that solo performance has emerged on the margins of mainstream theatre in New Zealand as a means of actively engaging with a sense of isolation that typifies the post-colonial New Zealand experience. The ability of the solo performance to move between remote rural settlements and urban centres has connected these New Zealand communities in a way that is unusual for theatre in New Zealand. Furthermore, a solo performer speaking directly to an audience about the experience of living in New Zealand allows for an intimate interaction with a traditionally stoic and laconic masculine society. In this thesis, I make a case for three solo performances where it is possible to see, in the representation of a search for what it means to be a New Zealander, a theatrical contribution to nation-building: The End of the Golden Weather (1959), Coaltown Blues (1984) and Michael James Manaia (1991). However, in a subsequent chapter, I look at solo performances in New Zealand that might better be understood within global movements such as feminism and multiculturalism. I argue that this shift has depleted the power that the form once held to comment upon New Zealand identity and to assist in the search for national identity. I conclude the thesis by considering how ongoing theatre practice may be informed by the experience of solo performance in New Zealand.

Drama has been the slowest of the arts to develop an authentic New Zealand 'voice.' This thesis focuses on the work of five playwrights: Bruce Mason, James K. Baxter, Mervyn Thompson, Renée and Robert Lord, all of whom have set out to identify such a 'voice' and in so doing have brought about a metamorphosis in the nature of New Zealand drama. New Zealand has traditionally been regarded as being on 'the margin' in relation to the dominant culture of the colonizer (the Eurocentre). Before Bruce Mason began to challenge this 'centre' of power in the early 1950s, New Zealand playwrights were so intimidated by the Eurocentre that they usually set their plays in Europe, particularly in England, in order to make them acceptable to their audiences. Mason proposed that 'the margin' of New Zealand, rather than being seen as inferior, should be redefined as a fertile place capable of nurturing a new individual dramatic form quite distinct from colonial norms. All of my chosen playwrights have insisted upon the intrinsic value of a two-tiered concept of 'the margin.' By setting their plays (wherever possible) in the country of their birth, highlighting New Zealand social issues and in the process persuading theatre-going audiences that plays about this country are worth watching, they have given new life to 'the margin' (the culture of New Zealand as a whole). At the same time all of these five playwrights have recognized that minority groups - 'voices' from 'the outer margin' in relation to the Pakeha 'inner margin' of power - have been largely unrepresented or misrepresented in New Zealand plays. They have advocated the vital importance of women's 'voices,' Māori 'voices' and gay 'voices,' for example, in their exploration of a more sophisticated and inclusive understanding of what constitutes our national identity. Moreover, in a period of less than forty years, they have helped to facilitate the transition of New Zealand theatre from amateur to professional status and have been instrumental in providing the practical framework whereby future New Zealand playwrights may find an outlet for their work.

Australia is home to an incredible diversity of native animals. While Australian animals are among the most unique in the world, they are also among the most endangered, with hundreds currently on the brink of extinction. We must act quickly if we are to save these species, as once gone, they are gone forever.
 
 Extinct is a collection of artworks from established and emerging Australian fine artists, each depicting an Australian animal that has already, for various reasons, tumbled over the edge into extinction. Extinct laments their loss, but also celebrates their former existence, diversity and significance. The stunning artworks are accompanied by stories of each animal, highlighting the importance of what we have lost, so that we appreciate what we have not lost yet.
 
 Extinct features artworks from Sue Anderson, Brook Garru Andrew, Andrew Baines, Elizabeth Banfield, Sally Bourke, Jacob Boylan, Nadine Christensen, Simon Collins, Lottie Consalvo, Henry Curchod, Sarah Faulkner, Dianne Fogwell, David Frazer, Martin George, Bruce Goold, Eliza Gosse, Simone Griffin, Johanna Hildebrandt, Miles Howard-Wilks, Nick Howson, Brendan Huntley, Ben Jones, Alex Latham, Rosemary Lee, Amanda Marburg, Chris Mason, Terry Matassoni, Rick Matear, Eden Menta, Reg Mombassa, Tom O'Hern, Bernard Ollis, Emma Phillips, Nick Pont, Geoffrey Ricardo, Sally Robinson, Anthony Romagnano, Gwen Scott, Marina Strocchi, Jenny Watson and Allie Webb.
 

The notorious “silent piece” 4'33 (1952) by John Cage is a seminal point of convergence for visual and acoustic arts: each performance of the piece offers an acoustic and visual uniqueness, which defies repetition. The equivalent in visual arts is Robert Rauschenberg’sWhite Paintings(1951), credited by Cage as inspirational. Around the same time and without knowing the works by Cage and Rauschenberg, Yves Klein and Guy Debord also created works related to silence, emptiness, and void. This chapter reflects on the similar and different types of absence, reduction, and various kinds of “nothingness” involved in these historical works. The legacy of the “aesthetics of absence” to the present day is presented in a typology of performing, recording, and remediating silence in works by Nam June Paik, Bruce Nauman, Manon De Boer, and others. The chapter also analyzes the complex relation of silence and void in these contemporary practices.