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Relevant bibliographies by topics / Harrison

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Academic literature on the topic 'Harrison'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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Journal articles on the topic "Harrison"

1

Taylor, Michael A., and John Fowles. "Lost & Found: 66 James Harrison (1819-1864)." Geological Curator 4, no. 3 (1985): 174. http://dx.doi.org/10.55468/gc754.

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Dr M.A. Taylor (Area Museum Council for the South West, c/o City of Bristol Museum and Art Gallery) and John Fowles (Lyme Regis (Philpot) Museum) write: 'It is now possible to answer the query made by one of us (J.F.) concerning the whereabouts of Harrison's correspondence with pioneer palaeontologists, summarised by Lang (1947), and of Harrison's juvenile specimen of the eponymous dinosaur Scelidosaurus harrisoni, figured and described by Owen (1861). All had been bequeathed to the Museum in 1937 by Harrison's youngest daughter. Miss Mary Harrison, together with other books and fossils. John

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2

Barney, Timothy. "Richard Edes Harrison and the Cartographic Perspective of Modern Internationalism." Rhetoric and Public Affairs 15, no. 3 (2012): 397–433. http://dx.doi.org/10.2307/41940608.

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Abstract Air-age glob alism was a discursive phenomenon throughout the development of World War II that accounted for the rapid "shrinking" of the world through air technologies and the internationalization of American interests. Cartography became air-age globalism’s primary popular expression, and journalistic cartographers such as Richard Edes Harrison at Fortune magazine introduced new mapping projections and perspectives in response to these global changes. This essay argues that Harrisons mapping innovations mediate a geopolitical shift in America toward a modern, image-based internation

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3

Bovine, Gary. "Harrison's Grooves – Edwin Harrison (1779–1847) or Edward Harrison (1766–1838)?" Journal of Medical Biography 23, no. 1 (2013): 17–19. http://dx.doi.org/10.1177/0967772013506679.

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4

Heideman, Paul M. "Hubert Harrison: The Voice of Harlem Radicalism, 1883–1918, Jeffrey B. Perry, New York: Columbia University Press, 2009." Historical Materialism 21, no. 3 (2013): 165–77. http://dx.doi.org/10.1163/1569206x-12341315.

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AbstractJeffrey B. Perry’s biography of Hubert Harrison restores the legacy of a central figure in the history of Black radicalism. Though largely forgotten today, Harrison was acknowledged by his early-twentieth-century peers as ‘the father of Harlem radicalism’. Author of pioneering analyses of white supremacy’s role in American capitalism, proponent of armed self-defence among African-Americans, and anti-colonial intellectual, Harrison played a central role in the development of Black politics in the United States. This review traces Harrison’s journey from socialist organiser to Black nati

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5

Harrison, Renee K. "Among the Cloud of Witnesses: Rosemary Radford Ruether." Feminist Theology 31, no. 3 (2023): 338–50. http://dx.doi.org/10.1177/09667350231163314.

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Harrison offers a tribute to Rosemary Radford Ruether in the light of a host of womanist and feminist scholars who helped shape and inform the scholar and teacher she is today. Although Harrison has never met Ruether, the two women have something in common: Howard University. Ruether’s legacy lives on, and this pioneer, who has joined the cloud of witnesses, continues to influence Harrison’s vocational pathways.

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6

Moonie, Stephen. "Our Cherished Moments of Involuntary Realism: Charles Harrison, Modernism, and Art Writing." Arts 11, no. 1 (2022): 23. http://dx.doi.org/10.3390/arts11010023.

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In May 1969, Charles Harrison reviewed Morris Louis’ exhibition at the Waddington Galleries in London. Months later, he helped to install the exhibition When Attitudes Become Form at the Institute of Contemporary Arts. Harrison also wrote the catalogue text, published in Studio International. Those two texts marked a significant point in Harrison’s career. They were indicative of his disillusionment with modernist criticism, and of his burgeoning interest in the work of post-minimal and conceptual art. In this respect, the two essays mark a transition from modernism to post-modernism in the sp

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7

CHACKO, RACHEL. "Unheard Complexities in Lou Harrison's Main Bersama-sama and Bubaran Robert." Journal of the Society for American Music 7, no. 3 (2013): 265–94. http://dx.doi.org/10.1017/s1752196313000229.

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AbstractCentral among Lou Harrison's pioneering East-West fusions, the works for gamelan and Western instruments are frequently cited either as exemplars of the composer's Californian, postmodern musical sensibility or as noteworthy instances of cultural hybridity. Close examination of Main Bersama-sama (1978) and Bubaran Robert (1976, rev. 1981), however, shows that these pieces can and should be understood for what they tell us about Harrison's deep engagement with melody. A self-proclaimed “melode,” Harrison has mistakenly been regarded as a West Coast musical dabbler, writing tuneful piece

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8

Burgess, Samantha. "Commentary on Harrison: "Social Mechanisms of Stylistic Change"." Empirical Musicology Review 15, no. 3-4 (2021): 265–67. http://dx.doi.org/10.18061/emr.v15i3-4.8134.

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This is a review of Harrison's (2021) paper "Social Mechanisms of Stylistic Change: A Case Study from Early 20th-Century France." In this study, Harrison found that the Apaches, a group of composers known for pushing stylistic boundaries in 20th-century France, employed slightly more instances of notated meter change in their music than a control group of their peers, but that the use of notated meter change also depended on other factors such as composers' generational membership. This commentary primarily explores Harrison's methodologies: while the stringent definitions Harrison defines for

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9

Fogarty, William. "The Rhubarbarian’s Redress: Tony Harrison and the Politics of Speech." Twentieth-Century Literature 66, no. 2 (2020): 207–32. http://dx.doi.org/10.1215/0041462x-8536165.

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Taking up the persistent question of poetry’s sociopolitical capacities by considering how Harrison’s poems depend on the power of local speech, this article examines how they cast his working-class northern English dialect in meter and rhyme as a way to scrutinize social hierarchies. Marshaling various forms of speech, including his own vernacular, into traditional patterns of poetry, Harrison interrogates classist notions about nonstandard speech and its relation to that tradition while exploring the disturbances produced by class separation. Where poetry scholarship in general and Harrison

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10

MILLER, LETA E. "Lou Harrison and the Aesthetics of Revision, Alteration, and Self-Borrowing." Twentieth-Century Music 2, no. 1 (2005): 79–107. http://dx.doi.org/10.1017/s1478572205000204.

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Lou Harrison seems always to have been re-examining his older works, revising or updating them, reworking them into movements of longer compositions, or creating alternative versions. This article examines Harrison’s revisions, alterations, and self-borrowings in terms of both technique and aesthetic objectives. Harrison’s first reworking of a set of short pieces into an extended composition, the Suite for Symphonic Strings of 1960, resulted in a poly-stylistic work he found so attractive that he not only used the self-borrowing technique in later works (such as the Third Symphony) but also in

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