scholarly journals A Squeeze of the Hand

2019 ◽  
Vol 3 (1) ◽  
pp. 1-9
Author(s):  
Jon Cotner
Keyword(s):  
New York ◽  
New York City ◽  
Health Food ◽  
Central Park ◽  
Metropolitan Museum Of Art ◽  
Metropolitan Opera ◽  
Health Food Store ◽  
Japanese Word ◽  
Union Square ◽  
Prospect Park

We recorded forty-five-minute dialogues for thirty straight days around New York City. Half these talks took place at a Union Square health-food store that we call “W.F.” Other locations included MoMA, the Metropolitan Museum of Art, the Metropolitan Opera House, Central Park, Prospect Park, and a Tribeca parking garage. What follows is our twentieth conversation. Here sickness, emptiness, a train delay, and an argument seem to prefigure disaster and the project’s sudden end. But this disaster—much like the two-character Japanese word for “crisis”: the first one meaning “danger,” the second, “opportunity”—offers clarities perhaps best expressed by a Japanese proverb:Luck turns Wait

Soils of Central Park in New York City

Soil Horizons ◽  
1984 ◽  
Vol 25 (4) ◽  
pp. 18 ◽  
Author(s):  
Gerald W. Olson
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Central Park

International Opera in Nineteenth-century New York

2020 ◽  
pp. 244-269
Author(s):  
Karen Ahlquist
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
New York City ◽  
World War I ◽  
Buenos Aires ◽  
Considerable Extent ◽  
World War ◽  
Metropolitan Opera ◽  
The City

This chapter charts how canonic repertories evolved in very different forms in New York City during the nineteenth century. The unstable succession of entrepreneurial touring troupes that visited the city adapted both repertory and individual pieces to the audience’s taste, from which there emerged a major theater, the Metropolitan Opera, offering a mix of German, Italian, and French works. The stable repertory in place there by 1910 resembles to a considerable extent that performed in the same theater today. Indeed, all of the twenty-five operas most often performed between 1883 and 2015 at the Metropolitan Opera were written before World War I. The repertory may seem haphazard in its diversity, but that very condition proved to be its strength in the long term. This chapter is paired with Benjamin Walton’s “Canons of real and imagined opera: Buenos Aires and Montevideo, 1810–1860.”

Chicago's Auditorium Building: Opera or Anarchism

1998 ◽  
Vol 57 (2) ◽  
pp. 128-159 ◽  
Author(s):  
Joseph M. Siry
Keyword(s):  
New York ◽  
New York City ◽  
Social History ◽  
Chicago School ◽  
Paris Opera ◽  
Metropolitan Opera ◽  
History Of ◽  
Opera House ◽  
Opera Houses

Adler and Sullivan's Auditorium Building in Chicago (1886-1890) is here analyzed in the context of Chicago's social history of the 1880s. Specifically, the building is seen as a capitalistic response to socialist and anarchist movements of the period. The Auditorium's principal patron, Ferdinand W. Peck, created a theater that was to give access to cultural and civic events for the city's workers, to draw them away from both politicized and nonpoliticized "low" urban entertainments. Adler and Sullivan's theater was to serve a mass audience, unlike opera houses of the period, which held multiple tiers of boxes for privileged patrons. This tradition was represented by the Metropolitan Opera House in New York City (1881-1883). Turning away from works like the Paris Opéra, Peck and his architects perhaps sought to emulate ideas of other European theaters of the period, such as Bayreuth's Festspielhaus (1872-1876). Sullivan's interior had an ornamental and iconographic program that was innovative relative to traditional opera houses. His design of the building's exterior was in a Romanesque style that recalled ancient Roman monuments. It is here compared with other Chicago buildings of its era that represented high capital's reaction to workers' culture, such as Burnham and Root's First Regiment Armory (1889-1891), Peck's own house (1887), and the Chicago Athenaeum (1890-1891). The Auditorium's story invites a view of the Chicago School that emphasizes the role of patrons' ideological agenda rather than modern structural expression.

News Notes

1938 ◽  
Vol 31 (3) ◽  
pp. 139-141
Author(s):  
Mary Kelly ◽  
H. G. Tiedeman
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Central Park

The annual open luncheon meeting sponsored jointly by the Association of Mathematics Chairmen and the Association of Teachers of Mathematics of New York City will be held on Saturday, March 12, 1938, at 12:30 P.M., at the Essex House, 160 Central Park South, New York City.

Untimely Love: The Aesthetics and Politics of Anachronism in The Age of Innocence

2020 ◽  
Vol 53 (2) ◽  
pp. 254-273
Author(s):  
John Sampson
Keyword(s):  
New York ◽  
Aesthetics And Politics ◽  
Free Love ◽  
Central Park ◽  
Metropolitan Museum Of Art ◽  
Modern Novel ◽  
Political Implications ◽  
The Age Of Innocence ◽  
The Aesthetic ◽  
Emma Goldman

Abstract “Untimely Love” reassesses the aesthetic choices and political implications of Edith Wharton's The Age of Innocence (1920), first by highlighting a surprising overlap between Wharton and the anarcho-feminist Emma Goldman. Wharton's novelistic critique of New York society's marriage rituals, spurred by an unconsummated affair between Newland Archer and his wife's cousin Ellen Olenska, follows Goldman in positing an antagonism between the hierarchies of marriage and the equalizing nature of love. For Wharton, however, this antagonism will not be resolved with free love one day triumphing. To explain her position, the article turns to Jacques Rancière's unresolvable antagonism between “politics” and “the police,” which has an aesthetic analogue in the clash between the formally anarchic modern novel and premodern hierarchies of genre. Wharton unearths 1870s New York like an archeologist to expose how its patriarchal logic polices women's sexuality within and outside marriage, making expressions of love quite rare. Wharton unleashes the disruptive power of love through formal experimentation, temporarily subverting her own historical realism, when she has Ellen and Archer visit the Metropolitan Museum of Art in Central Park, which did not yet exist in the novel's timeframe. The Met's impossible location and its uncataloged holdings open to public viewing upset New York's social and aesthetic hierarchies. It is in this anachronistic and democratic context that Archer first sees “love visible” in the world, rearranging his entire worldview. Wharton, in a related political gesture of aesthetic dissensus, aligns her untimely lovers with the museum's suddenly visible ghosts of history.

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