Picturing Fractions

1947 ◽  
Vol 40 (8) ◽  
pp. 385-386
Author(s):  
Ann Lawlor ◽  
Caroline Hatton Clark
Keyword(s):  
New York ◽  
New York City ◽  
Student Teaching ◽  
York City ◽  
Teaching Experience ◽  
Current Theory ◽  
Theory And Practice ◽  
The Third ◽  
Child Education

My class in Methods of Teaching Arithmetic at Child Education Foundation, New York City, is composed of students in the third year of their teachertraining course. The students have had no teaching experience except a little student teaching. Their arithmetic course is a three-strand course. One strand deals with studying and evaluating current theory and practice in the teaching of arithmetic.

Performance and Choreography in New York and Beyond (1940–1956) and Jacob’s Pillow (1940s–1970s)

2019 ◽  
pp. 170-202
Author(s):  
Nancy Lee Chalfa Ruyter
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Regular Feature ◽  
Story Line ◽  
The Third ◽  
The 1960S

Chapter 7 begins with information about La Meri’s performances in New York City and on tours—as a soloist and with company members such as her sister Lilian Newcomer, Peter di Falco, Rebecca Harris, and others. The second section introduces what La Meri termed “ethnic ballets,” new works she choreographed (usually with a story line and characters) that incorporated the technique of one of the international dance languages she had studied. Since most audience members were unfamiliar with what they were viewing, explanations were a useful and appreciated addition. Lilian therefore gave introductions to each dance, and this became a regular feature of La Meri’s concerts. The third section covers her involvement in the Jacob’s Pillow Dance Festival from the 1940s to the 1960s.

Paris, May 1952

Tempo ◽  
1972 ◽  
pp. 15-18
Author(s):  
Colin Mason
Keyword(s):  
New York ◽  
New York City ◽  
20Th Century ◽  
York City ◽  
The Third ◽  
Rite Of Spring ◽  
Billy Budd ◽  
Cultural Freedom

The Paris Festival of Masterpieces of the 20th Century lasted throughout May, and few had time to see it all. Unlike many foreign festivals that spread themselves out over a similar period, it was crammed tight with good things throughout, with something of interest every night except Sundays from 30 April to 1 June. The third week was the climax of the festival, and in general the last two weeks were more exciting than the first two, which were apparently meant to draw the Parisian bourgeoisie, being devoted mainly to ballet by the New York City Ballet, and containing nothing in music worth a journey abroad except perhaps two performances by the Vienna Opera of Wozzeck, which is rapidly becoming as familiar as The Rite of Spring. In the last two weeks, the festival's so-called literary conferences on cultural freedom were held, and to give these the best possible chance of wide publicity, the organizers had cleverly saved up their musical trump cards until then, with what was virtually a Stravinsky-Bartók-Schoenberg week, Stravinsky himself conducting his two late symphonies and Oedipus Rex, with Cocteau as producer, designer, narrator (and of course librettist), followed in the last week by Billy Budd conducted by Britten, excerpts from Milhaud's setting of the Oresteia, and Virgil Thomson's Four Saints in Three Acts.

scholarly journals The Films of Julian Schnabel

2011 ◽  
Author(s):  
Alex Britton
Keyword(s):  
New York ◽  
New York City ◽  
20Th Century ◽  
York City ◽  
Art Market ◽  
Film Festivals ◽  
Late 20Th Century ◽  
The Third ◽  
York Review

CHARACTERIZATION, REVISIONISM AND MISREPRESENTATION IN THE FILMS OF JULIAN SCHNABEL A few years ago after viewing the 2007 film The Diving Bell and the Butterfly, the third film by contemporary director and (former) star painter Julian Schnabel, a friend of New York Review of Books writer Sanford Schwartz prophetically announced to the critic, "Apparently it's easier to make a great movie than a great painting."(1) Indeed, Schnabel's ascension to art stardom has taken a truly enigmatic path. Initially conjuring his success as a painter within the elitist landscape of the late 20th century New York City art market, today we find Schnabel strutting down the red carpet of the Cannes and Toronto international film festivals after writing and directing three films while armed with seemingly zero experience in the field of filmmaking or screenwriting. As a painter, Schnabel's work is largely classified as "Neo-Expressionist", belonging to Postmodernism's timely...

The Ceremony is about to Begin: Performance and 1968

2018 ◽  
Author(s):  
Martin Halliwell
Keyword(s):  
New York ◽  
New York City ◽  
Los Angeles ◽  
Case Studies ◽  
York City ◽  
Columbia University ◽  
New Haven ◽  
The Third ◽  
National Convention ◽  
Cultural Visibility

Cultural visibility was one of its most effective mechanisms of protest in the late 1960s via posters, slogans, songs and images that gave collective purpose to ideas and campaigns. This chapter looks at performance of protest, looking specifically at the way that protest was “staged” as musical and theatrical spectacle in 1968. It focuses on three case studies: the musical spectacle of the Los Angeles rock group The Doors and the folk singer Phil Ochs who performed at the Chicago Democratic National Convention in August 1968; the theatrical experimentation of The Living Theatre’s radical play Paradise Now which was honed in Paris and performed first in New Haven, Connecticut in September 1968; and the British filmmaker Peter Whitehead’s ambivalent take on New York City in his 1969 film The Fall, the third part of which focuses on the student sit-in at Columbia University in April 1968.

Interview with Mike Leigh

2017 ◽  
Author(s):  
Sean O'Sullivan
Keyword(s):  
New York ◽  
New York City ◽  
World War Ii ◽  
York City ◽  
Italian Cinema ◽  
World War ◽  
The Third ◽  
German Cinema ◽  
British Cinema

This chapter presents a distillation of a series of interviews conducted by the author. Two of these took place in London in July 2004; the third took place in New York City in October 2004. Topics discussed in these interviews include Mike Leigh's views about generations of film movements based in certain countries, such as Italian cinema during and after World War II, or German cinema in the twenties; three clear clusters in British cinema; whether he has ever felt the urge to be more literal about being a northern filmmaker; how he turns improvisations into a story; how the visual, or cinematic, enters into his process; if there is anything he misses about working in television; and the issue of closure in his films.

Primary Arithmetic: Children Inventing their Own Procedures

1993 ◽  
Vol 41 (4) ◽  
pp. 200-203
Author(s):  
Constance Kamii ◽  
Barbara A. Lewis ◽  
Sally Jones Livingston
Keyword(s):  
New York ◽  
New York City ◽  
Public School ◽  
Present Article ◽  
Private School ◽  
York City ◽  
Computational Algorithms ◽  
Supporting Evidence ◽  
The Third ◽  
Children’S Thinking

In an article that appeared in the Arithmetic Teacher, Madell (1985) described findings from a private school in New York City in which children were not taught any algorithms until the end of the third grade. Without algorithms, the children devised their own ways of solving computation problems. Madell's observation of the children's thinking led him to conclude that “children not only can but should create their own computational algorithms” (p. 20) and that “children can and should do their own thinking” (p. 22). The purpose of the present article is to reiterate Madell's call for reform, with supporting evidence from a public school near Birmingham, Alabama.

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