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The telephone lay in pieces on George Cowan's office desk in the basement of Princeton's physics building. It was his first day as a graduate student in the fall of 1941. Down the hall, on the door of the cyclotron control room, a sign warned, "Don't let Dick Feynman in. He takes tools." On that day, the future Nobel Prize winner Richard Feynman needed a piece from his new office mate's phone, so he borrowed it without even introducing himself. Cowan's memoir is an engaging eyewitness account of how science works and how scientists, as human beings, work as well. In discussing his career in nuclear physics from the 1940s into the 1980s, Cowan weaves in intriguing anecdotes about a large cast of distinguished scientists--all related in his wry, self-deprecating manner. Besides his nearly forty-year career at Los Alamos National Laboratory, Cowan also helped establish banks in Los Alamos and Santa Fe, served as treasurer of the group that created the Santa Fe Opera, and in the late 1980s participated in founding the Santa Fe Institute and served as its first president. He anchored its interdisciplinary work in his quest to find "common ground between the relatively simple world of natural science and the daily, messy world of human affairs." Since the early 1990s Cowan has pursued a new interest in psychology and neuroscience to gain a deeper understanding of patterns of human behavior. This autobiography will appeal to anyone interested in a concise, intellectually engaged account of science and its place in society and public policy over the past seventy years.
David Henry Hwang’s beautiful, heartrending play featuring an afterword by the author – winner of a 1988 Tony Award for Best Play and nominated for the 1989 Pulitzer Prize Based on a true story that stunned the world, M. Butterfly opens in the cramped prison cell where diplomat Rene Gallimard is being held captive by the French government—and by his own illusions. In the darkness of his cell he recalls a time when desire seemed to give him wings. A time when Song Liling, the beautiful Chinese diva, touched him with a love as vivid, as seductive—and as elusive—as a butterfly. How could he have known, then, that his ideal woman was, in fact, a spy for the Chinese government—and a man disguised as a woman? In a series of flashbacks, the diplomat relives the twenty-year affair from the temptation to the seduction, from its consummation to the scandal that ultimately consumed them both. But in the end, there remains only one truth: Whether or not Gallimard's passion was a flight of fancy, it sparked the most vigorous emotions of his life. Only in real life could love become so unreal. And only in such a dramatic tour de force do we learn how a fantasy can become a man's mistress—as well as his jailer. M. Butterfly is one of the most compelling, explosive, and slyly humorous dramas ever to light the Broadway stage, a work of unrivaled brilliance, illuminating the conflict between men and women, the differences between East and West, racial stereotypes—and the shadows we cast around our most cherished illusions. M. Butterfly remains one of the most influential romantic plays of contemporary literature, and in 1993 was made into a film by David Cronenberg starring Jeremy Irons and John Lone.
By the early 1970s, an active bohemian colony had developed in Santa Fe and it became a cultural boom town. The number of art galleries went from two to a hundred. Besides the Santa Fe Opera, there came into being endless festivals: for art, music, literature, theater, movies, fashion, and the crafts of Indians and Spanish Americans. The city’s complex heritage of three interlocked cultures became “Santa Fe Style.” But the fifteen years between 1964 and 1980 held a special magic. And Eli Levin experienced it all: the fading generation of older artists and the newly arriving younger generation; wild night life at Claude’s Bar; artist’s battles with conservative arts organizations; questionable successes and tragic failure of careers; exemplary examples of lifetime dedication; and a number of suppressed scandals, one even involving possible murders. Packed with amusing anecdotes about the various artists with whom Levin painted, plotted and partied, this vivid memoir testifies to the exciting rebirth and burgeoning growth of one of this country’s most well known art colonies.
At every turn in the development of what we now know as the western, women writers have been instrumental in its formation. Yet the myth that the western is male-authored persists. Westerns: A Women's History debunks this myth once and for all by recovering the women writers of popular westerns who were active during the late nineteenth and early twentieth centuries when the western genre as we now know it emerged. Victoria Lamont offers detailed studies of some of the many women who helped shape the western. Their novels bear the classic hallmarks of the western--cowboys, schoolmarms, gun violence, lynchings, cattle branding--while also placing female characters at the center of their western adventures and improvising with western conventions in surprising and ingenious ways. In Emma Ghent Curtis's The Administratrix a widow disguises herself as a cowboy and infiltrates the cowboy gang responsible for lynching her husband. Muriel Newhall's pulp serial character, Sheriff Minnie, comes to the rescue of a steady stream of defenseless female victims. B. M. Bower, Katharine Newlin Burt, and Frances McElrath use cattle branding as a metaphor for their feminist critiques of patriarchy. In addition to recovering the work of these and other women authors of popular westerns, Lamont uses original archival analysis of the western-fiction publishing scene to overturn the long-standing myth of the western as a male-dominated genre.
A guide to historically significant places, events & things to do -- cover.
Through historical and contemporary examples, this book critically explores the relevance and expressions of multicultural representation in western European operatic genres in the modern world. It reveals their approaches to reflecting identity, transmitting meaning, and inspiring creation, as well as the ambiguities and contradictions that occur across the time and place(s) of their performance. This collection brings academic researchers in opera studies into conversation with previously unheard voices of performers, critics, and creators to speak to issues of race, ethnicity, and culture in the genre. Together, they deliver a powerful critique of the perpetuation of the values and practices of dominant cultures in operatic representations of intercultural encounters. Essays accordingly cross methodological boundaries in order to focus on a central issue in the emerging field of coloniality: the hierarchies of social and political power that include the legacy of racialized practices. In theorizing coloniality through intercultural exchange in opera, authors explore a range of topics and case studies that involve immigrant, indigenous, exoticist, and other cultural representations and consider a broad repertoire that includes lesser-known Canadian operas, Chinese- and African-American performances, as well as works by Haydn, Strauss, Puccini, and Wagner, and in performances spanning three continents and over two centuries. In these ways, the collection contributes to the development of a more integrated understanding of the interdisciplinary fields inherent in opera, including musicology, sociology, anthropology, and others connected to Theatre, Gender, and Cultural Studies.
From the New York Times bestselling author of Looking for Mr. Goodbar—a haunting tale of forbidden love set against the backdrop of the American industrial revolution. This is the story of Emmeline Mosher, who, before her fourteenth birthday, was sent from her home on a farm in Maine to support her family by working in a cotton mill in Massachusetts. So begins the sixth novel by the author of Looking for Mr. Goodbar. But nothing Judith Rossner has written can prepare the reader for this haunting love story of a young girl thrust into one of America’s early industrial towns, then drawn into a love affair for which she is far from ready. In Emmeline, Rossner brings us the intensity, grasp of character, and storytelling ability that have distinguished her novels of modern women.
Anyone who has even a casual acquaintance with the history of New Mexico in the nineteenth century has heard of the Santa Fe Ring—seekers of power and wealth in the post–Civil War period famous for public corruption and for dispossessing land holders. Surprisingly, however, scholars have alluded to the Ring but never really described this shadowy entity, which to this day remains a kind of black hole in New Mexico’s territorial history. David Caffey looks beyond myth and symbol to explore its history. Who were its supposed members, and what did they do to deserve their unsavory reputation? Were their actions illegal or unethical? What were the roles of leading figures like Stephen B. Elkins and Thomas B. Catron? What was their influence on New Mexico’s struggle for statehood? Caffey’s book tells the story of the rise and fall of this remarkably durable alliance.