Featured interview with Elektra Records founder and FAI Lifetime Achievement Award Recipient, Jac Holzman. Cme to hear a retrospective conversation with one of the early fixtures of the American Folk Music revival who produced and popularized some of the most iconic acts of the 60s and 70s.

Thesis (M.A.R.)--Emmanuel School of Religion, 1993. / Vita. Includes bibliographical references (leaves 117-121).

Thesis (M.A.) in History--University of Maine, 2006. / Includes vita. Includes bibliographical references (leaves 156-164).

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Dispersal of aquatic insects is difficult to measure with traditional direct trapping methodologies. However, genetic markers are an ideal surrogate to indirectly infer dispersal and gene flow. For this research, a portion of the cytochrome oxidase I gene was used to evaluate gene flow and dispersal of Epeorus pleuralis located in the northern Appalachian headwater streams of the Allegheny, Genesee, and Susquehanna watersheds. A total of 536 basepairs from 16 individual insects were used for analysis. Thirteen haplotypes were discovered, two of which were shared between the Allegheny and Genesee streams. Although no shared haplotypes were found in the Susquehanna, analysis of molecular variance results suggest that there is not a significant genetic difference between the three populations and attributes the majority of variation to within population differences.

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Technologies new and old in concert with a twenty-first century folk music revival have introduced historical music from Appalachia to a new generation of music fans, within the region, across the nation, and around the world. One unforeseen consequence of this situation is that this new generation is being inundated with a flood of regional stereotypes associated with that older music--stereotypes that are unleashed on the new generation when historical recordings are reissued (or issued for the first time, in the case of some field recordings). In my presentation, I'll discuss several case studies from my own work as a producer of historical music releases in which stereotypes either were subtly embedded in reissued recordings or were overtly associated with the music or the musicians featured on those releases. I'll discuss some of my efforts as producer and liner notes writer to confront stereotypes in such a way as to help a new generation defuse stereotypes while at the same time find meaning, value, and enjoyment in older recordings that are at one level "politically incorrect" or even offensive.

No description available.

<p>In recent years it has been generally accepted that the difficulties in the text of Shakespeare's primarily from the fact that for some reason or other Shakespeare left the play unfinished. Although critics have advanced several theories, some biographical and some dramatic, to explain why Shakespeare might have abandoned the play, none of these explanations sufficiently considers the formidable problems surrounding the dramatic presentation of misanthropy. Because the unqualified hate is an emotion which most human beings find repugnant. it is difficult to present a genuine misanthrope as a sympathetic character. For this reason the most successful dramatic of misanthropy, such as Moliere's forester or Menander's, have aimed the audience the chance to ridicule the misanthrop's even while it sympathizes Nith some of his condemnations of humanity. This tendency was particularly intense in the early seventeenth century, when the story of Timon, the arch-misanthrope, was commonly used as a cautionary example of degenerate behaviour. Shakespeare• s problems would have been further increased by the fact that misanthropy finds expression chiefly through words rather than through deeds, and thus does not easily lend itself to a theatrical presentation. Because the misanthrope normally reveals his hatred of mankind in long tirades; and because his condition is not subject to change or development, there is always the danger that a play containing such a character will degenerate into a static series of abusive debates. This danger is especially prevalent then, as in the case of Shakespeare's Timon, the misanthrope becomes the central figure.</p> <p>This thesis examines Shakespeare's depiction of misanthropy in the light of Elizabethan attitudes and practical stage considerations. In the first two chapters, I study sixteenth and early seventeenth century treatments of misanthropy and the Timon story in an effort to discover what preconceived ideas an Elizabethan audience might have brought to Shakespeare's play. I have discovered that a significant number of didactic writers vigorously condemned misanthropy, either as a beastly vice born of envy, or as a symptom of insanity. So intent were they on centering Timon's behaviour, that they frequently altered Plutarch's account of the Timon story to depict the arch-misanthrope as an active seeker after man's destruction. By contrast, the period's literary works tended to depict the misanthrope as a figure of fun, either by exposing him to direct ridicule, or by associating him physically or metaphorically with the figure of the Renaissance Fool. The third chapter introduces two non-Shakespearean stage misanthropes, Bohan from Greene's James IV, and the protagonist of the anonymous Timon Play, and examines the difficulties surrounding their presentation. In the fourth chapter I discuss Shakespeare's use of misanthropy as a character trait in several figures who are not themselves misanthropes. Chapter five and six deal with two Shakespearean comic misanthropes, Jaques from As You Like It and Thersites from Troilus and Cressida, and examine the ways in which Shakespeare has surmounted the theatrical problems outlined earlier. Finally, I offer a detailed study of Timon of Athens, to show how Shakespeare attempts to build up sympathy for Timon in the first three: acts through this behaviour of the Athenians, the comments of Flavius and Apemantus, and the Alcibiades subplot; and then counts on this buildup of sympathy to carry through to the end of the play. I conclude, however, that for all its subtlety cf construction, Timon of Athens fails as a tragedy, primarily because of the intransigence of its subject matter. I believe that my approach should prove useful to a more detailed understanding of the play's dramatic structure.</p> / Doctor of Philosophy (PhD)

The Catoctin Volcanic Province represents a sequence of rift related tholeiitic magmas erupted during late Precambrian opening of the Iapetus ocean basin. Three transects have been mapped across the province in northern Virginia in order to demonstrate that there is a mappable stratigraphy and to provide a framework upon which to construct a chemical stratigraphy. Chemical analyses of multiple samples from single flows containing a contrast in fabric development and mineral assemblages indicate that portions of flows with poorly developed fabric and retaining igneous textures and relict clinopyroxenes have been least affected by hydration reactions and are more likely to retain igneous geochemical signatures. Using primarily the less mobile oxides TiO₂, AlO₃, MgO, FeO, and P₂O₅ the chemical stratigraphy for each traverse can be divided into chemical subunits. Each subunit can be modeled by fractional crystallization predominantly of plagioclase and clinopyroxene. Chemical discontinuities between subunits suggest new magma sources or rejuvination of existing magma chambers. The overall geochemical signature of the magmas can be modeled through gabbro fractionation from a picritic source. Sr isotopic data from only those samples that have been least affected by fluid interaction indicate the magmas evolved from a Sr isotopically depleted mantle source and the age of eruption was at approximately 570 Ma. A depleted Sr_i is in sharp contrast to enriched signatures for a sequence of proximally located tholeiites erupted during Mesozoic rifting between North America and northern Africa, suggesting that if the Mesozoic signature is reflecting contamination by a subducted slab component (Pegram, 1986) this contamination event must have been post Catoctin time. The 570 Ma age of eruption is the fIrst isotopically determined age that is consistent with stratigraphic and paleontologic data. When contrasted with dates of 650-730 for other rift related magmas in the southern and central Appalachians, the 570 Ma age suggests a two stage rift event, the first one failed while the second succeeded at opening the Atlantic ocean basin. / Ph. D.