1 - 9 of 9 results for: richard powers

The vast majority of photographs printed and consumed around the world appeared on the pages of magazines and newspapers. These pictures were almost always heavily edited, presented in carefully devised sequences, and printed alongside text. Through firsthand visual analysis of the picture presses of yesteryear, this course considers the ongoing meaning, circulation, and power of images as they shape a worldview in Russia as well as the US. In looking at points of contact between two world powers, we will cover the works of a wide array of authors, photographers, photojournalists and photographed celebrities (Lev Tolstoy, Margaret Bourke-White, Russian satirists Ilf and Petrov, John Steinbeck and Richard Capa, and many others). We will explore the relationship between photojournalistic practice of the past with that of our present, from the printed page to digital media, as well as the ethical quandaries posed by the cameras intervention into/shaping of modern history. No knowledge of Russian is required.

The vast majority of photographs printed and consumed around the world appeared on the pages of magazines and newspapers. These pictures were almost always heavily edited, presented in carefully devised sequences, and printed alongside text. Through firsthand visual analysis of the picture presses of yesteryear, this course considers the ongoing meaning, circulation, and power of images as they shape a worldview in Russia as well as the US. In looking at points of contact between two world powers, we will cover the works of a wide array of authors, photographers, photojournalists and photographed celebrities (Lev Tolstoy, Margaret Bourke-White, Russian satirists Ilf and Petrov, John Steinbeck and Richard Capa, and many others). We will explore the relationship between photojournalistic practice of the past with that of our present, from the printed page to digital media, as well as the ethical quandaries posed by the cameras intervention into/shaping of modern history. No knowledge of Russian is required.

Introduction to non-competitive social dance. The social dances found in today's popular culture include 3 kinds of swing, 3 forms of waltz, tango, salsa, bachata, cha-cha and nightclub two-step. The course also includes tips for great partnering, enhancing creativity, developing personal style, stress reduction, musicality, and the ability to adapt to changing situations. The emphasis on comfort, partnering and flexibility will enable students to dance with partners whose experience comes from any dance tradition. If the class is filled, register to get on the waitlist.

Studio technique of two hundred years of waltzing: Regency era waltz (1816), Vienna in the 1830s, redowa and mazurka waltz variations, waltz in 5/4 time, the Russian Mazurka Quadrille, pivots, 20th-century hesitation waltz, tango waltz, Parisian valse musette, 1930s Boston, 1950s Bandstand-style waltz, swing waltz. Each form is explored for possible adaptation to today's non-competitive social dancing. Prerequisite: Dance 46. Many students are taken from the waiting list. If the class is filled, register to get on the waitlist.

Intermediate non-competitive social ballroom dance. The partner dances found in today's popular culture include Lindy hop, Viennese waltz, hustle, traveling foxtrot, plus intermediate/advanced levels of cross-step waltz and nightclub two-step. The course continues further tips for great partnering, enhancing creativity, developing personal style, stress reduction, musicality, and the ability to adapt to changing situations. Prerequisite: Dance 46. Many students are taken from the waiting list. If the class is filled, register to get on the waitlist.

Intermediate non-competitive social ballroom dance. Intermediate/advanced waltz variations, redowa and Bohemian National Polka are followed by intermediate/advanced tango, cha-cha, salsa and bachata. The course continues further tips for great partnering, enhancing creativity, developing personal style, stress reduction, musicality, and the ability to adapt to changing situations. Prerequisite: Dance 46. Dance 156 may immediately follow Dance 46. Many students are taken from the waiting list. If the class is filled, register to get on the waitlist.

The vast majority of photographs printed and consumed around the world appeared on the pages of magazines and newspapers. These pictures were almost always heavily edited, presented in carefully devised sequences, and printed alongside text. Through firsthand visual analysis of the picture presses of yesteryear, this course considers the ongoing meaning, circulation, and power of images as they shape a worldview in Russia as well as the US. In looking at points of contact between two world powers, we will cover the works of a wide array of authors, photographers, photojournalists and photographed celebrities (Lev Tolstoy, Margaret Bourke-White, Russian satirists Ilf and Petrov, John Steinbeck and Richard Capa, and many others). We will explore the relationship between photojournalistic practice of the past with that of our present, from the printed page to digital media, as well as the ethical quandaries posed by the cameras intervention into/shaping of modern history. No knowledge of Russian is required.

The vast majority of photographs printed and consumed around the world appeared on the pages of magazines and newspapers. These pictures were almost always heavily edited, presented in carefully devised sequences, and printed alongside text. Through firsthand visual analysis of the picture presses of yesteryear, this course considers the ongoing meaning, circulation, and power of images as they shape a worldview in Russia as well as the US. In looking at points of contact between two world powers, we will cover the works of a wide array of authors, photographers, photojournalists and photographed celebrities (Lev Tolstoy, Margaret Bourke-White, Russian satirists Ilf and Petrov, John Steinbeck and Richard Capa, and many others). We will explore the relationship between photojournalistic practice of the past with that of our present, from the printed page to digital media, as well as the ethical quandaries posed by the cameras intervention into/shaping of modern history. No knowledge of Russian is required.