There are 4 messages in this issue.
Topics in this digest:
1. MUSIC: CLASSICAL: OPERA : MARKETING AND PUBLIC RELATIONS: TARGETED A
From: David P. Dillard
2. FYI What if your product MS XP or Vista key is stolen and use "kille
From: George Lessard
3. RECREATION : LEISURE AND FREE TIME UTILIZATION : RECREATION: HOBBIES
From: David P. Dillard
4. DICTIONARIES : REFERENCE: TOOLS: CLASSIC AND HISTORIC REFERENCE WORK
From: David P. Dillard
Messages
________________________________________________________________________
1. MUSIC: CLASSICAL: OPERA : MARKETING AND PUBLIC RELATIONS: TARGETED A
Posted by: "David P. Dillard" [EMAIL PROTECTED] jwneastro
Date: Thu Jan 18, 2007 4:01 am ((PST))
MUSIC: CLASSICAL: OPERA :
MARKETING AND PUBLIC RELATIONS: TARGETED AND SEGMENT MARKETING: YOUTH MARKET:
Opera Companies Targeting Children and Youths
Commentary: How can opera keep an audience?
By Edward Ortiz - Bee Arts Critic
<http://www.sacbee.com/124/story/78539.html>
When the Metropolitan Opera splashed "Madama Butterfly" over a Jumbotron
screen in Times Square in September, it was a signal that a brave new
world had arrived for opera.
It's a world where companies are willing to break the mold, shake up the
status quo and rethink their seasons to connect with younger audiences.
Failure to do so risks irrelevance.
The search for younger audiences is driving the efforts of opera companies
large and small across the U.S., and the Sacramento Opera is no exception.
<snip>
Opera America
Quick Opera Facts 2006
<http://www.operaamerica.org/pressroom/quickfacts2006.html>
In 2002, 25.3% of the U.S. opera audience was under the age of 35 years
old. (Source: National Endowment for the Arts)
Also found here:
<http://www.americanartsalliance.org/
americanartsalliance/Opera_at_a_glance.html>
A shorter URL for the above link:
<http://tinyurl.com/yokn57>
----------------------------------------
INTERVIEW WITH 2005 ECS CHAIRMAN'S AWARD WINNER, PLACIDO DOMINGO
(Conducted by Alvaro Domingo)
Education Commission of the States
<http://ecs.org/html/projectsPartners/
chair2005/PlacidoDomingo_interview.htm>
A shorter URL for the above link:
<http://tinyurl.com/yv4td2>
Quoting:
What is the importance of audience development and how can integrating the
arts in education contribute to the future of opera and the arts? What are
some of the reasons and rationale for supporting the arts in education and
why is it important that the arts are not left out of the curriculum?
Again, the most important result of this equation is to ensure the
continuance of the art form for generations of singers and audiences to
enjoy. It is extremely encouraging to see younger patrons in the arts. In
Washington, we are honored to have a collection of young couples in their
30's and 40's supporting the opera and its outreach programs. They have
young children themselves and have discovered the magic of opera and its
positive effect on the mind and soul. I believe that the arts in general,
and classical music specifically, contribute to an acquired sensitivity in
children. It has proven to even enhance their appreciation and
understanding of other subjects such as mathematics.
There are groups of popular music arising every day and although some are
short lived, others go on to long prosperous runs. No matter how long they
last in the audiences' minds, however, they all enjoy abundant marketing
and publicity that automatically makes them and their particular style a
household entity. If only we could ensure opera exposure to our children
in that same way, they would know the difference between different types
of music and might decide to become a concert pianist or a singer. Opera
is perhaps one of the safest examples in which to say if you try it,
you'll like it and more often than not, it happens.
Lastly, let us not forget the faculty. It is imperative that we offer as
much or more attention to those who are supposed to reach our children at
the closest level. Their capacity and knowledge must be vast and they must
be able to pass it on seamlessly so that this very subject might become
one of the child's favorites.
What would you recommend to other artists who want to support the arts in
education? What are your suggestions for how and why to get involved with
students and the arts?
I would tell them to do it, by all means. It is perhaps to my advantage to
be a public figure and to be liked or looked upon as an example. If for
this reason I can inspire and mentor younger generations, then it would be
a waste not to do it. Today's youths have ample creativity and initiative
but they can always use some guidance. Encouraging a child's sensitivity
through the arts can improve our society. It is perhaps too much
responsibility to put upon the arts, but the arts can enrich our children
on many levels and perhaps prepare them to choose a wiser future.
----------------------------------------
Sydney Opera House presents
Sydney Opera House is consolidating its position as Australia's leading
performing arts centre by significantly increasing the profile of its own
programming and by nurturing the development of new artists and audiences.
Under the billing of Sydney Opera House presents, Sydney Opera House is
now one of the largest presenting companies at the House, producing an
eclectic mix of artistic and cultural activities in all venues including
the production of The Studio, Kids at the House and HOUSE:ED programs.
Director, Performing Arts: Rachel Healy
Executive Producer: Philip Rolfe
The Studio, Executive Producer: Virginia Hyam
Producer: Greg Clarke
Producer: Tory Loudon
Producer, Young Audiences: Noel Jordan
Bennelong Point,
SYDNEY
NSW 2000
Telephone: 61 2 9250 7111
Fax: 61 2 9250 7950
Website: http://www.sydneyoperahouse.com
<http://www.sydneyoperahouse.com/sections/
about_the_house/presenters/?sm=4&ss=12>
A shorter URL for the above link:
<http://tinyurl.com/yqv9nm>
----------------------------------------
Theatre For Young Audiences
Tickets Now On Sale
All Seats $4
No Online Ticket Sales for
Theatre For Young Audiences Shows
Isothermal Community College
Pirates of Penzance
Opera Carolina
Saturday, April 21, 2007
7:30 pm
The Celtic Tenors
Sunday, February 11, 2007
3:00 pm
Adults: $15-$20
Youth: $5-$8
The Celtic Tenors have established themselves as the most successful
classical crossover artist ever to have come out of Ireland.
----------------------------------------
The age of opera
Companies looking to lure younger fans
By Terry Rombeck
Thursday, January 26, 2006
Library Journal World
<http://www2.ljworld.com/news/2006/jan/26/age_opera/?arts>
Growing up in Buhler a town of about 1,300 near Hutchinson David Lara
didnt have much exposure to opera.
The most youd hear was Saturday mornings with Bugs Bunny, if he did a
spoof, he says.
Now a graduate student at Kansas University, Lara is pursuing a career in
operatic singing, and hes part of a performance of Falstaff that begins
tonight at KU.
The 26-year-old is an exception to the rule when it comes to his
generation hes young, and he loves opera. According to the most recent
study by the National Endowment for the Arts, only 13 percent of opera
attendees were under the age of 30, with the proportion over 60 increasing
annually.
<snip>
But opera companies are on the offensive to combat the age gap.
Lyric Opera of Kansas City, for example, has started a group for opera
lovers ages 21 to 40 called the Bohemians. The organization, which started
in 2001, draws 50 to 100 members for its events.
----------------------------------------
Now available for production by Opera Companies.
Kim and Reggie are proud to announce the completion of a one-act opera to
be presented to student and family audiences:
FRIENDS OF FREEDOM:
An Underground Railroad Story
Opera For Young Audiences (K-6)
One Act (2 Scenes)
SATB with Piano
Libretto by Kim R. Harris
Score by Kim R. Harris and Wm. Glenn Osborne
C. 2003
Available for perusal:
PIANO-VOCAL SCORE
LIBRETTO
DEMONSTRATION CD
For Performance Information Please Contact:
VNI
Vivian Niwes
303-814-1500
[EMAIL PROTECTED]
RUNNING TIME: approximately 45 minutes: One Act (2 Scenes)
<http://www.kimandreggie.com/opera.htm>
----------------------------------------
OperaOnline.us
C/O Paul Joseph Walkowski
37 Mayfield Street
Dorchester MA 02125
FAX: 617-825-3381
Tel: 617-825-3381
Commentary, November, 2006 Will cutting ticket prices really draw a wider,
younger audience?
<http://www.operaonline.us/commentnov06_001.htm>
More and more opera companies are resorting to lowering ticket prices to
attract larger audiences to their productions. The Met did it, and San
Francisco Opera, last month, announced that it was going to be doing it as
well. Tickets at SF that normally sell for $185 for an orchestra seat can
now be had for $50. Of course there are strings. Regular seat holders are
not going to give up their prized viewing locations out of the goodness of
their hearts. Still, its worth a try.
<snip>
We observed that, younger people today have to overcome a lot more
ambivalence [about opera]. [See, September Commentary: Reaching out to a
younger audience]. Still, rather than dumbing down opera, young people
should be encouraged to reach out and appreciate what it is that the
musical style is all about a goal which opera companies all across the
United States take seriously. Tomorrows audience may be small, but it will
be loyal, sufficient, and if we nurture it correctly, it will grow and
expand because smart growth will be based on preserving what exists, while
looking for new operas that show promise of longevity, thus adding to the
growing opera base. This means more, not less, good music.
Its a point that cant be stressed enough. Many new operas, often the very
type we criticize here as being too modernistic and challenging (something
other critics swoon over), are commissioned, produced and staged, then
disappear and become part of the obscure repertory, trotted out
occasionally, then shelved when the audience doesnt show up. What a waste
of time and money. These operas add nothing to the base of the twelve or
so operas that audiences have been enjoying for years.
So, yeah, lower ticket prices help, but paying heed to the music offered
is likely to yield a greater harvest if done right and started sooner
rather than later. See below. Previous Page How not to attract a wider
audience. Look, we like James Levine. When he conducts, you just feel that
he has a special grasp of how things ought to sound. With deft direction
its a fair bet hell bring any orchestra he is conducting along with him,
eliciting from every musician as near perfection as one is likely to hear.
Even so, Mr. Levine, can err and bringing to Boston, or anywhere else,
Arnolds Schoenbergs horrendous opera Moses & Aron, is a monumental
blunder, no matter how effusive the critics praise of Schoenbergs
artistic, modernistic genius is.
----------------------------------------
Opera for Youth, Inc. is an international non-profit organisation working
in the field of opera and music theatre for young musicians and audiences,
dedicated to encouraging the creation of operas to be performed by
children and adults in theatre and opera companies, in schools and
community organisations; to the support of composers and librettists and
to the study and publication of writings about opera and music theatre for
young performers and young audiences
<http://www.vixenrecords.com/foxfox/op4children/op4youth.htm>
----------------------------------------
THE TOY SHOP
45' Cast: S, T, Bar, B, Mime
Setting: a toymaker's home.
Synopsis: The Toymaker has created two life-like dolls, which he thinks of
as his children. A Magician hears of these marvelous creations and
attempts to steal them to use in his act. He is thwarted by the dolls
themselves.
About the Libretto:
Martha L. Malone "The Toy Shop: An Opera in One Act for a Young Audience"
Opera for Youth Journal Vol 17(4) 1994-18(1)1995.
For Professional Singers to Perform for Elementary School Children (K-6)
<http://www.seymourbarab.com/toyshop.html>
----------------------------------------
Ancient Opera Takes on a Young Look
The old tunes of Peking Opera have been sounding from the Political
Consultative Conference Hall in recent evenings, captivating not aged
Peking Opera buffs, but audiences of children.
The Peking Opera plays being performed are by the children, for the
children and of the children.
To celebrate Children's Day, young performers from four local Peking Opera
companies from Huaiyin, Qingdao, Ningxia and Nanchang are touring Beijing,
at the invitation of the ministries of culture and education, to perform
their latest productions for young audiences. From May 29 to June 6, each
company will perform two shows.
<http://www.china.org.cn/english/culture/130658.htm>
----------------------------------------
News (Royal Opera House's Young Artists Programme now funded by Oak
Foundation; new company Independent Opera; Hatstand Opera first opera
company to make use of podcasting).
OPERA NOW,
September / October 2005 p. 6
Geschlechtsmetamorphose: Die Freiburger Young Opera Company mit der
Kammeroper 'Iphis' von Elena Kats-Chernin.
Schwind, E.
NEUE ZEITSCHRIFT FR MUSIK, (formerly MELOS/NEUE ZEITSCHRIFT FR MUSIK; NEUE
ZEITSCHRIFT FR MUSIK) May / June 2005 v. no. 3 p. 66
Kid gloves (opera company for children that was born on the web)
EVANS, RIAN
OPERA NOW
November / December 2001 p. 49
Musical youth: Klaus Simon wanted to set up his own opera company
so he did.
APTHORP, SHIRLEY
OPERA NOW
January / February 2001 p. 109
Young blood.
STEWART, ANDREW
CLASSICAL MUSIC, The Magazine of the Classical Music Profession
Mar 25, 2000 v. no. 654 p. 38
The young: No longer phantoms of the opera.
Parney, Lisa Leigh
Christian Science Monitor
2/4/97 v. 89 no. 48 p. 10
Starter series in opera for children 6 to 12.
New York Times
11/3/94 v. 144 no. 49869 p. C30
A survey of educational outreach programs for children by professional
opera companies.
PATTERSON, MICHAEL R.
DISSERTATION ABSTRACTS INTERNATIONAL
Section A: The Humanities and Social Sciences
(formerly DISSERTATION ABSTRACTS)
July 1992 v. 53 p. 95
'Sir Gawain and the Green Knight' (Richard Blackford); Birmingham Music
Theatre Young People's Opera Company at the Midlands Arts Centre,
Birmingham.
Smaczny, J.
OPERA (England)
June 1986 v. 37 p. 725
A reason to exist; serving the public, young and old, is the goal of the
Opera Company of Philadelphia.
BAXTER, ROBERT T. S.
OPERA NEWS
November 1979 v. 44 p. 24
A Developmental Study of the Criteria Used by Children to Justify their
Affective Response to Arts Experiences
Murphy, Dennis T.
1973
ED079182
ERIC Document
----------------------------------------
WEBBIB0607
Sincerely,
David Dillard
Temple University
(215) 204 - 4584
[EMAIL PROTECTED]
Net-Gold
<http://groups.yahoo.com/group/net-gold>
<http://listserv.temple.edu/archives/net-gold.html>
General Internet & Print Resources
<http://library.temple.edu/articles/subject_guides/general.jsp>
<http://www.learningis4everyone.org/>
<http://www.edu-cyberpg.com/ringleaders/davidd.html>
Digital Divide Network
<http://www.digitaldivide.net/profile/jwne>
Educator-Gold
<http://groups.yahoo.com/group/Educator-Gold/>
Messages in this topic (1)
________________________________________________________________________
________________________________________________________________________
2. FYI What if your product MS XP or Vista key is stolen and use "kille
Posted by: "George Lessard" [EMAIL PROTECTED] themediamentor
Date: Thu Jan 18, 2007 7:40 am ((PST))
excerpts from ...
--==>> OFFICE WATCH <<==--
16 January 2007 - Vol. 12 No. 3
See this article online at http://news.office-watch.com?191
and
--==>> OFFICE WATCH <<==--
10 January 2007 - Vol. 12 No. 2
See this article online at http://news.office-watch.com?202
4. What happens if your product key is stolen - part 1
5. Software activation - Then and now
6. If your Product Key is stolen?
7. What could happen to you
8. Safeguard your Product Key - how?
9. What does Microsoft say?
and
1. What happens if your product key is stolen - part 2
2. Eye-Catching Signs with Word [snipped]
3. What's happened to my product key?
4. Why has my software been killed?
5. The time lag between theft and detection
6. What Appeal Process?
7. How you can protect yourself
8. No de-activation option
4. WHAT HAPPENS IF YOUR PRODUCT KEY IS STOLEN - PART 1
See this article online at http://news.office-watch.com?191
This issue has the first part of a series on some concerns about
Microsoft's anti-piracy measures as they apply to Microsoft Office 2007
and Windows Vista.
Both these products can be disabled by Microsoft after they have been
initially activated - Windows Vista has that now and Office 2007 could
have the 'kill switch' implemented at any time Microsoft wishes.
We're going to deal with these issues in-depth as Office Watch has done
from time to time over the last decade. It's important to keep in mind
that the problems we highlight probably won't happen to you, but even rare
occurrences (in percentage terms) with MS Office will happen to many
people. The level of concern is raised, not reduced, by the responses
we've received from Microsoft.
5. SOFTWARE ACTIVATION - THEN AND NOW
For Office 2000, XP and 2003 you need to 'activate' your software after
installation. The technology works fine. In short, it links a particular
computer to a software product key. Activation checks with Microsoft to
see if the product key has been ued before on other hardware. Depending
on the license attached to that key (ie number of computers that software
license was sold for) the software will be activated on that computer for
ongoing use.
We're not concerned about the activation technology which, aside from some
glitches and misunderstandings, works tolerably.
The important point is that once activated the software (Windows or
Office) will continue to run even if Microsoft discovers later that the
product key used was illegal. An invalid product key can stop you from
getting later major updates and add-ins but the software itself will
always work and there's nothing Microsoft can do about that.
Now - with Windows Vista and potentially Office 2007 that changes - the
activation system will occasionally check if the product key is still
'legal'. If Microsoft decides that the product key for your software has
been stolen and misused then your copy of Vista or possibly Office 2007
can be disabled remotely (after a warning period).
_______
[snipped]
6. IF YOUR PRODUCT KEY IS STOLEN?
Disabling software is reasonable if you're using a stolen product key but
what if you're the victim of theft?
In other words, what if your Vista or Office 2007 product key was stolen
and used on other computers?
If that happens, eventually your legally purchased software could be
disabled by Microsoft remotely. As we'll see this can happen at any time,
with no reason given and no proper recourse or avenue of appeal.
You could lose up to US$400 for Vista or US$680 for Office 2007 at the
judgment of Microsoft - as a customer you'd have little idea of why your
money has been lost.
All it takes is someone to merely take and use the product key for your
Vista or Office 2007, and as we'll see that's absurdly easy.
Getting the software itself is a trivial matter - copies of the Office
2007 CD are already available for download from many unofficial sources.
All that's needed is a stolen product key to activate the software.
Firstly let us give you some examples of what could happen:
7. WHAT COULD HAPPEN TO YOU
You buy a copy of Windows Vista, install it and it's been running happily.
Someone who has access to your computer, your desk or bookshelves,
makes a copy of the 25 character product key, then uses it on their own
computer or worse, makes it available to many other people.
That's not so farfetched - perhaps a friend of your children is using your
computer and 'needs' a product key? Anyone who uses your computer could
do it, and that's not forgetting the sticker that has the product key in
the first place - if that's left lying around your home or office it could
be copied.
Corporate users are even more at risk, with copies of their licensed
software on laptops and perhaps computers at home there has always been
trouble with product keys 'escaping'. Microsoft acknowledges that this
happens and says they 'work with customers' - which could mean anything
and probably does.
Because enterprise product keys can apply to hundreds or thousands of
installations the risk of misuse is greater. However we are concerned
that the ability to disable software remotely can affect all customers -
big and small. It's the small, retail and OEM customers who are more
likely to be left with disabled software and with no recourse.
If the product key is used to activate on one unauthorized installation
it may work (depending on the number of computer the key is valid for) but
it means that you won't be able to use the additional activations you paid
for (for example on a desktop and laptop computer or three installations
with the 'Home and Student' license).
If the product key is published more widely (via email or on a web site),
Microsoft can detect additional attempts to use that product key and could
deem the product key as 'stolen'. Once that happens the 'kill switch'
could severely reduce the features available on your copy of Vista or
possibly Office 2007.
There seems no way for Microsoft to differentiate between the initial (and
presumably legitimate user) of a software license and others who steal and
misuse that product key. Everyone who uses that product key can have
their software disabled.
[snipped]
1. WHAT HAPPENS IF YOUR PRODUCT KEY IS STOLEN - PART 2
See this article online at http://news.office-watch.com?202
We continue our look at some concerns with product activation and
disabling in Office 2007 and Vista. Last week
http://news.office-watch.com?191 we talked about how easy it is for your
product key to be stolen and how your legally bought software could be
disabled by Microsoft.
In this issue we look at some consequences of a stolen product key, noting
the lack of a clear and open process by Microsoft to deal with disputes.
We end with some ideas for what you can do...
3. WHAT'S HAPPENED TO MY PRODUCT KEY?
One problem with the activation process is there's no way for the customer
to know how the product key / software license has been used. Microsoft
keeps close records of each activation for a product key but withholds
that information from the customer.
If your product key is stolen and attempts are made to use it, you (as the
legitimate owner) aren't notified. You'll only find out if the product
key is deactivated and even then you won't know why.
If you have an activation problem, Microsoft knows what has happened but
won't tell the customer. It's possible the activation record could reveal
details that would support a case that your product key was stolen (eg
activation in another country) but Microsoft won't tell you.
Since you never see the activation history, you also can't check to see if
your product key has been misused. Ideally the registered user could
login to a special site, review their activation history and know when
there's been improper use.
As it stands, you don't know there's a problem until you try to activate
the software or Microsoft imposes their 'kill switch' on your legal
software.
4. WHY HAS MY SOFTWARE BEEN KILLED?
So your product key was stolen, used and as a consequence, you start
getting messages saying that your Windows Vista (or maybe Office 2007) is
illegal - what can you do?
Good question and there's no good answer - presumably you'll phone
Microsoft's call centre to ask for an explanation. That's where the
situation gets messy - there's no clear path from Microsoft to deal with
this situation.
The obligation falls on you to prove to Microsoft that you bought legally.
That can be difficult because Microsoft has already decided that your
product key has been used illegally by a number of people and it has no
means of knowing whether anyone was a legitimate user of that product key,
and it has no clear path for customers to prove otherwise. Microsoft's
recommendations about documentation would not really help.
Since the product key isn't linked to you by name there is no way for you
to prove that you are the legitimate owner of that product key.
Having an itemized receipt (as suggested by Microsoft) doesn't help
because the product key isn't shown on a shop receipt. Microsoft could
argue that a receipt is for any copy of Office or Vista - not necessarily
the product key in question.
In the end all you can do is call, plead your case and hope for a
sympathetic response.
Corporate or volume customers who are victims of product key theft might
have some more power with Microsoft to negotiate a solution. But home or
small business customers have no such leverage nor is there the vital link
between the owner and the product key.
Microsoft argues there are 'few cases' but since there's no external
checks of that statement, we only have Microsoft's word for that. It
would be in Microsoft's direct interests to downplay the possibility.
[snipped]
_______
5. THE TIME LAG BETWEEN THEFT AND DETECTION
With Microsoft holding all the software license and activation history it
can be long time between the actual theft of your product key and when
there are noticeable consequences.
This will deepen the mystery for you when you start seeing warnings that
you have pirated software. The theft of your product key may have been
weeks, months or years ago.
6. WHAT APPEAL PROCESS?
What if Microsoft disables your copy of Vista or Office 2007? You've
tried to explain to Microsoft that you were the original purchaser but
they won't believe you. How can you appeal?
You can't - there's no appeal process.
Microsoft's decision is final; you're a software thief, then you've lost
that software license. You're expected to buy another copy of the
software (and hope the same thing doesn't happen again).
[snipped]
7. HOW YOU CAN PROTECT YOURSELF
After reading this, I'm sure some people will decide that there's
insufficient 'security of tenure' in buying a Vista or Office 2007 license
to warrant the high cost.
License problems and the possibility of Microsoft 'killing' your software
probably isn't enough on its own to make you decide not to get the new
versions, but combined with the cost and the usual changeover hassles
these concerns might be enough to keep your money in your pocket.
While Microsoft fails to provide a clear path for customers who have their
product key stolen there is no reliable method of guaranteeing your Vista
or Office 2007 license is safe, but there are some things you can do:
- Keep your paperwork. Save a copy of the itemized receipt for the
software purchase with a copy of the product key (preferably a copy of the
actual product key label).
- Know your license. Windows and Office software licenses vary in many
ways, especially how many computers you can install the software on. It's
a complicated thing and not always obvious to the purchaser. To save
later trouble you should know the license terms from the start. We
suspect many people have bought new copies of Office when they don't need
to. Either they have misunderstood the nature of their license to use
Office or the flexibility of the software activation system (which,
despite flaws, is considerably more flexible that most people realize).
- Track your activations. Microsoft tracks your software activations but
keeps that info for themselves, therefore you should keep a record of
when, where and on which computer you have activated Microsoft software.
This will give you a firm basis to dispute Microsoft's version of events.
- Protect your computer. Make sure that access at start-up and the
screen-saver is password protected. This is good practice to protect all
your personal data, not just product keys.
- Protect your paperwork. Keep product keys out of easy reach. It's the
product key that is vital to your ownership of Office or Vista, the CD /
DVD isn't as important.
[snipped]
Messages in this topic (1)
________________________________________________________________________
________________________________________________________________________
3. RECREATION : LEISURE AND FREE TIME UTILIZATION : RECREATION: HOBBIES
Posted by: "David P. Dillard" [EMAIL PROTECTED] jwneastro
Date: Thu Jan 18, 2007 7:52 am ((PST))
RECREATION :
LEISURE AND FREE TIME UTILIZATION :
RECREATION: HOBBIES :
BOOKS:
Hobbies: Leisure and the Culture of Work in America AND A Selected Group
of Citations Regarding Leisure Ethics
Hobbies: Leisure and the Culture of Work in America
By Steven M. Gelber
Published 1999
Columbia University Press
Archaeology /
Anthropology
374 pages
ISBN 0231113927
<http://books.google.com/books?id=xXnPBOXE4XIC&dq=%
22protestant+leisure+ethic%22%22>
A shorter URL for the above link:
<http://tinyurl.com/2aa6os>
"Whether it's needlepoint or woodworking, collecting stamps or dolls,
everyone has a hobby, or is told they need one. But why do we fill our
leisure time with the activities we do? And what do our hobbies say about
our culture? Steven Gelber here traces the history and significance of
hobbies from the mid-nineteenth century through the 1950s."
Buy this book
Columbia University Press
Amazon.com
Barnes&Noble.com
BookSense.com
Froogle
Borrow this book
Find libraries
<http://worldcatlibraries.org/wcpa/isbn/0231113927>
Hobbies : leisure and the culture of work in America
by Steven M Gelber
Type: English : Book
Publisher: New York : Columbia University Press, 1999.
ISBN: 0231113927 0231113935 OCLC: 40339024
Subjects: Hobbies -- Social aspects -- United States. |
Leisure -- Social aspects -- United States. |
Hobbies -- United States -- History.
This book is cited by
<http://scholar.google.com/scholar?
num=50&hl=en&lr=&cites=8104698777521747199>
A shorter URL for the above link:
<http://tinyurl.com/24m6dy>
Working at Play: The Phenomenon of 19th Century Worker-Competitions.
CF Zarnowski - Journal of Leisure Research, 2004 - questia.com
Working at Play: The Phenomenon of 19th Century Worker-Competitions.
Related Articles - Web Search - BL Direct
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These additional topically related citations regarding leisure ethics may
be of interest.
===============================
Everyday temporalities: leisure, ethics and young women's emotional
wellbeing
Fullagar, S. P.
Annals of Leisure Research
v. 6 no. 3 2003 p. 193-208
Leisure futures: what is the future of leisure?
Jonson, P.
Australian Leisure Management
v. 33 2002 p. 40-42
Work centrality and work alienation: Distinct aspects of a general
commitment to work.
Hirschfeld, Robert R.; Feild, Hubert S.
Journal of Organizational Behavior
v. 21 no. 7 November 2000 p. 789-800
The Leisure Ethic
Martin, Scott C.
Journal of Social
History,
Fall 2000 v. 34 no. 1 p. 210
Book Review
Work and Play in American Literature, 1840- 1940
GLEASON, WILLIAM A.
(Stanford, CA: Stanford University Press, 1999).
351 pp. $60.00 cloth; $19.95 paper.
More Reviews of this book:
Messenger, Christian K.
Studies in the Novel
Fall 2000 v. 32 no. 3 p. 394
Martin, Scott C.
Journal of Social History
v. 34 no. 1 Fall 2000 p. 210-212
Dinunzio, Joseph
Review of English Studies
August 2000
v. 51 no. 203 p. 511
Schulte, Janet E.
The Journal of American History
v. 87 no. 1 June 2000 p. 242-243
Zboray, Ronald J.
American Studies
Spring 2000 v. 41 no. 1 p. 189
Willard, Carla.
American Literature
v. 71 no. 4 December 1999 p. 830
Just Leisure? The ethics of recognition
McNamee, Mike.
Leisure Studies
July 2000 v. 19 no. 3, p125-126
Leisure, ethics, and the Golden Rule
Heintzman, P.
Journal of applied recreation research (Waterloo, Ont.)
1995 v. 20 no. 3 p. 203-222
Understanding Workaholism: A Review of Causes and Counseling Approaches.
By: Seybold, Karen Colapietro; Salomone, Paul R..
Journal of Counseling and Development
September / October 1994 v. 73 no. 1 p. 4-9
Relation between intrinsic motivation and boredom in leisure time.
Weissinger, Ellen; Caldwell, Linda L.; Bandalos, Deborah L.
Leisure Sciences
v. 14 no. 4 October / December 1992 p. 317-325
Perceptions Of Boredom In Leisure: Conceptualization, Reliability and
Validity Of The Leisure Boredom Scale.
Iso-Ahola, Seppo E.; Weissinger, Ellen
Journal of Leisure Research,
1st Quarter 1990 v. 22 no. 1 p. 1, 17
Effects of Type A Personality and Leisure Ethic on Chinese College
Students' Leisure Activities and Academic Performance.
Tang, Thomas Li-Ping
Journal of Social Psychology
April 1988 v. 128 no. 2 p. 153
Alternative Ethics: The Relationship between the Wealth, Welfare, Work,
and Leisure Ethic.
Furnham, Adrian; Rose, Maria
Human Relations,
September 1987 v. 40 no. 9 p. 561-574
Emergence of a leisure ethic.
Dahl, Gordon J.
Christian Century
v. 89 November 8, 1972 p. 1124-1127
Adult perceptions of leisure: life experiences and life structure. /
(Perceptions du loisir des adultes: experiences et structure de vie.)
Carpenter, G.
Loisir et societe/Society and leisure (Trois-Rivieres, Que.),
automne / Fall 1992 v. 15 no. 2 p. 587-605
Life change during middle adulthood and valuing leisure
Carpenter, G.
World leisure and recreation (Sharbot Lake, Ont.),
Spring 1989 v.31 no. 1 p. 29-31
Leisure and ethics: reflections on the philosophy of leisure
Fain, G.F.
International Symposium on Leisure and Ethics.
Proceedings (1989 : Boston).
Reston, Va. : American Alliance for Health, Physical Education,
Recreation and Dance. c1991.
The political economy of leisure in retrospect: Britain, France and
the origins of the eight-hour day
Cross, G.S.
Leisure studies (London)
January 1986 v. 5 no. 1 p. 69-90
The Development of a Leisure Ethic: Some Practical Issues
for the Future
Martin, W.H.; Mason, S.; In Parker, S.R. and Veal, A.J. (eds.).
Leisure: Politics, Planning And People.
Volume 2 - Work, Non-Work, And Leisure. Conference Held By
The Leisure Studies Association. Brighton
England: Sussex University. (July 4-8, 1984).
Leisure Studies Association Conference Papers, No. 23.
1985 p. 94-117
Unemployment and Free Time: Towards a Leisure Society?
De Vink, G.;
ELRA INFORMATION,
1983 v. 11 no. 3 p. 4
The work ethic reconsidered
Buchholz, Rogene A.
Industrial and Labor Relations Review
v. 31 no. 4 July 1978 p. 450-459
The psychology of leisure: Research approaches
to the study of leisure.
Neulinger, John
Oxford, England: Charles C Thomas, 1974
The American Work Ethic and the Changing Work Force: An Historical
Perspective.
Contributions in Labor Studies, Number 52.
Applebaum, Herbert.
1998 228 pp.
(ED437556)
ERIC Document
Leisure Behavior and Occupational Identity in University Students. . By:
Munson, Wayne W.; Widmer, Mark A.
Career Development Quarterly,
v. 46 no. 2 p. 190-198 December 1997
Leisure and Ethics: Reflections on the Philosophy of Leisure.
Fain, Gerald S.
1991 350 pp.
(ED340679)
ERIC Document
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Sincerely,
David Dillard
Temple University
(215) 204 - 4584
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4. DICTIONARIES : REFERENCE: TOOLS: CLASSIC AND HISTORIC REFERENCE WORK
Posted by: "David P. Dillard" [EMAIL PROTECTED] jwneastro
Date: Thu Jan 18, 2007 8:01 am ((PST))
DICTIONARIES :
REFERENCE: TOOLS: CLASSIC AND HISTORIC REFERENCE WORKS:
Webster's Revised Unabridged Dictionary (1913 + 1828)
English Language Dictionary Older Dictionaries
Webster's Revised Unabridged Dictionary (1913 + 1828)
The Artful Project
<http://machaut.uchicago.edu/websters>
Enter a single word with no spaces or accented characters and press the
"Search" button to query Webster's Dictionary.
By default, your word must exactly match the dictionary word. In float
mode, your word may match any substring of a dictionary word. In default
mode, power will only match the word "power", whereas in float mode, it
will match "power", "powerful", "empowered", etc.
Full regular expressions are supported in both default and float mode. .*
is a wildcard which will match any number of any character. For example,
entering r.*cket will match "racket" or "rocket". Try ^[c-r].*[a-z]pple$
and compare with ^[c-r].pple$ .
Remember, these are 1913 and 1828 editions and will not contain some
modern words.
A Few Search Results from this dictionary source.
No results found in the 1913 edition. Please modify your search and try
again.
Displaying 1 result(s) from the 1828 edition:
AUTOM''ATION, n. [Gr. self. The Greek plural, automata, is sometimes used;
but the regular English plural, automatons, is preferable.]
A self-moving machine, or one which moves by invisible springs.
Suburban (Page: 1438)
Sub*ur"ban (?), a. [L. suburbanus.] Of or pertaining to suburbs;
inhabiting, or being in, the suburbs of a city. Suburban taverns."
Longfellow.
Suburban villas, highway-side retreats, . . . Delight the citizen. Cowper.
Suburban (Page: 1438)
Sub*ur"ban, n. One who dwells in the suburbs.
Displaying 1 result(s) from the 1828 edition:
SUBURB''AN, a. [L. suburbanus. See Suburbs.] Inhabiting or being in the
suburbs of a city.
Poverty (Page: 1122)
Pov"er*ty (?), n. [OE. poverte, OF. povert, F. pauvret, fr. L. paupertas,
fr. pauper poor. See Poor.]
1. The quality or state of being poor or indigent; want or scarcity of
means of subsistence; indigence; need. Swathed in numblest poverty."
Keble.
The drunkard and the glutton shall come to poverty. Prov. xxiii. 21.
2. Any deficiency of elements or resources that are needed or desired, or
that constitute richness; as, poverty of soil; poverty of the blood;
poverty of ideas. Poverty grass (Bot.), a name given to several slender
grasses (as Aristida dichotoma, and Danthonia spicata) which often spring
up on old and worn-out fields. Syn. -- Indigence; penury; beggary; need;
lack; want; scantiness; sparingness; meagerness; jejuneness. Poverty,
Indigence, Pauperism. Poverty is a relative term; what is poverty to a
monarch, would be competence for a day laborer. Indigence implies extreme
distress, and almost absolute destitution. Pauperism denotes entire
dependence upon public charity, and, therefore, often a hopeless and
degraded state.
Displaying 1 result(s) from the 1828 edition:
POV''ERTY, n. [L. paupertas. See Poor.]
1. Destitution of property; indigence; want of convenient means of
subsistence. The consequence of poverty is dependence.
The drunkard and the glutton shall come to poverty. Prov.23.
2. Barrenness of sentiment or ornament; defect; as the poverty of a
composition.
3. Want; defect of words; as the poverty of language.
Sincerely,
David Dillard
Temple University
(215) 204 - 4584
[EMAIL PROTECTED]
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