Great Hall Research Articles

In Commemoration of the Forty-Fifth Anniversary of Comrade Qu Qiubai's Noble Sacrifice

A forum was convened this afternoon in the West Room of the Great Hall of the People to commemorate the forty-fifth anniversary of Comrade Qu Qiubai's martyrdom. The deputy minister of the CCP Central Committee Department of Propaganda and chairman of the Chinese Literary Federation, Zhou Yang, spoke to the assembly. … In his wide-ranging speech, Zhou Yang evaluated Qu Qiubai's many contributions to the Chinese revolution most highly. (See full text below.) Shen Yanbing [Mao Dun], Tan Zhenlin, and Li Weihan recalled the glorious history of our party's revolutionary struggle and spoke of Comrade Qu Qiubai's historic achievements in the cause of the Chinese people's revolution. Cao Ying, in his talk, recounted Qu Qiubai's life history and refuted the slanders of Lin Biao and the Gang of Four about Qu Qiubai. He stated that after Qu was captured he did nothing that in the least would endanger the party or the revolution, but held fast to Marxism, fearlessly upheld our great cause, proclaimed the revolution, ...

Chaucer’s House of Fame and the French Palais de Justice

Chaucer's House ofFame and the French Palais deJustice Laura Kendrick Rutgers University In the spring of 1377, Chaucer was in Patis on the king's business. 1 At that time, if not on one of his earlier trips to the Continent, Chaucer must have seen the buildings of the French Palais deJustice on the Ile de la Cite. The palace, the seat of the Parlement de Paris and the official residence of the king, was described in the following terms byJean deJandun around 1322 in his Traite des louanges de Paris (Treatise in Praise ofParis): In this most illustrious seat ofthe French monarchy, a splendid palace has been built, a superb testimony to royal magnificence .... In honor oftheir glorious memory, the statues of all the kings of France who have gone before up to today are in this place, shaped to such a perfect individual likeness that, on first inspection, one would judge them very much alive.2 From later descriptions and engravings (see plate 1), we know that the Great Hall of the Palais, built between 1301 and 1313, was more than seventy-five yards long and thirty yards wide, with a gilded, doubled-vaulted ceiling supported by a row of eight central col­ umns with additional columns attached to the side walls. The outstanding ornamentation of this room was the series of statues of the kings of France painted in gold and azure in standing postures about fifteen to eighteen feet offthe floor atop the central and side 1 Martin M. Crow and Clair C. Olson, eds., Chaucer Life-Records (Oxford: Clarendon Press, 1966), pp. 46-53. 2 Translated from Antoine Le Roux de Lincy and L. M. Tisserand, Paris et ses historiens auxXJVe et XVe sz'ecles (Paris: Imprimerie imperiale, 1867), p. 48. 121 STUDIES IN THE AGE OF CHAUCER Interior view of the Great Hall of the Palais from a 16th-century engraving by Jacques l" Androuec du Cerceau (Paris, BibliothequeNationale, Estampes, Vx. 15). columns. In 1377, when Chaucer probably saw the Great Hall, there were forty-seven statues of French kings, beginning with the mythical king Pharamond on a pillar attached to the center of the west wall and proceeding, in chronological order, away from the dais toward the east entrance, one statue mounted on the south side ofeach of the eight central pillars and one on the pillar attached to the east wall-ten kings in all. The series continued east to west with ten more kings positioned on the north side ofthe eight central and two side pillars. Back at its starting point, the series ran down the side walls with nineteen statues, one atop each pillar, proceeding from east to west along the north wall; in 1377 only eight statues were mounted on the pillars of the south wall, proceeding west to east from Saint Louis throughJean II. Carved in stone beneath the statues ofeach king were his name and the dates ofhis reign.3 3 Sources for this architectural description areJ. H. Shennan, The Parlement of Pans (Ithaca, N.Y.: Cornell University Press, 1968), pp. 103-105;). Guerout, "Le Palais de la Cite aParis des origines a1417," Memoires de la Federation des societes htstonques et archeologiques de Paris et de /'fie-de-France 2(1950):132-37; N. 122 THE PALAIS DEJUSTICE In book 3 of The House ofFame, Chaucer mimics this famous series ofFrench kings, which to my knowledge is the only use ofsuch a combination of pillars and sculptured figures inside a secular hall up to Chaucer's time.4 Like the Great Hall ofthe Palais, Fame's hall has rows of pillars topped with statues running down the room on both sides from the dais to the doors (3.1419-28): 5 Valois, "Les statues de la grande salle du Palais," Bulletin de la Sociiftif de l'histoire de Paris et de /'lie-de-France 30(1903):87-90. 4 As J. A. W. Bennett points out in Chaucer's "Book of Fame" (Oxford: Clarendon Press, 1968), pp. 171-72, there are many precedents both in literary description and in the decoration ofcontemporary buildings for pictorial presenta­ tion ofthe "theme ofthe famous deadwhen given the setting ofa...

A rival magician

When I got back to the monastery, I found the abbot and his monks assembled in the great hall, observing with childish wonder and faith the performances of a new magician, a fresh arrival. His dress was the extreme of the fantastic. He was a celebrity from Asia—so he said. That sort of evidence was as good as gold.

THE TRANSFORMATION OF BUDGETARY NORMS*

Australian Journal of Public AdministrationVolume 42, Issue 4 p. 421-432 THE TRANSFORMATION OF BUDGETARY NORMS* Aaron Wildavsky, Aaron WildavskySearch for more papers by this author Aaron Wildavsky, Aaron WildavskySearch for more papers by this author First published: December 1983 https://doi.org/10.1111/j.1467-8500.1983.tb00981.xCitations: 2 *Professor Wildavsky presented the first R.N. Spann Memorial Oration on “The Transformation of Budgetary Norms” in the Great Hall, University of Sydney, on 21 July 1983. The Oration was sponsored by the New South Wales Regional Group of the Royal Australian Institute of Public Administration. The article appearing here under the same title is drawn from a chapter of a forthcoming book, Expenditure and Taxation in Western Societies. It has been edited with a view to providing a record of Professor Wildavsky's Oration. Eds. Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Citing Literature Volume42, Issue4December 1983Pages 421-432 RelatedInformation

The Great Hall of BMA House: plans for the '80s.

The Great Hall of BMA House: plans for the '80s.

Scientists and social change

Australian Veterinary JournalVolume 60, Issue 11 p. 346-347 Scientists and social change R.W. GEE, R.W. GEE Australian Bureau of Animal Health, Department of Primary Industry, Canberra, A.C.T *This address was given by Dr Gee as Director of the Australian Bureau of Animal Health at the ceremony for conferring degrees, in the Great Hall of the University of Sydney on 19 March, 1983.Search for more papers by this author R.W. GEE, R.W. GEE Australian Bureau of Animal Health, Department of Primary Industry, Canberra, A.C.T *This address was given by Dr Gee as Director of the Australian Bureau of Animal Health at the ceremony for conferring degrees, in the Great Hall of the University of Sydney on 19 March, 1983.Search for more papers by this author First published: November 1983 https://doi.org/10.1111/j.1751-0813.1983.tb02843.x AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat No abstract is available for this article. Volume60, Issue11November 1983Pages 346-347 RelatedInformation

Brave New Arts Festival 1984: Urbana, Illinois

Contemporary Chamber Players Concert. I arrived at the Great Hall (Krannert Center) at ten minutes till 8, but no one was there except Jack Melby standing in the well-lit aisle, clad in his black three-piece. Did you hear Stockhausen cancelled? he asked. A family illness, apparently. People started coming-I counted 63, including composers, friends and family. Heidi Von Gunden made 64, and the ushers 67. Wuorinen's slow, dark Joan's (1979), with double stop violin declamations echoed by the ensemble, left almost no impression. Heidi said her dog had tonsilitis. We wondered at that and talked more about Stockhausen-maybe a visa problem, he couldn't get paid. Melby's In tenebris (1980) for piano and tape, with its opening trills, began the energy, the chromatic heat. I expected and got the faintly singed computer tape sounds he likes, and heard the interval series turning over like a flywheel. Birtwhistle's Verses (1966) was the quiet tuning-up music-long solo clarinet tones, high grace-note leaps answered by piano and long silences. We talked more about Heidi's dog and one of her students came by and talked about her own sick child and then we all talked about Stockhausen again.

Some New Texts of Herihor and Ramesses IV in the Great Hypostyle Hall at Karnak

Some New Texts of Herihor and Ramesses IV in the Great Hypostyle Hall at Karnak

The Archbishops of Canterbury and the Practice of Hospitality

One dinnertime in the early 1540s Thomas Seymour, brother to the future Lord Protector, arrived at Lambeth Palace with an urgent message from the king to the archbishop of Canterbury. He found Cranmer's household at their meal in the great hall, the company sitting in due order under the watchful eyes of the senior officials of the establishment. Seymour was warmly received by the archbishop in his chamber and a meal was pressed upon him; then he was sent on his way with the appropriate response for the monarch. The occasion was more than a routine one for an exchange of messages: indeed it may have been deliberately contrived by Henry vm, with or without the connivance of the archbishop, to force the courtier literally to eat his words. Seymour had been busy denouncing Cranmer for keeping no hospitality ‘or house correspondent with his revenues and dignities’, but, instead, for wasting his income on the purchase of lands for the benefit of his family. When the king enquired of him about the adequacy of the Canterbury household he was, grudgingly, forced to admit ‘he be not in the realm of none estate or degree that hath such a hall furnished, or that fareth more honourably at his own table’. Henry seized the opportunity to lecture the assembled company on the dangers of seeking after episcopal wealth. So long as the prelates continued to dispense hospitality he would not, he asserted, allow them to be despoiled by laymen who had already dispersed the wealth of the monasteries. As for the archbishop he was above reproach and a model to all his fellows ‘for he spendeth (ah, good man) all that he hath in housekeeping’.

Proustian Old Age, or the Key to Time Recaptured

Old age, like most realities found within vaguely delineated and often shifting confines, can perhaps best be defined in medical terms-as a weakening of muscle responses, or circulatory impediment, or glandular disfunction. To the naked eye the process of aging depends on individual perception, and objectivity is held in check by personal experience. For a ten-year-old his thirtyyear-old mother may appear venerable, while those who will never see forty again must think differently. The perception in Remembrance of Things Past is of course that of the narrator, whose sense of time is so permeated with emotions as to reside almost totally outside the realm of calendars. Readers do not know how many years have lapsed when Marcel meets again, at the end, all the people whose existence had seemed so important to him in the past. One may account for the intervening war years, but that would not in itself justify the dramatic changes he finds in everyone upon returning to Paris. How long he has remained confined in a nursing home remains unclear. What is unquestionable, however, is the overwhelming shock at that sudden confrontation with time, after several or many years spent away from his circle of acquaintances. Time is visibly reduced to space now, through a kind of satanic masquerade that appears more like a danse macabre than a big festivity. A life span can be measured by the signs of age evident upon all faces-and envisioned like a line, all too brief, that lacks a mere dot or two before completion. The masks that whirl by-for masked they appear to be, all those unrecognizable people with parchment features and staccato movements, and with only retrospective nuances, once their names are announced, reminiscent of the bright smiles of their youths-advance toward Marcel as ineluctable forces. They threaten to upset the orderly world of his memories, the stages that brought him on wings of fantasy along gilded paths of wonderment and adulation. Here are the very people who had set him to dream, with their feet of clay all too visible beneath distorted bodies. Time is suddenly dislocated, lacking for him the harmony necessary to retain his past, his illusions, expectations, and disappointments. The ghosts that now crowd that great hall glide by like accomplices of deeds untold to him. Their hands stretch back and demoniacally try to reach toward his cherished images, to contaminate and reduce them too into mere ghosts. Marcel's shock is not so much linked with old age per se, as with death, with the shadow of nothingness that looms beyond all those figures. His own

Society of Chemical Industry hits 100

The Society of Chemical Industry, headquartered in London, is 100 years old this week. The event is being marked by a major scientific conference in Cambridge and by dinner at the prestigious Great Hall of London's Guildhall that will be attended by many luminaries of the international chemical industry. SCI had its official beginning on April 4, 1881, advance applied chemistry in all its branches. It serves all concerned with the chemical and process industries . . . and encourages the application of science, engineering, and management practices for the benefit of the whole community. From the outset, SCI members and its officers have adhered to three broad principles. They have maintained it as a learned society. They have fostered multidisciplinary interests. (Membership is not restricted to those with a degree in chemistry or an allied discipline.) And they have promoted activities on the international level. The emergence of SCI coincided with development of ...

Finniston—The Great Debate Continues

The Engineering Education and Training National Conference, held on 15th and 16th October 1980, had its attractions but not such as would produce a ‘full house’; for at no time throughout the two days Conference, organised by the Institution of Electrical Engineers, at the excellent facilities provided by the Institution of Civil Engineers, was there any indication of the accommodation being fully occupied. True, the Great Hall was packed to capacity during the formal opening by H.R.H. The Prince of Wales but, on the second day the participants dwindled and the annexe, well provisioned with televised proceedings, housed only a few delegates.

American Society of University Composers Region V Conference. University of Illinois, Urbana-Champaign, November 5-8, 1981

The conference consisted of seven concerts organized in a general way around genre, lectures and demonstrations, and a panel discussion by composers involved with performing space outside the university in various communities. Performers and ensembles from the University of Illinois and other area colleges participated in the concerts, given in the Great Hall of the Krannert Center for the Performing Arts, Auditoriums in the New Music Building and Smith Memorial Hall, and in the Channing-Murray Unitarian Universalist Foundation. There were, so to speak, two principal virtues or two principal faults -both having to do with quality and experiment-manifest in most of the music. The former consideration was a basic one: one heard works of polished and competent technique and works in which the composer was unable to accomplish the intelligent notation of ideas, the skillful handling of electronic resources, or the appropriate choice of performers. The nature of experiment in the music is harder to discuss. Many of the pieces which made some gesture at techniques did so within an entirely conventional context, and came off as somehow schizoid. The outward symptom of this schizoid quality was a preponderance of seams between traditional technique and experiment not yet integrated into a composer's modus operandi, neither a wholly traditional nor a wholly innovative approach, nor a convincing synthesis of both. Those works which had some degree of integration, whether avant-garde or conventional, and which did not attempt to juxtapose disparate elements, succeeded far better. The attempt at experiment by composers steeped in more conventional methods is invaluable; in this way composers cause themselves to do something they would not have otherwise done, to perhaps achieve excellent results through a process of risk-taking. The new techniques present in many of these works, however, have been around for 20 or 25 years already, and their inclusion seemed to be an aesthetic step taken more in the direction of fashion than of risk; these innovations grew out of exterior imposition rather than interior necessity. Polish composer Marta Ptaszynska's Dream Lands, Magic Spaces, given on the first concert of the weekend, was a demonstration of a successfully integrated,

Barnard Castle, Co. Durham a Dinner in the Great Hall: Report on the Contents of a Fifteenth-Century Drain

Barnard Castle, Co. Durham a Dinner in the Great Hall: Report on the Contents of a Fifteenth-Century Drain

Traces of the Early Career of Ramesses II

Previous articleNext article No AccessTraces of the Early Career of Ramesses IIAnthony SpalingerAnthony Spalinger Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Journal of Near Eastern Studies Volume 38, Number 4Oct., 1979 Article DOIhttps://doi.org/10.1086/372757 Views: 7Total views on this site Copyright 1979 The University of ChicagoPDF download Crossref reports no articles citing this article.

The Duchy Palace at Lostwithiel, Cornwall

The Duke of Cornwall's palace at Lostwithiel was built towards the end of the thirteenth century as the administrative centre of the Duchy. It also served for the tin ‘coinage’ and as the meeting place of the County Court. It consisted of a large ‘Great Hall’ together with a smaller hall and buildings for the assaying and weighing of tin. This complex of buildings was never a ducal residence. It became ruinous in the seventeenth century, and much of it was demolished. A fragment of the Great Hall survives, though the smaller, or Convocation Hall, drastically rebuilt in the nineteenth century, is still in use.

The Northern Wars of Seti I: An Integrative Study

Nothing is more vexing for the historian trying to reconstruct the foreign policy of an ancient nation than having to rely upon one-sided accounts. All too often the participants in an international conflict gloss over their errors and inflate their victories -and if theirs is the only testimony available to the historian (as is often the case), then, no matter what he may suspect to have been the truth of the affair, the evidence on which to base his suppositions is limited Then, too, he is faced with the ever present problem of chronology, a thorn in the side of historical reconstruction that grows in importance the more nations he tries to cover. In essence, one caveat in particular must be adhered to when attempting an historical reconstruction of the international affairs of a nation: to preserve a holistic approach. The wars of Seti I provide ample testimony in favor of this position. His campaigns in the Levant, known mainly from the Karnak reliefs, have been discussed before, yet one paramount difficulty always remains to be faced: what indeed was the exact chronology of these campaigns.1 On the northeast side of the Great Hypostyle Hall, only one datethat of year one -is recorded, on the lowest register. Hence, it is necessary to analyze both the Egyptian and the non-Egyptian data for this period. The following discussion centers around Seti Fs foreign policy, his wars in particular. In Part I, the scenes and inscriptions in the Great Hypostyle Hall are discussed in conjunction with other Egyptian inscriptions referring to Seti's campaigns to the north. Part II is concerned with the topographical data from the reign of Seti, and Part III is devoted to the international aspects of his wars-i.e., the Hittite and other cuneiform data In section IV, I hope to resolve some of the chronological points raised in the earlier parts of this paper and to propose time bounds on Seti's northern wars.2.

The Gulbenkian Great Hall, Lisbon, I: Acoustic design

The paper describes the principal auditorium (Great Hall) of the headquarters of the Calouste Gulbenkian Foundation in Lisbon for which the author was consultant. The hall seats about 1100 people on a gradually sloped main floor and 200 in a balcony across the rear. The stage can accommodate about 250 performers. The principal purpose is for music but ballet and meetings are also requirements. Its chief acoustic feature is a stage of remarkable adaptability, being able to provide either a full-depth flat floor, or a flat floor with a pit, or a fully raked stage on seven lifts, one of which can close off a fore-stage (and incorporates a projection screen), while another can close off a full orchestra area. A small organ has its own lift. A reflector can be raised or lowered, tilted and tracked forward or back. The walls of the stage have a unique rotating arrangement. There is no stage house. The hall is generally rectangular but with non-parallel sides, and lighting and TV protrusions on the walls assist diffusion. In principle the ceiling is flat, but raised or lowered portions for light and ventilation again provide diffusion. There are very limited areas of special absorption.

The Gulbenkian Great Hall, Lisbon, II: An acoustic study of a concert hall with variable stage

The Gulbenkian Great Hall is unique for the adaptability of its stage enclosure. The study reported here, which included subjective tests with a small orchestra as well as objective measurements, was conducted to discover the effects of changing stage configuration. It was soon discovered that the sensitivity of listeners to changes in the stage configuration was lower than anticipated, and accordingly fairly gross changes in configuration were tried. The results confirm the value of reflecting surfaces around the orchestra and for performers the preference of a reflecting surface above them. Interesting results also emerged concerning perceived clarity and reverberance and the objective ratio of early to late energy.

Dance me loose.

Do you remember that old song Dance Me Loose? The girl in song complained about being held too tight. Well, this is not only danger involved in dancing, especially stage dancing. Washington 1 reminds us that when we are seated in a large theater about to witness a performance by one of America's fine dance companies, and the house lights dim and melancholy strains of overture from Tchaikovsky's Swan Lake fill great hall, dancers are often exposed to a whole gamut of orthopedic injuries. The fine structure and functional ability of human body, which allow such beautiful and seemingly effortless movement as in ballet, are to be admired. But what sort of orthopedic problems do these dancers encounter in their work? Is pattern of injuries of various areas of body in dancers same as in athletes? How are these problems