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Salt, Vol. 10, No. 4, Salt Institute For Documentary Studies Dec 1990

Salt, Vol. 10, No. 4, Salt Institute For Documentary Studies

Salt Magazine Archive

Documenting a Region: Maine in Words and Photographs. Artists in Belfast. Aroostook Potato Farm. City Street Scenes. Streets like Tyng and Tate in the West End of Portland have seen it all — longshore families, slums, urban renewal, and boom times.

    Content
  • 3 Nineteen Pine Street Contributors and notes about this issue.
  • 5 Maine Journal The passing of Emmy McLean, Harvey Bixby, and other tales of the region, with a nod to Ronald Blythe.
  • 7 A Sense of Place: Having It, Losing It What happens to the people of Maine communities undergoing change? Like the gentrification of old Belfast. Or …


Quit Complaining, America--Be Thankful, Chester Smolski Oct 1990

Quit Complaining, America--Be Thankful, Chester Smolski

Smolski Texts

"I woke up this morning and saw the sun's rays bouncing off of my car parked in the lot across the street. I wish that I had a two-car garage so I could keep both cars indoors."


Salt, Vol. 10, No. 3, Salt Institute For Documentary Studies Jul 1990

Salt, Vol. 10, No. 3, Salt Institute For Documentary Studies

Salt Magazine Archive

Documenting a Region: Maine in Words and Photographs. Selling The Folk — A Special Issue on Folk and Pop Culture. Maine: The way life should be. That’s how Downeast folks and the landscape are romanticized to attract city dwellers.

    Content
  • 3 Nineteen Pine Street Contributors and notes about this issue.
  • 5 Maine Journal A new twist and some old potholes in the Maine turnpike widening controversy.
  • 6 From Folk to Pop and Back Again Salt invited scholars to a conference to talk about how folk culture and pop culture interact. Folk culture as in us authentic Downeast folk and pop …


Salt, Vol. 10, No. 2, Salt Institute For Documentary Studies Apr 1990

Salt, Vol. 10, No. 2, Salt Institute For Documentary Studies

Salt Magazine Archive

Documenting a Region: Maine in Words and Photographs. Maine’s Ethnic Groups: Part 2 — Franco-Irish-Swedish-Americans. Shanty Irish to lace curtain Irish. That’s what Skip Matson has seen. Still the Greenhorns come, from Galway and the troubled north.

    Content
  • 3 Nineteen Pine Street Contributors and notes about this issue.
  • 5 Maine Journal A Great Northern milltown gets rich quick, but the future looks threatening. More on illiteracy and Emily Kinney.
  • 7 Ethnic Groups of Maine Want to know how many Russians live in Maine? And here’s one for you. Blacks outnumbered Maine’s Native Americans two centuries ago. Facts about Maine’s ethnic …


Commentary: Honor And Martialism In The U.S. South And Prussian East Elbia During The Mid-Nineteenth Century, Edward L. Ayers Jan 1990

Commentary: Honor And Martialism In The U.S. South And Prussian East Elbia During The Mid-Nineteenth Century, Edward L. Ayers

History Faculty Publications

A commentary of Shearer Davis Bowman's essay on Honor and Martialism in the U.S. and Prussian East Elbia during the Mid-Nineteenth Century.

Without a second and unarmed, I have no inclination to offer a fundamental challenge to Professor Bowman's argument or his character. In fact, he has served us well by focusing on honor, martialism, and dueling as indices of comparison between the antebellum planters and the pre-1848 Junkers. I would like to build on the wealth of detail he has provided to help clarify the larger comparison between the South and Prussia.


Variation Procedures In Northern Ewe Song, V. Kofi Agawu Jan 1990

Variation Procedures In Northern Ewe Song, V. Kofi Agawu

Publications and Research

The major organizational principle of Northern Ewe song is one shared by numerous African, Oriental, and European musical traditions: a small number of models (variously described as "basic shapes," "archetypes," "background structures," "basic designs," "core patterns," "deep structures") is transformed in a wide variety of ways during performance. Variation takes place on different hierarchic levels both within and between songs and includes practically all of a song's dimensions (rhythm, interval, register, contour, harmony, and so on). This principle, although widely demonstrated in the literature on African song (see, among others, Jones 1976; Kauffman 1984; Schmidt 1984; and Erlmann 1985), is …