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Aside

Kruk · Bulletin of Miscellaneous Information (Royal Gardens Kew)

Aside is a song written and composed by Kruk (Marco Biasioli, Alessandro Ventura). All rights reserved

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Aside

Donald L. Rubin · Canadian Theatre Review · 1978

With this issue, the Canadian Theatre Review commences its fifth year of commitment to the idea that theatre in Canada should reflect, first of all, Canadian concerns. In most countries, such a position would be considered rather conservative. Unfortunately, in contemporary Canada such a position is considered radical and revolutionary, a mad dream held to by those who cannot “make it” in the world of the classics or who are too narrow-minded to understand the meaning of the term “international”. These charges, sad to say, come not so much from the broad segment of society at-large but from within our national theatrical establishment including those who control the purse-strings of our theatres and who continue to fund theatrical activities which tend to take from Canada more than they give.

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“[aside]”

Maria Dizzia · 2022

“This is my father's shirt,” Les said as he tugged at the open cuff around his wrist. We were on a break during rehearsals for Sarah Ruhl's Eurydice in Berkeley. I hadn't lost my father yet, so I don't think I knew what to say. Les smiled and moved past me to coffee or cookies or peanut butter M&M's. And from then on, Les's father was in the room with us or in the room in my mind – loving Les, imparting advice and then, one day, leaving. In some ways, it's obvious how Les built the connection between us – between director and actor, between a grown-up orphan and a young person with both her parents still alive – but in other ways, it was a mystery to me. Why exactly did I understand more now because he showed me his Dad's shirt? Because he still had it? Because he had decided to wear it? I think it was a little shorter in the arms than Les wore. It was plaid with green in it and soft. Maybe because it conjured a real person and not just the idea of losing what is dear and fundamental.

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Aside

Fordham University Press eBooks · 2021

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aside

2023

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Aside

Paul Carter · University of Minnesota Press eBooks · 2013

Abstract The style and the organization of the book are explained. The way the book moves between different voices, brings together very different cultural materials, often traversing them more than once from different directions, is intended to mimic the nature of the meeting place. In a meeting place where the desire of encounter remains alive, there can never be a single, authoritative narrative.

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Aside

Anne Dufourmantelle · Fordham University Press eBooks · 2021

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aside

Charlie Sdraulig · University of Melbourne data repository · 2021

A meditative unfolding of double harmonics, which achingly slowly fall away into noise. Commissioned by the Australian National Academy of Music (ANAM) as part The ANAM Set (2021); written for Mia Stanton and given its world premiere on 14 May 2022 at the Abbotsford Convent, Melbourne. The ANAM Set was funded by the Restart Investment to Sustain and Expand (RISE) Fund – an Australian Government Initiative.

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aside

Charlie Sdraulig · University of Melbourne data repository · 2021

A meditative unfolding of double harmonics, which achingly slowly fall away into noise. Commissioned by the Australian National Academy of Music (ANAM) as part The ANAM Set (2021); written for Mia Stanton and given its world premiere on 14 May 2022 at the Abbotsford Convent, Melbourne. The ANAM Set was funded by the Restart Investment to Sustain and Expand (RISE) Fund – an Australian Government Initiative.

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Aside

2024

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aside

Charlie Sdraulig · Open MIND · 2026

A meditative unfolding of double harmonics, which achingly slowly fall away into noise. Commissioned by the Australian National Academy of Music (ANAM) as part The ANAM Set (2021); written for Mia Stanton and given its world premiere on 14 May 2022 at the Abbotsford Convent, Melbourne. The ANAM Set was funded by the Restart Investment to Sustain and Expand (RISE) Fund – an Australian Government Initiative.

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aside

Charlie Sdraulig · Open MIND · 2026

A meditative unfolding of double harmonics, which achingly slowly fall away into noise. Commissioned by the Australian National Academy of Music (ANAM) as part The ANAM Set (2021); written for Mia Stanton and given its world premiere on 14 May 2022 at the Abbotsford Convent, Melbourne. The ANAM Set was funded by the Restart Investment to Sustain and Expand (RISE) Fund – an Australian Government Initiative.

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Differences Aside

Husic, Dzanela · Scholar Works (Boise State University) · 2022

The capstone project concerns cultural diversity at an elementary school, specifically at a 2nd-grade level. I interviewed my daughter and her teacher for my research. I involved my daughter in the book because she comes from a different culture and is being raised in another. She is the perfect example for my project because she has a cultural background, and she is not aware that people around her don't recognize that culture. I interviewed her teacher because she is emotionally intelligent and recognizes that cultural awareness is needed in classroom settings. Part of my research involved reading extensive literature about cultural diversity from the perspective of children's books. The result of my project is a positive one. The book I wrote allowed my daughter to be comfortable with her cultural background and speak to her friends about it. The purpose of this project was to spread awareness that there are other cultures in our community that have similarities and differences. Be aware that people in our communities have different ways of doing things and that our children need to learn about it early.

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An aside

Gordon Osing · UTC Scholar (University of Tennessee at Chattanooga) · 1972

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Theory Aside

2014

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Modernism Aside

Owen Boynton · Project Muse (Johns Hopkins University) · 2007

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Theory Aside

2014

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Feelings Aside

Moser, Jeffrey · The Research Repository @ WVU (West Virginia University) · 2020

https://researchrepository.wvu.edu/fixation-db-music-videos/1278/thumbnail.jpg

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Stepping aside

Katie Cassels, Charlotte Paddock · 2025

Since 2019, Royal Museums Greenwich (RMG) has developed to become a more useful, relevant, and inclusive resource for communities living with dementia by working to build relationships through trust and transfer of ownership. This chapter discusses two projects that developed memory resources for people living with dementia inspired by RMG’s collection. Both projects showcase the journey taken by the Engagement Department and community partners to move from an engagement method based on consultation towards one that centred co-production and community leading. In 2020, All Aboard was initiated in response to the global pandemic and the increased isolation experienced by people living with dementia and their carers. In 2021, Memories of the Caribbean was developed in partnership with a community group supporting Caribbean elders. During the course of these projects, the project teams altered approaches, transferred power, and centred the community as the project lead. Lived experience was recognised as central and this led to RMG taking on the role of service provider, facilitating the vision and needs of the partners to develop meaningful memory boxes. This journey represented a shift in RMG’s way of working, impacting the way the organisation partners with communities, broadening access, and increasing community ownership.

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Joking Aside

Jacob Olley · ˜The œworld of music/˜Theœ world of music · 2024

In this article, I examine humorous portrayals of European music in satirical journals published in Istanbul during the 1870s. Drawing on theories of humor as a means of expressing ambiguity, I analyze a description of a private salon concert as well as polemical debates about the public performance and reception of Turkish-language operetta. Through the strategic use of irony and mistranslation, Ottoman satirists exposed the incongruities of being modern while playfully undermining perceptions of distance and proximity between “Istanbul” and “Europe.” Modernity produced a sense of dislocation, a being out of place, that was heightened by listening to unfamiliar sonic practices as part of a broader assemblage of civilized behaviors. Yet by making light of such disconcerting experiences, Ottoman satirists produced a form of cultural intimacy that relocated modernity itself within a more familiar and accessible space – as long as their readers got the joke.

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