{"title":"EMPLOYEES WITH INTELLECTUAL DISABILITIES DURING THE COVID-19 PANDEMIC: NEW DIRECTIONS FOR DISABILITY ANTI-DISCRIMINATION LAW?","authors":"Leslie P Francis","doi":"","DOIUrl":"","url":null,"abstract":"","PeriodicalId":82221,"journal":{"name":"Oklahoma law review","volume":"74 1","pages":"1-26"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9559769/pdf/nihms-1789563.pdf","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"33518891","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-20DOI: 10.1093/oso/9780190665203.003.0001
T. Carter
The pre-premiere publicity for Oklahoma! generated by the Theatre Guild fixed many of the themes that would dominate its reception history. The Guild had already established a pattern of creating musical versions of plays it had previously staged, by way of George and Ira Gershwin’s Porgy and Bess of 1935. Its executive director, Theresa Helburn, tried to persuade a number of Broadway composers to pick up the torch, including Kurt Weill (for Ferenc Molnár’s play Liliom, which later became Rodgers and Hammerstein’s Carousel). She also saw some potential in Lynn Rigg’s Green Grow the Lilacs, first done by the Guild in late 1930. Riggs was one of a new generation of “regional” playwrights, and he drew on his own upbringing in Claremore, Oklahoma, for a work interweaving vernacular dialogue and cowboy songs. Rodgers and Hammerstein, however, came from quite other theatrical traditions; anything they did would necessarily be very different.
{"title":"Setting the Stage","authors":"T. Carter","doi":"10.1093/oso/9780190665203.003.0001","DOIUrl":"https://doi.org/10.1093/oso/9780190665203.003.0001","url":null,"abstract":"The pre-premiere publicity for Oklahoma! generated by the Theatre Guild fixed many of the themes that would dominate its reception history. The Guild had already established a pattern of creating musical versions of plays it had previously staged, by way of George and Ira Gershwin’s Porgy and Bess of 1935. Its executive director, Theresa Helburn, tried to persuade a number of Broadway composers to pick up the torch, including Kurt Weill (for Ferenc Molnár’s play Liliom, which later became Rodgers and Hammerstein’s Carousel). She also saw some potential in Lynn Rigg’s Green Grow the Lilacs, first done by the Guild in late 1930. Riggs was one of a new generation of “regional” playwrights, and he drew on his own upbringing in Claremore, Oklahoma, for a work interweaving vernacular dialogue and cowboy songs. Rodgers and Hammerstein, however, came from quite other theatrical traditions; anything they did would necessarily be very different.","PeriodicalId":82221,"journal":{"name":"Oklahoma law review","volume":"16 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79997564","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-20DOI: 10.1515/9783110111286.1.12.963
T. Carter
A striking amount of material survives to document the creation of what became known as Oklahoma!—including Hammerstein’s sketches and drafts for the libretto (first completed in November 1942), his subsequent work on the lyrics for the songs, and Rodgers’s music manuscripts. These sources reveal how they worked both together and separately in particularly, if differently, creative ways. They also help generate a chronology of the early stages of the show’s genesis that raises further questions about later accounts of it, not least in terms of the dream-ballet at the end of act 1, for which Agnes de Mille claimed significant credit. In addition, the orchestrations by Robert Russell Bennett reveal what he added in terms of instrumental color and, at times, new musical notes.
大量的材料保存下来，记录了后来被称为俄克拉何马州的创建!——包括哈默斯坦的剧本草图和草稿(最初于1942年11月完成)，他后来为歌曲写的歌词，以及罗杰斯的音乐手稿。这些消息来源揭示了他们是如何在一起或分开工作的，特别是以不同的创造性方式。它们还有助于形成该剧早期阶段的年表，对后来的描述提出了进一步的疑问，尤其是就第一幕结尾的梦幻芭蕾而言，阿格尼斯·德·米勒(Agnes de Mille)对此有很大的功劳。此外，罗伯特·拉塞尔·班尼特的编曲揭示了他在器乐色彩方面添加了什么，有时还添加了新的音符。
{"title":"Creative Processes","authors":"T. Carter","doi":"10.1515/9783110111286.1.12.963","DOIUrl":"https://doi.org/10.1515/9783110111286.1.12.963","url":null,"abstract":"A striking amount of material survives to document the creation of what became known as Oklahoma!—including Hammerstein’s sketches and drafts for the libretto (first completed in November 1942), his subsequent work on the lyrics for the songs, and Rodgers’s music manuscripts. These sources reveal how they worked both together and separately in particularly, if differently, creative ways. They also help generate a chronology of the early stages of the show’s genesis that raises further questions about later accounts of it, not least in terms of the dream-ballet at the end of act 1, for which Agnes de Mille claimed significant credit. In addition, the orchestrations by Robert Russell Bennett reveal what he added in terms of instrumental color and, at times, new musical notes.","PeriodicalId":82221,"journal":{"name":"Oklahoma law review","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76001687","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Whether you are a member of the resistance movement or a cheerleader for the new Trump Administration’s regulatory reform agenda, this Essay intends to engage your passion. (Of course, scholars, students, and agency officials should be interested too.) The notice and comment rulemaking process governing the creation of most regulations generated by federal agencies includes an obligation that agencies respond to public comments. This public participation requirement, with its “two way street” obligation to dialogue, is a critical check on agency power. The laws in this area are ones about which anyone interested in regulation should know more. Describing general precedents, including two recent exemplar cases from the D.C. Circuit on April 11, 2017 and July 18, 2017, this Essay provides a critical tutorial for anyone interested in getting involved — for or against regulatory change. It helps one understand why what this Essay dubs the “commenting power” is so critical in our democratic republic.
{"title":"The Commenting Power: Agency Accountability through Public Participation","authors":"Donald J. Kochan","doi":"10.2139/SSRN.3006157","DOIUrl":"https://doi.org/10.2139/SSRN.3006157","url":null,"abstract":"Whether you are a member of the resistance movement or a cheerleader for the new Trump Administration’s regulatory reform agenda, this Essay intends to engage your passion. (Of course, scholars, students, and agency officials should be interested too.) The notice and comment rulemaking process governing the creation of most regulations generated by federal agencies includes an obligation that agencies respond to public comments. This public participation requirement, with its “two way street” obligation to dialogue, is a critical check on agency power. The laws in this area are ones about which anyone interested in regulation should know more. Describing general precedents, including two recent exemplar cases from the D.C. Circuit on April 11, 2017 and July 18, 2017, this Essay provides a critical tutorial for anyone interested in getting involved — for or against regulatory change. It helps one understand why what this Essay dubs the “commenting power” is so critical in our democratic republic.","PeriodicalId":82221,"journal":{"name":"Oklahoma law review","volume":"70 1","pages":"601"},"PeriodicalIF":0.0,"publicationDate":"2018-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44855535","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-12-31DOI: 10.12987/9780300134872-001
{"title":"List of Illustrations","authors":"","doi":"10.12987/9780300134872-001","DOIUrl":"https://doi.org/10.12987/9780300134872-001","url":null,"abstract":"","PeriodicalId":82221,"journal":{"name":"Oklahoma law review","volume":"61 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72450412","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-12-31DOI: 10.12987/9780300134872-010
{"title":"Appendix B: Archival and Other Sources","authors":"","doi":"10.12987/9780300134872-010","DOIUrl":"https://doi.org/10.12987/9780300134872-010","url":null,"abstract":"","PeriodicalId":82221,"journal":{"name":"Oklahoma law review","volume":"33 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90526139","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-12-31DOI: 10.1016/B978-012401955-3/50002-1
R. Katzman
{"title":"Chapter 1. Setting the Stage","authors":"R. Katzman","doi":"10.1016/B978-012401955-3/50002-1","DOIUrl":"https://doi.org/10.1016/B978-012401955-3/50002-1","url":null,"abstract":"","PeriodicalId":82221,"journal":{"name":"Oklahoma law review","volume":"60 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88518809","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-12-31DOI: 10.12987/9780300134872-008
{"title":"Chapter 6. From Stage to Screen","authors":"","doi":"10.12987/9780300134872-008","DOIUrl":"https://doi.org/10.12987/9780300134872-008","url":null,"abstract":"","PeriodicalId":82221,"journal":{"name":"Oklahoma law review","volume":"65 3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90705641","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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