Kirjahaku

The Korean conflict is known as "the Forgotten War," but one veteran who never forgot it was Lt. Col. John R. Stevens, U.S. Marine Corps. Lingering pain from frostbitten toes were a regular reminder of his part in the Battle of Chosin Reservoir, fought in minus-40 degree weather in 1950. Stevens earned a Bronze Star in Korea, a war that technically never ended. After his retirement, he got involved in... the long slog to get a Korean War memorial built in San Francisco. He spent seven years fundraising, working alone in a windowless office on Van Ness Avenue, before the $4 million monument overlooking San Francisco Bay was finally dedicated in 2016. Every year after, Stevens marked the anniversary of the start of the war, on June 25, by giving a speech at a ceremony there and laying a wreath on the memorial wall. "The Korean War Memorial would never have happened without John," said Don Reid, who also served in Korea and co-founded the memorial foundation with Stevens. "He was a true Marine, the total package. He stood for pride, commitment, dedication, virtue, honesty, loyalty and patriotism." Stevens was also on the ground during the bombing of Pearl Harbor and the eventual defeat of Japanese combatants at Okinawa. For his valor under fire, he received his first Bronze Star. "John was at Pearl Harbor, the Battle of Okinawa, the Pusan Perimeter, Inchon Landing, the liberation of Seoul and the Chosin Reservoir," said Gerard Parker, executive director of the Korean War Memorial Foundation. "From the beginning of World War II through the first crucial year of the Korean war, John had a knack for turning up in these key battles." Through it all, Stevens was soft-spoken, modest and dry, using no more words than the setting required. Once asked by an interviewer what it was like to be surrounded by 100,000 enemy troops at Chosin, he responded, "Lots of targets." After 23 years in the Marines, he went on to work 35 years in business, mostly in telecommunications and information technology companies. He started as a systems engineer at IBM and went on to start four companies. One of these, Centex, went public in 1987 and became a case study at Harvard business school, as an example of "how to run a successful IPO," said his son, John R. (Steve) Stevens II of Lafayette. (from San Francisco Chronicle Newspaper Article 04JUN2021 by Sam Whiting)

Keshab Chandra Sen (1838-84) was one of the most powerful and controversial figures in nineteenth-century Bengal. A religious leader and social reformer, his universalist interpretation of Hinduism found mass appeal in India, and generated considerable interest in Britain. His ideas on British imperial rule, religion and spirituality, global history, universalism and modernity were all influential, and his visit to England made him a celebrity. Many Britons regarded him as a prophet of world-historical significance. Keshab was the subject of extreme adulation and vehement criticism. Accounts tell of large crowds prostrating themselves before him, believing him to be an avatar. Yet he died with relatively few followers, his reputation in both India and Britain largely ruined. As a representative of India, Keshab became emblematic of broad concerns regarding Hinduism and Christianity, science and faith, India and the British Empire. This innovative study explores the transnational historical forces that shaped Keshab's life and work. It offers an alternative religious history of empire, characterized by intercultural dialogue and religious syncretism. A fascinating and often tragic portrait of Keshab's experience of the imperial world, and the ways in which he carried meaning for his contemporaries.

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First published in 1962, John Stevens' book examines the complex interplay between lyrical and musical compositions in the courts of Henry VII and VIII. One of the persistent problems for the reader of an English lyric is this: was the poem meant to be sung? and if so, how did music affect the writing, and how should it affect our reading of the poem? Stevens aims to answer these questions by challenging the notion of a traditional union between music and verse. He examines late medieval ideas about music and poetry and the impact of the Reformation on them, and uses the social information about music and musicians to interpret the evidence of the early Tudor songbooks. This book is supplemented by four appendices containing the texts of all the poems in the three main Tudor songbooks together with information about musical settings and related poems, an index of selected songs, a list of sources, and a bibliography of relevant books and articles. It is hoped that this volume will appeal to practising musicians and scholars, as well as anyone for whom music is a continuing intellectual interest and a pleasure.

This book examines the relation of words and music in England and France during the three centuries following the Norman Conquest. The basic material of the study includes the chansons of the troubadours and trouvères and the varied Latin songs of the period. In addition to these 'lyric' forms, the author discusses the relations of music and poetry in dance-song, in narrative and in the ecclesiastical drama. Professor Stevens examines the ready-made, often unconscious, and misleading assumptions we bring to the study and performance of early music. In particular he affirms the importance of Number, in more than one sense, as a clue to the 'aesthetic' of the greater part of repertoire, to the relation of words and melody. and to the baffling problem of their rhythmic interpretation. This is the first wide-ranging study of words and music in this period in any language. It will be essential reading for scholars of the music and the literature of medieval Europe and will provide a basic and comprehensive introduction to the repertoire for students.

This is the catalogue produced in conjunction with the Enso: The Timeless Circle exhibition held at the Robyn Buntin of Honolulu Gallery in 2008/2009. Enso are the circles used in East Asian Buddhism to visually express Zen teachings on paper with a brush and ink. The Zen circle can represent many things-enlightenment, the universe, perfection, infinity, emptiness, the mind, the moon, enlightenment, and even a tea bowl or a sweet cake. Sixty-two enso are reproduced in color, both the image itself and the full-length of the scroll, with translations and commentary by Prof. John Stevens. The enso paintings date from the 13th century-the oldest enso painting known-to the present, with examples produced in Japan and in the West.

A sampling of extraordinary poems from the Japanese hermit-monk, who belongs in the tradition of the great Zen eccentrics in China and Japan, captures the beauty and pathos of human life, reaching far beyond time and place. Original.

Over the centuries, Buddhism has responded to sexuality in a variety of fascinating ways, sometimes, suppressing the sexual urge, sometimes sublimating it, sometimes cultivating it, and, on the highest levels, transforming it. This book reveals how Buddhists, beginning with Shakyamuni Buddha himself, relate to the "inner fire" that drives humankind. Included are chapters on the Buddha's love life before his enlightenment and his later relationships with women, the tantric approach to sex among Buddhists of ancient India, Tibet, China, and Japan; Zen in the art of love; and a positive discussion of women and Buddhism.

The subjects of medieval romance are the great and permanent concerns of the human mind. A literature is best approached by newcomers, through its major achievements, the author of this book, originally published in 1973, maintains. The book’s discussion centres on the romances of Chaucer and Chrétien de Troyes, and on such texts as Sir Gawain and the Green Knight, the Roman de la Rose, and Malory’s Morte d’Arthur. The book’s introductory chapters stress the continuity between medieval and later literature.