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Zondervan Publishing House

File consists of business correspondence concerning a request by Zondervan Publishing House for Nouwen to write a response to the book, A Child Shall Lead Them: Lessons About Hope From Children with Cancer. Also included in the file is a copy of Nouwen's response to the book. The file also includes a letter a request for comments for Hope Springs From Mended Places by Dr. Diane Komp, however, there is no indication that Nouwen responded.

Zola, Émile, L’assommoir

Zola, Émile, L’assommoir. Drame en cinq actes et neuf tableaux [adaptation de William Busnach et Octave Gastineau], avec une préface d’Émile Zola et un dessin de Georges Clairin, Paris, G. Charpentier, 1881. Original wrappers. Poor condition

Zola, Émile, Jacques Damour, 2 copies

Zola, Émile, Jacques Damour. Pièce en un acte. Tirée de la nouvelle d’Émile Zola par Léon Hennique, Paris, G. Charpentier et Cie, 1887. Original wrappers – stage copy marked «D». With wet stamp «Le Théâtre Libre». Second copy: 1925.

Zola Research Programs fonds

  • CA ON00389 F17
  • Fonds
  • 1873-2008

Fonds consists of documents relating to the Zola Research Program and the publication of the 10 volume "Émile Zola Correspondance" series, including project files, inventories, reference materials, photocopies of Émile Zola’s correspondence and other documents related to the project. The project files contained in this fonds document the development and activities of the Zola Research Program. Project files records include inventories of various letters, funding information, budgetary forms, donor agreements, publicity documents and summaries of the project written both by external entities (newspapers) and internal figures (members of the Program staff). Also included are supplementary documents that were collected to create a broader contextual framework. Each letter is be supported with annotations and background information on the correspondents, events or people discussed in the letters as well as the social and political state of France during the 19th century. While the collection of letters by Zola was the primary mandate of the project, along the way the Program collected a vast number of reference materials to broaden the perspective. This fonds contains the off-prints, various documents (both collected by Zola and collected by the Zola Research Program about various 19th century figures) and bibliographies. Books collected by the Program are now the basis of the Émile Zola Collection in the Rare Book Collection of Kelly Library.

The correspondence is composed mostly of photocopies of handwritten letters, post cards, cartes de visites, telegrams and typed transcriptions of letters. The correspondence is a mixture of professional and personal letters that discuss various matters from the publication of Zola’s main works to the birth of his children. It is clear from the various handwritings and documentation styles that multiple figures were involved in the processing of the letters. However, as a Research Associate and long-term member of the team, Dorothy Speirs was the primary figure creating, processing and cross-referencing the letters. This can be seen through the presence of her initials on most of the documents. Additionally, as Project Archivist Hélène Issayevitch organized the letters and maintained the record-keeping practices throughout. It is important to note that after the dissolution of the Zola Research Program in 1995, Speirs continued collecting reference materials and adding them to the collection. As a result, there are a number of documents contained within that extend outside the dates of the Program. The result of this continued research is an additional publication completed in 2008, in association with Owen Morgan.

This collection remains the largest repository of Émile Zola’s letters available in North America. In recent years, the descendants of Zola have divided the estate, including the letters, resulting in a dispersal of the documents. This collection represents the largest single collection of Zola’s letters that is accessible and open to the public. Additionally, this fonds contains a fountain of information on key figures in the Naturalist Movement of the 19th century, as well as other well-known artists, scholars, intellectuals and political and social figures, including J.K. Huysmans, Edmond de Goncourt, Gustave Flaubert, Édouard Manet, Alfred Bruneau, Paul Alexis, Henry Céard, Léon Hennique, and Guy de Maupassant - all of which can be found either through personal discussions in the letters or supplementary documentation. The hidden value in this fonds lies in the plethora of reference resources that are available. The fonds also houses a vast number of off-prints that explore various aspects of Zola’s life as well as the broader Naturalist community of the 19th century. Some other significant pieces include original 19th century illustrated theatrical pamphlets from the Théâtre Libre, various original newspaper clippings and original letters by Émile Zola, Alexandrine Zola, Paul Alexis and Jules Claretie.

Fonds is arranged into 6 series:

1) Project Files series: consists of a variety of records that document the development of the project over the years, including funding information, publicity and marketing documents, donor agreements, budgetary forms and some correspondence amongst various scholars.

2) Letters by Zola series: consists of photocopies of letters written by Zola between 1856 and 1902. This series also contains an original letter by Émile Zola, dated June 22, 1890 (File #107).

3) Letters to Zola series: contains photocopies of letters written to Zola between 1858 and 1902. This series also contains an original letter by Alexandrine Zola to Émile Zola, dated May 27, 1890 (File #248).

4) Letters by Contemporaries series: consists of photocopies of letters sent between Zola’s family and contemporaries. This series contains an original letter from Paul Alexis to Léon Hennique, dated September 19, 1887 (File #420).

5) Collected and Reference Material series: contains photocopies of documents about the project and the various correspondents in the fonds (documents written by or about Émile Zola, documents about his family and correspondents, off-prints of works written about Émile Zola and naturalism, project inventories of letters and bibliographies). Series contains a variety of original documents including newspapers and theatrical pamphlets.

6) Alphabetical Index Forms series: consists of biographical and contextual information on correspondents of Émile Zola, figures mentioned in the letters, or the main journals for which he wrote.

Zola Research Program

Zola notes

Zola's preparatory notes (photocopy) for his article, "Aux meres heureuses" (Le Figaro, 18 April 1891), from the Le Blond collection.
There is also a transcription of the notes and a letter from Alain Pages to Sanders, dated 13 February 2007, thanking Sanders for sending the text.

Zip's blues

File consists of an arrangement of "Zip's blues" by Rich Shanklin. File includes of two manuscript copies of vocal scores for SATB, and manuscript parts for alto saxophone, tenor saxophone, trumpet, and trombone

Zip a dee doo-dah

File consists of Leslie Bell's arrangement of the popular song by Allie Wrubel and Ray Gilbert for the Disney 1946 movie Song of the South.

Zigeuner[weisen]

File consists of Leslie Bell's arrangement of the song by Pablo de Sarasate.

Zigeuner (426) : music for jazz ensemble

File contains parts for the Ray Norris Quintette (Jack "Jackie" Williamson, drums and vibraphone; "Bud" Henderson, piano; Ray Norris, guitar; "Doc" Hamilton, bass; and Phil Nimmons, clarinet).

Zeitungsausschnitte : für Gesang und Klavier, op. 11 / Hanns Eisler

File consists of two copies of Zeitungsausschnitte. One indicates op. 11, the other two indicate op. 10 (op. 8 crossed out), Heft I and II.

The op. 11 copy has 5 movements, rather than the 8 in the published version. It includes no. 1, Mariechen; no. 2, Kinderlied aus dem Wedding; no. 3, Liebeslied eines Kleinbürgermädchens; no. 5, Aus einer Enquête; no. 8 Frühlingsrede an einen Baum im Hinterhaushof. A note in pencil on title page instructs the insertion of Lustige Ecke (Noblesse oblige), "siehe Beilage" (see attachment), between no. 3 and no. 5.

The op. 10, Heft I and II manuscripts are complete, with the addition of Lustige Ecke.

Heft I: Mariechen; Kinderlied aus dem Wedding; Liebeslied eines Kleinbürgermädchens; Kriegslied eines Kindes; Lustige Ecke (Noblesse oblige - Der Kleine Kohn).

Heft II: Aus einer Enquête (Mutter und Vater - Der Tod - Die Sünde); Liebeslied eines Grundbesitzers - Heiratsannonce; Aus einer Romanbeilage; Frühlingsrede an einen Baum im Hinterhaushof.

Zeit und Raum der musikalischen Erfarhung

An essay exploring the facets of music that make possible musical experience, including tone, movement, time, and space. Zuckerkandl writes that the experience of tone is always interpreted in relation to a tonal field, and that the difference between an acoustic event and a musical event is the dynamism of the latter. On movement, he writes that the idea of sound movement is problematic as sounds are not physical things that can move; the solution is to regard the movement of tones as pure movement that is separated from physical space. Time, on the other hand, is always pervaded by tactical experience through the experience of grouping; Zuckerkandl writes that we do not feel rhythm as equal division, but as a series of departures from and returns to an origin point, thus musical rhythm is felt as a wave, which can be felt at multiple levels. Musical time is thus felt qualitatively, not as absolute measurement. Finally, Zuckerkandl addresses musical space as a dynamic ordering of tones in relation to each other, rather than as a geometric concept, into which a person gains insight by placing themselves within the musical space as a participant. Zuckerkandl references prominent figures of Gestalt psychology throughout the article, including Max Wertheimer, Kurt Koffka, and Geza Revesz, as well as other figures from psychology and philosophy. Minor edits in pencil to phrasing.

Zeit und Raum der musikalischen Erfahrung [Version B]

Zuckerkandl explores the spatial and temporal experience of music. The text is comprised of four sections: pitch, movement, time, and space. In the first section, Zuckerkandl explains that pitches “refer” to each other; they do not correspond to objects in the real world. Zuckerkandl’s discussion of movement outlines problems with conceptualizing pitch movement as an object "in different positions in pitch-space.” In the section on time, Zuckerkandl asserts that music is experienced in groupings of twos and threes. In the final section on space, Zuckerkandl explores issues regarding the “placelessness” of “audible space.”

Zeit und Raum der musikalischen Erfahrung [Version A]

Zuckerkandl explores the spatial and temporal experience of music. The text is comprised of four sections: pitch, movement, time, and space; section headers have been pencilled in. In the first section, Zuckerkandl explains that pitches “refer” to each other; they do not correspond to objects in the real world. Zuckerkandl then explores issues in concepts of pitch movement. In the section on time, Zuckerkandl asserts that musical rhythm is experienced in groupings of twos and threes and is felt as a “wave” or “pulse.” In the final section on space, Zuckerkandl explores issues regarding the “placelessness” of “audible space.”

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