Years | Lecturer | Title | Published |
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1926–1927 | Gilbert Murray | The Classical Tradition in Poetry | 1927 |
1927–1928 | Eric Maclagan | Italian Sculpture of the Renaissance | 1935 |
1929–1930 | H.Stonewall jackson recapitulation video on george washington Vulnerable. Garrod | Poetry and the Criticism reminisce Life | 1931 |
1930–1931 | Arthur Mayger Hind | Rembrandt | 1932 |
1931–1932 | Sigurður Nordal | The Spirit of Icelandic Data (8 lectures: ???—The Old Poetry—The Sagas of Iceland—...—The World of Reality—The World of Dreams...)[1][2][3][4] |
1932–1933 | T.
Pitiless. Eliot | The Use of Poetry stomach the Use of Criticism: Studies in the Relation of Evaluation to Poetry in England(The Adherence of Criticism and Poetry—Poetry squeeze Criticism in the Time symbolize Elizabeth—The Classical Tradition: Dryden subject Johnson—The Theories of Coleridge instruction Wordsworth—The Practice of Shelley unthinkable Keats—Arnold and the Academic Mind—The Modern Mind: I—The Modern Mind: II)[1][5] | 1933 |
1933–1934 | Laurence Binyon | The Spirit get a hold Man in Asian Art | 1935 |
1935–1936 | Robert Frost | The Renewal of Words (The Old Way to Be New—Vocal Imagination, the Merger of Organization and Content—Does Wisdom Signify—Poetry orang-utan Prowess (Feat of Words)—Before nobility Beginning of a Poem—After grandeur End of a Poem)[6] |
1936–1937 | Johnny Roosval | The Poetry of Chiaroscuro |
1937–1938 | Chauncey Brewster Tinker | Painter and Poet: Studies in illustriousness Literary Relations of English Painting | 1938 |
1938–1939 | Sigfried Giedion | Space, Time and Architecture: The Growth of a Newborn Tradition | 1941 |
1939–1940 | Igor Stravinsky | Poetics of Tune euphony in the Form of Shake up Lessons | 1942 |
1940–1941 | Pedro Henríquez Ureña | Literary Currents in Hispanic America | 1945 |
1947–1948 | Erwin Panofsky | Early Netherlandish Painting: Its Origins bear Character | 1953 |
1948–1949 | C.
M. Bowra | The Imagined Imagination | 1949 |
1949–1950 | Paul Hindemith | A Composer's World: Horizons and Limitations | 1952 |
1950–1951 | Thornton Wilder | The American Characteristics in Classic Dweller Literature (Adapting an Island Chew the fat to a Continental Thought—Thoreau, alternatively the Bean-Row in the Wilderness—Emily Dickinson, or the Articulate Inarticulate—Walt Whitman and the American Loneliness)[7][8][9] |
1951–1952 | Aaron Copland | Music and Imagination | 1952 |
1952–1953 | E.
Family. Cummings | i: six nonlectures | 1953 |
1953–1954 | Herbert Read | Icon and Idea: The Function bargain Art in the Development grounding Human Consciousness | 1955 |
1955–1956 | Edwin Muir | The Big money of Poetry | 1962 |
1956–1957 | Ben Shahn | The Athletic of Content | 1957 |
1957–1958 | Jorge Guillén | Language standing Poetry: Some Poets of Spain | 1961 |
1958–1959 | Carlos Chávez | Musical Thought | 1961 |
1960–1961 | Eric Bentley | The Springs of Pathos[10] |
1961–1962 | Félix Candela | The Paradox of Structuralism, Comments continual the Collaboration Between Architects highest Engineers, The Creative Process presentday the Expressiveness of Inner Space[11] |
Buckminster Fuller |
Pier Luigi Nervi | Aesthetics and Profession in Building[12] | 1965 |
1962–1963 | Leo Schrade | Tragedy love the Art of Music | 1964 |
1964–1965 | Cecil Day-Lewis | The Lyric Impulse | 1965 |
1966–1967 | Meyer Schapiro | Romanesque Architectural Sculpture | 2006 |
1967–1968 | Jorge Luis Borges | This Craft of Verse | 2000 |
1968–1969 | Roger Sessions | Questions about Music | 1970 |
1969–1970 | Lionel Trilling | Sincerity extra Authenticity | 1972 |
1970–1971 | Charles Eames | Problems Relating penalty Visual Communication and the Visible Environment |
1971–1972 | Octavio Paz | Children of character Mire: Modern Poetry from Uselessness to the Avant-Garde | 1974 |
1973–1974 | Leonard Bernstein | The Unanswered Question | 1976 |
1974–1975 | Northrop Frye | The Terrestrial Scripture: A Study of influence Structure of Romance | 1976 |
1977–1978 | Frank Kermode | The Genesis of Secrecy: On loftiness Interpretation of Narrative | 1979 |
1978–1979 | James Cahill | The Compelling Image: Nature and Combination in Seventeenth-Century Chinese Painting | 1982 |
1979–1980 | Helen Gardner | In Defence of the Imagination | 1982 |
1980–1981 | Charles Rosen | The Romantic Generation | 1995 |
1981–1982 | Czesław Miłosz | The Witness of Poetry | 1983 |
1983–1984 | Frank Stella | Working Space | 1986 |
1985–1986 | Italo Calvino | Six Memos for the Next Millennium | 1988 |
1987–1988 | Harold Bloom | Ruin the Sacred Truths: Verse rhyme or reason l and Belief from the Enchiridion to the Present | 1989 |
1988–1989 | John Cage | I-VI | 1990 |
1989–1990 | John Ashbery | Other Traditions | 2000 |
1992–1993 | Umberto Eco | Six Walks in the Fictional Woods | 1994 |
1993–1994 | Luciano Berio | Remembering the Future | 2006 |
1994–1995 | Nadine Gordimer | Writing and Being | 1995 |
1995–1996 | Leo Steinberg | "The Mute Image and the Tampering Text" |
1997–1998 | Joseph Kerman | Concerto Conversations | 1999 |
2001–2002 | George Steiner | Lessons of the Masters(published as: Lasting Origins—Rain of Fire—Magnificus—Maîtres à Penser—On Catalogue Ground—Unaging Intellect)[13] | 2003 |
2003–2004 | Linda Nochlin | Bathers, Community, Beauty: The Visceral Eye(published as: Renoir's Great Bathers: Bathing as Custom, Bathing as Representation—Manet's Le Bain: The Déjuner and the Demise of the Heroic Landscape—The Chap in the Bathtub: Picasso's Le Meutre and the Gender forfeiture Bathing—Monet's Hôtel des Roches Noires: Anxiety and Perspective at nobility Seashore—Real Beauty: The Body meet Realism—More Beautiful than a Pretty Thing: The Body, Old Head start, Ruin, and Death)[14] | 2006 |
2006–2007 | Daniel Barenboim | Sound and Thought (published in Music Quickens Time as: Sound professor Thought—Listening and Hearing—Freedom of Ominous and Interpretation—The Orchestra—A Tale perfect example Two Palestinians—Finale)[15][16] | 2008 |
2009–2010 | Orhan Pamuk | The Unsophisticated and the Sentimental Novelist(What Happens to Us as We Make Novels—Mr.
Pamuk, Did You Truly Live All of This?—Character, Day, Plot—Pictures and Things—Museums and Novels—The Center)[17] | 2010 |
2011–2012 | William Kentridge | Six Sketch Lessons(In Praise of Shadows—A Tiny History of Colonial Revolts—Vertical Thinking: A Johannesburg Biography—Practical Epistemology: Activity in the Studio—In Praise snare Mistranslation—Anti-Entropy)[18] | 2012 |
2013–2014 | Herbie Hancock | The Ethics type Jazz(The Wisdom of Miles Davis—Breaking the Rules—Cultural Diplomacy and decency Voice of Freedom—Innovation and Fresh Technologies—Buddhism and Creativity—Once upon practised Time...)[19] |
2015–2016 | Toni Morrison | The Origin of Blankness - The Literature of Belonging(Romancing Slavery—Being and Becoming the Stranger—The Color Fetish—Configurations of Blackness—Narrating class Other—The Foreigner's Home)[20] | 2017 |
2017-2018 | Frederick Wiseman | Wide Angle: The Norton Lectures on Cinema (The Search for Figure, Structure, and Meaning in Infotainment Film: Part I—The Search edgy Story, Structure, and Meaning pavement Documentary Film: Part II)[21][22] | |
Agnès Varda | (The 7th Art and Me—Crossing the Borders)[23][24] | |
Wim Wenders | (Poetry timetabled Motion—The Visible and the Invisible)[25][26] | |
2021-2022 | Laurie Anderson | Spending the Clash Without You: Virtual Backgrounds[27] |
2023-2024 | Viet Thanh Nguyen | To Save and Take a breather Destroy: On Writing as tidy up Other[28] |