David Jones, Emily Bingham, Kara Combs 1. This Poet Wrote About The
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Hopperville Express
Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 1989 Volume V: America as Myth The HopperVille Express Curriculum Unit 89.05.01 by Casey Cassidy This curriculum unit is designed to utilize Edward Hopper’s realistic 20th century paintings as a “vehicle” to transport middle school children from the hills and seasides of New England, through the metropolis of New York City, and across the plains of the western United States. As our unit continues along its journey, it will cross a timeline of approximately forty years which will serve to highlight technological improvements in transportation, changes in period attire, and various architectural styles. We will experience a sense of nostalgia as we view a growing spirit of nationalistic pride as we watch America grow, change, and move forward through the eyes of Edward Hopper. The strategies in this unit will encourage the youngsters to use various skills for learning. Each student will have the opportunity to read, to critically examine slides and lithographs of selected Hopper creations, to fully participate in teacherled discussions of these works of art, and to participate first hand as a commercial artist—i.e. they will be afforded an opportunity to go out into their community, traveling on foot or by car (as Edward Hopper did on countless occasions), to photograph or to sketch buildings, scenes, or structures similar to commonplace areas that Hopper painted himself. In this way, we hope to create a sense of the challenge facing every artist as they themselves seek to create their own masterpieces. Hopper was able “to portray the commonplace and make the ordinary poetic.”1 We hope our students will be able to understand these skills and to become familiar with the decisions, the inconveniences, and the obstacles of every artist as they ply their trade. -
Rise of Modernism
AP History of Art Unit Ten: RISE OF MODERNISM Prepared by: D. Darracott Plano West Senior High School 1 Unit TEN: Rise of Modernism STUDENT NOTES IMPRESSIONISM Edouard Manet. Luncheon on the Grass, 1863, oil on canvas Edouard Manet shocking display of Realism rejection of academic principles development of the avant garde at the Salon des Refuses inclusion of a still life a “vulgar” nude for the bourgeois public Edouard Manet. Olympia, 1863, oil on canvas Victorine Meurent Manet’s ties to tradition attributes of a prostitute Emile Zola a servant with flowers strong, emphatic outlines Manet’s use of black Edouard Manet. Bar at the Folies Bergere, 1882, oil on canvas a barmaid named Suzon Gaston Latouche Folies Bergere love of illusion and reflections champagne and beer Gustave Caillebotte. A Rainy Day, 1877, oil on canvas Gustave Caillebotte great avenues of a modern Paris 2 Unit TEN: Rise of Modernism STUDENT NOTES informal and asymmetrical composition with cropped figures Edgar Degas. The Bellelli Family, 1858-60, oil on canvas Edgar Degas admiration for Ingres cold, austere atmosphere beheaded dog vertical line as a physical and psychological division Edgar Degas. Rehearsal in the Foyer of the Opera, 1872, oil on canvas Degas’ fascination with the ballet use of empty (negative) space informal poses along diagonal lines influence of Japanese woodblock prints strong verticals of the architecture and the dancing master chair in the foreground Edgar Degas. The Morning Bath, c. 1883, pastel on paper advantages of pastels voyeurism Mary Cassatt. The Bath, c. 1892, oil on canvas Mary Cassatt mother and child in flattened space genre scene lacking sentimentality 3 Unit TEN: Rise of Modernism STUDENT NOTES Claude Monet. -
Emily Dickinson - Poems
Classic Poetry Series Emily Dickinson - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Emily Dickinson(10 December 1830 – 15 May 1886) Emily Elizabeth Dickinson was an American poet. Born in Amherst, Massachusetts, to a successful family with strong community ties, she lived a mostly introverted and reclusive life. After she studied at the Amherst Academy for seven years in her youth, she spent a short time at Mount Holyoke Female Seminary before returning to her family's house in Amherst. Thought of as an eccentric by the locals, she became known for her penchant for white clothing and her reluctance to greet guests or, later in life, even leave her room. Most of her friendships were therefore carried out by correspondence. Although Dickinson was a prolific private poet, fewer than a dozen of her nearly eighteen hundred poems were published during her lifetime. The work that was published during her lifetime was usually altered significantly by the publishers to fit the conventional poetic rules of the time. Dickinson's poems are unique for the era in which she wrote; they contain short lines, typically lack titles, and often use slant rhyme as well as unconventional capitalization and punctuation. Many of her poems deal with themes of death and immortality, two recurring topics in letters to her friends. Although most of her acquaintances were probably aware of Dickinson's writing, it was not until after her death in 1886—when Lavinia, Emily's younger sister, discovered her cache of poems—that the breadth of Dickinson's work became apparent. -
Autobiographic Self-Construction in the Letters of Emily Dickinson
University of Wollongong Theses Collection University of Wollongong Theses Collection University of Wollongong Year Autobiographic self-construction in the letters of Emily Dickinson Lori Karen Lebow University of Wollongong Lebow, Lori K, Autobiographic self-construction in the letters of Emily Dickinson, PhD thesis, Department of English, University of Wollongong, 1999. http://ro.uow.edu.au/theses/2 This paper is posted at Research Online. http://ro.uow.edu.au/theses/2 NOTE This online version of the thesis may have different page formatting and pagination from the paper copy held in the University of Wollongong Library. UNIVERSITY OF WOLLONGONG COPYRIGHT WARNING You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Autobiographic Self-Construction in the Letters of Emily Dickinson A thesis submitted in fulfillment of the requirements for the award of the degree DOCTOR OF PHILOSOPHY From The University of Wollongong by Lori Karen Lebow, MA, Hons English Studies Program, 1999. -
Stony Brook University
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... A Remembrance of the Belle: Emily Dickinson on Stage A Thesis Presented by Caitlin Lee to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in Dramaturgy Stony Brook University May 2010 Stony Brook University The Graduate School Caitlin Lee We, the thesis committee for the above candidate for the Master of Fine Arts degree, hereby recommend acceptance of this thesis. Steve Marsh – Thesis Advisor Lecturer and Literary Manager, Department of Theatre Arts Maxine Kern – Second Reader Lecturer, Department of Theatre Arts This thesis is accepted by the Graduate School. Lawrence Martin Dean of the Graduate School ii Abstract of the Thesis A Remembrance of the Belle: Emily Dickinson on Stage by Caitlin Lee Master of Fine Arts in Dramaturgy Stony Brook University 2010 In September 2009, I served as the Production Dramaturg for the New York premiere production of Emily: An Amethyst Remembrance. During my research process, I learned that the true persona Emily Dickinson does fit into one particular stereotype. In this thesis I provide, I examine three different theatrical interpretations of the character of Emily Dickinson: Allison’s House by Susan Glaspell, The Belle of Amherst by William Luce, and Emily: An Amethyst Remembrance by Chris Cragin. Though each of these texts are quite different in structure, they each depict woman who is strong and loving; she is not afraid of the world, but rather it is her choice to exclude herself from it. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
Nighthawks - Wikipedia, the Free Encyclopedia 10/10/15 15:20
Nighthawks - Wikipedia, the free encyclopedia 10/10/15 15:20 Nighthawks From Wikipedia, the free encyclopedia This article is about the painting by Edward Hopper. For other uses, see Nighthawks (disambiguation). Nighthawks is a 1942 oil on canvas Nighthawks painting by Edward Hopper that portrays people in a downtown diner late at night. It is Hopper's most famous work[1] and is one of the most recognizable paintings in American art.[2][3] Within months of its completion, it was sold to the Art Institute of Chicago for $3,000[4] and has remained there ever since. Contents Artist Edward Hopper Year 1942 1 About the painting Type Oil on canvas 1.1 Josephine Hopper's Dimensions 84.1 cm ! 152.4 cm ( 1 in ! 60 in) notes on the painting 33 ⁄8 2 Ownership history 3 Searching for the location of Location Art Institute of Chicago, Chicago, Illinois the restaurant 4 In popular culture 4.1 Painting and sculpture 4.2 Literature 4.3 Film 4.4 Music 4.5 Television 4.6 Scale model 4.7 Parodies 5 References 6 External links About the painting Josephine Hopper's notes on the painting Starting shortly after their marriage in 1924, Edward Hopper and his wife Josephine (Jo) kept a journal in which he would, using a pencil, make a sketch-drawing of each of his paintings, along with a precise description of certain technical details. Jo Hopper would then add additional information about the theme of the painting. A review of the page on which Nighthawks is entered shows (in Edward Hopper's handwriting) that the https://en.wikipedia.org/wiki/Nighthawks Página 1 de 8 Nighthawks - Wikipedia, the free encyclopedia 10/10/15 15:20 intended name of the work was actually Night Hawks and that the painting was completed on January 21, 1942. -
The Belle of Amherst by William Luce
THE BELLE OF AMHERST BY WILLIAM LUCE DRAMATISTS PLAY SERVICE INC. THE BELLE OF AMHERST Copyright © 2015, William Luce and Don Gregory All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of THE BELLE OF AMHERST is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Author’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for THE BELLE OF AMHERST are controlled exclusively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of DRAMATISTS PLAY SERVICE, INC., and paying the requisite fee. -
Original Writer Title Genre Running Time Year Director/Writer Actor
Original Running Title Genre Year Director/Writer Actor/Actress Keywords Writer Time Katharine Hepburn, Alcoholism, Drama, Tony Richardson; Edward Albee A Delicate Balance 133 min 1973 Paul Scofield, Loss, Play Edward Albee Lee Remick Family Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 53 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. I Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 54 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. II Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 53 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. III Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 53 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. IV Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 50 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. V Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 52 min 1995 Austen, -
UCLA FESTIVAL of PRESERVATION MARCH 3 to MARCH 27, 2011
UCLA FESTIVAL of PRESERVATION MARCH 3 to MARCH 27, 2011 i UCLA FESTIVAL of PRESERVATION MARCH 3 to MARCH 27, 2011 FESTIVAL SPONSOR Additional programming support provided, in part, by The Hollywood Foreign Press Association ii 1 FROM THE DIRECTOR As director of UCLA Film & Television Archive, it is my great pleasure to Mysel has completed several projects, including Cry Danger (1951), a introduce the 2011 UCLA Festival of Preservation. As in past years, we have recently rediscovered little gem of a noir, starring Dick Powell as an unjustly worked to put together a program that reflects the broad and deep efforts convicted ex-con trying to clear his name, opposite femme fatale Rhonda of UCLA Film & Television Archive to preserve and restore our national mov- Fleming, and featuring some great Bunker Hill locations long lost to the Los ing image heritage. Angeles wrecking ball. An even darker film noir, Kiss Tomorrow Goodbye (1950), stars James Cagney as a violent gangster (in fact, his last great This year’s UCLA Festival of Preservation again presents a wonderful cross- gangster role) whose id is more monstrous than almost anything since Little section of American film history and genres, silent masterpieces, fictional Caesar. Add crooked cops and a world in which no one can be trusted, and shorts, full-length documentaries and television works. Our Festival opens you have a perfect film noir tale. with Robert Altman’s Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean (1982). This restoration is the first fruit of a new project to preserve Our newsreel preservationist, Jeff Bickel, presents his restoration of John and restore the artistic legacy of Mr. -
The Crash of the Boston Electra / Michael N
The Story of Man and Bird in Conflict BirdThe Crash of theStrike Boston Electra michael n. kalafatas Bird Strike The Crash of the Bird Boston Electra Strike michael n. kalafatas Brandeis University Press Waltham, Massachusetts published by university press of new england hanover and london Brandeis University Press Published by University Press of New England One Court Street, Lebanon NH 03766 www.upne.com © 2010 Brandeis University All rights reserved Manufactured in the United States of America Designed by Katherine B. Kimball Typeset in Scala by Integrated Publishing Solutions University Press of New England is a member of the Green Press Initiative. The paper used in this book meets their minimum requirement for recycled paper. For permission to reproduce any of the material in this book, contact Permissions, University Press of New England, One Court Street, Lebanon NH 03766; or visit www.upne.com Library of Congress Cataloging- in- Publication Data Kalafatas, Michael N. Bird strike : the crash of the Boston Electra / Michael N. Kalafatas. p. cm. Includes bibliographical references. ISBN 978-1-58465-897-9 (cloth : alk. paper) 1. Aircraft bird strikes—Massachusetts— Boston. 2. Aircraft accidents —Massachusetts— Boston. 3. Electra (Turboprop transports) I. Title. TL553.525.M4K35 2010 363.12Ј465—dc22 2010013165 5 4 3 2 1 Across the veil of time, for the passengers and crew of Eastern Airlines Flight 375, and for my grandchildren: may they fl y in safe skies The bell- beat of their wings above my head. —w. b. yeats, “The Wild Swans at Coole” Contents Preface: A Clear and Present Danger xi 1. -
~~!J(?~ A({V~ Department of Theatre TABLE of CONTENTS
A PERFORMANCE ANALYSIS OF THE BELLE OF AMHERST A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts by Kathie Anne Clark, B.F.A. The Ohio State University 1980 Approved by ~~!j(?~ A({V~ Department of Theatre TABLE OF CONTENTS Page INTRODUCTION . 1 CHAPTER I. Historical Background •. 3 II. Script Analysis ••• 15 III. Performance Analysis 34 BIBLIOGRAPHY . • • • • . • • • 50 i INTRODUCTION The culmination of the work leading to the Master of Fine Arts in acting is a performance project and thesis concerning the project. The project should allow the actor to demonstrate as many of the skills learned in his training as possible and to demonstrate his range. As my performance project I chose the play The Belle of Amherst by William Luce, a one-woman play based on the life of the American poet Emily Dickinson. I performed the play on April 2 and 3, 1979, in the Laboratory Theatre at Ohio State University. A one-character play is an appropriate performance project for several reasons. Change and variety are essential to drama. In a standard several-character play variety is achieved through more than one char acter, so, while the variety of the play may be vast, the range of each character may be limited. In a one-character play, however, the change and variety can only be established by one person, creating a much wider range of emotions in that character. Also, the actor in a one-character play has a greater control over the finished product, which makes the product a better example of his work.