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Annual Report 2017-2018
US Governor Philip D. Murphy (New Jersey) Annette Riedel, Senior Editor, Deutschlandfunk Kultur Berlin Transatlantic Forum 2018: “Present at the New Creation? Tech. Power. Democracy.” October 16, 2018 3 4 PREFACE Dear Friends of Aspen Germany, In 2017, we also had three US mayors in quick succession as guests of Aspen Germany: Mayor Pete Buttigieg of 2017 and 2018 were years of world-wide political and South Bend, Indiana, Mayor Eric Garcetti of Los Angeles, economic changes. The international order, established and Mayor Rahm Emanuel from Chicago. All three events 70 years ago under US leadership after World War II, is attracted high-ranking transatlanticists from the Bundestag, now being challenged by the rise of populism, the rise of think tanks, and political foundations as well as business authoritarian regimes from Russia, China, Turkey, and representatives. The goal of these events was to facilitate a fundamental changes in US policy under President Donald transatlantic discussion about the future course of the Trump. United States after Trump’s election. In the last two years, we have seen an erosion in the core of Throughout both years, we have also continued our our transatlantic alliance. From NATO and our common transatlantic exchange programs. The Bundestag and security interests to our trade relations, from our approach &RQJUHVV6WD൵HUV([FKDQJH3URJUDPEURXJKWVWD൵HUVIURP to climate change to arms control – everything we have WKH86&RQJUHVVWR%HUOLQDQGVWD൵HUVIURPWKH*HUPDQ taken for granted as a stable framework of transatlantic Bundestag to Washington, D.C.. Over the years, we have relations is now being questioned. These dramatic changes built a robust network of young American and German did not go unnoticed by us. -
Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
From the Sea Wall to the Lover : Prostitution and Exotic Parody
Studies in 20th Century Literature Volume 21 Issue 2 Article 7 6-1-1997 From The Sea Wall to The Lover : Prostitution and Exotic Parody Pascale Bécel Florida International University Follow this and additional works at: https://newprairiepress.org/sttcl Part of the Feminist, Gender, and Sexuality Studies Commons, and the French and Francophone Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Bécel, Pascale (1997) "From The Sea Wall to The Lover : Prostitution and Exotic Parody," Studies in 20th Century Literature: Vol. 21: Iss. 2, Article 7. https://doi.org/10.4148/2334-4415.1426 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. From The Sea Wall to The Lover : Prostitution and Exotic Parody Abstract This analysis of the two novels highlights Marguerite Duras' equivocal stance with regard to colonial Indochina where she grew up at the beginning of the century. As The Lover rewrites The Sea Wall in the autobiographical mode, the emphasis shifts from an explicit denunciation of colonialism and an implicit subversion of the Lotilian novel, to a parody of exotic themes and narratives. However, by focusing on the two young protagonists' construction of themselves as femmes fatales and prostitutes, this discussion reveals that the politics of -
German Jewish Refugee Travel to Germany and West German Municipal Visitor Programs S
Chapter 7 GERMAN JEWISH REFUGEE TRAVEL TO GERMANY AND WEST GERMAN MUNICIPAL VISITOR PROGRAMS S How about a nice long drive through the countryside? We deliver the country. And the car. And a good amount of free kilometers. With Pan Am’s three-week “Freewheeler Holiday Tour” to Germany—for only $338. And that’s not all you get for this low price. You’ll get the round-trip jet flight from New York to Frankfurt, 20 overnight stays in a lovely guesthouse in Paderborn, and a car with 1000 kilometers free of charge. Think about how wonderful it will be to once again experience the beauty of Germany.1 This Pan Am advertisement, printed in German and accompanied by a photo depicting a Volkswagen Beetle in front of a castle on a hillside, is taken from a May 1969 edition of Aufbau. There, it appeared in the company of German- language ads from Lufthansa offering “low-priced non-stop flights to Germany,” and from Swiss Air promising “Our Service to Germany is twice as good. To and fro. Our non-stop flights from New York to Frankfurt are as comfortable as you can only wish for.”2 While perhaps they were not originally written solely for the still German-speaking audience of the mostly Jewish Aufbau readers, the regular presence of such advertisements in the main newspaper of the community sug- gests that these companies saw a potential customer base of travelers to Germany to be found among former German Jewish refugees in the late 1960s, and that Aufbau editors largely agreed, or at least considered the idea to be acceptable to their readership. -
UC San Diego UC San Diego Electronic Theses and Dissertations
UC San Diego UC San Diego Electronic Theses and Dissertations Title Romancing race and gender : intermarriage and the making of a 'modern subjectivity' in colonial Korea, 1910-1945 Permalink https://escholarship.org/uc/item/9qf7j1gq Author Kim, Su Yun Publication Date 2009 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Romancing Race and Gender: Intermarriage and the Making of a ‘Modern Subjectivity’ in Colonial Korea, 1910-1945 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Literature by Su Yun Kim Committee in charge: Professor Lisa Yoneyama, Chair Professor Takashi Fujitani Professor Jin-kyung Lee Professor Lisa Lowe Professor Yingjin Zhang 2009 Copyright Su Yun Kim, 2009 All rights reserved The Dissertation of Su Yun Kim is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2009 iii TABLE OF CONTENTS Signature Page…………………………………………………………………...……… iii Table of Contents………………………………………………………………………... iv List of Figures ……………………………………………….……………………...……. v List of Tables …………………………………….……………….………………...…... vi Preface …………………………………………….…………………………..……….. vii Acknowledgements …………………………….……………………………..………. viii Vita ………………………………………..……………………………………….……. xi Abstract…………………………………………………………………………………. xii INTRODUCTION: Coupling Colonizer and Colonized……………….………….…….. 1 CHAPTER 1: Promotion of -
Yun Mi Hwang Phd Thesis
SOUTH KOREAN HISTORICAL DRAMA: GENDER, NATION AND THE HERITAGE INDUSTRY Yun Mi Hwang A Thesis Submitted for the Degree of PhD at the University of St Andrews 2011 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/1924 This item is protected by original copyright This item is licensed under a Creative Commons Licence SOUTH KOREAN HISTORICAL DRAMA: GENDER, NATION AND THE HERITAGE INDUSTRY YUN MI HWANG Thesis Submitted to the University of St Andrews for the Degree of PhD in Film Studies 2011 DECLARATIONS I, Yun Mi Hwang, hereby certify that this thesis, which is approximately 80,000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student and as a candidate for the degree of PhD in September 2006; the higher study for which this is a record was carried out in the University of St Andrews between 2006 and 2010. I, Yun Mi Hwang, received assistance in the writing of this thesis in respect of language and grammar, which was provided by R.A.M Wright. Date …17 May 2011.… signature of candidate ……………… I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. -
East-West Film Journal, Volume 3, No. 2
EAST-WEST FILM JOURNAL VOLUME 3 . NUMBER 2 Kurosawa's Ran: Reception and Interpretation I ANN THOMPSON Kagemusha and the Chushingura Motif JOSEPH S. CHANG Inspiring Images: The Influence of the Japanese Cinema on the Writings of Kazuo Ishiguro 39 GREGORY MASON Video Mom: Reflections on a Cultural Obsession 53 MARGARET MORSE Questions of Female Subjectivity, Patriarchy, and Family: Perceptions of Three Indian Women Film Directors 74 WIMAL DISSANAYAKE One Single Blend: A Conversation with Satyajit Ray SURANJAN GANGULY Hollywood and the Rise of Suburbia WILLIAM ROTHMAN JUNE 1989 The East- West Center is a public, nonprofit educational institution with an international board of governors. Some 2,000 research fellows, grad uate students, and professionals in business and government each year work with the Center's international staff in cooperative study, training, and research. They examine major issues related to population, resources and development, the environment, culture, and communication in Asia, the Pacific, and the United States. The Center was established in 1960 by the United States Congress, which provides principal funding. Support also comes from more than twenty Asian and Pacific governments, as well as private agencies and corporations. Kurosawa's Ran: Reception and Interpretation ANN THOMPSON AKIRA KUROSAWA'S Ran (literally, war, riot, or chaos) was chosen as the first film to be shown at the First Tokyo International Film Festival in June 1985, and it opened commercially in Japan to record-breaking busi ness the next day. The director did not attend the festivities associated with the premiere, however, and the reception given to the film by Japa nese critics and reporters, though positive, was described by a French critic who had been deeply involved in the project as having "something of the air of an official embalming" (Raison 1985, 9). -
Notizen 1312.Indd
27 Feature II Franz Eckert und „seine“ Nationalhymnen. Eine Einführung1 von Prof. Dr. Hermann Gottschewski und Prof. Dr. Kyungboon Lee Der preußische Militärmusiker Franz Eckert2, geboren 1852, wurde 1879 als Musiklehrer nach Japan berufen, wo er kurz vor seinem 27. Geburtstag eintraf. Er war dort bis 1899 in ver- schiedenen Positionen tätig, insbesondere als musikalischer Mentor der Marinekapelle. Für mehrere Jahre unterrichtete er auch an der To- yama Armeeschule, außerdem an der Musik- akademie Tokyo und nicht zuletzt an der Musi- kabteilung des Kaiserhofes. In die Zeit seines Wirkens in Japan fällt der Japanisch-Chinesi- sche Krieg, in dem die Militärmusik einen sehr großen Einfluss auf den öffentlichen Musikge- schmack gewann. Von der musikhistorischen Forschung wird dieser Einfluss als einer der wesentlichen Faktoren für die Durchsetzung der westlichen Musik in der modernen japani- schen Musikkultur gesehen. Abb. 1: Aus dem Nachruf Eckert von 1926, in: Mitteilungen der Deutschen Gesellschaft 1899 kehrte Eckert zunächst nach Deutschland für Natur- und Völkerkunde Ostasiens, zurück, aber nach einer kurzen Interimszeit in Band XXI. Dieser Nachruf fehlt in dem Berlin erhielt er einen Ruf an den koreanischen Nachdruck der Mitteilungen von 1965. 1 Dieses Feature geht auf 2 Vorträge zurück, die von den Autoren am 18.9.2013 in der OAG gehalten wurden. 2 Die bisher eingehendste Forschung zu Eckerts Biographie ist von Nakamura Rihei: Yōgaku Dōnyūsha no Kiseki ‒ Nihon Kindai Yōgaku-shi Josetsu (Die Spuren der Einführer westlicher Musik ‒ Eine Einführung in die Geschichte westlicher Musik in der japanischen Moderne), Tōsui Shobō 1993, S. 235- 363. Die grundlegendste Forschung zu Eckerts koreanischen Jahren ist von Namgung Yoyŏl: Gaehwagi ŭi Hanguk-ŭmak ‒ Franz Eckert rŭl jungsim-ŭro (Die koreanische Musik der Aufklärungszeit, insbesondere über Franz Eckert), Seoul: Segwang Ŭmak Chulpanja, 1987. -
La Coalescencia Literario-Cine
Publicado en: Lourdes Carriedo, Mª Dolores Picazo y Mª Luisa Guerrero (eds.), Entre escritura e imagen. Lecturas de narrativa contemporánea. Bruselas, Peter Lang, pp. 245-258. http://dx.doi.org/10.3726/978-3-0352-6392-3 ISBN: 978-3-0352-6392-3 La coalescencia literario-cinematográfica en la obra de Marguerite Duras Lourdes Monterrubio Ibáñez Universidad Complutense de Madrid El trabajo de Marguerite Duras, único en la creación de un espacio literario- cinematográfico nuevo, fértil e inabarcable en sus múltiples posibilidades, genera una nueva materia literario-cinematográfica a la que hace referencia el título de este artículo, donde el texto literario escribe con la imagen. En uno de los textos recogidos en Les Yeux verts, y hablando sobre Aurélia Steiner (1979), uno de los colaboradores de Cahiers du cinéma se expresa en los siguientes términos a propósito de cómo la voz, la voz de Duras, va creando el personaje de Aurélia: Le terme qui conviendrait mieux serait peut-être coalescence, osmose. On imagine mal que quelqu’un d’autre puisse dire ce texte. Tu étais Aurélia Steiner en même temps que tu l’écrivais et que tu le lisais. Tu es Aurélia Steiner. On ne pense pas : c’est Marguerite Duras. Je ne vois pas quelqu’un d’autre que toi pouvant proférer ce texte. C’est peut-être un leurre (Duras, 1996: 151). Ósmosis y coalescencia, estos son los términos a partir de los cuales desarrollaremos la definición y caracterización de la obra literario-cinematográfica de Marguerite Duras. La definición de la Real Academia Española de la Lengua de ambos términos es la siguiente: Ósmosis: 1. -
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Dominiek Hoens & Sigi Jöttkandt INTRODUCTION ‘Lacan is not all’1 xpressed with the simplicity of her elliptical put-down which we have adopted for our title for this special issue, Marguerite Duras’ attitude to- wards psychoanalysis was ambiguous to say the least.1 Frequently, when she speaks of psychoanalysis, she leaves us in no doubt of her very great Emistrust of it, her acute sense of being a stranger to its discourse. Yet, regarding the event that inspired these invitations to express her opinion on psychoanalysis – Jacques Lacan’s “Homage to Marguerite Duras, on Le Ravissement de Lol V. Stein,” – she is generally positive, at times even enthusiastic.2 Since its first appearance in 1965, Lacan’s sibylline essay has provoked a flood of commentaries and further explorations of the topics it alludes to: love, desire, femi- ninity, writing, among many others. Therefore, it seems natural to us to launch this issue with Jean-Michel Rabaté’s essay on The Ravishing of Lol V. Stein, the pivotal novel in Duras’ oeuvre and the text that originally sparked the Lacanian interest in Duras. In his candid contribution, Rabaté raises the issue of ravissement, starting from his question, “Why were we all in love with Marguerite Duras?” This ‘all,’ we discover, may first and foremost include Lacan, whose “Homage” entails an analy- sis of his own ravishment by Duras or, more precisely, by the unfolding triangles in Lol V. Stein that end up encompassing the reader. It is for this reason that, even as he pays careful, ‘academic’ attention to the ternaries inside, yet transgressing, the confines of the novel, Rabaté also cannot refrain from a ‘personal’ questioning of the triangle that was constituted by Duras, her work and himself, as he recalls in this intimate memoir recounting the remarkable times that they spent together in Dijon, and later, in Paris in the 1970s and 1980s. -
MARGUERITE DURAS (1914-1996) Bibliographie Des Ouvrages Disponibles En Libre-Accès
Bibliothèque nationale de France direction des collections département Littérature et art Avril 2014 CENTENAIRE DE MARGUERITE DURAS (1914-1996) Bibliographie des ouvrages disponibles en libre-accès Écrire c’est aussi ne pas parler. C’est se taire. C’est hurler sans bruit. (Écrire, 1993) De son vrai nom Marguerite Donnadieu, Marguerite Duras est née le 4 avril 1914 à Saïgon, alors en Indochine française, d'une mère institutrice et d'un père professeur de mathématiques qui meurt en 1921. Elle s’installe en France en 1932, épouse Robert Antelme en 1939, et publie son premier roman, Les Impudents, en 1943, sous le pseudonyme de Marguerite Duras. Résistante pendant la guerre, communiste jusqu'en 1950, participante active à Mai 68, c’est une femme profondément engagée dans les combats de son temps, passionnée, volontiers provocante, et avec aussi ses zones d’ombres. Elle est un temps rattachée au mouvement du Nouveau Roman, même si son écriture demeure très singulière, de par sa musique faite de répétitions et de phrases déstructurées, de trivialité et de lyrisme mêlés. Les thèmes récurrents de ses romans se dégagent très tôt : l'attente, l'amour, l’écriture, la folie, la sexualité féminine, l'alcool, notamment dans Moderato cantabile (1958), Le Ravissement de Lol V. Stein (1964), Le Vice-Consul (1966). Elle écrit aussi pour le théâtre et pour le cinéma. Dans tous ces domaines c’est une créatrice novatrice, et de ce fait souvent controversée. Elle rencontre assez tardivement un immense succès mondial, qui fait d’elle l'un des écrivains vivants les plus lus, avec L'Amant, Prix Goncourt en 1984. -
A View from the United States on ROK-US Relations
A View from the United States on ROK-U.S. Relations Mark Tokola 56 | Joint U.S.-Korea Academic Studies For the proverbial visitor from Mars, the political situation in Northeast Asia is inexplicable. Sitting amidst a group of relatively stable, wealthy, and powerful countries, is a small, poor, belligerent nation that all agree is a threat to regional stability. Furthermore, the rogue state has been sanctioned and its behavior condemned by the United Nations for its weapons programs and its human rights abuses. Why can the Republic of Korea (ROK), Japan, the United States, Russia, and China not combine their considerable leverage to do something about North Korea? The question can be divided into two parts: 1) could external pressure change North Korea’s behavior? and 2) is there something getting in the way of coordination among the five regional powers? Although the first question is ripe for serious consideration this chapter primarily focuses on the second. The most obvious culprit is the dynamic between China and the United States and its allies in the region. Comparing China’s goals in its relationship with North Korea with those shared by the United States and South Korea, I argue that divergence between them, stemming from the broader context of great power rivalry, is hindering policy coordination, and thus obstructing resolution of the North Korean issue. I do so by first outlining recent examples of military interventions and economic sanctions by large states into and on small states to demonstrate the significance of China’s support for North Korea. I then recount China’s relations with North Korea since the conclusion of the Korean War before detailing U.S.- South Korea relations over the same period.