DOCSLIB.ORG

Folklore and Fiction in the Work of Zora Neale Hurston Ficha Técnica

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Folklore and Fiction in the Work of Zora Neale Hurston Ficha Técnica Lyin’ her Way through Fiction: Folklore and Fiction in the Work of Zora Neale Hurston Ficha Técnica Autora: Orquídea Ribeiro Título: Lyin’ her Way through Fiction: Folklore and Fiction in the Work of Zora Neale Hurston Coleção CULTURA 7 Edição CEL – Centro de Estudos em Letras Universidade de Trás-os-Montes e Alto Douro © Copyright CEL e Orquídea Ribeiro, 2014 Paginação: José Barbosa Machado ISBN ISBN: 978-989-704-194-5 Depósito Legal: 388736/15 VILA REAL, 2014 Orquídea Ribeiro Lyin’ her Way through Fiction: Folklore and Fiction in the Work of Zora Neale Hurston Coleção CULTURA 7 CEL – Centro de Estudos em Letras Universidade de Trás-os-Montes e Alto Douro In memory of my grandparents and their African epic For Gabriel For my Parents We wear the mask that grins and lies, It hides our cheeks and shades our eyes, – This debt we pay to human guile; With torn and bleeding hearts we smile, And mouth with myriad subtleties. Why should the world be otherwise, In counting all our tears and sighs? Nay, let them only see us, while We wear the mask. We smile, but, O great Christ, our cries To thee from tortured souls arise, We sing, but oh the clay is vile Beneath our feet, and long the mile; But let the world dream otherwise, We wear the mask! Paul Laurence Dunbar “We Wear the Mask” (1895) I have never expected to get rich, and if I have served this nation and the world by digging out a few of its hidden treasures and thus enriched our culture, I have gained a great deal. I have had some infl uence on my time. Zora Neale Hurston (1950) Contents Acknowledgements ............................................................................. 13 Preliminary Note .............................................................. 15 Abbreviations ....................................................................................... 17 Summary ............................................................................................ 19 Introduction ....................................................................................... 23 Part I – “Formalized Curiosity”: Hurston and Black Folklore .......... 35 Chapter 1 – “Putting down roots”: Folklore and Culture ..................... 37 Chapter 2 – “Poking and Prying with a Purpose”: Folklore Collectors and Anthropologists ....................................... 42 Chapter 3 – “The spy-glass of Anthropology”: From Folklore to Fiction .............................................................. 59 3.1 Hurston as Dramatist: Performing Folklore ............................. 92 Chapter 4 – “A sampling of life”: The Florida Federal Writers’ Project of the Works Progress Administration .............................. 115 Part II – “Lying Sessions”: Folklore as Fiction ............................... 125 Chapter 1 – “When the Negro was in Vogue”: The Harlem Renaissance ............................................................ 127 Chapter 2 – “Jumping at the Sun”: Early Career ............................... 127 2.1 Short Fiction: Early poetic efforts ......................................... 140 2.2 Novels ................................................................................ 158 Chapter 3 – “Hitting a Straight Lick with a Crooked Stick” Later Career .............................................................................. 193 Chapter 4 – “My People! My People!”: Hurston, the legacy and the critics .............................................. 211 Conclusion ....................................................................................... 223 Bibliography ................................................................................. 227 Primary Sources .......................................................................... 227 Secondary Sources .................................................................... 231 Webpages ................................................................................... 256 Appendixes ...................................................................................... 257 Appendix I – Zora Neale Hurston – A Chronology ........................... 259 Appendix II – A Checklist of Writings by Zora Neale Hurston .......... 267 Lyin’ her Way through Fiction 13 Acknowledgements While writing is a solitary activity, envisioning a new project, gather- ing the materials, and revising the work involves the participation of many. This project has been made possible with the contribution of many people and institutions. I would like to express my deepest gratitude to Professora Doutora Maria Teresa Ferreira de Almeida Alves, my supervisor and friend, who has accompanied me ever since I started my African American journey. An inspir- ing teacher and friend, Teresa has had an important role in my post-graduate studies; through her I got to know and appreciate African American literature and culture. And my family, always conspicuously present: I would like to express my heartfelt thanks to my parents and my siblings who encouraged me con- tinuously; to my mother, my best friend and confi dante, thanks for the love, the support, the belief that I could complete this “journey;” to my father who worried too much; special thanks to my sister Elsa for the continuous avail- ability to read and correct my various drafts. And especially to my son, Gabriel, who has been part of the whole pro- ject and who provides a wonderful balance between house and work, handling the challenge of a working mother with dignity and grace – my apologies for having had to divide the available time between you and the books. I love you. Lyin’ her Way through Fiction 15 Preliminary Note Aware that in a work of this nature there are limits to what one can do, I would like to give the reasons for choosing the works that were analyzed. The title of this work is evidence of the reasons that led me to choose some of Hurston’s works and not others. Her works on or about folklore were my priority: – her early works, including the short stories and the plays published during the period that became known as the Harlem Renaissance as well as the play written in collaboration with Langston Hughes; – the two folklore anthologies published during her lifetime and the material that she wrote for the FWP, only published in 1999, as well as other folklore writings; – her novels and autobiography, as well as any other work, non fi ction or fi ction, considered relevant to the works being analyzed and used to clarify or reinforce the analysis and study undertaken.; The one exception to this rule is the play Polk County. It is analyzed due to its close similarities to Mules and Men, as well as due to the relevance of Polk County in the chapter on research included in Hurston’s autobiography. It is her last play, written in collaboration with Dorothy Waring. As Hurston’s oeuvre is the focus of this work, quoting from her work has been central to the study undertaken. The references to Hurston’s works will be placed in the text – the abbreviation of the work will be followed by the page number. Lyin’ her Way through Fiction 17 Abbreviations Books DT Dust Tracks on a Road ETGC Every Tongue Got to Confess. Negro Folk-Tales from the Gulf States GGMW Go Gator and Muddy the Water: Writings from the Federal Writers’ Project. JGV Jonah’s Gourd Vine MB Mule Bone MM Mules and Men MMM Moses, Man of the Mountain SS Seraph on the Suwanee TE Their Eyes Were Watching God TMH Tell My Horse LL Zora Neale Hurston. A Life in Letters. Short Works AS “Art and Such” BC “The Bone of Contention” BD “Black Death” CC “The Conscience of the Court” CNE “Characteristics of Negro Expression” CRBS “Cock Robin, Beale Street” CS “Color Struck” DL “Drenched in Light” EA “The Eatonville Anthology” FM “Folklore and Music” FO “The First One: A Play.” GSB “The Gilded Six-Bits” HA “Hoodoo in America” HFCM “How It Feels to Be Colored Me” HJC “High John de Conquer” JR “John Redding Goes to Sea” M “Muttsy” 18 Orquídea Ribeiro MC “Mother Catherine” MF “Magnolia Flower” ONFI “Other Negro Folklore Infl uences” PNS “The ‘Pet Negro’ System” PC “Polk Country: A Comedy of Negro Life on a Sawmill Camp, with Authentic Negro Music.” S “Spunk” (short story) SNS “Spirituals and Neo-Spirituals Sw “Sweat” TL “De Turkey and de Law” UM “Uncle Monday” WWPWP “What White Publishers Won’t Print” Others APS American Philosophical Society Library HUAL Howard University, Moorland-Springarn Research Center, Alain Locke Papers FWP Federal Writers’ Project WPA Workers Progress Administration LC Library of Congress Lyin’ her Way through Fiction 19 Summary It is the aim of this work to articulate the link between folklore and fi ction in the work of Zora Neale Hurston. She was one of the fi rst widely acclaimed black writers to assimilate folk tradition into modern literature. Through her ethnographies, plays and fi ction, she focused on the day-to-day life of African Americans in the all-black town of Eatonville and in other all-black social spaces, as well as on “the Negro farthest down” in various labour camps in the South of the United States. Her work shows that black people created their own codes of social and cultural behaviour, honour and justice without worrying about white society. Much of Hurston’s life has been covered by mystery that is still being unveiled decades after her death. She was a productive and talented writer as can be seen from the seven books (four novels, two books of folklore, and an autobiography), essays, short stories, articles and plays that have been published, but the volume of her unpublished work remains unknown. Hurston’s
Load more

Recommended publications
  • Georgia Douglas Johnson and Eulalie Spence As Figures Who Fostered Community in the Midst of Debate
    Art versus Propaganda?: Georgia Douglas Johnson and Eulalie Spence as Figures who Fostered Community in the Midst of Debate Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Caroline Roberta Hill, B.A. Graduate Program in Theatre The Ohio State University 2019 Thesis Committee: Jennifer Schlueter, Adviser Beth Kattelman Copyright by Caroline Roberta Hill 2019 Abstract The Harlem Renaissance and New Negro Movement is a well-documented period in which artistic output by the black community in Harlem, New York, and beyond, surged. On the heels of Reconstruction, a generation of black artists and intellectuals—often the first in their families born after the thirteenth amendment—spearheaded the movement. Using art as a means by which to comprehend and to reclaim aspects of their identity which had been stolen during the Middle Passage, these artists were also living in a time marked by the resurgence of the Ku Klux Klan and segregation. It stands to reason, then, that the work that has survived from this period is often rife with political and personal motivations. Male figureheads of the movement are often remembered for their divisive debate as to whether or not black art should be politically charged. The public debates between men like W. E. B. Du Bois and Alain Locke often overshadow the actual artistic outputs, many of which are relegated to relative obscurity. Black female artists in particular are overshadowed by their male peers despite their significant interventions. Two pioneers of this period, Georgia Douglas Johnson (1880-1966) and Eulalie Spence (1894-1981), will be the subject of my thesis.
    [Show full text]
  • Sweat: the Exodus from Physical and Mental Enslavement to Emotional and Spiritual Liberation
    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2007 Sweat: The Exodus From Physical And Mental Enslavement To Emotional And Spiritual Liberation Aqueelah Roberson University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Roberson, Aqueelah, "Sweat: The Exodus From Physical And Mental Enslavement To Emotional And Spiritual Liberation" (2007). Electronic Theses and Dissertations, 2004-2019. 3319. https://stars.library.ucf.edu/etd/3319 SWEAT: THE EXODUS FROM PHYSICAL AND MENTAL ENSLAVEMENT TO EMOTIONAL AND SPIRITUAL LIBERATION by AQUEELAH KHALILAH ROBERSON B.A., North Carolina Central University, 2004 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2007 © 2007 Aqueelah Khalilah Roberson ii ABSTRACT The purpose of this thesis is to showcase the importance of God-inspired Theatre and to manifest the transformative effects of living in accordance to the Word of God. In order to share my vision for theatre such as this, I will examine the biblical elements in Zora Neale Hurston’s short story Sweat (1926). I will write a stage adaptation of the story, while placing emphasis on the biblical lessons that can be used for God-inspired Theatre.
    [Show full text]
  • University of Alberta Alice Walker: a Litemy Genealogist by Paege
    University of Alberta Alice Walker: A Litemy Genealogist by Paege Alessandra Moore A thesis submitted to the Facdty of Graduate Studies and Research in partial fulfillment of the requirernents of the degree of Master of Arîs Department of English Edmonton, Alberta Fa11 1998 National Library Bibliothèque nationaIe ofCanada du Canada Acquisitions and Acquisitions et Bibliographie Services seMces bibliographiques 395 Wellington Street 395. rue Wellington OctawaON KtAON4 OttawaON KIAON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Libmy of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seil reproduire, prêter, distniiuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la fome de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Keep in mind always the present you are constmcting. It should be the hture you want. -01% The Temple of My Familiar by Nice Waker This dissertation is dedicated to Sputnik who insisted 1 remain at my desk. Table of Contents Introduction ........................ ................................................................................................. 1 Chapter 1 : Alice Waikefs Creative and Literary Geneaiogy ........................................... 3 Chapter 2: Their Eyes Were Watching God and The Color Purple .................................
    [Show full text]
  • COMMEMORATION MY MEMORIES of ALAN DUNDES a Belated
    Acta Ethnographica Hungarica, 53 (2), pp. 451–456 (2008) DOI: 10.1556/AEthn.53.2008.2.16 COMMEMORATION MY MEMORIES OF ALAN DUNDES A belated necrology On Wednesday, March 30, 2005, at 4.30 p.m., Alan Dundes, the greatest American folklorist of the last half century collapsed in mid-sentence while holding his graduate seminar. He died in the ambulance. As the first reports of his death all noted: it was a typical and worthy death for the outstanding professor who loved to teach. Dundes was born in New York on September 8, 1934. He received his BA and then his MA in English philology at Yale (1955 and 1958), and continued his doctoral studies in Bloomington as a folklorist. His PhD dissertation (1962) was a monograph on the morphology of North American Indian tales. By then Dundes was already publishing regularly and everyone knew the very knowledgeable, dynamic and innovative young man with the brilliant tongue. He went almost immediately (in 1963) to the anthropology department of the University of California, Berkeley. He was an excellent lecturer and hundreds attended his lessons or waited for years for the chance to do so. He received awards as an outstanding professor and teacher, as well as the most coveted American and European folklore prizes. Although he did not like to be involved in associations, to organise congresses and journals, his activity in these areas was also substantial. He trav- elled a lot in his earlier years but later he was a guest lecturer and keynote speaker at conferences only within the United States (although he was difficult to reach).
    [Show full text]
  • The Harlem Renaissance: a Handbook
    .1,::! THE HARLEM RENAISSANCE: A HANDBOOK A DISSERTATION SUBMITTED TO THE FACULTY OF ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARTS IN HUMANITIES BY ELLA 0. WILLIAMS DEPARTMENT OF AFRO-AMERICAN STUDIES ATLANTA, GEORGIA JULY 1987 3 ABSTRACT HUMANITIES WILLIAMS, ELLA 0. M.A. NEW YORK UNIVERSITY, 1957 THE HARLEM RENAISSANCE: A HANDBOOK Advisor: Professor Richard A. Long Dissertation dated July, 1987 The object of this study is to help instructors articulate and communicate the value of the arts created during the Harlem Renaissance. It focuses on earlier events such as W. E. B. Du Bois’ editorship of The Crisis and some follow-up of major discussions beyond the period. The handbook also investigates and compiles a large segment of scholarship devoted to the historical and cultural activities of the Harlem Renaissance (1910—1940). The study discusses the “New Negro” and the use of the term. The men who lived and wrote during the era identified themselves as intellectuals and called the rapid growth of literary talent the “Harlem Renaissance.” Alain Locke’s The New Negro (1925) and James Weldon Johnson’s Black Manhattan (1930) documented the activities of the intellectuals as they lived through the era and as they themselves were developing the history of Afro-American culture. Theatre, music and drama flourished, but in the fields of prose and poetry names such as Jean Toomer, Langston Hughes, Countee Cullen and Zora Neale Hurston typify the Harlem Renaissance movement. (C) 1987 Ella 0. Williams All Rights Reserved ACKNOWLEDGEMENTS Special recognition must be given to several individuals whose assistance was invaluable to the presentation of this study.
    [Show full text]
  • Dorothy West: the Last Writer of the Harlem Renaissance
    Dorothy West: The Last Writer of the Harlem Renaissance Dorothy West's first long book was published when she was more than forty years old. Her second book was published when she was in her late eighties. Yet African-American poet Langston Hughes called her "The Kid." This means a child. Dorothy West had been one of the youngest members of the group of writers and artists of the Harlem Renaissance. This was a creative period for African-Americans during the 1920s and 1930s. During and after World War I, thousands of southern blacks moved to northern cities in the United States. They were seeking jobs and better lives. Many settled in an area of New York City known as Harlem. Many were musicians, writers, artists and performers. Harlem became the largest Dorothy West African-American community in the United States. The mass movement from South to North led African-Americans to examine their lives: Who were they? What were their rights as Americans? The artistic expression of this collective examination became known as the Harlem Renaissance. Renaissance means rebirth. The Harlem Renaissance represented a rebirth of black people as an effective part of American life. Dorothy West helped influence the direction and form of African-American writing during this time. Dorothy West was born in 1907 in the city of Boston, Massachusetts. Both her parents were born in the southern United States, and moved north. Her father was a former slave. He became the first African-American to own a food-selling company in Boston. The family became part of the black upper middle class social group of Boston.
    [Show full text]
  • Missy Elliott Supa Dupa Fly Torrent Download Supa Dupa Fly
    missy elliott supa dupa fly torrent download Supa Dupa Fly. Arguably the most influential album ever released by a female hip-hop artist, Missy "Misdemeanor" Elliott's debut album, Supa Dupa Fly, is a boundary-shattering postmodern masterpiece. It had a tremendous impact on hip-hop, and an even bigger one on R&B, as its futuristic, nearly experimental style became the de facto sound of urban radio at the close of the millennium. A substantial share of the credit has to go to producer Timbaland, whose lean, digital grooves are packed with unpredictable arrangements and stuttering rhythms that often resemble slowed-down drum'n'bass breakbeats. The results are not only unique, they're nothing short of revolutionary, making Timbaland a hip name to drop in electronica circles as well. For her part, Elliott impresses with her versatility -- she's a singer, a rapper, and an equal songwriting partner, and it's clear from the album's accompanying videos that the space-age aesthetic of the music doesn't just belong to her producer. She's no technical master on the mic; her raps are fairly simple, delivered in the slow purr of a heavy-lidded stoner. Yet they're also full of hilariously surreal free associations that fit the off-kilter sensibility of the music to a tee. Actually, Elliott sings more on Supa Dupa Fly than she does on her subsequent albums, making it her most R&B-oriented effort; she's more unique as a rapper than she is as a singer, but she has a smooth voice and harmonizes well.
    [Show full text]
  • My Fair Lady
    TEACHER RESOURCE GUIDE Teacher Resource Guide by Sara Cooper LINCOLN CENTER THEATER AT THE VIVIAN BEAUMONT André Bishop Adam Siegel Producing Artistic Director Hattie K. Jutagir Managing Director Executive Director of Development & Planning in association with Nederlander Presentations, Inc. presents LERNER & LOEWE’S Book and Lyrics Music Alan Jay Lerner Frederick Loewe Adapted from George Bernard Shaw’s play and Gabriel Pascal’s motion picture “Pygmalion” with Lauren Ambrose Harry Hadden-Paton Norbert Leo Butz Diana Rigg Allan Corduner Jordan Donica Linda Mugleston Manu Narayan Cameron Adams Shereen Ahmed Kerstin Anderson Heather Botts John Treacy Egan Rebecca Eichenberger SuEllen Estey Christopher Faison Steven Trumon Gray Adam Grupper Michael Halling Joe Hart Sasha Hutchings Kate Marilley Liz McCartney Justin Lee Miller Rommel Pierre O’Choa Keven Quillon JoAnna Rhinehart Tony Roach Lance Roberts Blair Ross Christine Cornish Smith Paul Slade Smith Samantha Sturm Matt Wall Michael Williams Minami Yusui Lee Zarrett Sets Costumes Lighting Sound Michael Yeargan Catherine Zuber Donald Holder Marc Salzberg Musical Arrangements Dance Arrangements Robert Russell Bennett & Phil Lang Trude Rittmann Mindich Chair Casting Hair & Wigs Production Stage Manager Musical Theater Associate Producer Telsey + Company Tom Watson Jennifer Rae Moore Ira Weitzman General Manager Production Manager Director of Marketing General Press Agent Jessica Niebanck Paul Smithyman Linda Mason Ross Philip Rinaldi Music Direction Ted Sperling Choreography Christopher Gattelli Directed by Bartlett Sher The Jerome L. Greene Foundation is the Lead Sponsor of MY FAIR LADY. Major support is also generously provided by: The Blanche and Irving Laurie Foundation • Florence Kaufman The New York Community Trust - Mary P. Oenslager Foundation Fund • The Ted & Mary Jo Shen Charitable Gift Fund The Bernard Gersten LCT Productions Fund • The Peter Jay Sharp Foundation’s Special Fund for LCT with additional support from the National Endowment for the Arts.
    [Show full text]
  • African-American Psychology and the Works of Gayl Jones
    AFRICAN-AMERICAN PSYCHOLOGY AND THE WORKS OF GAYL JONES ABDUL QUADIR Research Scholar Department of English Jai Prakash University, Chapra (BH) INDIA Jones’ work has frequently been challenged on account of her questionable subjects just as news inclusion of her own life, her work keeps on awing peruses with its unpredictable style and profundity of feeling. She attracts a significant number of the subjects her accounts from her African-American legacy just as her very own life and battles. Maybe generally significant all through the mental advancements in the characters are their voices which yell from the pages of her work their story, their melody, and their fact. Her peruses can't hold back to hear what will come next from this calm lady who works so anyone can hear. Keywords: Gayl Jones, Slavery, Brutality, Racism, Classic Blues, Diaspora, Black INTRODUCTION A profoundly respected and inventive voice of African-American women author, Gayl Jones is a Black American Poet, Novelist, Play Wright, Short Story Writer, Professor and scholarly critic and was destined to Franklin and Lucille Jones on November 23, 1949 in Lexington, Kentucky, Jones early associations with the south are reflected unequivocally in her own life just as in her composition, which frequently rejuvenates Kentucky culture and characters for the peruses. As a striking novelistic voice apparently at progress with her tranquil, baffling persona, Gayl Jones shocked the abstract world during the 1970s with various books of African Americans battling to adapt to the tradition of Race, Violence, Slavery and Female Subjectivity. Both the structure and topic of her work are drawn from the dark oral custom.
    [Show full text]
  • Alien Love- Passing, Race, and the Ethics of the Neighbor in Postwar
    UNIVERSITY OF CALIFORNIA Los Angeles Alien Love: Passing, Race, and the Ethics of the Neighbor in Postwar African American Novels, 1945-1956 A dissertation submitted in partial satisfaction of the Requirements for the degree Doctor of Philosophy In English By Hannah Wonkyung Nahm 2021 © Copyright by Hannah Wonkyung Nahm 2021 ABSTRACT OF THE DISSERTATION Alien Love: Passing, Race, and the Ethics of the Neighbor in Postwar African American Novels, 1945-1956 by Hannah Wonkyung Nahm Doctor of Philosophy in English University of California, Los Angeles, 2021 Professor King-Kok Cheung, Co-Chair Professor Richard Yarborough, Co-Chair This dissertation examines Black-authored novels featuring White (or White-passing) protagonists in the post-World War II decade (1945-1956). Published during the fraught postwar political climate of agitation for integration and the continual systematic racism, many novels by Black authors addressed the urgent topic of interracial relationality, probing the tabooed question of whether Black and White can abide in love and kinship. One of the prominent—and controversial—literary strategies sundry Black novelists used in this decade was casting seemingly raceless or ambiguously-raced characters. Collectively, these novels generated a mixture of critical approval and dismissal in their time and up until recently, marginalized from the African American literary tradition. Even more critically overlooked than the ostensibly raceless project was the strategic mobilization of the trope of passing by some midcentury Black ii writers to imagine the racial divide and possible reconciliation. This dissertation intersects passing with postwar Black fiction that features either racially-anomalous or biracial central characters. Examining three novels from this historical period as my case studies, I argue that one of the ways in which Black writers of this decade have imagined the possibility of interracial love—with all its political pitfalls and ethical imperatives —is through the trope of passing.
    [Show full text]
  • G \ Music Week UNI Lakes on Publishers In
    FOR EVERYONE IN THE BUSINESS OF MUSIC K/W • -g \ music week UNI lakes on publishers in Europe BMG and Sony are understood to be to the outcome." ■ïiM'iiimiïM If Universal werecalled successful for a eut.in iow- "If you look at the factUniversal that collection says, tlesupporting with publishers Unh/ersal over Music songwriting in its bat- tibonA spokesman department for confirmed the EC's that compe- the toering the thelevel continental of the UK rate European -which ratehas eachsocieties record get and 9.2% see from what the the sale record of acrossroyalties continental paid on Europe.sales of records complaint had been received. "We tribunalstood at battle 8.5% ofsince 1991 the - BPI/MCPSthe major thatcompanies get that get, amount." there are not many firmedUniversal last week Music that International it bas made con- a careful examination and that is what thanrecord eSOm companies a year. could save more communityBut sources dismiss within talk the of apublishing "cartel". Commission,formai complaint accusi to ng thethe publishersEuropean royalty as percentage of dealer prlce. arguing. It is understoodthat Biem opérâtesthat Universal a cartel is Oneare queryingpublishing the sourceBiem cartel,says, when,"They -Biem through - of acting mechanical as a cartel. rights body an BO-page document delivered earii- writers'the UK, royaltieswhich opérâtes for record under sales a dif- in nessbecause without the payingmajor thecannot royalties do busi- and ofIFPI course, cartel. they These have two been cartels part ofhave the Tuesday,In a astatement UMI spokesman issued said,last déclinéser this summer; to comment. a Sony Althoughspokesman a férentBiem rate.mechanical But it does royalty affect rate the to roy-the thatnant Biemposition, is thusin contravention abusing its ofdomi- the done business for many years and International"We can confirm has that filed Universal a complaint Music ingBMG whether source to says make it isa stillformai consider- state- that,Treaty by Of insisting Rome.
    [Show full text]
  • What Goes Around Comes Around: the Circulation of Proverbs in Contemporary Life Kimberly J
    Utah State University DigitalCommons@USU All USU Press Publications USU Press 1-1-2004 What Goes Around Comes Around: The Circulation of Proverbs in Contemporary Life Kimberly J. Lau Peter Tokofsky Stephen D. Winick Recommended Citation Lau, Kimberly J.; Tokofsky, Peter; and Winick, Stephen D., "What Goes Around Comes Around: The Circulation of Proverbs in Contemporary Life" (2004). All USU Press Publications. Book 33. http://digitalcommons.usu.edu/usupress_pubs/33 This Book is brought to you for free and open access by the USU Press at DigitalCommons@USU. It has been accepted for inclusion in All USU Press Publications by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. Take a 1 Minute Survey- http://www.surveymonkey.com/s/ BTVT6FR WhatWhat GoesGoes AroundAround ComesComes AroundAround The Circulation of Proverbs in Contemporary Life EditedEdited byby KimberlyKimberly J.J. Lau,Lau, PeterPeter Tokofsky,Tokofsky, andand StephenStephen D.D. WinickWinick “You Can’t Kill Shit” Occupational Proverb and Metaphorical System among Young Medical Professionals Stephen D. Winick ntroduction I During the 1990s, I observed several folklore forms at work among young medical professionals in New York City and Phila- delphia. Among them were the proverb “You can’t kill shit,” and its variants “Shit never dies” and “Scum never dies.” These prov- erbs proved fascinating not only in themselves but as a theoreti- cal window into the workings of occupational proverbs, both as a subset of the proverb genre and a subset of occupational folk cul- ture. On the one hand, the existence of such proverbs suggested that mainstream proverb theory needed some refi nement.
    [Show full text]