The Papers of Norman Rosten
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Copyright by Michael Eugene Mckelvey 2004 the Treatise Committee for Michael Eugene Mckelvey Certifies That This Is the Approved Version of the Following Treatise
Copyright by Michael Eugene McKelvey 2004 The Treatise Committee for Michael Eugene McKelvey Certifies that this is the approved version of the following treatise: MAKING AMERICAN OPERA IN THE 1990’s: The Co-Commissioning and Co-Producing of Houston Grand Opera From the 1990-1991 through 2000-2001 Seasons Committee: Michael Tusa, Co-Supervisor Rose Taylor, Co-Supervisor Dan Welcher Leonard Johnson Suzanne Pence David Nancarrow MAKING AMERICAN OPERA IN THE 1990’s: The Co-Commissioning and Co-Producing of Houston Grand Opera From the 1990-1991 through 2000-2001 Seasons by Michael Eugene McKelvey, B.M., M.M. Treatise Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin May 2004 Dedication This document is dedicated to my mother Shirley, my wife Ann, and all of my family, friends and students, who have given me the love and encouragement to continue on my path for all these years. Acknowledgements I would like to acknowledge the following individuals for the invaluable personal and archival information they have contributed to this study: Carlisle Floyd, Stewart Wallace, Michael Korie, Christopher Alden, Bruce Beresford, Garnett Bruce, Patrick Summers, Duane Schuler, Paul Steinberg, and Noele Stollmack; David Gockley, Ann Owens, Greg Weber, Rodi Franco, Susan Bell, Laura Bodenheimer and Brian Mitchell of Houston Grand Opera; Dr. Clifford “Kip” Cranna and Bob Cable of San Francisco Opera; Ian Campbell of San Diego Opera; Joe McClain, Susan Threadgill and Vince Herod of Austin Lyric Opera; Chad Calvert of Opera Carolina; Dale Johnson of Minnesota Opera; Robert Lyall of New Orleans Opera Association; Evan Luskin of the Lyric Opera of Kansas City; and Susan Woelzl of New York City Opera. -
Religion Five Years After the Crucible Was First Produced, Historian Edmund S
Religion Five years after The Crucible was first produced, historian Edmund S. Morgan offered this trenchant summary of Puritanism’s inherent religious tensions: Puritanism required that a man devote his life to seeking salvation but told him he was helpless to do anything but evil. Puritanism required that he rest his whole hope in Christ but taught him that Christ would utterly reject him unless before he was born God had foreordained his salvation. Puritanism required that man refrain from sin but told him that he would sin anyhow. Puritanism required that he reform the world in the image of God’s holy kingdom but taught him that the evil of the world was incurable and inevitable. Puritanism required that he work to the best of his ability at whatever task was set before KLP DQG SDUWDNH RI WKH JRRG WKLQJV WKDW *RG KDG ¿OOHG WKH ZRUOG with but told him he must enjoy his work and his pleasures only, as it ZHUHDEVHQWPLQGHGO\ZLWKKLVDWWHQWLRQ¿[HGRQ*RG Miller’s play reflects this constellation of paradoxes in its characters’ earnest seeking after truth despite their blindness to their own ignorance, their determination to root out evil wherever they might find it except in their own assumptions and beliefs, and in their longing for a perfectly moral life that would dominate their irrepressible human passions. For them, the devil was a spiritual reality that encompassed these and other barriers to a pious and godly life. As Miller himself commented, religious faith is central to the play’s intent: The form, the shape, the meaning of The Crucible were all compounded out of the faith of those who were hanged. -
A Remarkable Legacy: Hopwood Winners from Arthur Miller to Elizabeth Kostova
Deep Blue Deep Blue https://deepblue.lib.umich.edu/documents Research Collections Library (University of Michigan Library) 2006 A Remarkable Legacy: Hopwood Winners from Arthur Miller to Elizabeth Kostova Jones, Morgan https://hdl.handle.net/2027.42/120274 Downloaded from Deep Blue, University of Michigan's institutional repository A REMARKABLE A REMARKABLE LEGACY LEGACY H o p w o o d Winners H o p w o o d Winners from Arthur Miller from Arthur Miller to Elizabeth Kostova to Elizabeth Kostova A A REMARKABLE REMARKABLE LEGACY LEGACY Hopwood Winners Hopwood Winners from from Arthur Miller Arthur Miller to to Elizabeth Kostova Elizabeth Kostova Special Collections Library Special Collections Library University of Michigan University of Michigan Ann, Arbor, Michigan Ann, Arbor, Michigan 2006 2006 Exhibit Hours Exhibit Hours 10:00 A.M. - 5:00 P.M. Monday - Friday 10:00 A.M. - 5:00 P.M. Monday - Friday 10:00 A.M. - 12:00 P.M. Saturday 10:00 A.M. - 12:00 P.M. Saturday Copyright 2006 by the University of Michigan Library Copyright 2006 by the University of Michigan Library University of Michigan, Ann Arbor. University of Michigan, Ann Arbor. University of Michigan Board of Regents: University of Michigan Board of Regents: David A. Brandon Laurence B. Deitch David A. Brandon Laurence B. Deitch Olivia P. Maynard Rebecca McGowan Olivia P. Maynard Rebecca McGowan Andrew C. Richner Andrea Fischer Newman Andrew C. Richner Andrea Fischer Newman S. Martin Taylor Katherine E. White S. Martin Taylor Katherine E. White Mary Sue Coleman (ex officio) Mary Sue Coleman (ex officio) Catalog design: Morgan Jones Catalog design: Morgan Jones 2 2 Introduction Introduction Avery Hopwood – what a life and what a gift! A graduate of Michigan in 1905 Avery Hopwood – what a life and what a gift! A graduate of Michigan in 1905 and a dramatist who enjoyed immense success on Broadway from 1906 until 1927, and a dramatist who enjoyed immense success on Broadway from 1906 until 1927, Hopwood led a short yet luminous life. -
"The Innocents", and What Passes for Experience Author(S): Pauline Kael Source: Film Quarterly, Vol
"The Innocents", and What Passes for Experience Author(s): Pauline Kael Source: Film Quarterly, Vol. 15, No. 4, Films from New York (Summer, 1962), pp. 21-36 Published by: University of California Press Stable URL: http://www.jstor.org/stable/1211186 Accessed: 17/09/2009 21:08 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=ucal. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Film Quarterly. http://www.jstor.org PAULINEKAEL 21 in Hollywood today-stem from the compulsion varied themes and appeals, the excitement of a to make every single film a "blockbuster." This new distribution system will soon decline into compulsion, so characteristic of the independ- the same old sameness-the conformity that ent's insecurity, might be tempered and bal- widespread fear of the public always induces. -
Not Even Past NOT EVEN PAST
The past is never dead. It's not even past NOT EVEN PAST Search the site ... Film Review – A View From the Bridge (Directed by Sidney Lumet, 1962) Like 6 Tweet By Yael Schacher A View from the Bridge is the story of an Italian American longshoreman named Eddie who informs on two of his wife’s relatives, illegal immigrants Marco and Rodolpho, in order to prevent Rodolpho from marrying his niece, Catherine. Critics of the lm, and of the play by Arthur Miller on which it is based, have generally paid scant attention to the representation of migration in the story and as a result have often found the characters’ motives hard to read. Miller’s original inspiration for his “Italian tragedy” was the immediate post-WWII context, when he was immersed in the labor conicts on the Brooklyn waterfront and made a trip to Italy to visit the families of Brooklyn longshoremen. Over the next 15 years, as is clear from many drafts of the story in the Ransom Center collection, Miller, Norman Rosten (who wrote the screenplay), and Lumet, shifted the emphasis to downplay the history of illegal Italian immigration. This history begins in the 1920s when the United States passed a law that drastically limited the number of immigrants who could enter the United States from Italy (and elsewhere). But because crewmembers on ships arriving in American ports were given temporary shore leave, Italians began entering as sailors or as stowaways, who then remained in the United States permanently, often with the help of regular crew members. -
Norman Mailer
Norman Mailer: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Mailer, Norman Title: Norman Mailer Papers Dates: 1919-2005 Extent: 957 document boxes, 44 oversize boxes, 47 galley files (gf), 14 note card boxes, 1 oversize file drawer (osf) (420 linear feet) Abstract: Handwritten and typed manuscripts, galley proofs, screenplays, correspondence, research materials and notes, legal, business, and financial records, photographs, audio and video recordings, books, magazines, clippings, scrapbooks, electronic records, drawings, and awards document the life, work, and family of Norman Mailer from the early 1900s to 2005. Call Number: Manuscript Collection MS-2643 Language: English Access: Open for research with the exception of some restricted materials. Current financial records and records of active telephone numbers and email addresses for Mailer's children and his wife Norris Church Mailer remain closed. Social Security numbers, medical records, and educational records for all living individuals are also restricted. When possible, documents containing restricted information have been replaced with redacted photocopies. Administrative Information Provenance Early in his career, Mailer typed his own works and handled his correspondence with the help of his sister, Barbara. After the publication of The Deer Park in 1955, he began to rely on hired typists and secretaries to assist with his growing output of works and letters. Among the women who worked for Mailer over the years, Anne Barry, Madeline Belkin, Suzanne Nye, Sandra Charlebois Smith, Carolyn Mason, and Molly Cook particularly influenced the organization and arrangement of his records. The genesis of the Mailer archive was in 1968 when Mailer's mother, Fanny Schneider Mailer, Norman Manuscript Collection MS-2643 Mailer, and his friend and biographer, Dr. -
Guide to the Saul Bellow Papers 1926-2015
University of Chicago Library Guide to the Saul Bellow Papers 1926-2015 © 2016 University of Chicago Library Table of Contents Acknowledgments 3 Descriptive Summary 3 Information on Use 3 Access 3 Restrictions on Use 4 Citation 4 Biographical Note 4 Scope Note 6 Related Resources 10 Subject Headings 11 INVENTORY 12 Series I: Personal Ephemera 12 Series II: Correspondence 19 Series III: Writings 231 Subseries 1: Public Speaking Engagements 231 Subseries 2: Essays and Articles 240 Subseries 3: Short Fiction and Poetry 250 Subseries 4: Plays 261 Subseries 5: Books 274 Subseries 6: Miscellaneous Notes and Fragments 380 Series IV: Writings by Others 388 Series V: Writings About Saul Bellow 416 Series VI: Teaching 426 Series VII: Honors and Awards 428 Series VIII: Audiovisual 429 Subseries 1: Photographs 430 Subseries 2: Audio Recordings 434 Series IX: Oversize 434 Series X: Restricted 439 Descriptive Summary Identifier ICU.SPCL.BELLOWS Title Bellow, Saul. Papers Date 1926-2015 Size 142.25 linear feet (256 boxes) Repository Hanna Holborn Gray Special Collections Research Center University of Chicago Library 1100 East 57th Street Chicago, Illinois 60637 U.S.A. Abstract Saul Bellow (1915-2005) was a writer, educator, and Nobel laureate. Born in Lachine, Quebec and raised in Chicago from the age of nine, Bellow studied at the University of Chicago, Northwestern University, and the University of Wisconsin-Madison. He taught in the Committee on Social Thought at the University of Chicago from 1962 to 1993, and at Boston University from 1993 until his death. Bellow was the recipient of many awards including the Nobel Prize, the Pulitzer Prize, the National Medal of Arts, and the National Book Award for Fiction. -
Arthur Miller
Arthur Miller: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Miller, Arthur, 1915-2005 Title: Arthur Miller Papers Dates: circa 1910s-2013 [bulk 1943-2005] Extent: 313 boxes (131.46 linear feet), 53 oversize boxes (osb), 34 oversize folders, 4 galley files (gf), 18 restricted boxes, 1 restricted oversize box Abstract: The papers of American Pulitzer Prize-winning playwright Arthur Miller consist of drafts of published and unpublished plays and other works, personal and professional correspondence, notebooks, photographs, clippings, and family papers which document Miller's writing career—spanning over fifty years—and range of creative output which includes plays, novels, screenplays, short stories, essays, speeches, and poetry. Call Number: Manuscript Collection MS-02831 Language: Predominately English; some printed material, letters, and documents in Chinese, Danish, Dutch, Finish, French, German, Greek, Hebrew, Hungarian, Icelandic, Italian, Japanese, Korean, Norwegian, Polish, Romanian, Russian, Spanish, Swedish, and Yiddish Access: Open for research. Researchers must create an online Research Account and agree to the Materials Use Policy before using archival materials. To request access to electronic files, please email Reference. Use Policies: Ransom Center collections may contain material with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations. Researchers are advised that the disclosure of certain information pertaining to identifiable living individuals represented in the collections without the consent of those individuals may have legal ramifications (e.g., a cause of action under common law for invasion of privacy may arise if facts concerning an individual's private life are published that would be deemed highly offensive to a reasonable person) for which the Ransom Center and The University of Texas at Austin assume no responsibility. -
An Analisis of the Teeatment of the Homosexual
ho, zo» AN ANALISIS OF THE TEEATMENT OF THE HOMOSEXUAL CHARACTER IN DRAMAS PRODUCED IN THE NEW YOEK THEATRE FEOM 1950 TO 1968 & Donald L. Loeffler A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOE OF PHILOSOPHY August 1969 11+ ABSTRACT The purpose of this study was to analyze the treatment of the homosexual character on the New York stage from 1950 through 1968. The study was concerned primarily with the male character who has been labeled a homosexual by the playwright and who has been presented on the stages in the established on Broadway and off-Broadway theatres in Manhattan. An evaluation of the accuracy with which the homosexual character was presented was considered. Selected publications and scientific investigations concerning homosexuality over the past twenty years were reviewed. The presentation of homosexual characters in productions on the New York stages was surveyed. Seventy- five scripts of dramas pertinent to the study were available and were analyzed with consideration of the homosexual's attitude towards himself, the family's attitude toward the homosexual, and society's attitude toward the homosexual. These seventy-five scripts were compared with the results of published psychological and sociological studies. The most significant conclusion of the study seemed to be that there was a positive relationship between homosexuality as understood in scientific study and the homosexuality as pre-' sented by playwrights. Whether by intuition or by a know ledge of scientific observation, the playwrights had presented an accurate picture of the homosexual on the stage. -
Glimpses on History in the Development of Neurosis and Depression in the Life of Arthur Miller: with Respect to His Plays
www.ijird.com July, 2015 Vol 4 Issue 8 ISSN 2278 – 0211 (Online) Glimpses on History in the Development of Neurosis and Depression in the Life of Arthur Miller: With Respect to His Plays Dinesh A. Gundawar Assistant Professor, Department of Arts, Commerce & Science College, Maregaon, Maharashtra, India Dr. Abhijeet K. Awari Assistant Professor, Gajanan Maharaj College, Mukutban, Maharashtra, India Abstract: Arthur Miller’s growth as a creative visionary has been shaped by many influences, of which two are prominently traced out. First, the influence he inherited and second, that he experienced during the period of his growth. Both the forces are equally responsible in providing a personality that Miller claims to be his own. The tragic impulses the audience find in his plays are the creation of a creative faculty that is unique and belongs only to Arthur Miller. There were many playwrights who were his contemporary, and who shone, in some respects, brighter than he could. But, none could mesmerise the audience with such piercing accuracy, as Miller could. Undoubtedly, Miller’s contemporaries are great in their own right and in their own chosen areas. But, Miller’s area of creativity, that is, the genre of social tragedy remains unintersected by any of his contemporaries. His contemporaries, Tennessee Williams and Edward Albee, and his seniors, Elmer Rice and O’Neill, do have their impact on Miller. Miller is shaped by many other influences. 1. Introduction It may be noted that lives in the contemporary society Miller belonged to were dominated by hysteria, neurosis and volatility of human psyche. -
Kommen Teret Sidney Lumet Filmografi
ELGIN HOUR Øverst Henry 60 min. drama, sendt i sæsonen 1954-55. Lu Fonda i »12 Kommen met instruerede »Crime in the Streets« af vrede mænd«. Reginald Rose (8.3.55 - med bl. a. John Cas- Derunder scener savetes, Preston Foster, Mark Rydell og fra »Bag for Glenda Farrell). teret tæppet«, »Den THE U.S. STEEL HOUR slags kvinder« 60 min. drama, sendt i perioden 27.10.53- »Manden i Sidney 11.6.63. Lumet har instrueret »Meanest Man in slangeskind«. the World« (6.7.55), og »Family Happiness« (11.2.59 - med Gloria Vanderbilt og Jean- Lumet Pierre Aumont). STAR STAGE filmografi Lumet har instrueret »The Toy Lady« (9.9.55). ALCOA HOUR 60 min. drama sendt i perioden 14.10.55-30.9. 57, derefter 30 min. programmer indtil sept. Sidney Lumet Filmografi 60. Lumet har instr. »Finkle's Comet« efter roman af Herman Raucher, og »Tragedy in a Skønt Sidney Lumet hævdes at have instrueret ca. 350 TV-produktioner, fortrinsvis serie-epi Temporary Town« efter manus af Reginald soder men også selvstændige TV-spil, er det Rose. kun en lille del, der kendes fra omtale i bran chebladet »Variety«. Her en kort oversigt over SWIFT COLOR SPECIAL hvilke serier Lumet har bidraget til samt Lumet har instr. »Mr. Broadway« (11.5.57 - hvilke episoder, det har været muligt at finde efter manus af Sam & Bella Spevack og med titler på. P C. bl. a. Mickey Rooney, Gloria De Haven og Eddie Foy, Jr.). DANGER Serie bestående af 30 min. episoder, sendt THE SEVEN LIVELY ARTS ugentligt i tiden 3.10.50-21.12.55.