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DISENCHANTING the AMERICAN DREAM the Interplay of Spatial and Social Mobility Through Narrative Dynamic in Fitzgerald, Steinbeck and Wolfe
DISENCHANTING THE AMERICAN DREAM The Interplay of Spatial and Social Mobility through Narrative Dynamic in Fitzgerald, Steinbeck and Wolfe Cleo Beth Theron Thesis presented in fulfilment of the requirements for the degree Master of Arts in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr. Dawid de Villiers March 2013 Stellenbosch University http://scholar.sun.ac.za ii DECLARATION By submitting this thesis/dissertation electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. March 2013 Copyright © Stellenbosch University All rights reserved Stellenbosch University http://scholar.sun.ac.za iii ABSTRACT This thesis focuses on the long-established interrelation between spatial and social mobility in the American context, the result of the westward movement across the frontier that was seen as being attended by the promise of improving one’s social standing – the essence of the American Dream. The focal texts are F. Scott Fitzgerald’s The Great Gatsby (1925), John Steinbeck’s The Grapes of Wrath (1939) and Thomas Wolfe’s You Can’t Go Home Again (1940), journey narratives that all present geographical relocation as necessary for social progression. In discussing the novels’ depictions of the itinerant characters’ attempts at attaining the American Dream, my study draws on Peter Brooks’s theory of narrative dynamic, a theory which contends that the plotting operation is a dynamic one that propels the narrative forward toward resolution, eliciting meanings through temporal progression. -
Whole Document
Copyright By Christin Essin Yannacci 2006 The Dissertation Committee for Christin Essin Yannacci certifies that this is the approved version of the following dissertation: Landscapes of American Modernity: A Cultural History of Theatrical Design, 1912-1951 Committee: _______________________________ Charlotte Canning, Supervisor _______________________________ Jill Dolan _______________________________ Stacy Wolf _______________________________ Linda Henderson _______________________________ Arnold Aronson Landscapes of American Modernity: A Cultural History of Theatrical Design, 1912-1951 by Christin Essin Yannacci, B.A.; M.A. Dissertation 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 Philosophy The University of Texas at Austin December, 2006 Acknowledgements There are many individuals to whom I am grateful for navigating me through the processes of this dissertation, from the start of my graduate course work to the various stages of research, writing, and editing. First, I would like to acknowledge the support of my committee members. I appreciate Dr. Arnold Aronson’s advice on conference papers exploring my early research; his theoretically engaged scholarship on scenography also provided inspiration for this project. Dr. Linda Henderson took an early interest in my research, helping me uncover the interdisciplinary connections between theatre and art history. Dr. Jill Dolan and Dr. Stacy Wolf provided exceptional mentorship throughout my course work, stimulating my interest in the theoretical and historical complexities of performance scholarship; I have also appreciated their insights and generous feedback on beginning research drafts. Finally, I have been most fortunate to work with my supervisor Dr. Charlotte Canning. From seminar papers to the final drafts of this project, her patience, humor, honesty, and overall excellence as an editor has pushed me to explore the cultural implications of my research and produce better scholarship. -
Introduction
THE NEW YORK PUBLIC LIBRARY FOR THE PERFORMING ARTS THE OLIVE WONG PROJECT PERFORMANCE COSTUME DESIGN RESEARCH GUIDE INTRODUCTION COSTUME DESIGN AND PERFORMANCE WRITTEN AND EDITED BY AILEEN ABERCROMBIE The New York Public Library for the Perform- newspapers, sketches, lithographs, poster art ing Arts, located in Lincoln Center Plaza, is and photo- graphs. In this introduction, I will nestled between four of the most infuential share with you some of Olive’s selections from performing arts buildings in New York City: the NYPL collection. Avery Fisher Hall, Te Metropolitan Opera, the Vivian Beaumont Teater (home to the Lincoln There are typically two ways to discuss cos- Center Teater), and David H. Koch Teater. tume design: “manner of dress” and “the history Te library matches its illustrious location with of costume design”. “Manner of dress” contextu- one of the largest collections of material per- alizes the way people dress in their time period taining to the performing arts in the world. due to environment, gender, position, economic constraints and attitude. Tis is essentially the The library catalogs the history of the perform- anthropological approach to costume design. ing arts through collections acquired by notable Others study “the history of costume design”, photographers, directors, designers, perform- examining the way costume designers interpret ers, composers, and patrons. Here in NYC the the manner of dress in their time period: where so many artists live and work we have the history of the profession and the profession- an opportunity, through the library, to hear als. Tis discussion also talks about costume sound recording of early flms, to see shows designers’ backstory, their process, their that closed on Broadway years ago, and get to relationships and their work. -
PULITZER PRIZE WINNERS in LETTERS © by Larry James
PULITZER PRIZE WINNERS IN LETTERS © by Larry James Gianakos Fiction 1917 no award *1918 Ernest Poole, His Family (Macmillan Co.; 320 pgs.; bound in blue cloth boards, gilt stamped on front cover and spine; full [embracing front panel, spine, and back panel] jacket illustration depicting New York City buildings by E. C.Caswell); published May 16, 1917; $1.50; three copies, two with the stunning dust jacket, now almost exotic in its rarity, with the front flap reading: “Just as THE HARBOR was the story of a constantly changing life out upon the fringe of the city, along its wharves, among its ships, so the story of Roger Gale’s family pictures the growth of a generation out of the embers of the old in the ceaselessly changing heart of New York. How Roger’s three daughters grew into the maturity of their several lives, each one so different, Mr. Poole tells with strong and compelling beauty, touching with deep, whole-hearted conviction some of the most vital problems of our modern way of living!the home, motherhood, children, the school; all of them seen through the realization, which Roger’s dying wife made clear to him, that whatever life may bring, ‘we will live on in our children’s lives.’ The old Gale house down-town is a little fragment of a past generation existing somehow beneath the towering apartments and office-buildings of the altered city. Roger will be remembered when other figures in modern literature have been forgotten, gazing out of his window at the lights of some near-by dwelling lifting high above his home, thinking -
Costume Institute Records, 1937-2008
Costume Institute Records, 1937-2008 Finding aid prepared by Arielle Dorlester, Celia Hartmann, and Julie Le Processing of this collection was funded by a generous grant from the Leon Levy Foundation This finding aid was generated using Archivists' Toolkit on August 02, 2017 The Metropolitan Museum of Art Archives 1000 Fifth Avenue New York, NY, 10028-0198 212-570-3937 [email protected] Costume Institute Records, 1937-2008 Table of Contents Summary Information .......................................................................................................3 Historical note..................................................................................................................... 4 Scope and Contents note.....................................................................................................6 Administrative Information .............................................................................................. 6 Related Materials .............................................................................................................. 7 Controlled Access Headings............................................................................................... 7 Collection Inventory............................................................................................................9 Series I. Collection Management..................................................................................9 Series II. Curators' and Administrators' Files............................................................ -
The Rise of the Costume Designer: a Critical History of Costume on the New York Stage from 1934 to 1950
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1968 The Rise of the Costume Designer: a Critical History of Costume on the New York Stage From 1934 to 1950. Eelin Stewart Harrison Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Harrison, Eelin Stewart, "The Rise of the Costume Designer: a Critical History of Costume on the New York Stage From 1934 to 1950." (1968). LSU Historical Dissertations and Theses. 1444. https://digitalcommons.lsu.edu/gradschool_disstheses/1444 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been microfilmed exactly as received 68-16,312 HARRISON, Eelin Stewart, 1915- THE RISE OF THE COSTUME DESIGNER: A CRITICAL HISTORY OF COSTUME ON THE NEW YORK STAGE F R O M 1934 TO 1950. Louisiana State University and Agricultural and Mechanical College, Ph.D., 1968 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan Co) EELIN STEWART HARRISON 1968 ALL RIGHTS RESERVED THE RISE OF THE COSTUME DESIGNER: A CRITICAL HISTORY OF COSTUME ON THE NEW YORK STAGE FROM 1934 TO 1950 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Speech by Eelin Stewart Harrison B.A., Brooklyn College, 1945 M.A., Louisiana State University, 1946 May, 1968 , ACKNOWLEDGMENTS The author wishes to express gratitude to all those who have so graciously given of their time and skill in the accomplishment of this task: To my esteemed professor, Claude L. -
ITALIAN MODERN ART | ISSUE 3: ISSN 2640-8511 Introduction
ITALIAN MODERN ART | ISSUE 3: ISSN 2640-8511 Introduction ITALIAN MODERN ART - ISSUE 3 | INTRODUCTION italianmodernart.org/journal/articles/introduction-3 Raffaele Bedarida | Silvia Bignami | Davide Colombo Methodologies of Exchange: MoMA’s “Twentieth-Century Italian Art” (1949), Issue 3, January 2020 https://www.italianmodernart.org/journal/issues/methodologies-of- exchange-momas-twentieth-century-italian-art-1949/ ABSTRACT A brief overview of the third issue of Italian Modern Art dedicated to the MoMA 1949 exhibition Twentieth-Century Italian Art, including a literature review, methodological framework, and acknowledgments. If the study of artistic exchange across national boundaries has grown exponentially over the past decade as art historians have interrogated historical patterns, cultural dynamics, and the historical consequences of globalization, within such study the exchange between Italy and the United States in the twentieth-century has emerged as an exemplary case.1 A major reason for this is the history of significant migration from the former to the latter, contributing to the establishment of transatlantic networks and avenues for cultural exchange. Waves of migration due to economic necessity in the late nineteenth and early twentieth centuries gave way to the smaller in size but culturally impactful arrival in the U.S. of exiled Jews and political dissidents who left Fascist Italy during Benito Mussolini’s regime. In reverse, the presence in Italy of Americans – often participants in the Grand Tour or, in the 1950s, the so-called “Roman Holiday” phenomenon – helped to making Italian art, past and present, an important component in the formation of American artists and intellectuals.2 This history of exchange between Italy and the U.S. -
The Parallels Between Thomas Wolfe's Life and the Characters He
Jones 1 Archived thesis/research paper/faculty publication from the University of North Carolina Asheville’s NC Docks Institutional Repository: http://libres.uncg.edu/ir/unca/ The Parallels between Thomas Wolfe’s Life and the Characters He Created in The Web and the Rock Senior Paper Presented in Partial Fulfillment of the Requirements For a Degree Bachelor of Arts with A Major in English at The University of North Carolina at Asheville Fall 2018 By Alexandra Jones ___________________________ Thesis Director Dr. Mildred K Barya ___________________________ Thesis Advisor Dr. Terry Roberts 1 Jones 2 “. I have found the constant, everlasting weather of man’s life is to be, not love, but loneliness. Love itself is not the weather of our lives. It is the rare, the precious flower.” -Thomas Wolfe, “God’s Lonely Man” Thomas Wolfe of Asheville, North Carolina wrote four novels, countless short stories, some plays and novellas, and a memoir but he is best known for his debut novel Look Homeward, Angel (1929) which established his reputation as an author who writes lengthy autobiographical fiction. His second and fourth novels, Of Time and the River (1935) and You Can’t Go Home Again (1940), are also generally well known but his third novel, The Web and the Rock, is not nearly as well known nor is it as well received by scholars and readers. This book was published in 1939 about a year after his sudden death. The novel was meant to show his development and growth as a mature author after receiving backlash from his first two novels. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 0427661 Mark Blitz stein’s “Regina”: A pivotal work in American musical theatre Foradori, Anne Bill, D.M.A. The Ohio State University, 1994 Copyright ©1094 by Foradori, Anne Bill. -
American Theatre Design Since 1945
Ronn Smith 515 half of the twentieth century), and often as the result of economic realities. 7 These realities are reflected in the New Stagecraft, for the simplicity of the style provided economic benefits that, at the time, could not be ignored by those working in the Little Theatre movement. Besides being closely identified with the New Stagecraft movement in the American Theatre Design Since 1945 United States, it is also Robert Edmond Jones who can be credited with intro ducing another significant innovation, one which has had a far greater impact Ronn Smith on the evolution of American theatre and theatre design than is commonly recognized. Jones insisted that the scenic designer be present as an active participant at the beginning of the production process, thus changing the practice of design by giving the designer an opportunity to contribute to the interpretation of the script. The importance of this can be more fully appre Introduction ciated when one considers the original productions of Tennessee Williams's A Streetcar Named Desire (194 7) or Arthur Miller's Death ofa Salesman (1949), The history of contemporary American theatre design, that is, the design of both of which were designed by Jo Mielziner, or, more recently, A Chorus Line scenery, costumes, and lighting in the United States after World War II, can (1975), designed by Robin Wagner. The pivotal position each of these produc actually be traced back to the 1915 production of The Man Who Married a tions holds in the history of American theatre can be attributed not only to Dumb Wife, directed by British director Harley Granville-Barker and designed the work of the individual playwrights, directors, and actors, but to the scenic by Robert Edmond Jones (see Volume 2, Chapter 8 for a discussion of this designers as well. -
Introduction: Design As Cultural History
Notes INTRODUCTION: DESIGN AS CULTURAL HISTORY 1. Michel Foucault, “Nietzsche, Genealogy, History,” in Foucault Reader, ed. Paul Rabinow (New York: Pantheon Books, 1984), 79. 2. For more current histories, see Ronn Smith’s “American Theatre Design since 1945,” in The Cambridge History of American Theatre, Vol. 3: Post World War II to the 1990s, eds. Don B. Wilmeth and Christopher Bigsby (Cambridge, UK: Cambridge University Press, 2000), 514. Also see Mary Henderson’s “Scenography, Stagecraft, and Architecture,” in The Cambridge History of American Theatre, Vol. 2: 1870–1945, eds. Don B. Wilmeth and Christopher Bigsby (Cambridge, UK: Cambridge University Press, 1999), 504–5; and Orville K. Larson’s Scene Design in the American Theatre from 1915–1960 (Fayetteville, AR: University of Arkansas Press, 1989). 3. Foucault, “Nietzsche, Genealogy, History,” 79. 4. In addition to the histories mentioned above, I am particularly indebted to the work of scholars like Arnold Aronson, Mary Henderson, Ann Fletcher, Marlis Schweitzer, and Christopher Innes (all cited in subsequent chapters) who have published important studies on American design and designers. 5. Critic Sheldon Cheney repeatedly uses the term “design” to distinguish the New Stagecraft approach in The New Movement in the Theatre (New York: Mitchell Kennerley, 1914). He writes that New Stagecraft artists create stage settings “by suggestion rather than by naturalistic delineation, by simple design rather than multiplicity and intricacy of detail” (124, my emphasis). For contemporary definitions of scenography, see Pamela Howard’s What is Scenography? (London: Routledge, 2002; 2009) and Joslin McKinney and Philip Butterworth’s Cambridge Introduction to Scenography (Cambridge, UK: Cambridge University Press, 2009). -
Curtain Call: Celebrating a Century of Women Designing for Live Performance Educators’ Guide As a Tool for Enhancing Your Curriculum
Educator’s Guide Dear Educator, We are delighted that you have selected Curtain Call: Celebrating a Century of Women Designing for Live Performance Educators’ Guide as a tool for enhancing your curriculum. Curtain Call was on view from November 17, 2009-May 8, 2009 in the Donald and Mary Oenslager Gallery at The New York Public Library for the Performing Arts. A collaboration between The New York Public Library for the Performing Arts and the League of Professional Theatre Women, this exhibition explored the work, role and impact of distinguished women designing for theatre, dance and opera. The educational material was developed by The New York Public Library for the Performing Arts and was funded, in part with a grant from the NEA American Masterpieces Initiative. Curtain Call, co-curated by Barbara Cohen-Stratyner of The Library’s staff and costume designer Carrie F. Robbins, featured over one hundred female designers, and displayed their costumes, 1 drawings, photographs, set models and other artifacts from 1889 to the present. Many were from The Library’s collection; other material was borrowed from the designers and production companies. This exhibition demonstrated how women became increasingly visible through their costume, set, lighting, and projection designs. Through their achievements, these women enhanced the theater, dance, and opera stages and contributed to American visual culture. In these pages we provide background information for educators about these designers, their works, and the live performances on which they collaborated. Teachers should adapt the content to match the varying needs of their students and may use the suggested ancillary materials to heighten student learning.