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213 Nothing Like the South: Aurora Greenway – a Belle
NOTHING LIKE THE SOUTH: AURORA GREENWAY – A BELLE IN EXILE Anca Peiu University of Bucharest Larry McMurtry’s Terms of Endearment has been better known as a 1983 successful silver-screen story than as a 1975 best-selling novel, rather as a multiplereceiver of Academy Awards than as a most accomplished book by a prolific author and Pulitzer Prize winner. My return to it is justified by some recently read essays – neither on the film, nor on the book – but on the Belle and the South (indeed, an archetypal coupling somehow echoing Beauty and the Beast ). As for my title here – it oscillates between two Shakesperean sonnets: Sonnet 130 and Sonnet 3. Both poems appeal particularly to the sense of sight ; they are versions of that type of painting (also fiction) known as a portrait of a lady – who stays the lady even if she defies any canon of lady-likelihood – both as Shakespeare’s (image of the) lover and as McMurtry’s Southern Belle – from My mistress’ eyes are nothing like the sun… Thou art thy mother’s glass, and she in thee Calls back the lovely April of her prime; So thou through windows of thine age shalt see, Despight of wrinkles, this thy golden time… The latter quote opens Larry McMurtry’s novel, as a necessary motto. It evokes a specific traditional relationship: mother-daughter, by the classic symbol of the mirror . It could send us – via Larry McMurtry’s novel – to Katherine Henninger’s astute study of the impact of photography on the Visual Legacies of the South: Picture a southern woman . -
Press Release Announcing the Scripter 2013
From: The USC Libraries Doheny Memorial Library University of Southern California Los Angeles, CA 90089 Contact: Hugh McHarg Associate Dean for Planning and Communications USC Libraries [email protected] Office: (213) 740-1405 December 19, 2012 Larry McMurtry and Diana Ossana Win USC Libraries Literary Achievement Award The Friends of the USC Libraries have selected the Brokeback Mountain screenwriting partners as the award’s 2013 honorees The Friends of the USC Libraries have selected Academy Award-winning screenwriting partners Larry McMurtry and Diana Ossana as the 2013 Scripter Literary Achievement Award co-honorees. The 2013 award marks the first time a screenwriting team has earned the honor. The USC Libraries will present the award to McMurtry and Ossana at the 25th-anniversary Scripter Award ceremony on Saturday, February 9, 2013. The Literary Achievement Award is an additional honor—distinct from the annual Scripter Award—that recognizes writers who have made significant, sustained contributions to the art of adaptation throughout their careers. USC Libraries Dean Catherine Quinlan and the Friends of the USC Libraries established the Scripter Literary Achievement Award in 2008. “We feel honored to receive the prestigious USC Libraries Scripter Literary Achievement Award, while well aware that we do so owing a debt to the many novelists and writers whose works we have adapted,” said Ossana and McMurtry of their selection. In addition to their 2006 Academy Award win for Best Adapted Screenplay for Brokeback Mountain, the pair has written two novels, nearly twenty original feature film scripts, and four award-winning miniseries. They began their writing partnership in the early 1990s with MORE 2: McMurtry and Ossana Win 2013 USC Libraries Literary Achievement Award the novel Pretty Boy Floyd, about the notorious American bank robber. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
Screening Series for 'Walkers: Hollywood
FOR IMMEDIATE RELEASE SCREENING SERIES FOR ‘WALKERS: HOLLYWOOD AFTERLIVES IN ART AND ARTIFACT’ TO FEATURE CLASSIC HOLLYWOOD FILMS Exhibition artists Pierre Bismuth, Tom Sachs, and Guy Maddin to appear in person with select screenings and artist talks November 8–December 27, 2015 at Museum of the Moving Image Astoria, New York, October 22, 2015—Museum of the Moving Image is pleased to announce “The Hollywood Classics behind Walkers,” a screening series presented in conjunction with the exhibition Walkers: Hollywood Afterlives in Art and Artifact, the Museum’s first major contemporary art survey. Through the work of 45 artists in painting, photography, sculpture, print, and video, Walkers examines the lasting impact of 20th-century film on culture, and the ability of its imagery to be recycled and reinvented by artists. Exhibition curator Robert M. Rubin has paired these artworks with a selection of rare movie ephemera including scripts, set photos, and costume design sketches, that when viewed through a 21st-century lens, serve as works of art in their own right. As an extension of the exhibition, “The Hollywood Classics behind Walkers” series provides audiences the opportunity to see legendary Hollywood films on the big screen alongside the artworks they have inspired, as well as independent films that bridge the gap between Hollywood film and our greater understanding of “Hollywood.” Museum of the Moving Image Chief Curator David Schwartz and Rubin have selected a program of films significant to the exhibition, with selected screenings featuring conversations with artists Tom Sachs (with The Godfather) and Pierre Bismuth (with Be Kind Rewind); and filmmaker and artist Guy Maddin in person with The Forbidden Room. -
Pulitzer Prize
1946: no award given 1945: A Bell for Adano by John Hersey 1944: Journey in the Dark by Martin Flavin 1943: Dragon's Teeth by Upton Sinclair Pulitzer 1942: In This Our Life by Ellen Glasgow 1941: no award given 1940: The Grapes of Wrath by John Steinbeck 1939: The Yearling by Marjorie Kinnan Rawlings Prize-Winning 1938: The Late George Apley by John Phillips Marquand 1937: Gone with the Wind by Margaret Mitchell 1936: Honey in the Horn by Harold L. Davis Fiction 1935: Now in November by Josephine Winslow Johnson 1934: Lamb in His Bosom by Caroline Miller 1933: The Store by Thomas Sigismund Stribling 1932: The Good Earth by Pearl S. Buck 1931 : Years of Grace by Margaret Ayer Barnes 1930: Laughing Boy by Oliver La Farge 1929: Scarlet Sister Mary by Julia Peterkin 1928: The Bridge of San Luis Rey by Thornton Wilder 1927: Early Autumn by Louis Bromfield 1926: Arrowsmith by Sinclair Lewis (declined prize) 1925: So Big! by Edna Ferber 1924: The Able McLaughlins by Margaret Wilson 1923: One of Ours by Willa Cather 1922: Alice Adams by Booth Tarkington 1921: The Age of Innocence by Edith Wharton 1920: no award given 1919: The Magnificent Ambersons by Booth Tarkington 1918: His Family by Ernest Poole Deer Park Public Library 44 Lake Avenue Deer Park, NY 11729 (631) 586-3000 2012: no award given 1980: The Executioner's Song by Norman Mailer 2011: Visit from the Goon Squad by Jennifer Egan 1979: The Stories of John Cheever by John Cheever 2010: Tinkers by Paul Harding 1978: Elbow Room by James Alan McPherson 2009: Olive Kitteridge by Elizabeth Strout 1977: No award given 2008: The Brief Wondrous Life of Oscar Wao by Junot Diaz 1976: Humboldt's Gift by Saul Bellow 2007: The Road by Cormac McCarthy 1975: The Killer Angels by Michael Shaara 2006: March by Geraldine Brooks 1974: No award given 2005: Gilead by Marilynne Robinson 1973: The Optimist's Daughter by Eudora Welty 2004: The Known World by Edward P. -
4Rthe Wittliff Collections Southwestern Writers Collection Southwestern & Mexican Photography Collection
1kY ."a-: ,pyrI ' 4O , NrIK ;qt1"p.+,t 4rThe Wittliff Collections Southwestern Writers Collection Southwestern & Mexican Photography Collection Alkek Library, Texas State University-San Marcos FRONT ( F)VLR llerc dng~e! / A ngel Woman, 1979 GRACS L1VA FL (FIFPh IF FM Pub15il it roolm,, at the WitIt!if CoIIlectillns. 5 FLIT Willie Nelson, 1 9801 11.l. WRITTILII+l q 1 ntft "What we sense in all this work is that we in the Southwest are bound to what the Spanish language calls querencia, a place of such deep meaning and strong fealty that neither time nor distance can separate us from it." - GOVERNOR ANN RICHA RDS Southwestern Writers Collection Dedication Speech, Alkek Library, Texas State, 1991 . The Wittliff Collections Southwestern Writers Collection Southwestern & Mexican Photography Collection The voices and visions of any region's artists are rooted in the land, inspired by a certain lay of the earth and line of horizon, informed by the history and myth, traditions, and relationships of the people who live upon it. This "spirit of place" is at the very heart of the Wittliff Collections - it is the keystone that joins the literary and photographic archives of the Southwestern Writers Collection and the Southwestern & Mexican Photog- raphy Collection. Founded at Texas State University-San Marcos by Austin screen- The Spirit of Place writer and photographer Bill Wittliff and his wife Sally, these repositories are committed to preserving a creative legacy that will instruct and inspire the current generation as well as those subsequent, illuminating the importance of the Southwestern and Mexican imagination in the wider world. -
Changing Representations of Masculinity in Lonesome Dove, Bonfire of the Vanities, Fight Club, and a Man in Full Bailey Player
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 "The True Male Animals": Changing Representations of Masculinity in Lonesome Dove, Bonfire of the Vanities, Fight Club, and a Man in Full Bailey Player Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES “THE TRUE MALE ANIMALS”: CHANGING REPRESENTATIONS OF MASCULINITY IN LONESOME DOVE, BONFIRE OF THE VANITIES, FIGHT CLUB, AND A MAN IN FULL By BAILEY PLAYER A Thesis submitted to the Department of English in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Summer Semester, 2006 The members of the Committee approve the Thesis of Bailey Player defended on June 30, 2006. Leigh Edwards Professor Directing Thesis Mark Cooper Committee Member Barry Faulk Committee Member Approved: Hunt Hawkins, Chair, Department of English The Office of Graduate Studies has verified and approved the above named committee members. ii For mom and dad. iii ACKNOWLEDGEMENTS Naturally, it is difficult to thank all of those who make a project like this possible, but it seems proper to start with my major professor, Leigh Edwards, who opened my eyes to new ways of understanding various representations of popular culture. Her insightful advice has helped me significantly develop the ideas presented in this thesis and her sincere encouragement over the past two years has helped me significantly develop my own understanding of myself as a student and an academic. Amber Brock’s counsel and friendship has kept me grounded in my ventures, this most recent one included, and I thank her for her invaluable support. -
Sandoz Writing (Righting) History
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Missouri: MOspace SANDOZ WRITING (RIGHTING) HISTORY A DISSERTATION IN English and History Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree DOCTOR OF PHILOSOPHY by JILLIAN LEIGH WENBURG B.A., University of Nebraska-Kearney, 2005 M.A., University of Nebraska-Kearney, 2006 Kansas City, Missouri 2015 ©2015 JILLIAN LEIGH WENBURG ALL RIGHTS RESERVED SANDOZ WRITING (RIGHTING) HISTORY Jillian Leigh Wenburg, Candidate for the Doctor of Philosophy Degree University of Missouri-Kansas City, 2015 ABSTRACT Mari Sandoz’s dedication to her research topics, personality, candor, and work ethic allowed her an intimate place alongside those she chose to write about. This yielded a moving written product. In the same way that Sandoz was able to infiltrate the groups she researched, they permeated Sandoz’s consciousness. As she developed story ideas and noted observations about Plains life, Sandoz encountered factions that she saw were unjustly treated. She utilized her platform as a writer to attempt to redress these injustices. Her work with Native Americans, women, and workers greatly touched the people she wrote about and, ultimately, for. This work considers how this frontierswoman was able to transgress gender boundaries and question authority about those she felt were disenfranchised. Her acerbic writing, in both her literary texts and letters, was remarkable in a time and place when and where women typically did not provide such pointed commentary. Mari Sandoz’s literary works were supported by extensive historical research, which employed ethnohistory, and detailed research notes to support her stories of both fiction and iii non-fiction. -
Waikiki Party!
Film Streams Programming Calendar The Ruth Sokolof Theater . October – December 2011 v5.2 The Black Power Mixtape 1967-1975 First-Run Waikiki Party! Film Streams Members: Keep an eye on your mailbox for details about a very special celebration in honor of THE DESCENDANTS, the latest film from Academy Award- winning writer-director and Film Streams Board Member Alexander Payne! Set in Hawaii and starring George Clooney in one of the year’s best performances. “Alexander Payne has made his best film yet... Never has his knack for mixing moods and modulating subtle emotions been more evident.” —The Hollywood Reporter Silents in Concert October 4 – December 15, 2011 Tuesday, October 4, 7pm Thursday, December 1, 7pm The Alloy Orchestra The Endless Summer 1966 plays Wild and Weird Music by Matteah Baim. Friday, October 21, 7pm Tuesday, December 6, 7pm Nosferatu 1922 People on Sunday 1930 Music by Others (Todd Fink, Orenda Music by Nick White & Friends. Fink, Ben Brodin). Thursday, December 15, 7pm Thursday, November 10, 7pm The General 1926 The Adventures of Music by Jim Boston. Prince Achmed 1926 Music by Ryan Fox, Jake Bellows, SPECIAL SUPPORT Ben Brodin. PROVIDED BY Series generously sponsored by Sam Walker. When sound came to cinema in the 1920s, it wasn’t just the silent-film star who series will feature live sounds as diverse as the pic- had to adjust with the times. Many live musicians, for whom movie houses pro- tures that inspire them. As anyone who was here for vided steady employment, were out on their luck, as well. It was the end of an era, METROPOLIS in 2010 or THE CABINET OF DR. -
Best Lists of Iicontemporary" Fiction
BEST LISTS OF IICONTEMPORARY" FICTION In 1~83 the distinguished British novelist and provocateur, Al1thonyBurgcss, decided to issue a list of thp 99 Best Novels in English since WW H. Prc-sumablytht, hundredth slot was available for his readers to add one of his own. IA· :,i1e thisis all merely parlor games on a slightly higher level than "Trivial Ptlrsuit" or "Jcop~rdy", such '~oing~-on do providp somp provocative rcading lists for English Majors and/or people who love to read fiction. So herc arc BurgL'Ss' choices followed by the choices of the CSUS profossors teaching contemporary fiction on a regular basis since thpy were hired. ANTHONY BURGESS· 1939: Party Going by Henry Green. After Many a Summer Dies the Swan by Aldous Huxley. Finnegan's Wake by James Joyce. At Swim-Two-Birds byFlann O'Brien. 1940: The Power & The Glory byGraham Greene.'For Whcml The Bell Tollsby Ernest Hemingway. STRANGERS & BROTHERS(a series of novels to 1970) bye. P. Snow. 1941: The Aerodrome by Rex Wainer. 1944: The Horse's Mouth by Joyce Cary. The Razor's Edge by W. Somerset Maugham 1945.: Brideshead Revisited by Evelyn Waugh 1946: Titus Groan by Mervyn Peake 1947: The Victim by Saul Bellow. Under the \Iolcanoby MalcolmLowry 1948: The Heart of the Matter by Graham Greene. The Naked and the Dead by . Norman Mailer. No Highway by Nevil Shute . 1949:The Heat ofthe Day by Elizabeth Bowen, Ape and Essence by Aldous Huxley, 1984 by George OrwelL The Body by William Sansom' 1950: Scenes From Provincial q{e by William Cooper. -
Daily Screening & Events Schedule
TIFF Industry Online Daily Screening & Events Schedule SEPTEMBER 14, 2020 TORONTO’S LARGEST PURPOSE-BUILT STUDIO The leading destination facility for f ilm and TV production New space coming soon Talk to us: t: +1 416 406 1235 e: [email protected] For further information on our studio, please visit: www.pinewoodtorontostudios.com I Industry user access P Press user access Press & Industry B Buyer user access * Availability per country on the schedule at TIFF.NET/INDUSTRY Daily Schedule Access TIFF Digital Cinema Pro September 14, 2020 at DIGITALPRO.TIFF.NET NEW TODAY Films are available for 48 hours from start time. 10 AM BECKMAN NEUBAU PIRATES DOWN THE STREET SWEAT EDT 90 min. | TIFF Digital Cinema Pro 82 min. | TIFF Digital Cinema Pro 90 min. | TIFF Digital Cinema Pro 80 min. | TIFF Digital Cinema Pro Private Screening Private Screening Private Screening TIFF Industry Selects I P B P B I B I P B FAIRY THE NORTH WIND RIVAL TELEFILM CANADA FIRST LOOK 152 min. | TIFF Digital Cinema Pro 122 min. | TIFF Digital Cinema Pro 96 min. | TIFF Digital Cinema Pro 51 min. | TIFF Digital Cinema Pro Private Screening Private Screening Private Screening Private Screening B B B I B LOVERS PEARL OF THE DESSERT SHOULD THE WIND DROP WISDOM TOOTH 102 min. | TIFF Digital Cinema Pro 86 min. | TIFF Digital Cinema Pro 100 min. | TIFF Digital Cinema Pro 104 min. | TIFF Digital Cinema Pro TIFF Industry Selects Private Screening TIFF Industry Selects Private Screening B I P B I P B I B 11 AM BANDAR BAND CITY HALL GOOD JOE BELL TRICKSTER EDT 75 min. -
Tomwoods Sanespace
0 INTRODUCTION (read this or the book won't make sense) I send out a daily email called The Tom Woods Letter. This book is a collection of the juiciest issues. Daily is too often, according to the gurus, but I've more or less based my whole career on ignoring them. People write to tell me: I love and look forward to your daily emails. They're funny, they're informative, they're just the right length, they help me keep my sanity, whatever. I'm a libertarian, of course, and for a long time I directed the bulk of my criticism at neoconservatives. Sure, I well understood the problems of the left, but I thought they were almost too obvious to dwell on. The neocons were more insidious, and in my view weren't subject to nearly enough scrutiny. Over the past year or so, though, with the growth in SJW (Social Justice Warrior) activity, I've been vividly reminded of the evils of the left. Nearly all of what you read in this book, therefore, is directed at leftism. The left's moral priorities completely baffle me. They're far angrier at someone who holds politically incorrect views than they are at someone who launches an unnecessary war. And for all their pretensions to being antiwar, they seem more committed to making sure transgender folks can become fighter pilots. It's weird. One more thing to prepare you for what follows: my emails often end with a pitch for one of my products, so be aware of that as you read what follows.