Visions of Gerard and Tristessa
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Music 18145 Songs, 119.5 Days, 75.69 GB
Music 18145 songs, 119.5 days, 75.69 GB Name Time Album Artist Interlude 0:13 Second Semester (The Essentials Part ... A-Trak Back & Forth (Mr. Lee's Club Mix) 4:31 MTV Party To Go Vol. 6 Aaliyah It's Gonna Be Alright 5:34 Boomerang Aaron Hall Feat. Charlie Wilson Please Come Home For Christmas 2:52 Aaron Neville's Soulful Christmas Aaron Neville O Holy Night 4:44 Aaron Neville's Soulful Christmas Aaron Neville The Christmas Song 4:20 Aaron Neville's Soulful Christmas Aaron Neville Let It Snow! Let It Snow! Let It Snow! 2:22 Aaron Neville's Soulful Christmas Aaron Neville White Christmas 4:48 Aaron Neville's Soulful Christmas Aaron Neville Such A Night 3:24 Aaron Neville's Soulful Christmas Aaron Neville O Little Town Of Bethlehem 3:56 Aaron Neville's Soulful Christmas Aaron Neville Silent Night 4:06 Aaron Neville's Soulful Christmas Aaron Neville Louisiana Christmas Day 3:40 Aaron Neville's Soulful Christmas Aaron Neville The Star Carol 2:13 Aaron Neville's Soulful Christmas Aaron Neville The Bells Of St. Mary's 2:44 Aaron Neville's Soulful Christmas Aaron Neville Tell It Like It Is 2:42 Billboard Top R&B 1967 Aaron Neville Tell It Like It Is 2:41 Classic Soul Ballads: Lovin' You (Disc 2) Aaron Neville Don't Take Away My Heaven 4:38 The Grand Tour Aaron Neville I Owe You One 5:33 The Grand Tour Aaron Neville Don't Fall Apart On Me Tonight 4:24 The Grand Tour Aaron Neville My Brother, My Brother 4:59 The Grand Tour Aaron Neville Betcha By Golly, Wow 3:56 The Grand Tour Aaron Neville Song Of Bernadette 4:04 The Grand Tour Aaron Neville You Never Can Tell 2:54 The Grand Tour Aaron Neville The Bells 3:22 The Grand Tour Aaron Neville These Foolish Things 4:23 The Grand Tour Aaron Neville The Roadie Song 4:41 The Grand Tour Aaron Neville Ain't No Way 5:01 The Grand Tour Aaron Neville The Grand Tour 3:22 The Grand Tour Aaron Neville The Lord's Prayer 1:58 The Grand Tour Aaron Neville Tell It Like It Is 2:43 Smooth Grooves: The 60s, Volume 3 L.. -
The Green Sheet and Opposition to American Motion Picture Classification in the 1960S
The Green Sheet and Opposition to American Motion Picture Classification in the 1960s By Zachary Saltz University of Kansas, Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John Tibbetts ________________________________ Dr. Michael Baskett ________________________________ Dr. Chuck Berg Date Defended: 19 April 2011 ii The Thesis Committee for Zachary Saltz certifies that this is the approved version of the following thesis: The Green Sheet and Opposition to American Motion Picture Classification in the 1960s ________________________________ Chairperson Dr. John Tibbetts Date approved: 19 April 2011 iii ABSTRACT The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968. -
America Letter the Danish Immigrant Museum
America Letter The Danish Immigrant Museum ® AN INTERNATIONAL CULTURAL CENTER Spring 2011 • Vol. xxiV, No. 1 2212 WASHiNGToN STREET • ELK HoRN, ioWA 51531 • 712-764-7001 • www.danishmuseum.org Across Oceans, Across Time, Across Generations: The Dierssens Director’s Corner America Letter Published three times annually by On a wintery January night, I met our new The Danish Immigrant Museum 2212 Washington Street Scan|Design interns at Eppley Airfi eld in Omaha. Elk Horn, iowa 51531 Jule Andersen, Maria Bjørg Rasmussen and 712-764-7001 800-759-9192 FAx 712-764-7002 Sara Sjölin arrived directly from Copenhagen to a Eva Nielsen, editor www.danishmuseum.org blizzard on the Great Plains. Blowing and drifting email: [email protected] snow made roads impassable and led many Board of Directors schools and companies, including The Danish President – Harriet Albertsen Spanel, bellingham, WA Immigrant Museum, to close for several days. Vice President – Mark Nussle, Palos Park, iL Secretary – Dennis Andersen, Atlanta, GA For two days, they stayed with Dawn and me at our home in Treasurer – Clark Mathisen, omaha, NE Blair before we could drive to Elk Horn. On the afternoon of Jon borgman, Harlan, iA Lone Christensen, brown Deer, Wi the second day, we were able to drive to Omaha and visit the Ane-Grethe Delaney, Wayzata, MN / Durham Western Heritage Museum. Here, I oriented them to the university Park, FL rich history of Danes in Omaha – where Den Danske Pioneer and Mark Frederiksen, Falcon, Co Kurt Hansen, Rosemount, MN the Danish Brotherhood in America were founded. According to Kristi Johnson, bethesda, MD the 2000 U.S. -
On the Borderline of Expectation and Desire in Joyce Johnson's
Archived thesis/research paper/faculty publication from the University of North Carolina at Asheville’s NC DOCKS Institutional Repository: http://libres.uncg.edu/ir/unca/ “Mad to Be Saved”: On the Borderline of Expectation and Desire in Joyce Johnson’s Come and Join the Dance Senior Paper Presented in Partial Fulfillment of the Requirements For a Degree Bachelor of Arts with A Major in Literature at The University of North Carolina at Asheville Spring 2016 By Jessica Nicole Pringle ____________________ Thesis Director Dr. Evan Gurney ____________________ Thesis Advisor Dr. Lori Horvitz Pringle 1 The year is 1955 in America the Great. Dwight Eisenhower is president, the Battle of Dienbienphu is underway, and Allen Ginsberg is reading his first draft of “Howl” at the Gallery Six. The Seven Year Itch has hit the big screen, women are stationed in their houses, and the economy has been struck by a momentous deflation. Vagabonds are scouring the states, their right thumbs in the air, while the abomunists1 perform their 9-5’s in the center of an emergent poetic riff-raff. The 1950s was jazz, was finger-snapping stanzas; it was the year of the creative delinquent. The 1950s was The Beat Generation, and a fraction of that beat feeling can be attributed to 1950’s America being wrought with strict stereotypical roles for men and women, which produced alarming consequences. To give context, men were oftentimes the ‘breadwinners,’ and were afforded the opportunities to establish careers, to explore the world in a multitude of ways, and to realize the capacity of their talents and traits, all which worked together in cultivating a sense of identity (Lindsey 17). -
“One's-Self I Sing”: the Theme of Individualism As a Part of the American Experience in the Works of Mark Twain, Ernest H
“ONE’S-SELF I SING”: THE THEME OF INDIVIDUALISM AS A PART OF THE AMERICAN EXPERIENCE IN THE WORKS OF MARK TWAIN, ERNEST HEMINGWAY, AND JACK KEROUAC By L. LEE LINDSEY Bachelor of Arts in History Oklahoma State University Stillwater, Oklahoma 2010 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF ARTS May, 2012 “ONE’S-SELF I SING”: THE THEME OF INDIVIDUALISM AS A PART OF THE AMERICAN EXPERIENCE IN THE WORKS OF MARK TWAIN, ERNEST HEMINGWAY, AND JACK KEROUAC Thesis Approved: Dr. Michael F. Logan Thesis Adviser Dr. William Bryans Dr. Richard C. Rohrs Dr. Sheryl A. Tucker Dean of the Graduate College ii TABLE OF CONTENTS Chapter Page I. INTRODUCTION—“SELF-RELIANCE” ................................................................1 II. MARK TWAIN—THE DEVELOPMENT OF AN AMERICAN VOICE ............12 III. ERNEST HEMINGWAY—THE EARTH ABIDES ............................................41 IV. JACK KEROUAC—THE ROAD TO REDEMPTION ........................................76 V. CONCLUSION—“A SONG OF AMERICA” ....................................................110 REFERENCES ..........................................................................................................124 iii CHAPTER I INTRODUCTION—“SELF-RELIANCE” We have yet had no genius in America, with tyrannous eye, which knew the value of our incomparable materials, and saw, in the barbarism and materialism of the times, another carnival of the same gods whose picture he so much admires in Homer; then in the middle age; then in Calvinism. Ralph Waldo Emerson 1 Much like the people of America, the American character is an amalgamation of heritages that spans time and place, including not only “British but European [aspects], not only . the seventeenth and eighteenth centuries but . -
Stewart, Katie Jennifer (2007) 'A Kind of Singing in Me' : a Critical Account of Women Writers of the Beat Generation
Stewart, Katie Jennifer (2007) 'A kind of singing in me' : a critical account of women writers of the Beat generation. PhD thesis. http://theses.gla.ac.uk/2805/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] 'A Kind of Singing in Me': A Critical Account of Women Writers of the Beat Generation Katie Jennifer Stewart Thesis submitted for the degree of Doctor of Philosophy to the University of Glasgow Department of English Literature June 2007 © Katie Jennifer Stewart, 2007 ABSTRACT This thesis provides a critical account of women writers of the Beat generation. Writers such as Diane di Prima, Hettie Jones, Joanne Kyger, Joyce Johnson, Bonnie Bremser, and Janine Pommy Vega were part of the 1950s Beat literary culture and had social relationships with the more famous male Beat writers such as Jack Kerouac and Allen Ginsberg. To differing degrees the women writers have also been influenced by the aesthetics of the male writers, and since the 1950s their work has been contextualised alongside the men's in literary magazines, anthologies and more recent academic studies. -
Amor Fati in Jaco Van Dormael's Film, Mr. Nobody
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2016 Amor Fati in Jaco Van Dormael's Film, Mr. Nobody Rebecca L. Smith Trinity College, Hartford Connecticut, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the Other Philosophy Commons Recommended Citation Smith, Rebecca L., "Amor Fati in Jaco Van Dormael's Film, Mr. Nobody". Senior Theses, Trinity College, Hartford, CT 2016. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/544 !1 Amor Fati in Jaco Van Dormael’s film, Mr. Nobody Senior Thesis Written by Rebecca L. Smith Advised by Professor Julia Goesser Assaiante For the Department of Language and Culture Studies at Trinity College In the month of May, 2016 !2 Table of Contents Introduction Page 3 Chapter One: Anna Page 7 Chapter Two: Elise Page 16 Chapter Three: Jean Page 24 Conclusion Page 34 Bibliography Page 40 !3 Introduction Amor fati is a unique concept found in a multitude of Nietzsche’s philosophical works, and while he does not discuss the topic directly it is central to much of his thought. It is an im- portant notion within Nietzsche’s philosophies and ideas, yet he never wrote about it explicitly. What exactly is ‘amor fati’ and why is it such an important topic even though there is little writ- ten about it by Nietzsche, himself? Amor fati is “the love of fate, the acceptance of necessity”.1 It is way of living in which one receives what life gives one and appreciates it, understands it, and even loves it. -
The Railroad Man's Magazine, Jan 1911
PRICL lO CENTS BY THE YEAR. $199 MAGAZINE Funny Side JAN U A RY Favorite There is one thing thai is always fashion's first favorite, j ft and that is beauty. Style of dress, of coiffure, of head- gear, and so on, may change with every month or season, as whim, fancy, or milliners' decree may dictate, but beauty of skin and complexion is of the fash- ions that remain permanent from age to age. This explains the fact of the enduring popularity of Pears' Soap which, being all pure soap, possessing unique emollient properties, that preserve, refine, and improve the beauty of the skin and complexion, never ceases to be the leading soap wherever beauty holds her enchanting sway. DELICACY—The delicacy and dainti- ness of the skin of youth are pre- served by the daily use of PEARS. REFINEMENT—The skin is refined, softened, anil beautified by the exquisite soothing influence of PEARS. It is far more economical to use r ^9 PEARS than it is to use ordinary toilet soaps. "All rif/iti tecured" OP ALL SCENIEU SOAI'S PEARS' OTTO OF ROSE IS THE BEST. THE RAILROAD MAN'S MAGAZINE—ADVERTISING SECTION. The world's greatest singers make records only for the Victor The world's greatest singers! The greatest tenors; the greatest sopranos; the greatest contraltos; the greatest baritones; the greatest bassos. Not among the greatest, but the greatest of all nationalities. all sopranos Caruso, the greatest of all tenors Melba, the greatest of McCormack, the greatest Irish tenor Tetrazzini, the greatest Italian soprano Martin, the greatest American tenor Eames] Dalmores, -
234 MOTION for Permanent Injunction.. Document Filed by Capitol
Arista Records LLC et al v. Lime Wire LLC et al Doc. 237 Att. 12 EXHIBIT 12 Dockets.Justia.com CRAVATH, SWAINE & MOORE LLP WORLDWIDE PLAZA ROBERT O. JOFFE JAMES C. VARDELL, ID WILLIAM J. WHELAN, ffl DAVIDS. FINKELSTEIN ALLEN FIN KELSON ROBERT H. BARON 825 EIGHTH AVENUE SCOTT A. BARSHAY DAVID GREENWALD RONALD S. ROLFE KEVIN J. GREHAN PHILIP J. BOECKMAN RACHEL G. SKAIST1S PAULC. SAUNOERS STEPHEN S. MADSEN NEW YORK, NY IOOI9-7475 ROGER G. BROOKS PAUL H. ZUMBRO DOUGLAS D. BROADWATER C. ALLEN PARKER WILLIAM V. FOGG JOEL F. HEROLD ALAN C. STEPHENSON MARC S. ROSENBERG TELEPHONE: (212)474-1000 FAIZA J. SAEED ERIC W. HILFERS MAX R. SHULMAN SUSAN WEBSTER FACSIMILE: (212)474-3700 RICHARD J. STARK GEORGE F. SCHOEN STUART W. GOLD TIMOTHY G. MASSAD THOMAS E. DUNN ERIK R. TAVZEL JOHN E. BEERBOWER DAVID MERCADO JULIE SPELLMAN SWEET CRAIG F. ARCELLA TEENA-ANN V, SANKOORIKAL EVAN R. CHESLER ROWAN D. WILSON CITYPOINT RONALD CAM I MICHAEL L. SCHLER PETER T. BARBUR ONE ROPEMAKER STREET MARK I. GREENE ANDREW R. THOMPSON RICHARD LEVIN SANDRA C. GOLDSTEIN LONDON EC2Y 9HR SARKIS JEBEJtAN DAMIEN R. ZOUBEK KRIS F. HEINZELMAN PAUL MICHALSKI JAMES C, WOOLERY LAUREN ANGELILLI TELEPHONE: 44-20-7453-1000 TATIANA LAPUSHCHIK B. ROBBINS Kl ESS LING THOMAS G. RAFFERTY FACSIMILE: 44-20-7860-1 IBO DAVID R. MARRIOTT ROGER D. TURNER MICHAELS. GOLDMAN MICHAEL A. PASKIN ERIC L. SCHIELE PHILIP A. GELSTON RICHARD HALL ANDREW J. PITTS RORYO. MILLSON ELIZABETH L. GRAYER WRITER'S DIRECT DIAL NUMBER MICHAEL T. REYNOLDS FRANCIS P. BARRON JULIE A. -
Front Matter
Cambridge University Press 978-1-107-18445-9 — The Cambridge Companion to the Beats Edited by Steven Belletto Frontmatter More Information i The Cambridge Companion to the Beats The Cambridge Companion to the Beats offers an in- depth overview of one of the most innovative and popular literary periods in America, the Beat era. The Beats were a literary and cultural phenomenon originating in New York City in the 1940s that reached worldwide signii cance. Although its most well- known i gures remain Jack Kerouac, Allen Ginsberg, and William S. Burroughs, the Beat Movement radiates out to encompass a rich diversity of i gures and texts that merit further study. Consummate innovators, the Beats had a profound effect not only on the direction of American literature but also on models of sociopolitical critique that would become more widespread in the 1960s and beyond. Bringing together the most inl uential Beat scholars writing today, this Companion provides a comprehensive exploration of the Beat Movement, asking critical questions about its associated i gures and arguing for their importance to postwar American letters. Steven Belletto is Associate Professor of English at Lafayette College. He is the author of No Accident, Comrade: Chance and Design in Cold War American Narratives (2012) and a co- editor of American Literature and Culture in an Age of Cold War: A Critical Reassessment (2012). The author of numerous articles on post- 1945 American literature and culture that have appeared in journals such as American Literature , American Quarterly , ELH , and Twentieth- Century Literature , from 2011 to 2016 he was associate editor of the journal Contemporary Literature , and is currently an editor there. -
Rock Album Discography Last Up-Date: September 27Th, 2021
Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least. -
Female Representation in the Beat Generation
Vulkers 1 Voices From off the Beaten Track: Female Representation in the Beat Generation An analysis of Joyce Johnson, Diane di Prima and Joanne Kyger Joyce Johnson and Jack Kerouac. (Minor Characters cover photo. Picador, 1983) Master Thesis Literature Today Utrecht University Author: Wesley Vulkers Student number: 5684382 Supervisor: Codruta Pohrib, MA Second reader: Dr. Birgit Kaiser 27 June 2019 Vulkers 2 Table of Contents Abstract 3 Introduction 4 Chapter 1: The Beat Generation and Bourdieu’s notion of “habitus” 6 1.1. Generations and “habitus” 6 1.2. Bourdieu’s field theory 9 1.3. The Beat Generation’s timeframe 11 1.4. The Beat Generation in a feminist perspective 17 Chapter 2: The Unheard Voices 21 2.1. Joyce Johnson 21 2.2. Diane di Prima 26 2.3. Joanne Kyger 31 Chapter 3: Heroines in Retrospect? 36 3.1. Memoirs and agency 36 3.2. Johnson’s “Minor Characters” 40 3.3. Di Prima’s “Memoirs of a Beatnik” 45 Conclusion 50 Works cited 53 Vulkers 3 Abstract This thesis examines the exclusion of female authors and their literary works from the Beat Generation discourse. The authors associated with the Beat Generation are all male. Authors such as Jack Kerouac, Allen Ginsberg and William S. Burroughs are often names coming up in debates around the Beat Generation. However, during the rise of the movement, several interesting works were written by female authors. The aim of this thesis is to expose these female authors and to find a possible explanation for their ignored presence within the Beat Generation discourse.