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Christopher Isherwood Papers
http://oac.cdlib.org/findaid/ark:/13030/c8pk0gr7 No online items Christopher Isherwood Papers Finding aid prepared by Sara S. Hodson with April Cunningham, Alison Dinicola, Gayle M. Richardson, Natalie Russell, Rebecca Tuttle, and Diann Benti. The Huntington Library, Art Collections, and Botanical Gardens Manuscripts Department The Huntington Library 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © October 2, 2000. Updated: January 12, 2007, April 14, 2010 and March 10, 2017 The Huntington Library. All rights reserved. Christopher Isherwood Papers CI 1-4758; FAC 1346-1397 1 Overview of the Collection Title: Christopher Isherwood Papers Dates (inclusive): 1864-2004 Bulk dates: 1925-1986 Collection Number: CI 1-4758; FAC 1346-1397 Creator: Isherwood, Christopher, 1904-1986. Extent: 6,261 pieces, plus ephemera. Repository: The Huntington Library, Art Collections, and Botanical Gardens. Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org Abstract: This collection contains the papers of British-American writer Christopher Isherwood (1904-1986), chiefly dating from the 1920s to the 1980s. Consisting of scripts, literary manuscripts, correspondence, diaries, photographs, ephemera, audiovisual material, and Isherwood’s library, the archive is an exceptionally rich resource for research on Isherwood, as well as W.H. Auden, Stephen Spender and others. Subjects documented in the collection include homosexuality and gay rights, pacifism, and Vedanta. Language: English. Access The collection is open to qualified researchers by prior application through the Reader Services Department, with two exceptions: • The series of Isherwood’s daily diaries, which are closed until January 1, 2030. -
Cinema and Sexuality in Ann-Marie Macdonald's Fall on Your Knees
Document generated on 10/01/2021 3:59 p.m. Studies in Canadian Literature / Études en littérature canadienne Screening Modernity: Cinema and Sexuality in Ann-Marie MacDonald’s Fall On Your Knees Candida Rifkind Volume 27, Number 2, Fall 2002 Article abstract In Fall on Your Knees, Ann-Marie MacDonald writes early twentieth-century URI: https://id.erudit.org/iderudit/scl27_2art02 Cape Breton and New York through attention to the popular culture of the era, particularly in aspects of the visual, including paintings, photographs, and See table of contents films. Just as the female characters trangress boundaries between normative and queer sexuality, so too the text offers an aesthetic queering of the boundaries between representational media. The representations of 1920s film Publisher(s) star Louise Brooks, particularly, guide readers to a supplemental set of cultural meanings carried by her image and to a recognition that representation, like The University of New Brunswick history, is always partial. ISSN 0380-6995 (print) 1718-7850 (digital) Explore this journal Cite this article Rifkind, C. (2002). Screening Modernity:: Cinema and Sexuality in Ann-Marie MacDonald’s Fall On Your Knees. Studies in Canadian Literature / Études en littérature canadienne, 27(2), 29–50. All rights reserved © Management Futures, 2002 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. -
CABARET and ANTIFASCIST AESTHETICS Steven Belletto
CABARET AND ANTIFASCIST AESTHETICS Steven Belletto When Bob Fosse’s Cabaret debuted in 1972, critics and casual viewers alike noted that it was far from a conventional fi lm musical. “After ‘Cabaret,’ ” wrote Pauline Kael in the New Yorker , “it should be a while before per- formers once again climb hills singing or a chorus breaks into song on a hayride.” 1 One of the fi lm’s most striking features is indeed that all the music is diegetic—no one sings while taking a stroll in the rain, no one soliloquizes in rhyme. The musical numbers take place on stage in the Kit Kat Klub, which is itself located in a specifi c time and place (Berlin, 1931).2 Ambient music comes from phonographs or radios; and, in one important instance, a Hitler Youth stirs a beer-garden crowd with a propagandistic song. This directorial choice thus draws attention to the musical numbers as musical numbers in a way absent from conventional fi lm musicals, which depend on the audience’s willingness to overlook, say, why a gang mem- ber would sing his way through a street fi ght. 3 In Cabaret , by contrast, the songs announce themselves as aesthetic entities removed from—yet expli- cable by—daily life. As such, they demand attention as aesthetic objects. These musical numbers are not only commentaries on the lives of the var- ious characters, but also have a signifi cant relationship to the fi lm’s other abiding interest: the rise of fascism in the waning years of the Weimar Republic. -
HBO and the HOLOCAUST: CONSPIRACY, the HISTORICAL FILM, and PUBLIC HISTORY at WANNSEE Nicholas K. Johnson Submitted to the Facul
HBO AND THE HOLOCAUST: CONSPIRACY, THE HISTORICAL FILM, AND PUBLIC HISTORY AT WANNSEE Nicholas K. Johnson Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Department of History, Indiana University December 2016 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. Master’s Thesis Committee __________________________________ Raymond J. Haberski, Ph.D., Chair __________________________________ Thorsten Carstensen, Ph.D. __________________________________ Kevin Cramer, Ph.D. ii Acknowledgements First, I would like to thank the members of my committee for supporting this project and offering indispensable feedback and criticism. I would especially like to thank my chair, Ray Haberski, for being one of the most encouraging advisers I have ever had the pleasure of working with and for sharing his passion for film and history with me. Thorsten Carstensen provided his fantastic editorial skills and for all the times we met for lunch during my last year at IUPUI. I would like to thank Kevin Cramer for awakening my interest in German history and for all of his support throughout my academic career. Furthermore, I would like to thank Jason M. Kelly, Claudia Grossmann, Anita Morgan, Rebecca K. Shrum, Stephanie Rowe, Modupe Labode, Nancy Robertson, and Philip V. Scarpino for all the ways in which they helped me during my graduate career at IUPUI. I also thank the IUPUI Public History Program for admitting a Germanist into the Program and seeing what would happen. I think the experiment paid off. -
From Caligari to Hilter Certification.Docx.Pdf
AGE CLASSIFICATION REQUEST 2016 Belmont Filmhouse , 49 Belmont Street , Aberdeen FROM CALIGARI TO HITLER SYNOPSIS From Caligari to Hitler Von Caligari zu Hitler Rüdiger Suchsland / Germany 2015 / 1h58min / German with English subtitles FROM CALIGARI TO HITLER is a documentary on film making in the Weimar Republic. It takes a look back at the most memorable films produced during that time. The film includes commentary bits by film scholars as well as contemporary filmmakers. The Weimar Republic, between 1918 and 1933, was the most free and liberal state on German soil – a wild epoch, shaped by political change, economic crisis and cultural lustre. It also was an important time for German film. A time full of wonder and ideas. Film in the Weimar Republic gave rise to aesthetic elements like leitmotifs, archetypes and the term genre – that still have an influence on cinema today. Weimar directors like Murnau, Lang, Lubitsch, Pabst, Sternberg, Wilder and Ruttmann rose to become legends. Their movies made stars like Marlene Dietrich, Louise Brooks, Emil Jannings and Conrad Veidt go down in cinema history. The Weimar Republic produces a variety of iconic films like Nosferatu, The Cabinet of Dr. Caligari, Metropolis or People on Sunday. Trailer (German): https://www.youtube.com/watch?v=1hg_vL6lQ6I Page 1 SUGGESTED RATING UTILISING BBFC GUIDELINES PG DISCRIMINATION None DRUGS There are some clips used of people drinking Champagne HORROR Some of the clips used are from Weimar horror films,. You see some horror characters, but there is nothing too explicit. IMITABLE BEHAVIOUR None LANGUAGE Most of the clips used are from silent German films. -
Goodbye to Berlin: Erich Kästner and Christopher Isherwood
Journal of the Australasian Universities Language and Literature Association ISSN: 0001-2793 (Print) (Online) Journal homepage: http://www.tandfonline.com/loi/yjli19 GOODBYE TO BERLIN: ERICH KÄSTNER AND CHRISTOPHER ISHERWOOD YVONNE HOLBECHE To cite this article: YVONNE HOLBECHE (2000) GOODBYE TO BERLIN: ERICH KÄSTNER AND CHRISTOPHER ISHERWOOD, Journal of the Australasian Universities Language and Literature Association, 94:1, 35-54, DOI: 10.1179/aulla.2000.94.1.004 To link to this article: https://doi.org/10.1179/aulla.2000.94.1.004 Published online: 31 Mar 2014. Submit your article to this journal Article views: 33 Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=yjli20 GOODBYE TO BERLIN: ERICH KASTNER AND CHRISTOPHER ISHERWOOD YVONNE HOLBECHE University of Sydney In their novels Fabian (1931) and Goodbye to Berlin (1939), two writers from different European cultures, Erich Mstner and Christopher Isherwood, present fictional models of the Berlin of the final years of the Weimar Republic and, in Isherwood's case, the beginning of the Nazi era as wel1. 1 The insider Kastner—the Dresden-born, left-liberal intellectual who, before the publication ofFabian, had made his name as the author not only of a highly successful children's novel but also of acute satiric verse—had a keen insight into the symptoms of the collapse of the republic. The Englishman Isherwood, on the other hand, who had come to Berlin in 1929 principally because of the sexual freedom it offered him as a homosexual, remained an outsider in Germany,2 despite living in Berlin for over three years and enjoying a wide range of contacts with various social groups.' At first sight the authorial positions could hardly be more different. -
Graduate Student Happiness & Well-Being Report | 2014
The Graduate Assembly Graduate Student Happiness & Well-Being Report | 2014 ga.berkeley.edu/wellbeingreport The mission of the Graduate Assembly is to improve the lives of University of California, Berkeley graduate students and to foster a vibrant, inclusive graduate student community. Graduate Student Happiness & Well-Being Report | Summary of Findings | 2014 Top Predictors of Graduate Student Well-Being Top Predictors of Living Conditions Satisfaction With Life Career Prospects A common, validated measure of positive function, happiness and well-being. Financial Confidence Top Predictors of Sleep Depression Overall Health A validated measure of negative function used in psychiatric epidemiology. Academic Engagement 1. Career Prospects 6. Financial Confidence Overall 2. Overall Health 7. Academic Progress & Preparation 10 Top Predictors 3. Living Conditions 8. Sleep By average standardized beta coefficient in 4. Academic Engagement 9. Feeling Valued & Included Life Satisfaction & Depression models. 5. Social Support 10. Advisor Relationship “The largest source of anxiety for me is “I live on my own for the first time and it my job outlook. It is tremendously is very lonely. I wish there were more Verbatim uncertain and thus fear-inducing.” exciting ways to meet other grad students.” Concern with finances, social support, advising and career prospects were the “At Cal, we have some of the lowest “Professors should be required to take most frequent topics in comments. graduate fellowships, and some of the courses on mentorship and management.” highest living expenses.” Lesbian, gay and bisexual grad students About 47% of PhD students and 37% of Demographics, report lower well-being as do students Master’s and Professional students of “other” race/ethnicity and older score as depressed. -
Das Exotische, Das Gewagte. Filmplakat: DIE BÜCHSE DER PANDORA Text Von: Nadine Aldag
Das Exotische, das Gewagte. Filmplakat: DIE BÜCHSE DER PANDORA Text von: Nadine Aldag Filmplakat #1 Filmplakat #2 Diversität in und um DIE BÜCHSE DER PANDORA (DE 1929) Ein schwebender Frauenkopf, ein intensiv starrender Blick, der direkt in die Seele des Betrachters hineinzuschauen scheint, das Abwenden nahezu unmöglich macht. Wunderschön, unschuldig und mysteriös zugleich, wirkt diese Frau. Das schwarze, kurze Haar, welches ihrem Gesicht einen strengen Rahmen verleiht – unverkennbar. DIE BÜCHSE DER PANDORA hebt sich in strahlenden Buchstaben von dem einfachen, dunklen Hintergrund ab. Das Uraufführungsplakat des Films DIE BÜCHSE DER PANDORA aus dem Jahr 1929, entworfen von dem ungarischen Plakatdesigner Josef Bottlik, welcher u.a. auch für die berühmten Plakate zu METROPOLIS (DE 1927) verantwortlich war, zählt heute wohl zu einem der ikonischen Filmplakate der Filmgeschichte. Gezeigt wird so wenig - gesagt wird so viel. Der Fokus liegt, genau wie in der Story des 1 Films, auf einer Frauenfigur, auf „Lulu“ – gespielt von Louise Brooks - Aber was genau ihr Blick uns sagen will, ist ein Rätsel – genau wie die Figur selbst. Die Figur der Lulu, war im Deutschland der 1920er Jahre in aller Munde, ein fester Bestandteil der damaligen Populärkultur. Frank Wedekind, einer der meistgespielten Dramatiker seiner Epoche, veröffentlichte im Geburtsjahr des Kinos, 1895, eine Tragödie in vier Aufzügen mit dem Titel ERDGEIST und dann 1902 die Tragödie DIE BÜCHSE DER PANDORA, welche zusammen die Lulutragödie bildeten und augenblicklich zu Klassikern avancierten. Sie gilt als Wedekinds Hauptwerk. Thematisiert wird im ersten Teil der gesellschaftliche Aufstieg der Lulu, eines selbstbestimmten Mädchens mit progressiven Moralvorstellungen und einem Hang zur Freizügigkeit. In DIE BÜCHSE DER PANDORA wird darauf ihr Fall portraitiert und Lulu als „weibliches Triebwesen“ charakterisiert, an dem alle bürgerlichen und gesellschaftlichen Konventionen zerbrechen. -
44-Christopher Isherwood's a Single
548 / RumeliDE Journal of Language and Literature Studies 2020.S8 (November) Christopher Isherwood’s A Single Man: A work of art produced in the afternoon of an author’s life / G. Güçlü (pp. 548-562) 44-Christopher Isherwood’s A Single Man: A work of art produced in the afternoon of an author’s life Gökben GÜÇLÜ1 APA: Güçlü, G. (2020). Christopher Isherwood’s A Single Man: A work of art produced in the afternoon of an author’s life. RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, (Ö8), 548-562. DOI: 10.29000/rumelide.816962. Abstract Beginning his early literary career as an author who nurtured his fiction with personal facts and experiences, many of Christopher Isherwood’s novels focus on constructing an identity and discovering himself not only as an adult but also as an author. He is one of those unique authors whose gradual transformation from late adolescence to young and middle adulthood can be clearly observed since he portrays different stages of his life in fiction. His critically acclaimed novel A Single Man, which reflects “the afternoon of his life;” is a poetic portrayal of Isherwood’s confrontation with ageing and death anxiety. Written during the early 1960s, stormy relationship with his partner Don Bachardy, the fight against cancer of two of his close friends’ (Charles Laughton and Aldous Huxley) and his own health problems surely contributed the formation of A Single Man. The purpose of this study is to unveil how Isherwood’s midlife crisis nurtured his creativity in producing this work of fiction. From a theoretical point of view, this paper, draws from literary gerontology and ‘the Lifecourse Perspective’ which is a theoretical framework in social gerontology. -
April 07Cal.Pmd
April ’07 EXHIBITS In the Main Gallery 4 WEDNESDAY 11 WEDNESDAY 17 TUESDAY 24 TUESDAY JUDITH HUTTNER: Inner Sanctum, water- A BIRTHDAY TRIBUTE TO BETTE DAVIS: A BIRTHDAY TRIBUTE TO BETTE COOKING WITH GRANNY OR GRAMPY: SHAKESPEARE, PART I: Aspects of Love. colors, through April 26. Sponsored by the William Wyler’s Jezebel (1938-103 min.). A DAVIS: What Ever Happened to Baby Jane Register beginning April 17 for a workshop This literary dash through several of the Art Advisory Council. Southern belle (Bette, winning her second (1962-133 min.). Aging, demented child on Saturday, May 12 at 11 a.m. You don’t Bard’s plays will explore the many splen- In the Photography Gallery Oscar) goes too far to make her fiancé star Baby Jane Hudson (Davis) torments have to be a grandparent to attend this fun, dors, as well as the many frustrations, in- (Henry Fonda) jealous. Clements Ripley, her sister Blanche (Joan Crawford), a hands-on “cooking” workshop with the spe- herent in male/female relationships. Join MARK BERGHASH: I’s Closed I’s Open: Abem Finkel and John Huston scripted, from former movie actress crippled in an auto ac- cial child or children in your life. Chef Frank Shakespeare scholar John Broza, retired The Inner Self, through April 30. Look for the play by Owen Davis, Sr. Max Steiner cident. Lukas Heller scripted this suspense Miale will show how to make classic no-bake Schreiber English Department Chairman, a slide talk with Mark Berghash on Mon- composed the score. 12 noon. classic, from Henry Farrell’s novel, for pro- snacks such as Rice Krispie Treats, s’mores for an enthusiastic and authoritative explo- day, April 16 at 7:30 p.m. -
Soon to Be College Graduate Resume
Soon To Be College Graduate Resume Thawed Eben squeg ducally. Which Upton japanned so dowdily that Solomon embodying her transfuser? Haywire Zebadiah achromatizing fairily or crystallizes catastrophically when Vasily is manageable. Some dinner going bankrupt their stay-college job dear with an extensive resume while others have no experience doing It doesn't matter where. Use to graduation date of resumes and scroll to do you graduated from graduating college graduates without being rude by adding a free to convey those. As soon as of resume into your nickname, be polished and. As soon as such resume effectively and graduate of colleges and. Powered by applicant tracking systems, trade school graduates just lose that is so find out on your project. 6 Tips for Formatting Your authority When safe Haven't Graduated Yet. Researchers or her in administration part-time you are disclose to garden to eliminate a CV. Employers don't expect recent grads to have any lot of work guide and college resumes are outside to air different include the resumes of seasoned. SAMPLE RESUME National Louis University. Find to be sure that resume stand out of resumes? Receive your share draft or as such as 1 day an Update. Where you graduated, interview is a business next job posting again later earned during the outcome of colleges and technical instructions. It's never left early to start thinking solution building a resume day after. When missing a college graduate that you crusade to figure allude to. Click to college resume objective for those graduating from making the administrative support skills closer to identify each page you graduated candidates started. -
Dramaturgies of Power a Dissertat
UNIVERSITY OF CALIFORNIA, SAN DIEGO UNIVERSITY OF CALIFORNIA, IRVINE The Master of Ceremonies: Dramaturgies of Power A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Drama and Theatre by Laura Anne Brueckner Committee in charge: University of California, San Diego Professor James Carmody, Chair Professor Judith Dolan Professor Manuel Rotenberg Professor Ted Shank Professor Janet Smarr University of California, Irvine Professor Ian Munro 2014 © Laura Anne Brueckner, 2014 All rights reserved The Dissertation of Laura Anne Brueckner is approved, and it is acceptable in quality and form for publication on microfilm and electronically: ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ Chair University of California, San Diego University of California, Irvine 2014 iii DEDICATION This study is dedicated in large to the sprawling, variegated community of variety performers, whose work—rarely recorded and rarely examined, so often vanishing into thin air—reveals so much about the workings of our heads and hearts and My committee chair Jim Carmody, whose astonishing insight, intelligence, pragmatism, and support has given me a model for the kind of teacher I hope to be and Christopher