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Beckett's Victors: Quests Without Qualities Paul Shields
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 Beckett's Victors: Quests without Qualities Paul Shields 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 BECKETT’S VICTORS: QUESTS WITHOUT QUALITIES By PAUL SHIELDS A Dissertation submitted to the Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring 2005 The members of the Committee approve the dissertation of Paul Shields defended on January 4, 2005. ____________________________________ S. E. Gontarski Professor Directing Dissertation ____________________________________ Mary Karen Dahl Outside Committee Member ____________________________________ Karen Laughlin Committee Member ____________________________________ Fred L. Standley Committee Member Approved: ____________________________________ Bruce Boehrer, Director of Graduate Studies The Office of Graduate Studies has verified and approved the above named committee members. ii For my mother and father— and for my grandmother, Lucille iii ACKNOWLEDGEMENTS I would like to thank Stan Gontarski for his guidance and encouragement during the development of this study and over the course of my graduate career. His insights are evident on every page. I would also like to thank the members of my committee: Karen Laughlin for her support (and for buying coffee in Sydney); Fred L. Standley for his generosity; and Mary Karen Dahl for her willingness to be a part of this project. I must also thank Yu-Mi Yang for introducing me to Deleuze’s work and Chris Ackerley for reading parts of the manuscript. I am greatly indebted to Lori and Ben York, who have always cared about my pursuits and, more importantly, my well-being. -
Report from Edinbur H • Soul Man Review • Robert Hooks Three Critics Look at She's Gotta Have It • Peter Wang Interview
Report From Edinbur h • Soul Man Review • Robert Hooks Three Critics Look at She's Gotta Have It • Peter Wang Interview World of Black Film Collectors Remembering Lorenzo Tucker- The Black. Gil Noble Plans Valentino Like It Is Archive Film Clips and News Early Black Independents Co-produced with the Black Film Institute of the University of the District of Columbia ••••••••••••••••••••••••••••••• Vol. 2, No. 4/Fa111986 'Peter Wang Breaks Cultural Barriers Black Film Review by Pat Aufderheide 10 SSt., NW An Interview with the director of A Great Wall p. 6 Washington, DC 20001 (202) 745-0455 Remembering lorenzo Tucker Editor and Publisher by Roy Campanella, II David Nicholson A personal reminiscence of one of the earliest stars of black film. ... p. 9 Consulting Editor Quick Takes From Edinburgh Tony Gittens by Clyde Taylor (Black Film Institute) Filmmakers debated an and aesthetics at the Edinburgh Festival p. 10 Associate EditorI Film Critic Anhur Johnson Film as a Force for Social Change Associate Editors by Charles Burnett Pat Aufderheide; Keith Boseman; Excerpts from a paper delivered at Edinburgh p. 12 Mark A. Reid; Saundra Sharp; A. Jacquie Taliaferro; Clyde Taylor Culture of Resistance Contributing Editors Excerpts from a paper p. 14 Bill Alexander; Carroll Parrott Special Section: Black Film History Blue; Roy Campanella, II; Darcy Collector's Dreams Demarco; Theresa furd; Karen by Saundra Sharp Jaehne; Phyllis Klotman; Paula Black film collectors seek to reclaim pieces of lost heritage p. 16 Matabane; Spencer Moon; An drew Szanton; Stan West. With a repon on effons to establish the Like It Is archive p. -
(LACMA) Hosted Its Ninth Annual Art+Film Gala on Saturday, November 2, 2019, Honoring Artist Betye Saar and Filmmaker Alfonso Cuarón
(Los Angeles, November 3, 2019)—The Los Angeles County Museum of Art (LACMA) hosted its ninth annual Art+Film Gala on Saturday, November 2, 2019, honoring artist Betye Saar and filmmaker Alfonso Cuarón. Co-chaired by LACMA trustee Eva Chow and actor Leonardo DiCaprio, the evening brought together more than 800 distinguished guests from the art, film, fashion, and entertainment industries, among others. This year’s gala raised more than $4.6 million, with proceeds supporting LACMA’s film initiatives and future exhibitions, acquisitions, and programming. The 2019 Art+Film Gala was made possible through Gucci’s longstanding and generous partnership. Additional support for the gala was provided by Audi. Eva Chow, co-chair of the Art+Film Gala, said, “I’m so happy that we have outdone ourselves again with the most successful Art+Film Gala yet. It was such a joy to celebrate Betye Saar and Alfonso Cuarón’s incredible creativity and passion, while supporting LACMA’s art and film initiatives. I couldn’t be more grateful to Alessandro Michele, Marco Bizzarri, and everyone at Gucci—our invaluable partner since the first Art+Film Gala—and to Anderson .Paak and The Free Nationals for making this evening one to remember.” “I’m deeply grateful to our returning co-chairs Eva Chow and Leonardo DiCaprio for helping us set another Art+Film Gala record,” said Michael Govan, LACMA CEO and Wallis Annenberg Director. “We honored two incredibly powerful artistic voices this year. Betye Saar has helped define the genre of Assemblage art for nearly seven decades, and recognition of her as one of the most important and influential artists working today is long overdue. -
Reconsidering the Theoretical/Practical Divide: the Philosophy of Nishida Kitarō
University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2013 Reconsidering The Theoretical/Practical Divide: The Philosophy Of Nishida Kitarō Lockland Vance Tyler University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the Philosophy Commons Recommended Citation Tyler, Lockland Vance, "Reconsidering The Theoretical/Practical Divide: The Philosophy Of Nishida Kitarō" (2013). Electronic Theses and Dissertations. 752. https://egrove.olemiss.edu/etd/752 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. RECONSIDERING THE THEORETICAL/PRACTICAL DIVIDE: THE PHILOSOPHY OF NISHIDA KITARŌ A Thesis presented in partial fulfillment of requirements for the degree of Master of Arts in the Department of Philosophy University of Mississippi by LOCKLAND V. TYLER APRIL 2013 Copyright Lockland V. Tyler 2013 ALL RIGHTS RESERVED ABSTRACT Over the years professional philosophy has undergone a number of significant changes. One of these changes corresponds to an increased emphasis on objectivity among philosophers. In light of new discoveries in logic and science, contemporary analytic philosophy seeks to establish the most objective methods and answers possible to advance philosophical progress in an unambiguous way. By doing so, we are able to more precisely analyze concepts, but the increased emphasis on precision has also been accompanied by some negative consequences. These consequences, unfortunately, are much larger and problematic than many may even realize. What we have eventually arrived in at in contemporary Anglo-American analytic philosophy is a complete repression of humanistic concerns. -
Jon Batiste and Stay Human's
WIN! A $3,695 BUCKS COUNTY/ZILDJIAN PACKAGE THE WORLD’S #1 DRUM MAGAZINE 6 WAYS TO PLAY SMOOTHER ROLLS BUILD YOUR OWN COCKTAIL KIT Jon Batiste and Stay Human’s Joe Saylor RUMMER M D A RN G E A Late-Night Deep Grooves Z D I O N E M • • T e h n i 40 e z W a YEARS g o a r Of Excellence l d M ’ s # m 1 u r D CLIFF ALMOND CAMILO, KRANTZ, AND BEYOND KEVIN MARCH APRIL 2016 ROBERT POLLARD’S GO-TO GUY HUGH GRUNDY AND HIS ZOMBIES “ODESSEY” 12 Modern Drummer June 2014 .350" .590" .610" .620" .610" .600" .590" “It is balanced, it is powerful. It is the .580" Wicked Piston!” Mike Mangini Dream Theater L. 16 3/4" • 42.55cm | D .580" • 1.47cm VHMMWP Mike Mangini’s new unique design starts out at .580” in the grip and UNIQUE TOP WEIGHTED DESIGN UNIQUE TOP increases slightly towards the middle of the stick until it reaches .620” and then tapers back down to an acorn tip. Mike’s reason for this design is so that the stick has a slightly added front weight for a solid, consistent “throw” and transient sound. With the extra length, you can adjust how much front weight you’re implementing by slightly moving your fulcrum .580" point up or down on the stick. You’ll also get a fat sounding rimshot crack from the added front weighted taper. Hickory. #SWITCHTOVATER See a full video of Mike explaining the Wicked Piston at vater.com remo_tamb-saylor_md-0416.pdf 1 12/18/15 11:43 AM 270 Centre Street | Holbrook, MA 02343 | 1.781.767.1877 | [email protected] VATER.COM C M Y K CM MY CY CMY .350" .590" .610" .620" .610" .600" .590" “It is balanced, it is powerful. -
An Analysis of Sound and Music in the Shining and Bridget Jones' Diary
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 2019 The oundS s Behind the Scenes: An Analysis of Sound and Music in The hininS g and Bridget Jones’ Diary Abby Fox Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Communication Commons, and the Film and Media Studies Commons Running head: THE SOUNDS BEHIND THE SCENES The Sounds Behind the Scenes: An Analysis of Sound and Music in The Shining and Bridget Jones’ Diary Abby Fox Communication Studies Advisor: Satish Kolluri December 2018 THE SOUNDS BEHIND THE SCENES 2 Abstract Although often subtle, music and sounds have been an integral part of the motion picture experience since the days of silent films. When used effectively, sounds in film can create emotion, give meaning to a character’s actions or feelings, act as a cue to direct viewers’ attention to certain characters or settings, and help to enhance the overall storytelling. Sound essentially acts as a guide for the audience as it evokes certain emotions and reactions to accompany the narrative unfolding on-screen. The aim of this thesis is to focus on two specific films of contrasting genres and explore how the music and sounds help to establish the genres of the given films, as well as note any commonalities in which the films follow similar aural patterns. By conducting a content analysis and theoretical review, this study situates the sound use among affect theory, aesthetics and psychoanalysis, which are all highly relevant to the reception of music and sound in film. Findings consist of analyses of notable instances of sound use in both films that concentrate on the tropes of juxtaposition, contradiction, repetition and leitmotifs, and results indicate that there are actually similar approaches to using sound and music in both films, despite them falling under two vastly different genres. -
The Enigma of the Hour 100 Years of Psychoanalytic Thought
The Enigma of the Hour 100 Years of Psychoanalytic Thought An exhibition to mark the centenary of The International Journal of Psychoanalysis curated by Simon Moretti with Goshka Macuga and Dana Birksted-Breen Freud Museum London Exhibition Guide On the occasion of the centenary of a return to disintegration of the death drive Linder, Goshka Macuga, Simon The International Journal of Psychoanalysis, the of Thanatos. In dialogue with the curators, exhibition The Enigma of the Hour: 100 Years the group of researchers and psychoanalysts of Psychoanalytic Thought presents archival explored in collaboration various aspects of the Moretti, Daniel Silver, Paloma material around specific themes, which touch history of the International Journal, the fruit of on the origins and life of The International which is exhibited in the Display Case in the Journal, alongside contemporary artworks. Exhibition Room and elaborated on in the Varga Weisz with additional Originally conceived by the Journal’s editor- Compendium to it. in-chief Dana Birksted-Breen and curated works by Duncan Grant, by artists Simon Moretti and Goshka Macuga The exhibition includes new commissions with Dana Birksted-Breen, the exhibition by Simon Moretti and Goshka Macuga, brings together themes central to both psycho- made in response to the themes and archives Barbara Ker-Seymer & John analysis and art: translation, transformation, chosen, as well as especially selected works temporality, the unconscious, metaphor and by their invited artists, Linder, Daniel Silver dreams. The theme of Oedipus, which was so and Paloma Varga Weisz, and loans from the Banting, Rodrigo Moynihan critical to Freud’s theorizing, with Oedipus British Psychoanalytic Society, and the Tate and the Sphinx from a painting by Ingres Gallery, including works by Duncan Grant, chosen as logo of the Journal, also appears Barbara Ker-Seymer with John Banting and as a leitmotif in the exhibition. -
Death and Mastery: Psychoanalytic Drive Theory and the Subject of Late Capitalism / Benjamin Y
!"#$% #&! '#($")* &"+ !,)"-$,.&( ,& -),$,-#/ $%".)* New Directions in Critical Theory Amy Allen, General Editor New Directions in Critical Theory presents outstanding classic and contempo- rary texts in the tradition of critical social theory, broadly construed. The series aims to renew and advance the program of critical social theory, with a particular focus on theorizing contemporary struggles around gender, race, sexuality, class, and globalization and their complex interconnections. Narrating Evil: A Postmetaphysical Theory of Reflective Judgment, María Pía Lara The Politics of Our Selves: Power, Autonomy, and Gender in Contemporary Critical Theory, Amy Allen Democracy and the Political Unconscious, Noëlle McAfee The Force of the Example: Explorations in the Paradigm of Judgment, Alessandro Ferrara Horrorism: Naming Contemporary Violence, Adriana Cavarero Scales of Justice: Reimagining Political Space in a Globalizing World, Nancy Fraser Pathologies of Reason: On the Legacy of Critical Theory, Axel Honneth States Without Nations: Citizenship for Mortals, Jacqueline Stevens The Racial Discourses of Life Philosophy: Négritude, Vitalism, and Modernity, Donna V. Jones Democracy in What State?, Giorgio Agamben, Alain Badiou, Daniel Bensaïd, Wendy Brown, Jean-Luc Nancy, Jacques Rancière, Kristin Ross, Slavoj Žižek Politics of Culture and the Spirit of Critique: Dialogues, edited by Gabriel Rockhill and Alfredo Gomez-Muller Mute Speech: Literature, Critical Theory, and Politics, Jacques Rancière The Right to Justification: Elements of Constructivist -
Jon Batiste - We Are Episode 205
Song Exploder Jon Batiste - We Are Episode 205 Hrishikesh: You’re listening to Song Exploder, where musicians take apart their songs and piece by piece tell the story of how they were made. My name is Hrishikesh Hirway. (“We Are” by JON BATISTE) Hrishikesh: Jon Batiste is a pianist, songwriter, and composer from New Orleans. He’s been nominated for multiple Grammys, and just won the Golden Globe and got an Oscar nomination for the soundtrack to the Pixar film Soul, which he composed along with Trent Reznor and Atticus Ross. Jon is also a recipient of the American Jazz Museum’s lifetime achievement award, and on weeknights, you can see him as the bandleader on The Late Show with Stephen Colbert. In March 2021, he put out his new album, We Are. But the title track from it actually came out much earlier last year in June 2020. Jon: We put the song out during the Black Lives Matter protest before it was even finished being mixed and mastered. Hrishikesh: In this episode, Jon talks about how he drew from his roots, both at a personal level and at a cultural level, and wove all of it into the song. Jon: I’m Jon Batiste. (Music fades out) Jon: So I started working on this song in September of 2019 with Kizzo, a great producer from the Netherlands, and Autumn Rowe. We met up in New York City. And this is pre-COVID, my life is busy - I'm doing the Late Show, I'm writing the score for Soul. -
Sigmund Freud Papers
Sigmund Freud Papers A Finding Aid to the Papers in the Sigmund Freud Collection in the Library of Congress Digitization made possible by The Polonsky Foundation Manuscript Division, Library of Congress Washington, D.C. 2015 Revised 2016 December Contact information: http://hdl.loc.gov/loc.mss/mss.contact Additional search options available at: http://hdl.loc.gov/loc.mss/eadmss.ms004017 LC Online Catalog record: http://lccn.loc.gov/mm80039990 Prepared by Allan Teichroew and Fred Bauman with the assistance of Patrick Holyfield and Brian McGuire Revised and expanded by Margaret McAleer, Tracey Barton, Thomas Bigley, Kimberly Owens, and Tammi Taylor Collection Summary Title: Sigmund Freud Papers Span Dates: circa 6th century B.C.E.-1998 Bulk Dates: (bulk 1871-1939) ID No.: MSS39990 Creator: Freud, Sigmund, 1856-1939 Extent: 48,600 items ; 141 containers plus 20 oversize and 3 artifacts ; 70.4 linear feet ; 23 microfilm reels Language: Collection material in German, with English and French Location: Manuscript Division, Library of Congress, Washington, D.C. Summary: Founder of psychoanalysis. Correspondence, holograph and typewritten drafts of writings by Freud and others, family papers, patient case files, legal documents, estate records, receipts, military and school records, certificates, notebooks, a pocket watch, a Greek statue, an oil portrait painting, genealogical data, interviews, research files, exhibit material, bibliographies, lists, photographs and drawings, newspaper and magazine clippings, and other printed matter. The collection documents many facets of Freud's life and writings; his associations with family, friends, mentors, colleagues, students, and patients; and the evolution of psychoanalytic theory and technique. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. -
A Literatura Na Construção Da Linguagem Do Analista1
JORNAL de PSICANÁLISE 51(95), 259-272. 2018 A literatura na construção da linguagem do analista1 Maria Luiza Salomão,2 São Paulo Resumo: Ao refletir sobre a construção da linguagem analítica, tomo o conceito de Ferro (2008), que vê nos relatos do paciente uma narrativa: enfatiza a escuta do como o paciente narra, e não o conteúdo propriamente dito (sintomas). Reflito sobre como Freud, em seus historiais clínicos, concede-se liberdade para criar uma narrativa sobre seus pacientes, criando conceitos iluminadores da prática psicanalítica. Dou como exemplo o conceito de cena primária, presente em seu trabalho com o paciente russo Sergei Pankejeff (Freud, 1918/2010), o Homem dos Lobos, que rejeita ter tido a experiência descrita por Freud, dizendo ser uma invenção do pai da psicanálise. Freud, ao comunicar suas descobertas, constrói, audaz, uma linguagem e um léxico, que permite ao leitor um desdobramento fértil de ideias e de percepções. Ao transmitir sua experiência analítica, não cuida de seguir literalmente o relato do paciente, mas cria uma narrativa que permite ir além do vivido na dupla, construindo conceitos com base em sua potência investigativa e imaginativa. Considero, neste texto, a leitura de textos psicanalíticos como experiências emocionais, semelhantes às leituras que faço de poesias e de prosas literárias. Reflito brevemente sobre as vicissitudes que os analistas enfrentam na transmissão de suas experiências clínicas nos encontros entre pares; assim como na interferência da personalidade do analista na experiência e no relato da experiência da dupla analítica. Palavras-chave: narrativa psicanalítica, construção da linguagem psicanalítica, leituras psicanalíticas Leio a literatura psicanalítica como leio poesia e escrita literária. -
Schreber the Plaything by Alex Pheby
Schreber the plaything By Alex Pheby 'From the first beginnings of my contact with God up to the present day my body has continuously been the object of divine miracles. If I wanted to describe all these miracles in detail I could fill a whole book with them alone. I may say that hardly a single limb or organ in my body escaped being temporarily damaged by miracles, nor a single muscle being pulled by miracles, either moving or paralyzing it according to the respective purpose. Even now the miracles which I experience hourly are still of a nature as to frighten every other human being to death; only by getting used to them through the years have I been able to disregard most of what happens as trivialities. But in the first year of my stay at Sonnenstein the miracles were of such a threatening nature that I thought I had to fear almost incessantly for my life, my health or my reason.' D.P. Schreber, Memoirs of My Nervous Illness, 1903 Since its publication, the German jurist Daniel Paul Schreber’s Memoirs of My Nervous Illness – according to Rosemary Dinnage “the most written about document in all psychiatric literature” – has been enmeshed in a complicated set of textual, intellectual and historical webs, and has been misread in any number of important and interesting ways. If you try to read Schreber’s dense, contradictory, and often disturbing writings on the nature of God, and one man’s relationship with him, you’ll misread it, too. Picking up this book in its most recent edition will cause us, if we follow the blurb on the back, to misread it as an account of the experiences of a man suffering from what we would now call schizophrenia.