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A Queer Aes- Thetic Is Suggested in the Nostalgia of Orton’S List of 1930S Singers, Many of Whom Were Sex- Ual Nonconformists
Orton in Deckchair in Tangier. Courtesy: Orton Collection at the University of Leicester, MS237/5/44 © Orton Estate Rebel playwright Joe Orton was part of a ‘cool customer’, Orton shopped for the landscape of the Swinging Sixties. clothes on Carnaby Street, wore ‘hipster Irreverent black comedies that satirised pants’ and looked – in his own words the Establishment, such as Entertaining – ‘way out’. Although he cast himself Mr Sloane (1964), Loot (1965) and as an iconoclast, Emma Parker suggests What the Butler Saw (first performed that Orton’s record collection reveals a in 1969), contributed to a new different side to the ruffian playwright counterculture. Orton’s representation who furiously pitched himself against of same-sex desire on stage, and polite society. The music that Orton candid account of queer life before listened to in private suggests the same decriminalisation in his posthumously queer ear, or homosexual sensibility, that published diaries, also made him a shaped his plays. Yet, stylistically, this gay icon. Part of the zeitgeist, he was music contradicts his cool public persona photographed with Twiggy, smoked and reputation for riotous dissent. marijuana with Paul McCartney and wrote a screenplay for The Beatles. Described by biographer John Lahr as A Q U E E R EAR Joe Orton and Music 44 Music was important to Joe Orton from an early age. His unpublished teenage diary, kept Issue 37 — Spring 2017 sporadically between 1949 and 1951, shows that he saved desperately for records in the face of poverty. He also lovingly designed and constructed a record cabinet out of wood from his gran’s old dresser. -
III. Discussion Questions A. Individual Stories Nathaniel Hawthorne
III. Discussion Questions a. Individual Stories Nathaniel Hawthorne, “Rappaccini’s Daughter” (1844) 1. As an early sf tale, this story makes important contributions to the sf megatext. What images, situations, plots, characters, settings, and themes do you recognize in Hawthorne’s story that recur in contemporary sf works in various media? 2. In Hawthorne’s The Scarlet Letter, the worst sin is to violate, “in cold blood, the sanctity of the human heart.” In what ways do the male characters of “Rappaccini’s Daughter” commit this sin? 3. In what ways can Beatrice be seen as a pawn of the men, as a strong and intelligent woman, as an alien being? How do these different views interact with one another? 4. Many descriptions in the story lead us to question what is “Actual” and what is “Imaginary”? How do these descriptions function to work both symbolically and literally in the story? 5. What is the attitude toward science in the story? How can it be compared to the attitude toward science in other stories from the anthology? Jules Verne, excerpt from Journey to the Center of the Earth (1864) 1. Who is narrator of this tale? In your opinion, why would Verne choose this particular character to be the narrator? Describe his relationship with the other members of this subterranean expedition. Many of Verne’s early novels feature a trio of protagonists who symbolize the “head,” the “heart,” and the “hand.” Why? How does this notion apply to the protagonists in Verne’s Journey to the Center of the Earth? 2. -
VOL 04, NUM 17.Indd
“WISCONSIN” FROM SEVENTH PAGE who may not realize that marriage is already heterosexually defined. To say that this is a gay marriage amendment is grossly erroneous. In State of fact, this proposed amendment seeks to make it permanently impossible for us to ever seek civil unions or gay marriage. The proposed ban takes away rights—rights we do not even have. If our Disunion opposition succeeds, this will be the first time that PERCENT OF discrimination has gone into our state constitution. EQUAL RIGHTS YEAR OF OPENLY But our opposition will not succeed. I have GAY/LESBIAN been volunteering and working on this campaign AMERICA’S FIRST OCTOBER 2006 VOL. 4 NO. 17 DEATH SENTENCE STUDENTS for three years not because I have an altruistic that are forced to drop nature, but because I hold the stubborn conviction for sodomy: 1625 out: that fairness can prevail through successfully 28 combating ignorance. If I had thought defeating YEAR THAT this hate legislation was impossible, there is no way NUMBER OF I would have kept coming back. But I am grateful AMERICA’S FIRST SODOMY LAW REPORTED HATE that I have kept coming back because now I can be CRIMES a part of history. On November 7, turn a queer eye was enacted: 1636 in 2004 based on towards Wisconsin and watch the tables turn on the sexual orientation: conservative movement. We may be the first state to 1201 defeat an amendment like this, but I’ll be damned if YEAR THE US we’ll be the last. • SUPREME COURT ruled sodomy laws DATE THAT JERRY unconstitutional: FALWELL BLAMED A PINK EDITORIAL 2003 9/11 on homosexuals, pagans, merica is at another crossroads in its Right now, America is at war with Iraq. -
The Temperamentals
Temperamentals.qxd 5/18/2012 1:59 PM Page i THE TEMPERAMENTALS BY JON MARANS ★ ★ DRAMATISTS PLAY SERVICE INC. Temperamentals.qxd 5/18/2012 1:59 PM Page 2 THE TEMPERAMENTALS Copyright © 2010, Jon Marans All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of THE TEMPERAMENTALS is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/amateur stage rights, motion picture, recita- tion, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and dis- tribution, such as CD, DVD, the Internet, private and file-sharing networks, informa- tion storage and retrieval systems, photocopying, and the rights of translation into for- eign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Author’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for THE TEMPERAMENTALS are controlled exclusively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of DRAMATISTS PLAY SERVICE, INC., and paying the requisite fee. -
Nationalism, Primitivism, & Neoclassicism
Nationalism, Primitivism, & Neoclassicism" Igor Stravinsky (1882-1971)! Biographical sketch:! §" Born in St. Petersburg, Russia.! §" Studied composition with “Mighty Russian Five” composer Nicolai Rimsky-Korsakov.! §" Emigrated to Switzerland (1910) and France (1920) before settling in the United States during WW II (1939). ! §" Along with Arnold Schönberg, generally considered the most important composer of the first half or the 20th century.! §" Works generally divided into three style periods:! •" “Russian” Period (c.1907-1918), including “primitivist” works! •" Neoclassical Period (c.1922-1952)! •" Serialist Period (c.1952-1971)! §" Died in New York City in 1971.! Pablo Picasso: Portrait of Igor Stravinsky (1920)! Ballets Russes" History:! §" Founded in 1909 by impresario Serge Diaghilev.! §" The original company was active until Diaghilev’s death in 1929.! §" In addition to choreographing works by established composers (Tschaikowsky, Rimsky- Korsakov, Borodin, Schumann), commissioned important new works by Debussy, Satie, Ravel, Prokofiev, Poulenc, and Stravinsky.! §" Stravinsky composed three of his most famous and important works for the Ballets Russes: L’Oiseau de Feu (Firebird, 1910), Petrouchka (1911), and Le Sacre du Printemps (The Rite of Spring, 1913).! §" Flamboyant dancer/choreographer Vaclav Nijinsky was an important collaborator during the early years of the troupe.! ! Serge Diaghilev (1872-1929) ! Ballets Russes" Serge Diaghilev and Igor Stravinsky.! Stravinsky with Vaclav Nijinsky as Petrouchka (Paris, 1911).! Ballets -
Revisiting the Etymology of Zanni
REVISITING THE ETYMOLOGY OF ZANNI Anna Moro It has long been maintained that the etymology of zani, zanni – the servant or buffoon of the commedia dell’arte – is a northern Italian variant of the proper noun Giovanni, or its shortened form, Gianni. In Tommaseo and Bellini’s Dizionario della lingua italiana , published in Turin between 1865 and 1879, it is stated that the term is “voce bergamasca, accorciata dall’intero nome Giovanni, che rappresenta un Servo semplice e goffo bergamasco.” 1 Tommaseo and Bellini’s explanation of the origin of the term is basically what is found in modern etymological dictionaries, such as Battisti and Alessio’s Dizionario etimologico italiano (DEI) and Cortelazzo and Zolli’s Dizionario etimologico della lingua italiana (DELI). The earliest attestation of the term appears to be the 15th century, according to Battisti and Alessio, but a precise reference is not given. 16th century attestations of zani / zanni corresponding to the servant character of the commedia dell’arte , of course, abound. There is no doubt that the term zani was widely used in the 16th century in Italy to designate the servant character of the commedia dell’arte ; and it is during the 16th century that the term spread outside of Italy: it is found in French, for example, as zani from 1550, and in English, as zany , later in the century (Migliorini 1983: 426). In the Oxford English Dictionary (OED) , the noun zany (with various spellings), which preceded the use of term as 1 Cited in M. Cortelazzo and P. Zolli, Dizionario etimologico della lingua italiana (DELI), Bologna: Zanichelli, 1992 (1980): 1463. -
Gay and Lesbian Issues and Psychology Review
Gay and Lesbian Issues and Psychology Review Editors Damien W. Riggs & Vicki Crowley The Australian Psychological Society Ltd. ISSN 1833-4512 Gay and Lesbian Issues and Psychology Review Editor Damien W. Riggs, The University of Adelaide Editorial Board Graeme Kane, Eastern Drug and Alcohol Service Gordon A. Walker, Monash University Jim Malcom, The University of Western Sydney Robert Morris, Private practice Liz Short, Victoria University Brett Toelle, The University of Sydney Jane Edwards, Spencer Gulf Rural Health School Warrick Arblaster, Mental Health Policy Unit, ACT Murray Drummond, The University of South Australia General Information All submissions or enquires should be directed in the first instance to the Editor. Guidelines for submissions or for advertising within the Gay and Lesbian Issues in Psychology Review (‘the Review’) are provided on the final page of each issue. http://www.groups.psychology.org.au/glip/glip_review/ The Review is listed on Ulrich’s Periodicals Directory: http://www.ulrichsweb.com/ Aims and scope The Review is a peer-reviewed publication that is available online through the Australian Psychological Society website. Its remit is to encourage research that challenges the stereotypes and assumptions of pathology that have often inhered to research on lesbians and gay men (amongst others). The aim of the Review is thus to facilitate discussion over the direction of lesbian and gay psychology in Australia, and to provide a forum within which academics, practitioners and lay people may publish. The Review is open to a broad range of material, and especially welcomes research, commentary and reviews that critically evaluate the status quo in regards to lesbian and gay issues. -
Looking Back at Mccardell: It's a Lot Like Looking at Todayi4
58 L-f THE NEW YQRK TIMES, WEDNESDAY, MA\ Y 24,1972 — yamily /ood fashions' /iirntshirigs: Looking Back at McCardell: It's a Lot Like Looking at Todayi4 . By BERVADilME MORRIS The Paris fashion world has Chanel as its monument. New 1 ^Yorlc has_CJaire McCardehV "Both- women, though de ceased, have influenced the current casual mood of fash ion. Chanel invented the sweater, McCardell invented the American Look. » It was born in the Depres-' sion-ridden nineteen-thirties-, flourished during the war •yeara of the forties, felLoff at the end of the fifties (McCardell died in 1958), and all but disappeared, in the sixties, when_Paris regained^ center-stage" with swinging , London close behind. "Now that sportswear, the crux of the American Look, . has: become the dominant- • trend-on Seventh Avenue and other satellite fashion cen ters, the Fashion Institute of. Technology felt the time was -rightfor. a McCardell retro- • apettlve. • • • • • ' —• Tt.wasjhcld Monday night In the school's auditorium, 227. West 27th Street, fol lowed by a $125-a-person black tie supper dance in the lobby. Like a Premiere Seventh Avenue, which supports the state-run col lege, came out in droves. Stu dents lined up outside trie *"scTibo1"to cheer arrival fit tlie limousines carrying such per sonalities as Lynn Revson (whose- husband,' ChBrles, heads Revlon) in her sequin- sparkling red jacket over a black dress by Norman No- rel);—Beth Levine, the shoe designer, in her Halston caf tan, and Jerry Silverman, the., manufacturer, with Pauline Trigdre, in herTrigore. It had all the earmarks of a Hollywood premiere, way hack when. -
2010–2011 Our Mission
ANNUAL REPORT 2010–2011 OUR MISSION The Indianapolis Museum of Art serves the creative interests of its communities by fostering exploration of art, design, and the natural environment. The IMA promotes these interests through the collection, presentation, interpretation, and conservation of its artistic, historic, and environmental assets. FROM THE CHAIRMAN 02 FROM THE MELVIN & BREN SIMON DIRECTOR AND CEO 04 THE YEAR IN REVIEW 08 EXHIBITIONS 18 AUDIENCE ENGAGEMENT 22 PUBLIC PROGRAMS 24 ART ACQUISITIONS 30 LOANS FROM THE COLLECTION 44 DONORS 46 IMA BOARD OF GOVERNORS 56 AFFILIATE GROUP LEADERSHIP 58 IMA STAFF 59 FINANCIAL REPORT 66 Note: This report is for fiscal year July 2010 through June 2011. COVER Thornton Dial, American, b. 1928, Don’t Matter How Raggly the Flag, It Still Got to Tie Us Together (detail), 2003, mattress coils, chicken wire, clothing, can lids, found metal, plastic twine, wire, Splash Zone compound, enamel, spray paint, on canvas on wood, 71 x 114 x 8 in. James E. Roberts Fund, Deaccession Sculpture Fund, Xenia and Irwin Miller Fund, Alice and Kirk McKinney Fund, Anonymous IV Art Fund, Henry F. and Katherine DeBoest Memorial Fund, Martha Delzell Memorial Fund, Mary V. Black Art Endowment Fund, Elizabeth S. Lawton Fine Art Fund, Emma Harter Sweetser Fund, General Endowed Art Fund, Delavan Smith Fund, General Memorial Art Fund, Deaccessioned Contemporary Art Fund, General Art Fund, Frank Curtis Springer & Irving Moxley Springer Purchase Fund, and the Mrs. Pierre F. Goodrich Endowed Art Fund 2008.182 BACK COVER Miller House and Garden LEFT The Wood Pavilion at the IMA 4 | FROM THE CHAIRMAN FROM THE CHAIRMAN | 5 RESEARCH LEADERSHIP From the In addition to opening the new state-of-the-art Conservation Science Laboratory this past March, the IMA has fulfilled the challenge grant from the Andrew W. -
Dr. Harlequin, Script
DR. HARLEQUIN, Or, THE IMAGINARY AUTOPSY by Marco Luly characters Dottore, doctor in medicine Pantalone, his friend Laura, wife of Dottore Isabella, daughter of Dottore Colombina, servant in the house of Dottore Lelio, son of Pantalone Arlecchino, servant of Lelio Capitano, foreigner soldier Zanni, villain Hand Servant Prompter 0 Pre-Pre-Prologue Everyone ALL: warm-up improve, crossing SR // SL, never leaving Dottore alone. DOTTORE: 5 min. to places. ALL: Thank you five. (Dottore exits. HS. & P. enter ) HAND SERVANT Unbelievable. PROMPTER Ridiculous. HAND SERVANT Preposterous. PROMPTER Impossible. HAND SERVANT Orazio is an imbecile, how does he expect us to buy 11 costumes with a budget of $23 dollars. PROMPTER ( pulling a quarter from his pocket ) $23 and a quarter. HAND SERVANT You found a quarter? PROMPTER Yeah. HAND SERVANT Gimme that. PROMPTER With that little money, we could only rent them. HAND SERVANT Well at lest were set for tonight. PROMPTER What about tomorrow? HAND SERVANT I don’t know. PROMPTER Maybe they can do the show naked, we’ll sell more seats. HAND SERVANT I don’t know about that: have you seen the girls in the show? PROMPTER 11 costumes… HAND SERVANT …and on top of that… S & PROMPTER …A MONKEY! HAND SERVANT Where are we going to find a monkey? PROMPTER Maybe we can get one from ... HAND SERVANT Yeah, … is full of monkeys. PROMPTER Seriously, they raise our tuition, lower our budgets and don’t even have the decency to get us a healthy monkey. DOTTORE: Curtain in 1 min. HAND SERVANT Hey, we forgot the curtain. -
Commedia Dell'arte, Theatre of the Professional
STUDENT DAY EDUCATIONAL CREATIVITY CONTEST Commedia Dell’Arte was an early form of professional theatre, originating from Italy, that was popular in Europe from the 16th through the 18th century. Commedia is a form of theatre characterized by masked character "types" that represent fixed social types and stock characters, which are exaggerated forms of “real characters”, such as a know-it-all doctor, a greedy old man, or a perfect relationship. Traditional commedia Dell’Arte is not about realism or creating well-rounded, three-dimensional characters, so most of the roles only have a couple traits to them around which the whole personality is defined. They rarely ever have any complex or sympathetic reasons for their behavior, and anything they do or feel, they do or feel to extremes. Please find a list of characters on the back of this sheet for assistance in writing the essay/play. Elementary Grades 1 – 6: Identifying and Creating Characters Grades 1-3: 150—200 words & Grades 4-6: 350 words. Judged based upon creativity and originality Option I: Characters You Know: Commedia Dell’Arte characters commonly appear in media, including kids movies and books! Choose a character from your favorite book or movie, tell us about them. Which Commedia role do they fill? (For simplicity, younger students can equate characters to their simple counterpart, such as “Doctor”, “Maid”, “Captain”). Option II: Characters You Create: It’s fun to make up characters for your very own stories! Create your own character based on one of the roles listed, and write a short story involving them. -
Anthropological Research on Homosexuality in Latin America and the Lesbian Drought Angela M
Kaleidoscope Volume 2 Article 5 2003 Anthropological Research on Homosexuality in Latin America and the Lesbian Drought Angela M. Meyer University of Kentucky Follow this and additional works at: https://uknowledge.uky.edu/kaleidoscope Part of the Social and Cultural Anthropology Commons Right click to open a feedback form in a new tab to let us know how this document benefits you. Recommended Citation Meyer, Angela M. (2003) "Anthropological Research on Homosexuality in Latin America and the Lesbian Drought," Kaleidoscope: Vol. 2, Article 5. Available at: https://uknowledge.uky.edu/kaleidoscope/vol2/iss1/5 This Article is brought to you for free and open access by the The Office of Undergraduate Research at UKnowledge. It has been accepted for inclusion in Kaleidoscope by an authorized editor of UKnowledge. For more information, please contact [email protected]. AUTHOR Angela M. Meyer I=an anthmpology "ni"" the Univeffiity of Kentucky with minors in Women Studies and Latin American Studies. I am member and treasurer of the Lambda Alpha National Anthropological Honor Society and was the Lambda Alpha Dean's List Scholar Candidate, having made the Dean's list from the Fall of 1999 to the Fall of 2002. I also received the Charles R. Jenkins Award for Distinguished Achievement. This paper was written for a graduate Seminar on Gender (ANT 770) taught by my mentor, Dr. Monica Udvardy, who since my entrance into the Department of Anthropology has been my teacher, academic advisor, and frie nd. My future academic plans coincide directly with the subject of this submission: ethnographic research on lesbian id entity and liberation move Abstract ments in Latin America.