Norman Mailer
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Autobiographical Concerns in Norman Mailer`S the Armies of the Night Kader YILMAZ*
Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi 2005 / Cilt: 22 Sayõ: 1 / ss. 249-258 Norman Mailer’s March: Autobiographical Concerns in Norman Mailer`s The Armies of The Night Kader YILMAZ* Abstract: As a work of literary nonfiction, Norman Mailer’s The Armies of The Night has often been studied in the context of its fictional reconstruction of the anti-war demonstration of 1967. Although some literary critics have also acknowledged the author’s highly subjective depiction of the march, this aspect of The Armies of The Night has received comparatively little critical consideration. Yet, the autobiographical narrative of this book deserves particular attention because it performs an important function in that it enables its author to personalize the march and to analyze the event from the perspective of a witness. This paper argues that Mailer aims to interpret and speculate on the significance of the march by offering his personal experiences and reactions to the events as emblematic of the experiences of the larger society protesting the Vietnam War. Key words: Literary nonfiction, Norman Mailer, autobiographical narrative, 1960s Özet: Olgu yönelimli roman türü olarak, Norman Mailer’in The Armies of The Night genellikle, 1967 yõlõnda düzenlenen savaş karşõtõ gösteriyi kurgusal bir yapõ ile yeniden anlatmasõ bağlamõnda incelenmiştir. Eleştirmenler, bu protesto yürüyüşünün kurgulanõşõndaki öznel yaklaşõma dikkat çekmiş olsalar da, eserin bu yönünü irdeleyen çalõşmalar azdõr. Oysa, bu eserdeki özyaşamsal söylem yazarõn gösteriyi öznelleştirmesine ve olayõ bir tanõk gözüyle yorumlamasõna olanak sağlamasõ açõsõndan önem taşõmaktadõr. Bu makale Mailer’in, kişisel deneyimlerinin ve olaylara tepkisinin Vietnam savaşõnõ protesto eden toplumun deneyimlerinin bir yansõmasõ olduğunu ve bu yolla toplumsal bir olayõ aydõnlatmayõ ve yorumlamayõ hedeflediğini savunmaktadõr. -
A Transcultural Perspective on the Casting of the Rose Tattoo
RSA JOU R N A L 25/2014 GIULIANA MUS C IO A Transcultural Perspective on the Casting of The Rose Tattoo A transcultural perspective on the film The Rose Tattoo (Daniel Mann, 1955), written by Tennessee Williams, is motivated by its setting in an Italian-American community (specifically Sicilian) in Louisiana, and by its cast, which includes relevant Italian participation. A re-examination of its production and textuality illuminates not only Williams’ work but also the cultural interactions between Italy and the U.S. On the background, the popularity and critical appreciation of neorealist cinema.1 The production of the film The Rose Tattoo has a complicated history, which is worth recalling, in order to capture its peculiar transcultural implications in Williams’ own work, moving from some biographical elements. In the late 1940s Tennessee Williams was often traveling in Italy, and visited Sicily, invited by Luchino Visconti (who had directed The Glass Managerie in Rome, in 1946) for the shooting of La terra trema (1948), where he went with his partner Frank Merlo, an occasional actor of Sicilian origins (Williams, Notebooks 472). Thus his Italian experiences involved both his professional life, putting him in touch with the lively world of Italian postwar theater and film, and his affections, with new encounters and new friends. In the early 1950s Williams wrote The Rose Tattoo as a play for Anna Magnani, protagonist of the neorealist masterpiece Rome Open City (Roberto Rossellini, 1945). However, the Italian actress was not yet comfortable with acting in English and therefore the American stage version (1951) starred Maureen Stapleton instead and Method actor Eli Wallach. -
Wallace Stegner and the De-Mythologizing of the American West" (2004)
Digital Commons @ George Fox University Faculty Publications - Department of Professional Department of Professional Studies Studies 2004 Angling for Repose: Wallace Stegner and the De- Mythologizing of the American West Jennie A. Harrop George Fox University, [email protected] Follow this and additional works at: http://digitalcommons.georgefox.edu/dps_fac Recommended Citation Harrop, Jennie A., "Angling for Repose: Wallace Stegner and the De-Mythologizing of the American West" (2004). Faculty Publications - Department of Professional Studies. Paper 5. http://digitalcommons.georgefox.edu/dps_fac/5 This Dissertation is brought to you for free and open access by the Department of Professional Studies at Digital Commons @ George Fox University. It has been accepted for inclusion in Faculty Publications - Department of Professional Studies by an authorized administrator of Digital Commons @ George Fox University. For more information, please contact [email protected]. ANGLING FOR REPOSE: WALLACE STEGNER AND THE DE-MYTHOLOGIZING OF THE AMERICAN WEST A Dissertation Presented to The Faculty of Arts and Humanities University of Denver In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy by Jennie A. Camp June 2004 Advisor: Dr. Margaret Earley Whitt Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ©Copyright by Jennie A. Camp 2004 All Rights Reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. GRADUATE STUDIES AT THE UNIVERSITY OF DENVER Upon the recommendation of the chairperson of the Department of English this dissertation is hereby accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Profess^inJ charge of dissertation Vice Provost for Graduate Studies / if H Date Reproduced with permission of the copyright owner. -
La Méthode De L'actors Studio, À Paraître
La Méthode de l’Actors Studio : Genèse, Pratique et Phénoménologie Ivan MAGRIN-CHAGNOLLEAU, CNRS Aix Marseille Univ, CNRS, PRISM, Marseille, France 1. Introduction 1.1. Qui Suis-Je ? Je voudrais commencer par donner quelques éléments biographiques puisqu’ils sont en lien étroit avec le sujet de cet article. Je me présente généralement comme artiste chercheur. Cela signifie que j’ai une activité artistique ainsi qu’une activité de recherche. Sur le plan artistique, je travaille régulièrement comme acteur, metteur en scène et auteur pour le théâtre et le cinéma. J’écris aussi de la poésie, je fais de la photographie, de la musique, comme interprète et compositeur, et de la performance. J’enseigne également le théâtre, le cinéma, la musique, la photographie, l’écriture, l’esthétique, et je coache aussi des artistes. En recherche, je travaille dans le paradigme de la création recherche, c’est-à-dire que je crois à une recherche en art fondée sur une pratique, ce qui est pour moi la manière la plus riche de conduire ma recherche, dans la mesure où je suis aussi artiste. C’est pour cela que je m’intéresse particulièrement à la dimension phénoménologique de la création, c’est-à-dire à la création comme expérience vécue. Je considère mon travail artistique comme faisant partie intégrale de mon travail de recherche. 1.2. Mon Expertise sur la Méthode de l’Actors Studio De 2004 à 2007, je me suis formé de manière intensive comme acteur et comme metteur en scène à l’Actors Studio à New York. J’ai donc appris la méthode de l’Actors Studio de professeurs qui avaient été eux-mêmes élèves de Lee Strasberg, le fondateur de la méthode1 2. -
Connecticut College Alumni Magazine, Summer 1976 Connecticut College
Connecticut College Digital Commons @ Connecticut College Linda Lear Center for Special Collections & Alumni News Archives Summer 1976 Connecticut College Alumni Magazine, Summer 1976 Connecticut College Follow this and additional works at: http://digitalcommons.conncoll.edu/alumnews Recommended Citation Connecticut College, "Connecticut College Alumni Magazine, Summer 1976" (1976). Alumni News. Paper 197. http://digitalcommons.conncoll.edu/alumnews/197 This Magazine is brought to you for free and open access by the Linda Lear Center for Special Collections & Archives at Digital Commons @ Connecticut College. It has been accepted for inclusion in Alumni News by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. Connecticut College AIumni Magazine Summer 1976/Volume 53 Number 4 Summer Report The campus celebrates: Seniors file into Palmer Auditorium to receive degrees; two alumnae observe reunion activities from a vantage point in Cummings Arts Center; balloons brighten a dormitory's granite wall. ,~.. ~. Coming back p.5 Reunion '76 in notes and photographs Finishing up p.I The class of 1976 goes out in style Getting out Richard Kadzis '76 looks ahead with mixed emotions VOWME 53 'UMBER' CONNECTICUT COLLEGE ALUMNI MAGAZINEISUMMER REPORT 1976 The happiness of pursuit Rain brought commencement exercises While most of the graduates wore caps into a crowded Palmer Auditorium but and gowns (above right), one eschewed had no effect on the spirit of celebration the traditional outfit in favor of a more that hundreds of students, parents, friends conspicuous white suit and panama hat and alumni brought to the campus. -
UNITED STATES DISTRICT COURT SOUTHERN DISTRICT of NEW YORK BRETT GOLDBERG, Plaintiff, -V- PACE UNIVERSITY, Defendant. 20 Civ. 36
Case 1:20-cv-03665-PAE Document 40 Filed 04/21/21 Page 1 of 29 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK BRETT GOLDBERG, Plaintiff, 20 Civ. 3665 (PAE) -v- OPINION & ORDER PACE UNIVERSITY, Defendant. PAUL A. ENGELMAYER, District Judge: In spring 2020, confronted with the spread of COVID-19, undergraduate and graduate schools across the country rapidly transitioned to online instruction, to protect students, faculty, and staff. In response, students at many schools have brought suit, generally sounding in breach of contract, to recover tuition and fees paid for, purportedly, in-person experiences. Although some courts have construed these claims as impermissible claims of educational malpractice, others have sustained such claims, finding it well-pled that the college or university breached a specific and enforceable contractual promise that learning or other services would be in-person. Plaintiff Brett Goldberg (“Goldberg”) is a performing arts graduate student. He sues Pace University (“Pace”) to recover damages in connection with Pace’s transition to remote learning in March 2020 in light of the pandemic. Goldberg alleges that Pace breached its contract with him by transitioning his last semester to remote learning, postponing the production of his play, and retaining certain fees. He also brings claims for unjust enrichment and promissory estoppel, and a claim under New York General Business Law (“GBL”) § 349. Case 1:20-cv-03665-PAE Document 40 Filed 04/21/21 Page 2 of 29 Now pending is Pace’s motion for judgment on the pleadings, under Federal Rule of Civil Procedure 12(c), for failure to state a claim. -
REN Playbill.Indd 1 6/4/14 2:44 PM Contents
REN_playbill.indd 1 6/4/14 2:44 PM Contents ANCIENT EVENINGS.........................2 MAP..........................................................4 REN..........................................................7 THE SON ALSO Rises.....................8 Neville Wakefield LIBRETTO...........................................16 NOTES ON THE MUSIC....................21 Zach Baron PROFILES............................................24 CAST AND CREW..............................26 WHO’S WHO IN THE CAST.........28 ADDITIONAL INFORMATION......31 “...Ren, one’s Secret Name, who left at once, even as a falling star might drop through the sky. That is as it must be, I concluded. For the Ren did not belong to the man, but came out of the Celestial Waters to enter an infant in the hour of his birth and might not stir again until it was time to go back. While the Secret Name must have some effect on one’s character, it was certainly the most remote of our seven lights.” Norman Mailer Ancient Evenings The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited. Please turn cellular phones off, as it interferes with audio recording equipment and telecommunications. Thank you. REN_playbill.indd 2-1 6/4/14 2:44 PM Ancient Evenings Ancient Evenings EN is the first act of “Ancient Evenings,” a collaborative project by Matthew expanses of salt beds beneath Michigan. KHU is the only act that will feature all RBarney and Jonathan Bepler that is inspired by American author Norman three automobiles. BA, the final live act, will take place in New York City as the Mailer’s 1983 novel Ancient Evenings, set in ancient Egypt. A nontraditional opera, automobile is further transformed into the 2001 Ford Crown Victoria. -
On Norman Mailer
LITERATURE 3 Scavenger of eternal truths Norman Mailer in the 1960s THOMAS MEANEY Norman Mailer COLLECTED ESSAYS OF THE 1960S 500pp. Library of America. £29.99 (US $35). 978 1 59853 559 4 FOUR BOOKS OF THE 1960S 950pp. Library of America. £39.99 (US $45). 978 1 59853 558 7 Edited by J. Michael Lennon I went to Wharton with Donald Trump. We were both from praetorian families in Queens – his more martial than mine – in the first line of defense on the crabgrass frontier. We went out one night together to a hotel behind Rittenhouse Square. His date was a wised-up girl from Phila- delphia society who dreamed of becoming a stripper; mine was a retreating waitress, with a hyena body that gave off a whiff of the inquisi- tive. After the drinks – Don drank seltzer – we took them to a room we’d booked upstairs. My date gashed my face with her high-heel after I tried to shuffle her into one of the bedrooms. There was panting from Don’s quarters, the sound of a teetering vase, then mechanical chanting, until a final flesh-on-flesh “Whaa- aap!” A volley of sweet-talk followed. “If you want to be a dancer, there’s nobody who’s going New York City, 1968 to stop you, not even your father,” Don whis- pered. “I know some of the best dancers in this in a Trump Air commercial, which left him of Walt Whitman and Leon Trotsky, your the haste to give pleasure. It was cool in mood, town. -
Kindred Ambivalence
KINDRED AMBIVALENCE: ART AND THE ADULT-CHILD DYNAMIC IN AMERICA’S COLD WAR by MICHAEL MARBERRY A THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of English in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2010 Copyright Michael Marberry 2010 ALL RIGHTS RESERVED ABSTRACT The pervasive ideological dimension of the Cold War resulted in an extremely ambivalent period in U.S. history, marked by complex and conflicting feelings. Nowhere is this ambivalence more clearly seen than in the American home and in the relationship between adults and children. Though the adult-child dynamic has frequently harbored ambivalent feelings, the American Cold War era—with its increased emphasis on the family in the face of ideological struggle—served to highlight this ambivalence. Believing that art reveals historical and cultural concerns, this project explores the extent to which adult-child ambivalence is prominent within American art from the period—particularly, the coming-of-age story, as it is a genre intrinsically concerned with the interactions between adults and children. Chapter one features an analysis of Katherine Anne Porter’s “Old Order” coming-of-age sequence, specifically “The Source” and “The Circus.” Establishing Porter’s relevance to the Cold War period, this chapter illustrates how her young heroine (Miranda Gay) experiences ambivalence within her familial relationships—which, in turn, comes to foreshadow and represent the adult-child ambivalence within the Cold War period. Chapter two expands its scope to include a larger historical context and a different artistic mode. With the rise of cinema during the Cold War period, the horror film became a genre extremely interested in adult-child ambivalence, frequently depicting the child as a destructive force and the adult as a victim of parenthood. -
Project Apollo: Americans to the Moon John M
Chapter Two Project Apollo: Americans to the Moon John M. Logsdon Project Apollo, the remarkable U.S. space effort that sent 12 astronauts to the surface of Earth’s Moon between July 1969 and December 1972, has been extensively chronicled and analyzed.1 This essay will not attempt to add to this extensive body of literature. Its ambition is much more modest: to provide a coherent narrative within which to place the various documents included in this compendium. In this narrative, key decisions along the path to the Moon will be given particular attention. 1. Roger Launius, in his essay “Interpreting the Moon Landings: Project Apollo and the Historians,” History and Technology, Vol. 22, No. 3 (September 2006): 225–55, has provided a com prehensive and thoughtful overview of many of the books written about Apollo. The bibliography accompanying this essay includes almost every book-length study of Apollo and also lists a number of articles and essays interpreting the feat. Among the books Launius singles out for particular attention are: John M. Logsdon, The Decision to Go to the Moon: Project Apollo and the National Interest (Cambridge: MIT Press, 1970); Walter A. McDougall, . the Heavens and the Earth: A Political History of the Space Age (New York: Basic Books, 1985); Vernon Van Dyke, Pride and Power: the Rationale of the Space Program (Urbana, IL: University of Illinois Press, 1964); W. Henry Lambright, Powering Apollo: James E. Webb of NASA (Baltimore: Johns Hopkins University Press, 1995); Roger E. Bilstein, Stages to Saturn: A Technological History of the Apollo/Saturn Launch Vehicles, NASA SP-4206 (Washington, DC: Government Printing Office, 1980); Edgar M. -
Carolina Actors Studio Theatre and the Experiential Approach to Production by Davi
Carolina Actors Studio Theatre and the Experiential Approach to Production by David Jeffrey Blamy, B.A, M.A. A Dissertation In FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Dr. Bill Gelber, Chair Dr. Linda Donahue Dr. Jim Bush Dr. Michael Stoune Dr. Carolyn Tate Dr. Peggy Gordon Miller Dean of the Graduate School May, 2011 Copyright 2011, David Blamy Texas Tech University, David Blamy, May 2011 Acknowledgments They appear at the beginning of the dissertation, they are the last bit of writing to be included, and they prove to be the most difficult to write: the acknowledgements. How do I properly acknowledge and adequately thank all the people who have supported me through this process and made this dissertation possible? Such a proposition is almost certain to fail, but I will give it my most valiant effort. This dissertation would not have been possible without the generosity of CAST’s experiential pioneer, Michael Simmons. Throughout this process he made himself, and CAST, available to me for both examination and scrutiny. The information he graciously provided through interviews, emails, primary sources, and personal explanation ended up serving as the bulk of the material from which I drew content. The fact that he did it with such a spirit of sincere generosity makes me even more appreciative. My hope is this study, even in its criticisms, provides light to a valuable methodology and a theatrical visionary. I would also like to thank Victoria Simmons for providing so much of the original source material used in this study, as well as the CAST team for their support of this study. -
Publication 2
KHU_playbill_cat.indd 1 6/4/14 2:44 PM Contents FORWARD..............................................4 Rebecca Ruth Hart ANCIENT EVENINGS.........................6 REN..........................................................8 KHU........................................................11 OSIRIS IN DETROIT.............................12 Angus Cook MAP........................................................16 LIBRETTO...........................................20 NOTES ON THE MUSIC...................27 Jonathan Bepler and Shane Anderson PROFILES.............................................28 CAST AND CREW..............................30 WHO’S WHO IN THE CAST.........32 ADDITIONAL INFORMATION.......35 “I believe in the practice and philosophy of what we have agreed to call magic, in what I must call the evocation of spirits, though I do not know what they are, in the power of creating magical illusions, in the visions of truth in the depths of the mind when the eyes are closed; and I believe…that the borders of our mind are ever shifting, and that many minds can flow into one another, as it were, and create or reveal a single mind, a single energy…and that our memories are part of one great memory, the memory of Nature herself.” W.B. Yeats Ideas of Good and Evil Epigraph to Norman Mailer’s Ancient Evenings The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited. Please turn cellular phones off, as it interferes with audio recording equipment and telecommunications. Thank you. KHU_playbill_cat.indd 2-1 6/4/14 2:44 PM KHU_playbill_cat.indd 2-3 6/4/14 2:44 PM Forward With the promise of full support from Henry Ford’s son Edsel, William Rebecca Ruth Hart Valentiner, then director of the Detroit Institute of Arts, met with Rivera in San Francisco in 1930.