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NVS 1-1 A-Williamson
“The Dead Man Touch’d Me From the Past”: Reading as Mourning, Mourning as Reading in A. S. Byatt’s ‘The Conjugial Angel’ Andrew Williamson (The University of Queensland, Australia) Abstract: At the centre of nearly every A. S. Byatt novel is another text, often Victorian in origin, the presence of which stresses her demand for an engagement with, and a reconsideration of, past works within contemporary literature. In conversing with the dead in this way, Byatt, in her own, consciously experimental, work, illustrates what she has elsewhere called “the curiously symbiotic relationship between old realism and new experiment.” This symbiotic relationship demands further exploration within Possession (1990) and Angels and Insects (1992), as these works resurrect the Victorian period. This paper examines the recurring motif of the séance in each novel, a motif that, I argue, metaphorically correlates spiritualism and the acts of reading and writing. Byatt’s literary resurrection creates a space in which received ideas about Victorian literature can be reconsidered and rethought to give them a new critical life. In a wider sense, Byatt is examining precisely what it means for a writer and their work to exist in the shadow of the ‘afterlife’ of prior texts. Keywords: A. S. Byatt, ‘The Conjugial Angel’, mourning, neo-Victorian novel, Possession , reading, séance, spiritualism, symbiosis. ***** Nature herself occasionally quarters an inconvenient parasite on an animal towards whom she has otherwise no ill-will. What then? We admire her care for the parasite. (George Eliot 1979: 77) Towards the end of A. S. Byatt’s Possession (1990), a group of academics is gathered around an unread letter recently exhumed from the grave of a pre-eminent Victorian poet, the fictional Randolph Henry Ash. -
October 29, 2013 (XXVII:10) Jim Jarmusch, DEAD MAN (1995, 121 Min)
October 29, 2013 (XXVII:10) Jim Jarmusch, DEAD MAN (1995, 121 min) Directed by Jim Jarmusch Original Music by Neil Young Cinematography by Robby Müller Johnny Depp...William Blake Gary Farmer...Nobody Crispin Glover...Train Fireman John Hurt...John Scholfield Robert Mitchum...John Dickinson Iggy Pop...Salvatore 'Sally' Jenko Gabriel Byrne...Charlie Dickinson Billy Bob Thornton...Big George Drakoulious Alfred Molina...Trading Post Missionary JIM JARMUSCH (Director) (b. James R. Jarmusch, January 22, 1981 Silence of the North, 1978 The Last Waltz, 1978 Coming 1953 in Akron, Ohio) directed 19 films, including 2013 Only Home, 1975 Shampoo, 1972 Memoirs of a Madam, 1970 The Lovers Left Alive, 2009 The Limits of Control, 2005 Broken Strawberry Statement, and 1967 Go!!! (TV Movie). He has also Flowers, 2003 Coffee and Cigarettes, 1999 Ghost Dog: The Way composed original music for 9 films and television shows: 2012 of the Samurai, 1997 Year of the Horse, 1995 Dead Man, 1991 “Interview” (TV Movie), 2011 Neil Young Journeys, 2008 Night on Earth, 1989 Mystery Train, 1986 Down by Law, 1984 CSNY/Déjà Vu, 2006 Neil Young: Heart of Gold, 2003 Stranger Than Paradise, and 1980 Permanent Vacation. He Greendale, 2003 Live at Vicar St., 1997 Year of the Horse, 1995 wrote the screenplays for all his feature films and also had acting Dead Man, and 1980 Where the Buffalo Roam. In addition to his roles in 10 films: 1996 Sling Blade, 1995 Blue in the Face, 1994 musical contributions, Young produced 7 films (some as Bernard Iron Horsemen, 1992 In the Soup, 1990 The Golden Boat, 1989 Shakey): 2011 Neil Young Journeys, 2006 Neil Young: Heart of Leningrad Cowboys Go America, 1988 Candy Mountain, 1987 Gold, 2003 Greendale, 2003 Live at Vicar St., 2000 Neil Young: Helsinki-Naples All Night Long, 1986 Straight to Hell, and 1984 Silver and Gold, 1997 Year of the Horse, and 1984 Solo Trans. -
The Secret Agent
center for contemporary opera “…not a single player was poorly cast. Similarly, the orchestra… performed with polish and sophistication under the direction of Sara Jobin.” —Opera News “ The Center for Contemporary Opera has lovingly produced a show that boasts high production values, accessible music and a compelling story, and the distinct possibility of future productions.” — O p e r a t i C u s “Dispatching Verloc with a portentously placed knife, the secret agent Winnie — a vocally gleaming Amy Burton — shifts into mad-scene mode, condemning the “blood and dirt” left in terrorism’s wake.” — N e w Y o r k t i m e s Michael Dellaira libretto by J . D . M c C l a t c h y www.albanyrecords.com TROY1450/51 albany records u.s. 915 broadway, albany, ny 12207 Amy Burton Scott Bearden tel: 518.436.8814 fax: 518.436.0643 albany records u.k. c o n d u c t o r box 137, kendal, cumbria la8 0xd Sara Jobin, tel: 01539 824008 © 2013 albany records made in the usa ddd waRning: cOpyrighT subsisTs in all Recordings issued undeR This label. i ntroduction each driven by callous selfishness and misdirected idealism, each involved to a different degree, as Conrad writes, in “a blood-stained inanity of so fatuous a kind that it was impossible to fathom its On behalf of the Center for Contemporary Opera, I am delighted to bring you this recording of the origin by any reasonable or even unreasonable process of thought.” premiere performance of The Secret Agent, which took place at the Kaye Playhouse in New York City, Michael Dellaira and J. -
Dead Man, Legal Pluralism and the De-Territorialization of the West
Osgoode Hall Law School of York University Osgoode Digital Commons Articles & Book Chapters Faculty Scholarship 2011 "Passing Through the Mirror": Dead Man, Legal Pluralism and the De-Territorialization of the West Ruth Buchanan Osgoode Hall Law School of York University, [email protected] Source Publication: Law, Culture and the Humanities. Volume 7, Number 2 (2011), p. 289-309. Follow this and additional works at: https://digitalcommons.osgoode.yorku.ca/scholarly_works This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Buchanan, Ruth. ""Passing Through the Mirror": Dead Man, Legal Pluralism and the De-Territorialization of the West." Law, Culture and the Humanities 7.2 (2011): 289-309. This Article is brought to you for free and open access by the Faculty Scholarship at Osgoode Digital Commons. It has been accepted for inclusion in Articles & Book Chapters by an authorized administrator of Osgoode Digital Commons. ‘‘Passing through the Mirror’’: Dead Man, Legal Pluralism and the De-territorialization of the West Ruth M. Buchanan Osgoode Hall Law School,York University Abstract The failures of Western law in its encounter with indigenous legal orders have been well documented, but alternative modes of negotiating the encounter remain under-explored in legal scholarship. The present article addresses this lacuna. It proceeds from the premise that the journey towards a different conceptualization of law might be fruitfully re-routed through the affect-laden realm of embodied experience – the experience of watching the subversive anti- western film Dead Man. Section II explains and develops a Deleuzian approach to law and film which involves thinking about film as ‘‘event.’’ Section III considers Dead Man’s relation to the western genre and its implications for how we think about law’s founding on the frontier. -
American Independent Film Dead Man Production Timeline
English 345: American Independent Film Dead Man Production Timeline Jim Jarmusch on independent film in the mid-1990s: “The whole idea of independent is very perplexing to me. I don't know what it means anymore. It used to be that small films could be made without a lot of money and therefore without as much interference from people who were interested solely in making money off the movie. There's a place for business in cinema. It is, to a large degree, business. Smaller films—which used to be called independent—used to be a place for people to express their ideas, and a lot of the strongest or newest ideas came from them. But, recently, I don't quite understand what it means anymore, because a lot of „independent‟ producers are interested in making a name for themselves—to get money to launch their careers. So, I see people making films for $500,000 with producers and people telling them to change the script, whom to cast and how to cut it and I don't understand what independent is any more. People who are called independent make films for large studios. Miramax—owned by Disney—which is going to release this film in North America is called an independent distribution company or production company. Consequently, I don't know what that word means any more.” “A Neo-Western on Life and Death.” Film International 3:4 (Autumn 1995). Reprinted in The Jim Jarmusch Resource Page. Production Timeline 1990: Jarmusch begins collaborating with novelist and screenwriter Rudy Wurlitzer on Western titled Ghost Dog. -
Filming a Makah Village for Jim Jarmusch' S Dead Man
FILMING A MAKAH VILLAGE FOR JIM JARMUSCH' S DEAD MAN by TODD J. TUBUTIS BA. (honours), Beloit College, 1992 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES Department of Anthropology & Sociology We accept this thesis as conforming to the required standard: V THE UNIVERSITY OF BRITISH COLUMBIA July 1998 ©Todd J. Tubutis, 1998 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Anthropology & Sociology The University of British Columbia Vancouver, Canada Date 6 August 1998 DE-6 (2/88) ABSTRACT This thesis looks at ethnographic film using Jim Jarmusch's 1996 Dead Man as a "site." Dead Man's penultimate scene portrays a Northwest Coast village using Makah actors and Makah- made set pieces. The production of this scene provides a setting where mainstream American culture, represented by a Hollywood film crew, comes into contact with Makah culture in a collaborative filmmaking effort, making Dead Man a site of cultural negotiation and mediation. By contextualizing Dead Man with earlier films from the Northwest Coast by Edward S. Curtis and Franz Boas, by examining the film's production through the words of the participants, and by incorporating theoretical notions of contact zones, authenticity, and experience, the author gleans an understanding of the contemporary Makah experience of Dead Man. -
THE COLLECTED POEMS of HENRIK IBSEN Translated by John Northam
1 THE COLLECTED POEMS OF HENRIK IBSEN Translated by John Northam 2 PREFACE With the exception of a relatively small number of pieces, Ibsen’s copious output as a poet has been little regarded, even in Norway. The English-reading public has been denied access to the whole corpus. That is regrettable, because in it can be traced interesting developments, in style, material and ideas related to the later prose works, and there are several poems, witty, moving, thought provoking, that are attractive in their own right. The earliest poems, written in Grimstad, where Ibsen worked as an assistant to the local apothecary, are what one would expect of a novice. Resignation, Doubt and Hope, Moonlight Voyage on the Sea are, as their titles suggest, exercises in the conventional, introverted melancholy of the unrecognised young poet. Moonlight Mood, To the Star express a yearning for the typically ethereal, unattainable beloved. In The Giant Oak and To Hungary Ibsen exhorts Norway and Hungary to resist the actual and immediate threat of Prussian aggression, but does so in the entirely conventional imagery of the heroic Viking past. From early on, however, signs begin to appear of a more personal and immediate engagement with real life. There is, for instance, a telling juxtaposition of two poems, each of them inspired by a female visitation. It is Over is undeviatingly an exercise in romantic glamour: the poet, wandering by moonlight mid the ruins of a great palace, is visited by the wraith of the noble lady once its occupant; whereupon the ruins are restored to their old splendour. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Z eeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9307873 The meaning and impact of Nathaniel Hawthorne’s narrator doubles Ventura, Mary Kathryn, Ph.D. The Ohio State University, 1992 UMI 300 N. -
The Dictionary Legend
THE DICTIONARY The following list is a compilation of words and phrases that have been taken from a variety of sources that are utilized in the research and following of Street Gangs and Security Threat Groups. The information that is contained here is the most accurate and current that is presently available. If you are a recipient of this book, you are asked to review it and comment on its usefulness. If you have something that you feel should be included, please submit it so it may be added to future updates. Please note: the information here is to be used as an aid in the interpretation of Street Gangs and Security Threat Groups communication. Words and meanings change constantly. Compiled by the Woodman State Jail, Security Threat Group Office, and from information obtained from, but not limited to, the following: a) Texas Attorney General conference, October 1999 and 2003 b) Texas Department of Criminal Justice - Security Threat Group Officers c) California Department of Corrections d) Sacramento Intelligence Unit LEGEND: BOLD TYPE: Term or Phrase being used (Parenthesis): Used to show the possible origin of the term Meaning: Possible interpretation of the term PLEASE USE EXTREME CARE AND CAUTION IN THE DISPLAY AND USE OF THIS BOOK. DO NOT LEAVE IT WHERE IT CAN BE LOCATED, ACCESSED OR UTILIZED BY ANY UNAUTHORIZED PERSON. Revised: 25 August 2004 1 TABLE OF CONTENTS A: Pages 3-9 O: Pages 100-104 B: Pages 10-22 P: Pages 104-114 C: Pages 22-40 Q: Pages 114-115 D: Pages 40-46 R: Pages 115-122 E: Pages 46-51 S: Pages 122-136 F: Pages 51-58 T: Pages 136-146 G: Pages 58-64 U: Pages 146-148 H: Pages 64-70 V: Pages 148-150 I: Pages 70-73 W: Pages 150-155 J: Pages 73-76 X: Page 155 K: Pages 76-80 Y: Pages 155-156 L: Pages 80-87 Z: Page 157 M: Pages 87-96 #s: Pages 157-168 N: Pages 96-100 COMMENTS: When this “Dictionary” was first started, it was done primarily as an aid for the Security Threat Group Officers in the Texas Department of Criminal Justice (TDCJ). -
Intertextuality and Allusion in Dead Man
Masaryk University in Brno FacultyofEducation Department of English Language and Literature Intertextuality and Allusion in Dead Man Diploma Thesis Brno2008 Supervisor: Written by: Mgr. Zdeněk Janík, M.A., Ph.D. Bc. Pavel Holý Prohlášení Prohlašuji, že jsem diplomovou práci zpracoval samostatně a použil jen prameny uvedenévseznamuliteratury. Souhlasím, aby práce byla uložena na Masarykově univerzitě v Brně v knihovně Pedagogickéfakultyazpřístupněnakestudijnímúčelům. Declaration I declare that I worked on the following work on my own and that I used only thesources mentionedinbibliography. I agree that this workbe filedat MasarykUniversityinBrno,inthe Libraryof Faculty ofEducation,andmade availableforacademic purposes. .............................................. signature 2 Acknowledgments I wouldherebylike toexpress thanks andrespect toMgr. ZdeněkJaník, M.A.,Ph.D., the supervisor of this thesis, for his guidance, immense patience and inspiration he providedme.Further on, I wouldlike tothankmyfamily,myfacultycolleagues, and myfriends: Mgr.Lucie Labajová,Bc.MiroslavLukáš,Mgr. Radim Toman,andBc. Pavel Tyc.Special thanks tomyemployer,namelyMgr.Dagmar Krystíková andMgr. Marta Zajíčková for their support andappreciationduringthe time I was writingthis thesis. 3 TABLE OF CONTENTS INTRODUCTION 6 CHAPTER ONE ClassicorAcid 9 A1.0AndreBazin’sViewsOnWestern 9 A1.1ÜberWestern 10 A2.0Jarmusch’sAnti-AmericanDoctrine 12 A3.0Let WurlitzersPlay 14 A4.0What IsAcidWestern? 15 CHAPTER TWO IntertextualityandAllusion 18 B1.0Intertextuality 18 B2.0TheCode -
NY Unofficial Archive V5.2 22062018 TW.Pdf
........................................................................................................................................................................................... THE UNOFFICIAL ARCHIVE: NEIL YOUNG’S “UNRELEASED” SONGS ©Robert Broadfoot 2018 • [email protected] Version 5.2 -YT: 22 June 2018 Page 1 of 98 CONTENTS CONTENTS ............................................................................................................................. 2 FOREWORD .......................................................................................................................... 3 A NOTE ON SOURCES ......................................................................................................... 5 KEY .......................................................................................................................................... 6 I. NEIL YOUNG SONGS NOT RELEASED ON OFFICIAL MEDIA PART ONE THE CANADIAN YEARS .............................................................................. 7 PART TWO THE AMERICAN YEARS ........................................................................... 16 PART THREE EARLY COVERS AND INFLUENCES ........................................................ 51 II. NEIL YOUNG PERFORMING ON THE RELEASED MEDIA AND AT CONCERT APPEARANCES, OF OTHER ARTISTS ..................................................... 63 III. UNRELEASED NEIL YOUNG ALBUM PROJECTS PART ONE DOCUMENTED ALBUM PROJECTS ....................................................... 83 PART TWO SPECULATION -
Download 2018–2019 Catalogue of New Plays
Catalogue of New Plays 2018–2019 © 2018 Dramatists Play Service, Inc. Dramatists Play Service, Inc. A Letter from the President Dear Subscriber: Take a look at the “New Plays” section of this year’s catalogue. You’ll find plays by former Pulitzer and Tony winners: JUNK, Ayad Akhtar’s fiercely intelligent look at Wall Street shenanigans; Bruce Norris’s 18th century satire THE LOW ROAD; John Patrick Shanley’s hilarious and profane comedy THE PORTUGUESE KID. You’ll find plays by veteran DPS playwrights: Eve Ensler’s devastating monologue about her real-life cancer diagnosis, IN THE BODY OF THE WORLD; Jeffrey Sweet’s KUNSTLER, his look at the radical ’60s lawyer William Kunstler; Beau Willimon’s contemporary Washington comedy THE PARISIAN WOMAN; UNTIL THE FLOOD, Dael Orlandersmith’s clear-eyed examination of the events in Ferguson, Missouri; RELATIVITY, Mark St. Germain’s play about a little-known event in the life of Einstein. But you’ll also find plays by very new playwrights, some of whom have never been published before: Jiréh Breon Holder’s TOO HEAVY FOR YOUR POCKET, set during the early years of the civil rights movement, shows the complexity of choosing to fight for one’s beliefs or protect one’s family; Chisa Hutchinson’s SOMEBODY’S DAUGHTER deals with the gendered differences and difficulties in coming of age as an Asian-American girl; Melinda Lopez’s MALA, a wry dramatic monologue from a woman with an aging parent; Caroline V. McGraw’s ULTIMATE BEAUTY BIBLE, about young women trying to navigate the urban jungle and their own self-worth while working in a billion-dollar industry founded on picking appearances apart.