An Interview with C. Brett Bode Illinois Supreme Court Historic Preservation Commission
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Say Yes to the Text
Journal of Contemporary Rhetoric, Vol. 5, No.1/2, 2015, pp. 42-49. Say Yes to the Text Jennifer Burg In this essay, the author describes her experience as a participant in the reality television show Say Yes to the Dress. She delves into the production aspects of the show and her own feelings of identification with the production staff. She also considers the multiple audiences, both present and not present, in applying for, producing, and par- ticipating in a reality television show. Keywords: Audience, Autoethnography, Bridal Rituals, Femininity, Reality Television, Wedding Rituals Proposal For years when we were single, my best friend Jackie and I would come home from late nights out in NYC, climb into her bed with bowls of cereal, and watch TV until we fell asleep. Our fa- vorites were shows that aired on TLC, and of those we most loved Say Yes to the Dress. We took great pleasure in watching the brides-to-be try on, reject and select their dream dresses in the sparkly showroom of Kleinfeld, in the heart of Manhattan. We critiqued every ensemble, mar- veled at every price point, and added our own snarky commentary to that of the friends and fami- ly who came along to assist the soon-to-be-wed. We scrutinized everything from the tiaras to the toe clips and the whole lot in between. We had our favorite designers, and we knew the Kleinfeld consultants by name. Never did we think that we might actually have the experience that we so often watched: Jackie has two kids and is divorced; I was engaged once years ago, but that didn’t work out. -
Wiarnon How Do You Cook Leg of Lamb?
A A. PAGE TWENTY-F0UR\ i ' THURSDAY, SEPTEMBER 4, 1969 ■ N ilanirlTPBtrr lEtiming fcralii ^ AviNage Dsily Net Press Run 9 m The W e e k M M Thp Weather VFW Auxiliary will hold a An open house will be held for A m 38, U M Cloudy with chance of drizzle About Town rummage sale next Wednesday Mi^ and Mrs. Thomas Albro, GOP Lead 35 Weiss Teaches at the poet home. Members may through Saturday noon. Low to formerly of 80 Winter St., on St. Bridget R o s a ^ Society bring articles for sAle to the Manchester • Democrats Course at MCC a s , 4 5 9 night in _the 60s. ’Tom onow’s will have its annual installation meeting Tuesday. Those wish Sunday from 2:30 to 8 p.m., at continue to cut Into the R e high in the 7Da. 'v Town Manager Robert Weiss banquet Sept. 16 , at 6:30 p.m. ing to have articles picked up tlve home of their daughter and publican lead in registered,, Manehemter— A City of Pillage Charm started teaching a class la.t at W illie’s Steak House. Reser may call Mrs. Florence Plltt of son-ln-Iaw, Mr. and MrSj_ Jack voters, and the GOP margin, 816 Main St. night at Manchester Community VOL. LXXXVm. NO. 286 (TWENTY-FOUR PAGES—TWO SECTIONS) vations will close Monday. The Krafjack, . 100 Meadow Lark as of today,; is dofVn to 35, How do You MANCHESTER, OONN, FRIDAY, SEPTEMBER 5, 1969 / (C A M e m e M s m P li«e M ) College, and will conduct the PRICE TEN CENTS Rev. -
Charles Spaak and the Thesis Film Geoffrey Wagner
New Mexico Quarterly Volume 24 | Issue 2 Article 10 1954 Charles Spaak and the Thesis Film Geoffrey Wagner Follow this and additional works at: https://digitalrepository.unm.edu/nmq Recommended Citation Wagner, Geoffrey. "Charles Spaak and the Thesis Film." New Mexico Quarterly 24, 2 (1954). https://digitalrepository.unm.edu/nmq/ vol24/iss2/10 This Contents is brought to you for free and open access by the University of New Mexico Press at UNM Digital Repository. It has been accepted for inclusion in New Mexico Quarterly by an authorized editor of UNM Digital Repository. For more information, please contact [email protected]. Wagner: Charles Spaak and the Thesis Film BOOKS and COMMENT Geoffrey Wagner CHARLES SPAAK AND THE THESIS FILM HET RIC 0 LOR waves over the Palais de Justice. Three words are engraved on the ancient stone: LIBERTt T;EGALITt-FRATERNITt. The camera drops a frac tion. We see a harshly modern enamel plate-Place d'Arret. This shot from Avant Ie deluge, written and co-directed by Charles Spaak, bespeaks the thesis, with all its attendant over simplifications, of one of the most provocative screen writers working today-namely, that we are all assassins and that justice is never done. While the cinema in this country is suffering from an overdose of skill-fetichism (one technical gimmick after an other vainly trying to make up. for an emptiness of soul) , and while the Italian realist film is proving steadily more inelastic, Spaak is quietly proceeding with the serious business of the cin ema, enlarging it "in depth" by lending it that most unlikely di mension, real intellectual fervor. -
Desperate Housewives a Lot Goes on in the Strange Neighborhood of Wisteria Lane
Desperate Housewives A lot goes on in the strange neighborhood of Wisteria Lane. Sneak into the lives of five women: Susan, a single mother; Lynette, a woman desperately trying to b alance family and career; Gabrielle, an exmodel who has everything but a good m arriage; Bree, a perfect housewife with an imperfect relationship and Edie Britt , a real estate agent with a rocking love life. These are the famous five of Des perate Housewives, a primetime TV show. Get an insight into these popular charac ters with these Desperate Housewives quotes. Susan Yeah, well, my heart wants to hurt you, but I'm able to control myself! How would you feel if I used your child support payments for plastic surgery? Every time we went out for pizza you could have said, "Hey, I once killed a man. " Okay, yes I am closer to your father than I have been in the past, the bitter ha tred has now settled to a respectful disgust. Lynette Please hear me out this is important. Today I have a chance to join the human rac e for a few hours there are actual adults waiting for me with margaritas. Loo k, I'm in a dress, I have makeup on. We didn't exactly forget. It's just usually when the hostess dies, the party is off. And I love you because you find ways to compliment me when you could just say, " I told you so." Gabrielle I want a sexy little convertible! And I want to buy one, right now! Why are all rich men such jerks? The way I see it is that good friends support each other after something bad has happened, great friends act as if nothing has happened. -
Alien Love- Passing, Race, and the Ethics of the Neighbor in Postwar
UNIVERSITY OF CALIFORNIA Los Angeles Alien Love: Passing, Race, and the Ethics of the Neighbor in Postwar African American Novels, 1945-1956 A dissertation submitted in partial satisfaction of the Requirements for the degree Doctor of Philosophy In English By Hannah Wonkyung Nahm 2021 © Copyright by Hannah Wonkyung Nahm 2021 ABSTRACT OF THE DISSERTATION Alien Love: Passing, Race, and the Ethics of the Neighbor in Postwar African American Novels, 1945-1956 by Hannah Wonkyung Nahm Doctor of Philosophy in English University of California, Los Angeles, 2021 Professor King-Kok Cheung, Co-Chair Professor Richard Yarborough, Co-Chair This dissertation examines Black-authored novels featuring White (or White-passing) protagonists in the post-World War II decade (1945-1956). Published during the fraught postwar political climate of agitation for integration and the continual systematic racism, many novels by Black authors addressed the urgent topic of interracial relationality, probing the tabooed question of whether Black and White can abide in love and kinship. One of the prominent—and controversial—literary strategies sundry Black novelists used in this decade was casting seemingly raceless or ambiguously-raced characters. Collectively, these novels generated a mixture of critical approval and dismissal in their time and up until recently, marginalized from the African American literary tradition. Even more critically overlooked than the ostensibly raceless project was the strategic mobilization of the trope of passing by some midcentury Black ii writers to imagine the racial divide and possible reconciliation. This dissertation intersects passing with postwar Black fiction that features either racially-anomalous or biracial central characters. Examining three novels from this historical period as my case studies, I argue that one of the ways in which Black writers of this decade have imagined the possibility of interracial love—with all its political pitfalls and ethical imperatives —is through the trope of passing. -
The Davie Record DAVIE COUNTY’S OLDEST NEWSPAPER-THE PAPER the PEOPLE READ
The Davie Record DAVIE COUNTY’S OLDEST NEWSPAPER-THE PAPER THE PEOPLE READ •W RE SHALL THE PP^SS. THE PEOPLE’S RIGHTS MAINTAINi UNAWED BY INFLUENCE AND UNBRIBEO BY CAIN.' VOLUMN XUX. MOCKSVILLE. NORTH CAROLINA, WEDNESDAY. JUNE i. 1049. NUMBER 44 NEWS OF LONG AGO Small Farts. ANXTHING TO PLEASE Wbo Else? Increased Calcium in Diet Seen Along Main Street Recommended os Investment By The Street Rambler. Rev W. E. fsenbour. Hiah Pnint. N. C. R4 YOUNG woman went Into a What Was Happening In Da* Getting barely enough calcium in 000000 As we look npon a great build* A large London store to buy • m ilk or other dally food to meet vie Before Parking Meters pair of birds. She told the salesman the body’s current need is not the Barbara Vogler and Betty_ Jo Ing, we realize that It Is pomnosed the varied she wished, and that she best plaiming for good nutrition. Mock coming out of dental par And Abbreviated Skirts. of thousonds and maybe mlHionc desired a male and a female. The “When calcium is increased to a birds were finally selected and lor looking not too happv—Miss (Davie Record, May 29, 1912 ) of nifces. F.flch and e^c^v »'tec<*. more generous level, the human handed to her. body is able to put the added Ruth Smith pausing a few min* Cotton is 12 cents. whether it be atone, brick, iron, She then asked the salesman how amount to use for long-range needs. utes in drug store—Covered wag" C. -
Dictionary of Westerns in Cinema
PERFORMING ARTS • FILM HISTORICAL DICTIONARY OF Historical Dictionaries of Literature and the Arts, No. 26 VARNER When early filmgoers watched The Great Train Robbery in 1903, many shrieked in terror at the very last clip, when one of the outlaws turned toward the camera and seemingly fired a gun directly at the audience. The puff of WESTERNS smoke was sudden and hand-colored, and it looked real. Today we can look back at that primitive movie and see all the elements of what would evolve HISTORICAL into the Western genre. Perhaps the Western’s early origins—The Great Train DICTIONARY OF Robbery was the first narrative, commercial movie—or its formulaic yet enter- WESTERNS in Cinema taining structure has made the genre so popular. And with the recent success of films like 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford, the Western appears to be in no danger of disappearing. The story of the Western is told in this Historical Dictionary of Westerns in Cinema through a chronology, a bibliography, an introductory essay, and hundreds of cross-referenced dictionary entries on cinematographers; com- posers; producers; films like Butch Cassidy and the Sundance Kid, Dances with Wolves, The Good, the Bad, and the Ugly, High Noon, The Magnificent Seven, The Searchers, Tombstone, and Unforgiven; actors such as Gene Autry, in Cinema Cinema Kirk Douglas, Clint Eastwood, Henry Fonda, Jimmy Stewart, and John Wayne; and directors like John Ford and Sergio Leone. PAUL VARNER is professor of English at Abilene Christian University in Abilene, Texas. -
Handbook for the Judiciary on Effective Criminal Justice
Handbook for the Judiciary on Effective Criminal Justice Responses to Gender-based Violence against Women and Girls Cover photo: ©iStock.com/Berezko UNITED NATIONS OFFICE ON DRUGS AND CRIME Vienna Handbook for the Judiciary on Effective Criminal Justice Responses to Gender-based Violence against Women and Girls UNITED NATIONS Vienna, 2019 © United Nations Office on Drugs and Crime, 2019. All rights reserved. The designations employed and the presentation of material in this publication do not imply the expression of any opinion whatsoever on the part of the Secretariat of the United Nations concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitations of its frontiers or boundaries. Mention of firm names and com- mercial products does not imply the endorsement of the United Nations. Publishing production: English, Publishing and Library Section, United Nations Office at Vienna. Acknowledgements The Handbook for the Judiciary on Effective Criminal Justice Responses to Gender-based Violence against Women and Girls has been prepared for the United Nations Office on Drugs and Crime (UNODC) by Eileen Skinnider, Associate, International Centre for Criminal Law Reform and Criminal Justice Policy. A first draft of the handbook was reviewed and discussed during an expert meeting held in Vienna from 26 to 30 November 2018. UNODC wishes to acknowledge the valuable suggestions and contri- butions of the following experts who participated in that meeting: Ms. Khatia Ardazishvili, Ms. Linda Michele Bradford-Morgan, Ms. Aditi Choudhary, Ms. Teresa Doherty, Ms. Ivana Hrdličková, Ms. Vivian Lopez Nuñez, Ms. Sarra Ines Mechria, Ms. Suntariya Muanpawong, Ms. -
Golden Ag E W Estern Comics Golden
Golden Age Western Comics Western Golden Age he Wild West has been romanticized in American culture ever since the dime novels capturing the exploits of Jesse James were produced in the years directly Tfollowing the Civil War, and the Western genre continues to enthrall audiences to this day. The stories of frontiersmen, outlaws, cowboys, Indians, prospectors, and marksmen surviving the harshest of environments through wit, skill, and determination, or meeting their end by bullet, noose, or exposure speak to what it means to be American and play an essential part in how we define ourselves as a nation. These mythic stories have been captured and created in almost every popular mass medium of the past century and beyond from tabloids to novels, radio plays, television shows, and movies. Now, powerHouse Books is pleased to present a collection of these uniquely American stories as told through a uniquely American medium…the comic book! Golden Age Western Comics lovingly reproduces in full-color, restored, complete scans of over 40 of the best Western stories created between the years 1948 and 1956. These lavishly illustrated stories of guts and glory, violence and valor, intrigue, romance, and betrayal, on the range and in lawless frontier towns, were created by some of the best artists and writers of the era. The action flies off the page in stories such as “The Tragedy at Massacre Pass,” and “Breakout in Rondo Prison,” from the greatest earliest publishing houses, including: Fawcett, Charlton, Avon, Youthful, and more. Golden Age Western -
Desperate Housewives
Desperate Housewives Titre original Desperate Housewives Autres titres francophones Beautés désespérées Genre Comédie dramatique Créateur(s) Marc Cherry Musique Steve Jablonsky, Danny Elfman (2 épisodes) Pays d’origine États-Unis Chaîne d’origine ABC Nombre de saisons 5 Nombre d’épisodes 108 Durée 42 minutes Diffusion d’origine 3 octobre 2004 – en production (arrêt prévu en 2013)1 Desperate Housewives ou Beautés désespérées2 (Desperate Housewives en version originale) est un feuilleton télévisé américain créé par Charles Pratt Jr. et Marc Cherry et diffusé depuis le 3 octobre 2004 sur le réseau ABC. En Europe, le feuilleton est diffusé depuis le 8 septembre 2005 sur Canal+ (France), le 19 mai sur TSR1 (Suisse) et le 23 mai 2006 sur M6. En Belgique, la première saison a été diffusée à partir de novembre 2005 sur RTL-TVI puis BeTV a repris la série en proposant les épisodes inédits en avant-première (et avec quelques mois d'avance sur RTL-TVI saison 2, premier épisode le 12 novembre 2006). Depuis, les diffusions se suivent sur chaque chaîne francophone, (cf chaque saison pour voir les différentes diffusions : Liste des épisodes de Desperate Housewives). 1 Desperate Housewives jusqu'en 2013 ! 2La traduction littérale aurait pu être Ménagères désespérées ou littéralement Épouses au foyer désespérées. Synopsis Ce feuilleton met en scène le quotidien mouvementé de plusieurs femmes (parfois gagnées par le bovarysme). Susan Mayer, Lynette Scavo, Bree Van De Kamp, Gabrielle Solis, Edie Britt et depuis la Saison 4, Katherine Mayfair vivent dans la même ville Fairview, dans la rue Wisteria Lane. À travers le nom de cette ville se dégage le stéréotype parfaitement reconnaissable des banlieues proprettes des grandes villes américaines (celles des quartiers résidentiels des wasp ou de la middle class). -
On the Connection Between Law and Justice Anthony D'amato Northwestern University School of Law, [email protected]
Northwestern University School of Law Northwestern University School of Law Scholarly Commons Faculty Working Papers 2011 On the Connection Between Law and Justice Anthony D'Amato Northwestern University School of Law, [email protected] Repository Citation D'Amato, Anthony, "On the Connection Between Law and Justice" (2011). Faculty Working Papers. Paper 2. http://scholarlycommons.law.northwestern.edu/facultyworkingpapers/2 This Article is brought to you for free and open access by Northwestern University School of Law Scholarly Commons. It has been accepted for inclusion in Faculty Working Papers by an authorized administrator of Northwestern University School of Law Scholarly Commons. On the Connection Between Law and Justice, by Anthony D'Amato,* 26 U. C. Davis L. Rev. 527-582 (1992-93) Abstract: What does it mean to assert that judges should decide cases according to justice and not according to the law? Is there something incoherent in the question itself? That question will serve as our springboard in examining what is—or should be—the connection between justice and law. Legal and political theorists since the time of Plato have wrestled with the problem of whether justice is part of law or is simply a moral judgment about law. Nearly every writer on the subject has either concluded that justice is only a judgment about law or has offered no reason to support a conclusion that justice is somehow part of law. This Essay attempts to reason toward such a conclusion, arguing that justice is an inherent component of the law and not separate or distinct from it. -
GSC Films: S-Z
GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything.