Arthur Miller Roxbury, Connecticut, Which Would Become His Long Time Home
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295 INDEX © in This Web Service Cambridge
Cambridge University Press 978-0-521-74538-3 - The Cambridge Companion to Arthur Miller, Second Edition Edited by Christopher Bigsby Index More information INDEX Aarnes, William 281 Miller on 6, 152, 161 Abbott, Anthony S. 279 and No Villain/They Too Arise 6, 25, 28 “About Theatre Language” 76 productions xiii, 159, 161, 162 Ackroyd, Peter 166–67 revisions 160, 161 Actors’ Studio 220, 226 American Legion 215 Adding Machine, The 75 Anastasia, Albert 105 Adler, Thomas P. 84n, 280, 284 Anastasia, Tony 105, 108n Adorno, Theodor 201 Anderson, Maxwell 42 After the Fall xii, xiii, 4, 8, 38, 59–60, 61, Angel Face 209 118, 120–26, 133, 139, 178, 186, 262, Another Part of the Forest 285 265, 266 Anthony Adverse 216 changing critical reception 269–70 Antler, Joyce 290 The Last Yankee and 178 Archbishop’s Ceiling, The 5–6, 8, 141, Miller on 54–55, 121–22, 124, 126, 265 145–51, 167, 168 productions xii, xiii, 121, 123, 124–25, Miller on 147, 148, 152 156–57, 270, 283 productions xiii, 159, 161–62 The Ride Down Mount Morgan and 173 revisions 141, 159, 161, 162n structure 7, 128 Aristotle 13, 64, 234, 264 studies of 282, 284–85, 288, 290, 293 Aronson, Boris 129 viewed as autobiographical/concerned Art of the Novel, The 237n with Monroe 4, 121, 154, 157, 195, Arthur Miller Centre for American Studies 269, 275 (UEA) xiv, xv, 162 Ajax 13 Arthur Miller Theatre, University of Albee, Edward 154 Michigan xv Alexander, Jane 165 Aspects of the Novel 235 All My Sons xi, 2, 4, 36–37, 47, 51–62, 111, Asphalt Jungle, The 223 137, 209, 216, 240, 246, 265 Assistant, The 245 film versions xiv, 157–58, 206–12, 220, Atkinson, Brooks 293 232 Auden, W. -
Photographers Women
WOMEN PHOTOGRAPHERS WOMEN BORIS FRIEDEWALD PHOTOGRAPHERS From Julia Margaret Cameron to Cindy Sherman PRESTEL Munich · London · New York In a profession like this it is both an advantage and a dis- advantage to be a woman … From time to time, I have been able to take photos where my male colleagues had failed … Not many women work as photo reporters, a profession that requires absolute health, patience, and curiosity, as well as an open approach, skill, and courage in completely unex - p ec ted situations: all qualities that women possess. Gisèle Freund, 1977 Contents 006 | Introduction 078 | Lady Clementina Hawarden 166 | Sarah Moon 082 | Florence Henri 170 | Inge Morath 086 | Candida Höfer 174 | Zanele Muholi 008 | Berenice Abbott 090 | Evelyn Hofer 178 | Madame d’Ora 012 | Eve Arnold 094 | Graciela Iturbide 182 | Bettina Rheims 016 | Anna Atkins 098 | Lotte Jacobi 186 | Viviane Sassen 020 | Ellen Auerbach 102 | Gertrude Käsebier 190 | Shirana Shahbazi 024 | Jessica Backhaus 108 | Rinko Kawauchi 194 | Cindy Sherman 028 | Tina Barney 112 | Herlinde Koelbl 198 | Dayanita Singh 034 | Lillian Bassman 118 | Germaine Krull 202 | Rosalind Solomon 038 | Sibylle Bergemann 122 | Dorothea Lange 206 | Grete Stern 042 | Margaret Bourke-White 126 | An-My Lê 210 | Ellen von Unwerth 046 | Claude Cahun 130 | Helen Levitt 214 | JoAnn Verburg 050 | Julia Margaret Cameron 134 | Vera Lutter 218 | Carrie Mae Weems 054 | Imogen Cunningham 138 | Vivian Maier 222 | Francesca Woodman 058 | Rineke Dijkstra 142 | Sally Mann 226 | Madame Yevonde 060 | Trude Fleischmann 146 | Hellen van Meene 064 | Martine Franck 150 | Susan Meiselas 068 | Gisèle Freund 154 | Lee Miller 231 | List of Images 070 | Nan Goldin 158 | Lisette Model 237 | Selected Literature 074 | Jitka Hanzlová 162 | Tina Modotti 240 | Imprint Introduction A woman. -
The Intermediate Or Disembodied State
WILLIAM G.T. SHEDD DOGMATIC THEOLOGY Volume Two ESCHATOLOGY Chapter I THE INTERMEDIATE OR DISEMBODIED STATE Eschatology (εσχατων λογος) is that division in Dogmatics which treats of the Intermediate or Disembodied State, Christ's Second Advent, the Resurrection, the Final Judgment, Heaven, and Hell. Revelation does not give minute details upon these subjects, yet the principal features are strongly drawn, and salient. The doctrine of the Intermediate State has had considerable variety of construction, owing to the mixing of mythological elements with the biblical. The representations of Christ in the parable of Dives and Lazarus have furnished the basis of the doctrine. The most general statement is, that the penitent, represented by Lazarus, is happy, and the impenitent, represented by Dives, is miserable. The doctrine taught in Scripture that the body is not raised until the day of judgment, implies that the condition of all men between death and resurrection is a disembodied one. This doctrine has greatly misconceived, and the misconception has introduced grave errors into eschatology. Inasmuch as the body, though not necessary to personal consciousness, is yet necessary in order to the entire completeness of the person, it came to be supposed in the Patristic church, that the intermediate state is a dubious and unfixed state; that the resurrection adds very considerably both to the holiness and happiness of the redeemed, and to the sinfulness and misery of the lost. This made the intermediate, or disembodied state, to be imperfectly -
Erich Hartmann " Erich Hartmann, the Poetry of Daily Life " March 21 - May 4Th 2019
Catherine & André Hug present : Carte blanche à CLAIRbyKahnGallery Erich Hartmann " Erich Hartmann, the Poetry of Daily Life " March 21 - May 4th 2019 Galerie Catherine et André Hug 40, rue de Seine / 2, rue de l’Échaudé 75006 Paris www.galeriehug.com Mardi au samedi : 11h à 13h et 14h30 à 19h The Kiss,©ErichHartmann/MagnumPhotos/CLAIRbyKahn The Erich Hartmann, The Poetry of Daily Life exhibition emerged from a chance meeting and an immediate enchantment. The meeting was between Anna-Patricia Kahn, who is the director of CLAIRbyKahn, and Catherine and André Hug, who are the renowned owners of their eponymous gallery in Paris. And the enchantment took place the instant Catherine and André were shown the Erich Hartmann oeuvre. Then and there, they decided to give a "carte blanche" for a Hartmann show to CLAIRbyKahn, the gallery which represents the photographer’s archives. Hartmann (b. 1922 in Munich, d. 1999 in New York) is celebrated for the subtle, mysterious poetry that emanates from his photography, the play of shadow and light that is captivating yet respectful. He embraced places, objects, and people with his camera, never unsettling the moment, always capturing it in a way that allowed it to be rediscovered. The Poetry of Daily Life exhibition features 27 images by Hartmann that magnify the glory of the ordinary and the dignity of the routine. The photographs on display are all vintage prints that have the unique quality of being developed by Hartmann’s own hand. This will be a momentous year for the Erich Hartmann archives as there will also be two major museum exhibitions consecrated to the legendary photographer: in Bale, Switzerland from February to July 2019 as part of a collective exhibition Isrealities; and then in November 2019, his Irish portfolio will be exhibited at the National Gallery of Ireland in Dublin. -
INGE MORATH La Vita. La Fotografia
MILANO - MUSEO DIOCESANO CARLO MARIA MARTINI 19 GIUGNO – 1° NOVEMBRE 2020 INGE MORATH La vita. La fotografia 150 immagini e documenti originali ricostruiscono la vicenda umana e professionale della fotografa austriaca, prima donna a entrare nell’agenzia Magnum Photos. Dal 19 giugno al 1° novembre 2020, il Museo Diocesano Carlo Maria Martini di Milano ospita una retrospettiva dedicata alla fotografa austriaca Inge Morath (Graz, 1923 – New York, 2002), la prima donna a essere accolta nell’agenzia Magnum Photos. L’iniziativa è parte dei palinsesti culturali Aria di Cultura e I talenti delle donne, promossi e coordinati dal Comune di Milano. Attraverso 150 immagini e documenti originali, l’esposizione, curata da Brigitte Blüml – Kaindl, Kurt Kaindl, e Marco Minuz, col supporto del Forum austriaco della cultura, col sostegno di Rinascente, media partner IGP Decaux, ripercorre il cammino umano e professionale di Inge Morath, dagli esordi al fianco di Ernst Haas ed Henri Cartier-Bresson fino alla collaborazione con prestigiose riviste quali Picture Post, LIFE, Paris Match, Saturday Evening Post e Vogue, attraverso i suoi principali reportage di viaggio, che preparava con cura maniacale, studiando la lingua, le tradizioni e la cultura di ogni paese dove si recava, fossero essi l’Italia, la Spagna, l’Iran, la Russia, la Cina, al punto che il marito, il celebre drammaturgo Arthur Miller, ebbe a ricordare che “Non appena vede una valigia, Inge comincia a prepararla”. Il percorso espositivo dà conto di questa sua inclinazione, presentando alcuni dei suoi reportage più famosi, come quello realizzato a Venezia nel 1953, con immagini colte in luoghi meno frequentati e nei quartieri popolari della città lagunare, che sposano la tradizione fotografica dell’agenzia Magnum di ritrarre persone nella loro quotidianità. -
UMI Films the Original Text Directly from the Copy Submitted
INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the original text directly from the copy submitted. Thus, some dissertation copies are in typewriter face, while others may be from a computer printer. 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 copyrighted material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each oversize page is available as one exposure on a standard 35 mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. 35 mm slides or 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. ■A ccessing U the World's M Information since I 1938 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA permission of the copyright owner. Further reproduction prohibited without permission Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Order Number 8827903 Breaking down the neurotic-psychotic artifice: The subversive function of myth in Goethe, Nietzsche, Rilke and Walter Benjam in Lundgren, Neale Powell, Ph.D. -
Conrad Von Hötzendorf and the “Smoking Gun”: a Biographical Examination of Responsibility and Traditions of Violence Against Civilians in the Habsburg Army 55
1914: Austria-Hungary, the Origins, and the First Year of World War I Günter Bischof, Ferdinand Karlhofer (Eds.) Samuel R. Williamson, Jr. (Guest Editor) CONTEMPORARY AUSTRIAN STUDIES | VOLUME 23 uno press innsbruck university press Copyright © 2014 by University of New Orleans Press, New Orleans, Louisiana, USA All rights reserved under International and Pan-American Copyright Conventions. No part of this book may be reproduced or transmitted in any form, or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without prior permission in writing from the publisher. All inquiries should be addressed to UNO Press, University of New Orleans, LA 138, 2000 Lakeshore Drive. New Orleans, LA, 70119, USA. www.unopress.org. Printed in the United States of America Design by Allison Reu Cover photo: “In enemy position on the Piave levy” (Italy), June 18, 1918 WK1/ALB079/23142, Photo Kriegsvermessung 5, K.u.k. Kriegspressequartier, Lichtbildstelle Vienna Cover photo used with permission from the Austrian National Library – Picture Archives and Graphics Department, Vienna Published in the United States by Published and distributed in Europe University of New Orleans Press by Innsbruck University Press ISBN: 9781608010264 ISBN: 9783902936356 uno press Contemporary Austrian Studies Sponsored by the University of New Orleans and Universität Innsbruck Editors Günter Bischof, CenterAustria, University of New Orleans Ferdinand Karlhofer, Universität Innsbruck Assistant Editor Markus Habermann -
Biblioteques De L'hospitalet
BIBLIOTECA TECLA SALA April 16, 2020 All My Sons Arthur Miller « The success of a play, especially one's first success, is somewhat like pushing against a door which suddenly opens from the other side. One may fall on one's face or not, but certainly a new room is opened that was always securely shut until then. For myself, the experience was invigorating. It made it possible to dream of daring more and risking more. The audience sat in silence before the unwinding of All My Sons and gasped when they should have, and I tasted that power which is reserved, I imagine, for Contents: playwrights, which is to know that by one's invention Introduction 1 a mass of strangers has been publicly transfixed. Author biography 2-3 Arthur Miller All My Sons - 4 Introduction & Context All My Sons - 5-6 » Themes Notes 7 [https://en.wikipedia.org/wiki/All_My_Sons] Page 2 Author biography Arthur Miller is considered Street Crash of 1929, and had to Willy Loman, an aging Brooklyn one of the greatest American move from Manhattan to salesman whose career is in playwrights of the 20th Flatbush, Brooklyn. After decline and who finds the values century. His best-known plays graduating high school, Miller that he so doggedly pursued have include 'All My Sons,' 'The worked a few odd jobs to save become his undoing. Crucible' and the Pulitzer enough money to attend the Prize-winning 'Death of a University of Michigan. While in Salesman won Miller the highest Salesman.' college, he wrote for the student accolades in the theater world: paper and completed his first the Pulitzer Prize, the New York Who Was Arthur Miller? play, No Villain, for which he won Drama Critics' Circle Award and the school's Avery Hopwood the Tony for Best Play. -
Announcing a VIEW from the BRIDGE
FOR IMMEDIATE RELEASE, PLEASE “One of the most powerful productions of a Miller play I have ever seen. By the end you feel both emotionally drained and unexpectedly elated — the classic hallmark of a great production.” - The Daily Telegraph “To say visionary director Ivo van Hove’s production is the best show in the West End is like saying Stonehenge is the current best rock arrangement in Wiltshire; it almost feels silly to compare this pure, primal, colossal thing with anything else on the West End. A guileless granite pillar of muscle and instinct, Mark Strong’s stupendous Eddie is a force of nature.” - Time Out “Intense and adventurous. One of the great theatrical productions of the decade.” -The London Times DIRECT FROM TWO SOLD-OUT ENGAGEMENTS IN LONDON YOUNG VIC’S OLIVIER AWARD-WINNING PRODUCTION OF ARTHUR MILLER’S “A VIEW FROM THE BRIDGE” Directed by IVO VAN HOVE STARRING MARK STRONG, NICOLA WALKER, PHOEBE FOX, EMUN ELLIOTT, MICHAEL GOULD IS COMING TO BROADWAY THIS FALL PREVIEWS BEGIN WEDNESDAY EVENING, OCTOBER 21 OPENING NIGHT IS THURSDAY, NOVEMBER 12 AT THE LYCEUM THEATRE Direct from two completely sold-out engagements in London, producers Scott Rudin and Lincoln Center Theater will bring the Young Vic’s critically-acclaimed production of Arthur Miller’s A VIEW FROM THE BRIDGE to Broadway this fall. The production, which swept the 2015 Olivier Awards — winning for Best Revival, Best Director, and Best Actor (Mark Strong) —will begin previews Wednesday evening, October 21 and open on Thursday, November 12 at the Lyceum Theatre, 149 West 45 Street. -
Metropolitan Tabernacle Pulpit Vol. 05
Sermon #225 The New Park Street Pulpit 1 SATAN’S BANQUET NO. 225 A SERMON DELIVERED On SABBATH MORNING, NOVEMBER 28, 1858, BY THE REV. C. H. SPURGEON, AT THE MUSIC HALL, ROYAL SURREY GARDENS. “The governor of the feast called the bridegroom, and said unto him, every man at the beginning does set forth good wine; and when men have well drunk, then that which is worse: but you have kept the good wine until now.” John 2:9, 10. THE governor of the feast said more than he intended to say, or ra- ther, there is more truth in what he said than he himself imagined! This is the established rule all the world over—“The good wine first and when men have well drunk, then that which is worse.” It is the rule with men and have not hundreds of disappointed hearts bewailed it? Friendship first—the oily tongue, the words softer than butter and afterwards the drawn sword! Ahithophel first presents the lordly dish of love and kind- ness to David; then afterwards that which is worse, for he forsakes his master and becomes the counselor of his rebel son. Judas presents first of all the dish of fair speech and of kindness; the Savior partook thereof, he walked to the house of God in company with Him and took sweet counsel with Him. But afterwards, there came the dregs of the wine—“He that eats bread with Me has lifted up his heel against Me.” Judas, the thief, betrayed his Master, bringing forth afterwards “that which is worse.” You have found it so with many whom you thought your friends. -
All My Sons As Precursor in Arthur Miller's Dramatic World
All My Sons as Precursor in Arthur Miller’s Dramatic World Masahiro OIKAWA※ Abstract Since its first production in 1947, Arthur Miller’s All My Sons has been performed and appreciated worldwide. In academic studies on Miller, it secures an important place as a precursor, because it has encompassed such themes as father-son conflict, pursuit of success dream in the form of a traditional tragedy as well as a family and a social play. As for techniques, to begin with, the Ibsenite method of dramatization of the present critical situation and presentation of the past “with sentimentality” are obvious. Secondly, the biblical tale of Cain and Abel from the Old Testament allows the play to disguise itself as a modern morality play on “brotherly love.” Thirdly, Oedipus’s murder of his father in Oedipus Rex is used symbolically to place the play in the Western tradition of drama. Taking all these major themes and techniques into account, the paper argues that the play is dramatizing the universal, and that by looking at the conflict between father and son, we can understand why Miller’s message in All My Sons is significant for Japanese andiences. I. Introducion Most of the reviews appearing in the major newspapers and magazines on All My Sons (1947) were rather favorable, which is quite understandable considering that the play vividly depicts the psychological aspects of the United States during and immediately after the Second World War in a realistic setting. In fact, it is impossible to understand the problems Joe and Chris Keller, the father and the son, get involved in without the background of the war. -
At Play Spring-Summer 06.Indd
rating Seventy Y representing the american theatre by eleb ears publishing and licensing the works C of new and established playwrights 70th Anniversary Issue D ram 06 ati – 20 sts Play Service, Inc. 1936 Issue 12, Spring/Summer 2006 AN INTERVIEW WITH Austin Pendleton Director of Professional Rights Robert Lewis Vaughan and Director of Publications Michael Q. Fellmeth talk with Austin Pendleton about his New York hit, Orson’s Shadow, and his life as a consummate man of the theatre. ROBERT. Orson’s Shadow had an amazing run here in New York at The Barrow Street Theatre following Tracy Letts’ fantastic Bug (also represented by DPS). Tracy was in your play, in the role of Kenneth Tynan. Two hits in a row — two actor/playwrights in a row — one theatre. What do you have to say about that? AUSTIN. There’s more to it than that. Tracy Letts caused this to happen. He told our producers (Scott Morfee, Chip Meyrelles, Tom Wirtshafter) about Orson’s Shadow. He put together a reading with the Chicago cast, directed by the Chicago director, in Chicago, for Scott, Chip and Tom to come and see and hear … Continued on page 3 NEWPLAYS Serving the American Theatre Since 1936: A Brief History of Dramatists Play Service, Inc. Rob Ackerman DISCONNECT. Goaded by the women they love “The Dramatists Play Service came into being at exactly the right moment and haunted by memories they can no longer for the contemporary playwright and the American theatre at large.” suppress, two men at a dinner party confront the —Audrey Wood, renowned agent to Tennessee Williams lies of their lives.