DOCSLIB.ORG

Full Screen View

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Full Screen View Memory Plays: The Theater of Samuel Beckett by Katherine H. Vellis A Thesis Submitted to the Faculty of The Schmidt College of Arts and Humanities in Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, Florida April1992 © Copyright by Katherine H. Vellis 1992 ii DEDICATION This work is dedicated to the memory of my grandmother, Edith H. Malanos (Graw) and to the loving example set by my mother, Margaret M. Vellis Memory Plays: The Theater of Samuel Beckett by Katherine H. Vellis This thesis was prepared under the direction of the candidate's thesis advisor, Dr. Carol McGuirk, Department of English and Comparative Literature, and has been approved by the members of her supervisory committee. It was submitted to the faculty of The Schmidt College of Arts and Humanities and was accepted in partial fulfillment of the requirements for the degree of Master of Arts. SUPERVISORY COMMITTEE: Thesis Advisor ~Chairpersons, Departrllet~ of~ English and Comparative Literature ~Ql~~~~ iii ABSTRACT Author: Katherine H. Vellis Title : Memory Plays: The Theater of Samuel Beckett Institution: Florida Atlantic University Thesis Advisor: Dr. Carol McGuirk Degree: Master of Arts Year: 1992 Samuel Beckett's plays reverberate with a recurring memory motif. Recollections offer hope, rejuvenation , or in some cases simply the strength to carry on through what Beckett calls the "mess of life ." The memories of Beckett's characters help them to transcend or to at least deal with the past. Close study of the plays points out this glimmer of hope in reminiscent memories, sensory memories, and creative memories. Even the bleakest recollections offer the possibility of future memories. In the ten plays examined, the use of memory varies. An exploration of the plays in terms of Proustian memory, autobiographical documentation, and psychological research offers insight into the often hopeful memories of Beckett's characters. iv TABLE OF CONTENTS Chapter 1: lntroduction ......... ........ ................. ......... ... .............. .. ..... ...... .. .. ..... .. ....... 1 Chapter II : Nostalgia and Reminiscence .. ............ .. .. .. ....... ..... ..... ... .. .... ..... .... ... ..? Chapter Ill: Sense Memory: Visual, Aural, and Beyond ..... ... ... ... ..... ..... .... ... .. 17 Chapter IV : Memory, Creativity, and lmagination .. ... .. ... ..... ... ....... .... ... ....... ....... 28 Chapter V: The Amnesia Factor ........................................ .. ... ..... ....... ..... ... .. ..... ... 37 Chapter VI: Conclusion ........... .. ... .......... .. .. ... .. ...... ..... .. .. .... ....... .... ..... ............. .. .... .44 Notes ....... .. .... ... ....... .... ... ... .. ....................... .. .. ....... .. ............ .. .. .... ..... .... ... .. ..... .. ...... ...... 48 lllustration .. .... ... .. .... ... ........ .... ...... .... .... ........ ............................ .. .... ... .... ..... ... .. .. ... ....... .49 Works Cited ............ ....... ..... ....... ............... .. .... ... .. .................. ...... ..... .... ... ....... .... ..... .... 50 v Chapter I INTRODUCTION Samuel Beckett's plays resonate with a recurring memory motif. Through the use of elderly reminiscences, sensory memories, creative and imaginative memories, and the antithesis of memory--amnesia, Beckett illustrates the powerful force of memory. As A. Alvarez once noted, Beckett's Master's thesis, "Proust" (1931) is "a blueprint for everything he has done since" (83). This is certainly true in terms of the memory motif, in which Beckett defines two types of Proustian memory: voluntary and involuntary. According to Beckett, voluntary memory "presents the past in monochrome" (18). It is memory by rote, the memory of habit. Nicholas Zurbrugg explains, "voluntary memory is a rational casual process, or to use Beckett's terms 'the uniform memory of intelligence"' (Proust 121 ). In "Proust," Beckett clarifies his distaste for voluntary memory: "It ignores the mysterious and registers only those impressions of the past that were consciously and intelligently formed" (32). Voluntary memory, habit, and time are in Beckett's view a devilish trini.ty that usurp man's ability to create art, understand reality, and cope with life. On the other hand, involuntary memory is characterized as the great emancipator: "Involuntary memory is an unruly magician and will not be importuned. It chooses its own time and place for the performance of its miracle" ("Proust" 33-34). Involuntary memory comes from a deep source: This brief eternity of remembrance is said to free us from ''the darkness of time and habit" and to reveal"the brightness of art" (57). The characters in 1 2 Beckett's plays reveal aspects of voluntary and involuntary memory in what they remember and what they forget. Furthermore, some characters are creatures of ritualized habit in their efforts to pass time, escape suffering, and avoid reality-­ the essence of truth. Beckettian characters also engage in nostalgic reminiscence, and since many of Beckett's characters are elderly--50 or more--this impulse is not surprising. These characters' memories could be called "remember whens?" and are both voluntary and involuntary in the Proustian sense. When the memories are involuntary, they can become very much like Wordsworthian "recollections in tranquility." For example, consider Winni.e's ''tone of fervent reminiscence" when she recalls bucolic evenings with her lover, Charlie Hunter (Happy~ 15). On the other hand, as Herbert Blau has noted, the memories of the elderly may result in a sort of alienation: "The elderly can be doubly impaired, self-deprived and twice distanced" (26). So the nostalgic memories of the elderly may reveal a double-edged blade : pleasant recollections can result in peaceful bliss, but sometimes nostalgia leads to the conclusion that the "double headed monster of damnation and salvation--time" has led to a path of no return (Beckett "Proust" 30). Beckett's characters also remember sensory experiences. Sight and sound are the primary sources of sense memory: colors, light and dark imagery, and noises evoke vivid memories. Beckett also delves into the sensory deprivation effects of silence. Characters of all ages engage in acts of sensory memory. Many sense memories are drawn from Beckett's life. In some of Beckett's plays, memory is linked with imagination and creativity: characters use imagination to visualize how others feel or to ferret out the truth or falsehood of memories. The finest memories evoke creative thoughts. For instance, Speaker's recollection of missing photographs in A 3 Piece Qf Monologue involves creativity and imagination in conjunction with memory (266). Finally, Beckett's characters--notably Estragon in Waiting fQL Godot--lapse into periods of amnesia in order to escape reality and suffering. Ironically, it is the marginal character, Pozzo, who enjoys the brief respite of involuntary memory in Godot. In Chapter Two, I will consider the nostalgic memories of elderly characters in five plays: Endgame, Krapp's !..as!~ Eh J..Q.e., N.Q1!. and I.b..ill Time.1 In Endgame, Nagg and Nell are the parents of the protagonist, Hamm; they live in ashbins on the stage and are at their son 's beck and call. Their only refuge is their memories, especially of the tandem crash in which they lost their legs. Michael Robinson notes that Nagg and Nell "linger on only in the extent of their memories" (270). Among their other memories are an April afternoon on Lake Como and an engagement--memories that temporarily rejuvenate them. Memories also rejuvenate in Krapp's !..as!~ in which "a wearish old man" named Krapp engages in a tape recorded sifting process to evaluate the important memories of his life. As the play opens, Krapp is celebrating his 69th birthday by listening to a tape made thirty years earlier that recalls a memorable equinox, a dark young nurse, a woman named Bianca, a woman on a boat, his mother. According to Katharine Worth, the significance of this sifting process is that "memory is an active force , not just a passive reverie" ("Past" 18). Further, the play's operative words are "Be again ," underscoring Krapp's continuing desire for future memories. Eh J..Q.e., a television play , has been called Krapp's !..as!~ from a woman's perspective. In ten increasingly tight camera shots, a woman's voice taunts Joe with his own memories. The opening lines "Thought of everything? ... Forgotten nothing?" set the tone. Joe recalls his parents and 4 an affair that ended with the woman's suicide. These reminiscences are definitely not rejuvenating: he is tormented by them. Joe is an example of one who is trying to hide from his memories. N.Qll is one of Beckett's most daring one act-plays; it is the monologue of a seventy-something woman represented only as "Mouth." Like .E.h .J..Q,a, N.Qll considers a character who refuses to accept her own memories. With a barrage of words that serve to "drag up the past," Mouth comes to terms with painful memories. Ruby Cohn points out that Mouth moves "forward from pale past events" (El.ay 71 ). This moving forward can be interpreted as a form of rejuvenation. In I..b.a1 Time , Beckett presents an old man disconnected from his body. He is "Listener." "Voices A, B, and C are his own coming at him from both sides and above," the voices representing his life as a child, a lover, and an old man. In the end the listener masters his memories and accepts his mortality with the words
Load more

Recommended publications
  • Beckett & Aesthetics
    09/25/21 Beckett & Aesthetics | Goldsmiths, University of London Beckett & Aesthetics View Online 1. Beckett, S.: Watt. John Calder, London (1963). 2. Connor, S.: ‘Shifting Ground: Beckett and Nauman’, http://www.stevenconnor.com/beckettnauman/. 3. Tubridy, D.: ‘Beckett’s Spectral Silence: Breath and the Sublime’. 1, 102–122 (2010). 4. Lyotard, J.F., Bennington, G., Bowlby, R.: ‘After the Sublime, the State of Aesthetics’. In: The inhuman: reflections on time. Polity, Cambridge (1991). 5. Lyotard, J.-F.: The Sublime and the Avant-Garde. In: The inhuman: reflections on time. pp. 89–107. Polity, Cambridge (1991). 6. Krauss, R.: LeWitt’s Ark. October. 121, 111–113 (2007). https://doi.org/10.1162/octo.2007.121.1.111. 1/4 09/25/21 Beckett & Aesthetics | Goldsmiths, University of London 7. Simon Critchley: Who Speaks in the Work of Samuel Beckett? Yale French Studies. 114–130 (1998). 8. Kathryn Chiong: Nauman’s Beckett Walk. October. 86, 63–81 (1998). 9. Deleuze, G.: ‘He Stuttered’. In: Essays critical and clinical. pp. 107–114. Minnesota University Press, Minneapolis (1997). 10. Deleuze, G., Smith, D.W.: ‘The Greatest Irish Film (Beckett’s ‘Film’)’. In: Essays critical and clinical. pp. 23–26. Minnesota University Press, Minneapolis (1997). 11. Adorno, T.: ‘Trying to Understand Endgame’. In: Samuel Beckett. pp. 39–49. Longman, New York (1999). 12. Laws, C.: ‘Morton Feldman’s Neither: A Musical Translation of Beckett’s Text'. In: Samuel Beckett and music. pp. 57–85. Clarendon Press, Oxford (1998). 13. Cage, J.: ‘The Future of Music: Credo’. In: Audio culture: readings in modern music. pp. 25–28.
    [Show full text]
  • This Item Is the Archived Peer-Reviewed Author-Version Of
    This item is the archived peer-reviewed author-version of: Periodizing Samuel Beckett's Works A Stylochronometric Approach Reference: Van Hulle Dirk, Kestemont Mike.- Periodizing Samuel Beckett's Works A Stylochronometric Approach Style - ISSN 0039-4238 - 50:2(2016), p. 172-202 Full text (Publisher's DOI): https://doi.org/10.1353/STY.2016.0003 To cite this reference: http://hdl.handle.net/10067/1382770151162165141 Institutional repository IRUA This is the author’s version of an article published by the Pennsylvania State University Press in the journal Style 50.2 (2016), pp. 172-202. Please refer to the published version for correct citation and content. For more information, see http://www.jstor.org/stable/10.5325/style.50.2.0172?seq=1#page_scan_tab_contents. <CT>Periodizing Samuel Beckett’s Works: A Stylochronometric Approach1 <CA>Dirk van Hulle and Mike Kestemont <AFF>UNIVERSITY OF ANTWERP <abs>ABSTRACT: We report the first analysis of Samuel Beckett’s prose writings using stylometry, or the quantitative study of writing style, focusing on grammatical function words, a linguistic category that has seldom been studied before in Beckett studies. To these function words, we apply methods from computational stylometry and model the stylistic evolution in Beckett’s oeuvre. Our analyses reveal a number of discoveries that shed new light on existing periodizations in the secondary literature, which commonly distinguish an “early,” “middle,” and “late” period in Beckett’s oeuvre. We analyze Beckett’s prose writings in both English and French, demonstrating notable symmetries and asymmetries between both languages. The analyses nuance the traditional three-part periodization as they show the possibility of stylistic relapses (disturbing the linearity of most periodizations) as well as different turning points depending on the language of the corpus, suggesting that Beckett’s English oeuvre is not identical to his French oeuvre in terms of patterns of stylistic development.
    [Show full text]
  • 1 NORTHERN FLICKER MANUSCRIPT REVIEW HISTORY MANUSCRIPT (ROUND 2) Abstract the Extended Self Is Now 25 Years Old. Since It
    1 NORTHERN FLICKER MANUSCRIPT REVIEW HISTORY MANUSCRIPT (ROUND 2) Abstract The extended self is now 25 years old. Since it was formulated many technological changes have dramatically affected the way we consume, present ourselves, and communicate. This conceptual update seeks to revitalize the extended self formulation, incorporate the impacts of digitization, and provide a more contemporary understanding of consumer sense of self in today’s technological environment. The final result is necessarily a work in progress, for the digital environment and our behavior within it are rapidly changing. But by sensitizing us to some of the impacts already felt from engaging our digital environment, we should be better prepared to appreciate new directions of change involving the extended self in the future. Seven changes with digital consumption are presented and their impacts on the nature of self and the nature of possessions are developed. Needed modifications and additions to the extended self are outlined and directions for future research are suggested. This document is part of a JCR Manuscript Review History. It should be used for educational purposes only. 2 All this content forms a rich collection that reflects who you are and what you think…When others respond with a comment or retweet, they’re adding value to your collection. As more … photos, … movies, and email messages are created, the entire collection becomes a fuller reflection of you (Carroll and Romano 2011, p. 3). Twenty-five years ago when Belk (1988) presented the concept of the extended self there were already personal computers. But there were no web pages, online games, online searches, virtual worlds, social media, Internet, e-mail, smart phones, MP-3 players, or digital cameras.
    [Show full text]
  • Samuel Beckett's Peristaltic Modernism, 1932-1958 Adam
    ‘FIRST DIRTY, THEN MAKE CLEAN’: SAMUEL BECKETT’S PERISTALTIC MODERNISM, 1932-1958 ADAM MICHAEL WINSTANLEY PhD THE UNIVERSITY OF YORK DEPARTMENT OF ENGLISH AND RELATED LITERATURE MARCH 2013 1 ABSTRACT Drawing together a number of different recent approaches to Samuel Beckett’s studies, this thesis examines the convulsive narrative trajectories of Beckett’s prose works from Dream of Fair to Middling Women (1931-2) to The Unnamable (1958) in relation to the disorganised muscular contractions of peristalsis. Peristalsis is understood here, however, not merely as a digestive process, as the ‘propulsive movement of the gastrointestinal tract and other tubular organs’, but as the ‘coordinated waves of contraction and relaxation of the circular muscle’ (OED). Accordingly, this thesis reconciles a number of recent approaches to Beckett studies by combining textual, phenomenological and cultural concerns with a detailed account of Beckett’s own familiarity with early twentieth-century medical and psychoanalytical discourses. It examines the extent to which these discourses find a parallel in his work’s corporeal conception of the linguistic and narrative process, where the convolutions, disavowals and disjunctions that function at the level of narrative and syntax are persistently equated with medical ailments, autonomous reflexes and bodily emissions. Tracing this interest to his early work, the first chapter focuses upon the masturbatory trope of ‘dehiscence’ in Dream of Fair to Middling Women, while the second examines cardiovascular complaints in Murphy (1935-6). The third chapter considers the role that linguistic constipation plays in Watt (1941-5), while the fourth chapter focuses upon peristalsis and rumination in Molloy (1947). The penultimate chapter examines the significance of epilepsy, dilation and parturition in the ‘throes’ that dominate Malone Dies (1954-5), whereas the final chapter evaluates the significance of contamination and respiration in The Unnamable (1957-8).
    [Show full text]
  • The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works
    Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works Theresa A. Incampo Trinity College, t.incampo822@gmail.com Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the Dramatic Literature, Criticism and Theory Commons, Performance Studies Commons, and the Theatre History Commons Recommended Citation Incampo, Theresa A., "The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/209 The Evocation of the Physical, Metaphysical and Sonic Landscapes within the Short Dramatic Works of Samuel Beckett Submitted by Theresa A. Incampo May 4, 2012 Trinity College Department of Theater and Dance Hartford, CT 2 Table of Contents Acknowledgements 5 I: History Time, Space and Sound in Beckett’s short dramatic works 7 A historical analysis of the playwright’s theatrical spaces including the concept of temporality, which is central to the subsequent elements within the physical, metaphysical and sonic landscapes. These landscapes are constructed from physical space, object, light, and sound, so as to create a finite representation of an expansive, infinite world as it is perceived by Beckett’s characters.. II: Theory Phenomenology and the conscious experience of existence 59 The choice to focus on the philosophy of phenomenology centers on the notion that these short dramatic works present the theatrical landscape as the conscious character perceives it to be. The perceptual experience is explained by Maurice Merleau-Ponty as the relationship between the body and the world and the way as to which the self-limited interior space of the mind interacts with the limitless exterior space that surrounds it.
    [Show full text]
  • I:\28947 Ind Law Rev 47-1\47Masthead.Wpd
    CITIGROUP: A CASE STUDY IN MANAGERIAL AND REGULATORY FAILURES ARTHUR E. WILMARTH, JR.* “I don’t think [Citigroup is] too big to manage or govern at all . [W]hen you look at the results of what happened, you have to say it was a great success.” Sanford “Sandy” Weill, chairman of Citigroup, 1998-20061 “Our job is to set a tone at the top to incent people to do the right thing and to set up safety nets to catch people who make mistakes or do the wrong thing and correct those as quickly as possible. And it is working. It is working.” Charles O. “Chuck” Prince III, CEO of Citigroup, 2003-20072 “People know I was concerned about the markets. Clearly, there were things wrong. But I don’t know of anyone who foresaw a perfect storm, and that’s what we’ve had here.” Robert Rubin, chairman of Citigroup’s executive committee, 1999- 20093 “I do not think we did enough as [regulators] with the authority we had to help contain the risks that ultimately emerged in [Citigroup].” Timothy Geithner, President of the Federal Reserve Bank of New York, 2003-2009; Secretary of the Treasury, 2009-20134 * Professor of Law and Executive Director of the Center for Law, Economics & Finance, George Washington University Law School. I wish to thank GW Law School and Dean Greg Maggs for a summer research grant that supported my work on this Article. I am indebted to Eric Klein, a member of GW Law’s Class of 2015, and Germaine Leahy, Head of Reference in the Jacob Burns Law Library, for their superb research assistance.
    [Show full text]
  • Frühaufsteher 158 Titel, 11,6 Std., 1,02 GB
    Seite 1 von 7 -FrühAufsteher 158 Titel, 11,6 Std., 1,02 GB Name Dauer Album Künstler 1 Africa 3:36 Best Of Jukebox Hits - Comp 2005 (CD3-VBR) Laurens Rose 2 Agadou 3:22 Oldies Saragossa Band 3 All american girls 3:57 The Very Best Of - Sister Sledge 1973-93 (RS) Sister Sledge 4 All right now 5:34 Best Of Rock - Comp 2005 (CD1-VBR) Free 5 And the beat goes on 3:26 1000 Original Hits 1980 - Comp 2001 (CD-VBR) The Whispers 6 Another brick in the wall 3:11 Music Of The Millenium II - Comp 2001 (CD1-VBR) Pink Floyd 7 Automatic 4:48 Best Of - The Pointer Sisters - Comp 1995 (CD-VBR) The Pointer Sisters 8 Bad girls 4:55 Bad Girls - Donna Summer - 1979 (RS) Summer Donna 9 Best of my love 3:40 Dutch Collection Earth, Wind & Fire 10 Big bamboo (Ay ay ay) 3:55 Best of Saragossa Band Saragossa Band 11 Billie Jean 4:54 History 1 - Michael Jackson - Comp 1995 (CD-VBR) Jackson Michael 12 Black & white 3:41 Single A Patto 13 Blame it on the boogie 3:35 Good Times - Best Of 70s - Comp 2001 (CD2-VBR) Jackson Five 14 Boogie on reggae woman 4:56 Fulfillingness' First Finale - Stevie Wonder - 1974 (RS) Wonder Stevie 15 Born to be alive 3:09 Afro-Dite Väljer Sina Discofav Hernandez Patrick 16 Break my stride 3:00 80's Dance Party Wilder Matthew 17 Carwash 3:19 Here Come The Girls - Sampler (RS) Royce Rose 18 Celebration 4:59 Mega Party Tracks 06 CD1 - 2001 Kool & The Gang 19 Could it be magic 5:18 A Love Trilogy - Donna Summer - 1976 (RS) Summer Donna 20 Cuba 3:49 Hot & Sunny - Comp 2001 (CD) Gibson Brothers 21 D.I.S.C.O.
    [Show full text]
  • Katharine Worth Collection MS 5531
    University Museums and Special Collections Service Katharine Worth Collection MS 5531 Production design material for the 1955 Waiting for Godot set by Peter Snow - including a model of the set; theatre memorabilia, correspondence, notes of Katharine Worth; Beckett related VHS and cassette tapes. The Collection covers the year’s 20th century. The physical extent of the collection is 5 boxes and 5 framed prints. MS 5531 A Research files 1950s-1990s MS 5531 A/1 Folder of research entitled Beckett Festival Dublin 1991 1991 Includes press cutting, press release, letters relating to the festival 1 folder Katharine Worth gave a lecture Beckett's Ghost, with C.V. for Katharine Worth and Julian Curry MS 5531 A/2 Folders of research entitled Beckett and Music 1980s-1995 Includes hand written notes and typed notes made by Katharine Worth and correspondence relating to her Samuel Beckett and Music article 2 folders MS 5531 A/3 Folders of research entitled Cascando 1981-1984 Includes letter from David Warrilow, annotated script for Cascando, 5 black and white photographs of a production, correspondence relating to the production of Cascando by Katharine Worth and David Clark of the University of London Audio-Visual Centre and some handwritten notes 2 folders MS 5531 A/4 Folders relating to Company 1989-1991 Includes Mise en Scene by Pierre Chabert for his stage adaptation of Compagnie [in French], correspondence relating to Page 1 of 13 University Museums and Special Collections Service a proposed production of Company by Katharine Worth and Iambic
    [Show full text]
  • Singles Chart-Chronology
    Chart - History Singles All chart-entries in the Top 100 Peak:3 Peak:1 Peak: 1 Germany / United Kindom / U S A Donna Summer No. of Titles Positions LaDonna Adrian Gaines (December 31, 1948 – Peak Tot. T10 #1 Tot. T10 #1 May 17, 2012), widely known by her stage name 3 18 4 -- 213 30 -- based on her married name Donna Summer, 1 43 10 1 312 43 4 was an American singer, songwriter and 1 33 14 4 433 99 13 actress. She gained prominence during the disco era of the late 1970s. 1 52 19 5 958 172 17 ber_covers_singles Germany U K U S A Singles compiled by Volker Doerken Date Peak WoC T10 Date Peak WoC T10 Date Peak WoC T10 1 Lady Of The Night 09/1975 40 7 2 Love To Love You Baby 02/1976 6 20 8401/1976 4 9 12/1975 2 18 7 3 Could It Be Magic 06/1976 23 10 05/1976 40 7 05/1976 52 5 4 Try Me, I Know We Can Make It 10/1976 42 5 07/1976 80 4 5 Spring Affair 12/1976 52 7 6 Winter Melody 12/1976 27 5 02/1977 43 7 7 I Feel Love 07/1977 3 21 9707/1977 1 4 17 08/1977 6 23 5 8 Down Deep Inside (Theme From "The Deep") 10/1977 25 9 08/1977 5 10 5 9 I Remember Yesterday 09/1977 14 7 10 Love's Unkind 02/1978 18 9 12/1977 3 13 8 11 I Love You 12/1977 10 9 1 12/1977 37 11 12 Rumour Has It 03/1978 21 7 02/1978 19 8 03/1978 53 9 13 Back In Love Again 04/1978 29 7 14 Last Dance 06/1978 51 9 05/1978 3 21 7 15 MacArthur Park 12/1978 39 9 10/1978 5 10 4909/1978 1 3 20 16 Heaven Knows 02/1979 34 8 01/1979 4 19 5 17 Hot Stuff 05/1979 5 22 1205/1979 11 10 04/1979 1 3 21 14 18 Bad Girls 08/1979 9 15 11007/1979 14 10 05/1979 1 5 20 19 Dim All The Lights 10/1979 25 8 09/1979
    [Show full text]
  • Selected Discography
    479 of 522 selected discography 6932 Lawrence / LOVE SAVES THE DAY / sheet The following discography lists all of the recordings referred to in Love Saves the Day. It provides basic information on the name of the artist, the title of the recording, the name of the label that originally released the recording, and the year in which the recording was first released. Entries are listed in alphabetical order, first according to the name of the artist, and subsequently according to the title of the recording. Albums are highlighted in italics, whereas individual album cuts, seven-inch singles, and twelve-inch singles are written in normal typeface. Abaco Dream. ‘‘Life and Death in G & A.’’ , . Area Code . ‘‘Stone Fox Chase.’’ Polydor, . Ashford & Simpson. ‘‘Found a Cure.’’ Warner Bros., . '.‘‘It Seems to Hang On.’’ Warner Bros., . '. ‘‘Over and Over.’’ Warner Bros., . '. ‘‘Stay Free.’’ Warner Bros., . Atmosfear. ‘‘Dancing in Outer Space.’’ Elite, . Auger, Brian, & the Trinity. ‘‘Listen Here.’’ , . Ayers, Roy, Ubiquity. ‘‘Don’t Stop the Feeling.’’ Polydor, . '. ‘‘Running Away.’’ Polydor, . Babe Ruth. ‘‘The Mexican.’’ Harvest, . Barrabas. Barrabas. , . '. ‘‘Wild Safari.’’ , . '. ‘‘Woman.’’ , . Barrow, Keith. ‘‘Turn Me Up.’’ Columbia, . Bataan, Joe. ‘‘Aftershower Funk.’’ Mericana, . '. ‘‘Latin Strut.’’ Mericana, . '. ‘‘Rap-O Clap-O.’’ Salsoul, . '. Salsoul. Mericana, . Bean, Carl. ‘‘I Was Born This Way.’’ Motown, . Beatles. ‘‘Here Comes the Sun.’’ Apple, . Tseng 2003.10.1 08:35 481 of 522 !. ‘‘It’s Too Funky in Here.’’ Polydor, . !. ‘‘Mother Popcorn (You Got to Have a Mother for Me).’’ King, . Brown, Peter. ‘‘Do Ya Wanna Get Funky With Me.’’ , . !. ‘‘Love in Our Hearts.’’ , . B. T. Express. ‘‘Do It (’Til You’re Satisfied).’’ Scepter, .
    [Show full text]
  • The Search for Meaning in Waiting for Godot
    Praxis: The Journal for Theatre, Performance Studies, and Criticism 2013 Issue Deconstructing Consciousness: The Search for Meaning in Waiting for Godot Dan Ciba Samuel Beckett has long been recognized as a great playwright of the Theater of the Absurd, a theatrical genre identified by dramatic critic Martin Esslin. Early Absurdist playwrights were categorized by Esslin because of their use of narrative and character in order to expose the meaninglessness of a post-Nietzschean world. In his book the Theatre of the Absurd, Esslin states: “'Absurd' originally means 'out of harmony', in a musical context. Hence its dictionary definition: 'out of harmony with reason or propriety; incongruous, unreasonable, illogical'[...] In an essay on Kafka, Ionesco defined his understanding of the term as follows: 'Absurd is that which is devoid of purpose... Cut off from his religious, metaphysical, and transcendental roots, man is lost; all his actions become senseless, absurd, useless” (Esslin 1973, p.5). Because Esslin used Beckett as his first example, an Absurdist reading of Waiting for Godot has already been well explored by scholars and practitioners. Another popular reading is deeply rooted in the existential struggle of humanity after World War II. A deconstruction of this play offers the potential to explore Beckett beyond the existential and Absurdist readings that critics and audiences typically use to understand Beckettian plays. This paper examines Godot through a post-structural lens. By integrating the theoretical concept of deconstruction suggested by Jacques Derrida with the psychoanalytic theories of Jacques Lacan's symbolic language, I seek to identify and interpret the symbols in this play as signifiers.
    [Show full text]
  • A Memory Network Approach for Story-Based Temporal Summarization of 360◦ Videos
    A Memory Network Approach for Story-based Temporal Summarization of 360◦ Videos Sangho Lee, Jinyoung Sung, Youngjae Yu, Gunhee Kim Seoul National University sangho.lee@vision.snu.ac.kr, jysung710@gmail.com, yj.yu@vision.snu.ac.kr, gunhee@snu.ac.kr http://vision.snu.ac.kr/projects/pfmn Abstract Past Memory (Selected Subshots) We address the problem of story-based temporal sum- Future Memory (Candidate Subshots) marization of long 360◦ videos. We propose a novel mem- ory network model named Past-Future Memory Network (PFMN), in which we first compute the scores of 81 nor- mal field of view (NFOV) region proposals cropped from Select the Next ◦ Summary Subshot the input 360 video, and then recover a latent, collective Order Time In summary using the network with two external memories that Correlating Between store the embeddings of previously selected subshots and fu- Past & Future Memory ture candidate subshots. Our major contributions are two- View Selection Input : 360° Video fold. First, our work is the first to address story-based tem- poral summarization of 360◦ videos. Second, our model is the first attempt to leverage memory networks for video summarization tasks. For evaluation, we perform three sets Figure 1. The intuition of the proposed PFMN model for temporal of experiments. First, we investigate the view selection ca- ◦ pability of our model on the Pano2Vid dataset [42]. Sec- summarization of 360 videos. With a view selection module for finding key objects and a novel memory network leveraging two ond, we evaluate the temporal summarization with a newly ◦ past and future memories, our PFMN temporally summarizes a collected 360 video dataset.
    [Show full text]