Charles & Emily Lippincott: Aduel In
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
A Paula Ortiz Film Based on “Blood Wedding”
A Paula Ortiz Film A PAULA ORTIZ FILM INMA ÁLEX ASIER CUESTA GARCÍA ETXEANDÍA Based on “Blood Wedding” from Federico García Lorca. A film produced by GET IN THE PICTURE PRODUCTIONS and co-produced by MANTAR FILM - CINE CHROMATIX - REC FILMS BASED ON BLOOD WEDDING THE BRIDE FROM FEDERICO GARCÍA LORCA and I follow you through the air, like a straw lost in the wind. SYNOPSIS THE BRIDE - Based on “Blood Wedding” from F. García Lorca - Dirty hands tear the earth. A woman’s mouth shivers out of control. She breathes heavily, as if she were about to choke... We hear her cry, swallow, groan... Her eyes are flooded with tears. Her hands full with dry soil. There’s barely nothing left of her white dress made out of organza and tulle. It’s full of black mud and blood. Staring into the dis- tance, it’s dicult for her to breathe. Her lifeless face, dirtied with mud, soil, blood... she can’t stop crying. Although she tries to calm herself the crying is stronger, deeper. THE BRIDE, alone underneath a dried tree in the middle of a swamp, screams out loud, torn, endless... comfortless. LEONARDO, THE GROOM and THE BRIDE, play together. Three kids in a forest at the banks of a river. The three form an inseparable triangle. However LEONARDO and THE BRIDE share an invisible string, ferocious, unbreakable... THE GROOM looks at them... Years have gone by, and THE BRIDE is getting ready for her wedding. She’s unhappy. Doubt and anxiety consume her. She lives in the middle of white dessert lands, barren, in her father’s house with a glass forge. -
False Authenticity in the Films of Woody Allen
False Authenticity in the Films of Woody Allen by Nicholas Vick November, 2012 Director of Thesis: Amanda Klein Major Department: English Woody Allen is an auteur who is deeply concerned with the visual presentation of his cityscapes. However, each city that Allen films is presented in such a glamorous light that the depiction of the cities is falsely authentic. That is, Allen's cityscapes are actually unrealistic recreations based on his nostalgia or stilted view of the city's culture. Allen's treatment of each city is similar to each other in that he strives to create a cinematic postcard for the viewer. However, differing themes and characteristics emerge to define Allen's optimistic visual approach. Allen's hometown of Manhattan is a place where artists, intellectuals, and writers can thrive. Paris denotes a sense of nostalgia and questions the power behind it. Allen's London is primarily concerned with class and the social imperative. Finally, Barcelona is a haven for physicality, bravado, and sex but also uncertainty for American travelers. Despite being in these picturesque and dynamic locations, happiness is rarely achieved for Allen's characters. So, regardless of Allen's dreamy and romanticized visual treatment of cityscapes and culture, Allen is a director who operates in a continuous state of contradiction because of the emotional unrest his characters suffer. False Authenticity in the Films of Woody Allen A Thesis Presented To the Faculty of the Department of English East Carolina University In Partial Fulfillment of the Requirements for the Degree MA English by Nicholas Vick November, 2012 © Nicholas Vick, 2012 False Authenticity in the Films of Woody Allen by Nicholas Vick APPROVED BY: DIRECTOR OF DISSERTATION/THESIS: _______________________________________________________ Dr. -
The Hemingway Society 2012 Conference Hemingway up in Michigan
The Hemingway Society 2012 Conference Hemingway Up In Michigan 1 The Hemingway Society 2012 Conference Hemingway Up In Michigan 2 The Hemingway Society 2012 Conference Hemingway Up In Michigan SUNDAY, June 17 Sunday 12:30-4:30 Registration [Bay View Campus Club Building] Sunday 5:00-8:00 Opening Reception at the Perry Hotel with heavy hors d'oeuvres, wine, and cash bar. (Tickets Required) Sunday 8:00-10:00 Bay View Sunday Sunset Musical Program [Hall Auditorium] OPENING NIGHT has been a staple since the 1880’s with an exciting blend of musicians that combines virtuosic playing and singing in a magnificently eclectic concert, all seamlessly woven together for an enriching evening of vocal and instrumental music. A chance to experience one of the most unique forms of entertainment in the country. Purchase Tickets at the door ($13.50) MONDAY, June 18 Monday 9:00-10:30 Plenary Session One 1.1 Welcome and Opening Ceremony [Hall Auditorium] 1.2 "Why Are We Gathering Here in Michigan to Discuss Hemingway?" [Hall Auditorium] Moderator: Cecil Ponder, Independent Scholar Michael Federspiel, Central Michigan University Jack Jobst, Michigan Tech Frederic Svoboda, University of Michigan, Flint Monday 10:30-11:00 Morning Break [Woman’s Council Building] Monday 11:00-12:30 Panel Session Two 2.1 Hemingway's Apprentice Work [Loud Hall] Moderator: Lisa Tyler, Sinclair Community College 1) “Hemingway’s Poetry-Images from Michigan to Japan,” Akiko Manabe (Shiga University) 2) “Those Early Short Stories and Sketches,” Charles J. Nolan, Jr. (US Naval Academy) 3) “’It must have ended somewhere’: Lost Youth in Hemingway’s Northern Michigan Landscapes,” Felicia M. -
“Old Sport” Is Jay Gatsby's Way of Life: Familiarity, Snobbery, Ridicule
東洋大学人間科学総合研究所紀要 第21号（2019）27‐4327 “Old Sport” Is Jay Gatsby’s Way of Life: Familiarity, Snobbery, Ridicule, and Failure＊ Tomoyuki ASAKAWA＊＊ 1. Introduction F. Scott Fitzgerald gave Jay Gatsby certain characteristics in The Great Gatsby (1925). One of them is his “smile,” another is “old sport.”1 “[In] Gatsby, Fitzgerald made the smile a chief part of the character’s makeup. The smile becomes as synonymous with Gatsby as the use of ‘old sport’” (Dubose, 90n). Since Fitzgerald was aware of the importance of the phrase, he increased its usage in the narrative―it appeared only 4 times in the manuscript (Bruccoli, Introduction xxix-xxx), 38 times in the galleys, and 45 times in the published edition.2 His use of “old sport,” drastically increased through the revisions, contributes to making Gatsby conspicuous― “The ‘old sport’ phrase [. .] fixes Gatsby as precisely as his gorgeous pink rag of a suit” (Eble 90). Gatsby him- self uses “old sport” 42 times out of 45 uses. “Old sport” is not a mere term of address. It was originally an “early twentieth-century British upper-class slang term” (Randall III 191) and a sophisticated phrase used among students at Oxford in those days.3 Jay Gatsby, however, is neither an alumnus of Oxford nor a member of the upper class. Moreover, the inconsistency of the novel makes “old sport” more difficult to comprehend. In Gatsby, a person from a certain class does not necessarily exhibit behaviors, language, or a manner of speech suited to their class. The man whose “parents were shiftless and unsuccessful farm people” (Gatsby 76; henceforth GG ) in the Middle West does not act in tune with his origin. -
Bibliographie Henry King
The Sun Also Rises Henry KING (1957) Bibliographie 1. Ouvrages sur la question de l’adaptation en général BAZIN André, “pour un cinéma impur: défense de l’adaptation” in Qu’est-ce que le cinéma? Paris : Les Editions du Cerf, 1981, p.81-106. CARTWELL Deborah & WHELEHAN Imelda (eds), Adaptations: from Text to Screen, Screen to Text, London: Routledge, 1999. * CARTWELL Deborah & WHELEHAN Imelda (eds), The Cambridge Companion to Literature on Screen, Cambridge: Cambridge University Press, 2007, introduction p.1-12. CORRIGAN Timothy, Film and Literature, Upper Saddle River: Prentice Hall, 1999. ELLIOTT Kamilla, Rethinking the Novel/Film Debate, Cambridge: Cambridge University Press, 2003. GIDDINS Robert, SELBY Keith & WENSLEY Chris, Screening the Novel: The Theory and Practice of Literary Dramatization, New York: St Martin’s Press, 1997. GIDDINGS, Robert & SHEEN, Erica (eds), The Classic Novel. From Page to Screen, Manchester; New York: Manchester University Press, 2000. LEITCH Thomas, Film Adaptation and Its Discontent- From Gone to the Wind to The Passion of the Christ, Baltimore: The Johns Hopkins University Press, 2007. *McFARLANE Brian, Novel to Film: An Introduction to the Theory of Adaptation, Oxford: Clarendon Press, 1996. *MELLET Laurent & WELLS-LASSAGNE Shannon, Etudier l’adaptation filmique, « Didact Anglais », Rennes : Presses Universitaires de Rennes, 2010 (1ère partie sur les enjeux théoriques) NAREMORE James (ed), Film Adaptation, New Brunswick: Rutgers University Press 2000. SERCEAU Michel, L’Adaptation filmique, Liège :Editions du CEFAL, 2000. SINYARD Neil, Filming Literature: The Art of Screen Adaptation, New York / Beckenham: St Martin Press / Croom Helm, 1986 STAM Robert & RAENGO Alessandra (eds), A Companion to Literature and Film, Oxford: Blackwell, 2004. -
Hemingway in Paris
1 XVIII International Hemingway Conference Hemingway in Paris “Paris est une fête” . Hemingway's Moveable Feast JULY 22-28, 2018 Conference Co-Directors: H. R. Stoneback & Matthew Nickel Paris Site Coordinators: Alice Mikal Craven & William E. Dow Host Institution: The American University of Paris PROGRAM DRAFT This program schedule is subject to change. Moderators have been assigned, so please read carefully, and note misspellings and errors in affiliations to Matthew Nickel at [email protected] by April 15. Those who have not yet registered (as of March 21) are listed in red. Registration closes on June 15, 2018, so if you have not registered by June 15, your name will be removed from the program and you will not be admitted to the conference. Please register now. If you will be unable to attend, please notify Matthew Nickel at [email protected] as soon as possible. REFUND POLICY Medical Reasons: Full refund of Conference Registration for medical reasons with documentation at any time All Other Reasons: No refund after April 15th of Conference/Optional Event Registrations for all other reasons. REGARDING A/V Please keep in mind that each presentation room at The American University of Paris (AUP) is equipped with a PC smart desk and universal VLC capacity in the event that you have American DVDs to show. For those who will utilize A/V for their presentation, we advise the following: 1) bring your presentation on a USB key 2) email your presentation to yourself The above is to ensure that you will have access to your presentation, since AUP does not have sufficient adapters to ensure that American MAC users will be able to connect their computers to the smart desks. -
Magic in the Moonlight
Sony Pictures Classics Presents in association with Gravier Productions, Inc. A Dippermouth Production in association with Perdido Productions & Ske-Dat-De-Dat Productions Magic in the Moonlight Written and Directed by Woody Allen East Coast Publicity West Coast Publicity Distributor 42West Block Korenbrot Sony Pictures Classics Scott Feinstein Max Buschman Carmelo Pirrone 220 West 42nd Street 110 S. Fairfax Ave, #310 Maya Anand 12th floor Los Angeles, CA 90036 550 Madison Ave New York, NY 10036 323-634-7001 tel New York, NY 10022 212-277-7555 323-634-7030 fax 212-833-8833 tel 212-833-8844 fax MAGIC IN THE MOONLIGHT Starring (in alphabetical order) Aunt Vanessa EILEEN ATKINS Stanley COLIN FIRTH Mrs. Baker MARCIA GAY HARDEN Brice HAMISH LINKLATER Howard Burkan SIMON McBURNEY Sophie EMMA STONE Grace JACKI WEAVER Co-starring (in alphabetical order) Caroline ERICA LEERHSEN Olivia CATHERINE McCORMACK George JEREMY SHAMOS Filmmakers Writer/Director WOODY ALLEN Producers LETTY ARONSON, p.g.a. STEPHEN TENENBAUM, p.g.a. EDWARD WALSON, p.g.a. Co-Producers HELEN ROBIN RAPHAËL BENOLIEL Executive Producer RONALD L. CHEZ Co-Executive Producer JACK ROLLINS Director of Photography DARIUS KHONDJI A.S.C., A.F.C Production Designer ANNE SEIBEL, ADC Editor ALISA LEPSELTER A.C.E. Costume Design SONIA GRANDE Casting JULIET TAYLOR PATRICIA DICERTO 2 MAGIC IN THE MOONLIGHT Synopsis Set in the 1920s on the opulent Riviera in the south of France, Woody Allen’s MAGIC IN THE MOONLIGHT is a romantic comedy about a master magician (Colin Firth) trying to expose a psychic medium (Emma Stone) as a fake. -
History of American Literature II
History of American Literature II. American Literature in the 20th Century Course description 2021 Teacher: PaedDr. Puskás Andrea, PhD. e-mail: [email protected] Office: 208 Form: 1 lecture + 1 seminar Tentative Syllabus: Week 1 Seminar: Introduction to the course, discussion of course syllabus. Lecture: General introduction to Modernism. American Modernism. Modernist Poetry. Traditionalism, Imagism, Objectivism. A selection of modernist poetry Week 2 Seminar: Henry James. The Beast in the Jungle. Lecture: ‘Making it new’ in Prose. Gertrude Stein. The Lost Generation. Ernest Hemingway. Week 3 Seminar: The short stories of Ernest Hemingway: Cat in the Rain. The End of Something. The Undefeated. Lecture: American drama in the 20th century. Eugene O’Neill, Arthur Miller. Tennessee Williams: A Streetcar Named Desire. Week 4 Seminar: William Faulkner. The Sound and the Fury. Lecture: American drama in the 20th century part II. Edward Albee: Who’s Afraid of Virginia Woolf? Week 5 Seminar: The Jazz Age. F. Scott Fitzgerald: The Great Gatsby Lecture: The Beat Generation. Allen Ginsberg. Jack Kerouac: On the Road. Charles Bukowski. Ken Kesey Week 6 Seminar: J. D. Salinger: The Catcher in the Rye. The short stories of J. D. Salinger: For Esmé with Love and Squalor Lecture: Half-term test. Week 7 Lecture: The emergence of Postmodernism in American literature. Brian McHale, Susan Sontag, John Barth Constructing the Self. Postmodern Consciousness and Identity. Thomas Pynchon: The Crying of Lot 49. Seminar: The neo-pastoral and the hippie movement in American literature. Week 8 Seminar: Richard Brautigan: In Watermelon Sugar. The poetry of R. Brautigan. Lecture: Woody Allen: The Kugelmass Episode. -
Midnight in Paris
MIDNIGHT IN PARIS Ein Film von Woody Allen USA/Frankreich 2011 94 Minuten, Farbe MIDNIGHT IN PARIS Hauptdarsteller (in alphabetischer Reihenfolge) Gert KATHY BATES Salvador ADRIEN BRODY Museumsführerin CARLA BRUNI Adriana MARION COTILLARD Inez RACHEL McADAMS Paul MICHAEL SHEEN Gil OWEN WILSON Nebendarsteller (in alphabetischer Reihenfolge) Carol NINA ARIANDA John KURT FULLER Mr. Fitzgerald TOM HIDDLESTON Helen MIMI KENNEDY Ms. Fitzgerald ALISON PILL Gabrielle LÉA SEYDOUX Ernest COREY STOLL Filmemacher Drehbuch & Regie WOODY ALLEN Produktion LETTY ARONSON STEPHEN TENENBAUM JAUME ROURES Koproduktion HELEN ROBIN RAPHAEL BENOLIEL Ausführende Produktion JAVIER MÉNDEZ Kamera DARIUS KHONDJI ASC, AFC Szenenbild ANNE SEIBEL ADC Schnitt ALISA LEPSELTER Kostüm SONIA GRANDE Besetzung JULIET TAYLOR PATRICIA DiCERTO STÉPHANE FOENKINOS KURZINHALT Ein Wunschtraum geht für den Amerikaner Gil (OWEN WILSON) in Erfüllung, als er mit seiner Verlobten Inez (RACHEL McADAMS), ein Mädchen aus wohlhabendem Hause, seinen Urlaub in Paris verbringen kann. Seit seiner Jugend schwärmt Gil von der dortigen Künstlerszene der Zwanzigerjahre. Wenn er nur damals hätte leben können! Hemingway, Fitzgerald, Gertrude Stein - das sind die Idole des erfolgreichen Hollywood- Drehbuchautoren, der sich sehnlichst wünscht, als ernst zu nehmender Schriftsteller zu reüssieren. Inez hat kein Verständnis für seine Schwärmerei. Eines Abends bricht Gil alleine auf und verirrt sich bei seinem Streifzug durch die Straßen der Stadt der Liebe. Punkt Mitternacht geschieht etwas Wundersames: Gil wird von einer Limousine aufgelesen, die ihn geradewegs in die Roaring Twenties transportiert, zu all den legendären Künstlern, die er immer schon bewundert hat! Mit einem Mal ist nichts mehr so, wie es vorher war... PRESSENOTIZ So romantisch und hinreißend war Woody Allen schon lange nicht mehr! Allens 42. -
978–0–230–31384–2 Copyrighted Material – 978–0–230–31384–2
Copyrighted material – 978–0–230–31384–2 © Judith Buchanan 2013 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted her right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2013 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–0–230–31384–2 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. -
Archiving Art: the Value of Nostalgia in Hemingway's a Moveable Feast
Criterion: A Journal of Literary Criticism Volume 7 Issue 2 Article 4 9-1-2014 Archiving Art: The Value of Nostalgia in Hemingway's A Moveable Feast Jared Michael Pence Follow this and additional works at: https://scholarsarchive.byu.edu/criterion BYU ScholarsArchive Citation Pence, Jared Michael (2014) "Archiving Art: The Value of Nostalgia in Hemingway's A Moveable Feast," Criterion: A Journal of Literary Criticism: Vol. 7 : Iss. 2 , Article 4. Available at: https://scholarsarchive.byu.edu/criterion/vol7/iss2/4 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Criterion: A Journal of Literary Criticism by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Archiving Art The Value of Nostalgia in Hemingway's A Moveable Feast Jared Michael Pence In 1979, Fred Davis published his book Yearning for Yesterday: A Sociology of Nostalgia, in which he prophesied that “it is conceivable that ‘nostalgia’ qua word will in time acquire connotations that extend its meaning to any sort of positive feeling toward anything past, no mat- ter how remote or historical” [emphasis in the original] (8). Davis’s prophesy about feeling nostalgic for what we’ve never experienced seems to have come true, evidenced by the Oxford English Dictionary’s definition of nostalgia as a “sentimental longing for or regretful memory of a period of the past, esp. one in an individual’s own lifetime,” where nostalgia is first and foremost for the vague “period of the past” and is only specific to an individual’s experience in “especial” cases (“nostalgia”). -
American Dance Band Music Collection Finding Aid (PDF)
American Dance Band Music Collection (UMKC) collection guide: adb = Series I adb2 = Series II Collection Title Composer1 Composer2 Lyricist1 Arranger Publisher Publishing Place Publishing Date Notes adb "A" - you're adorable Kaye, Buddy Wise, Fred Flanagan, Ralph Laurel Music Co., New York, N.Y.: 1948. Lippman, Sidney- comp. adb "Gimme" a little rose Turk, Roy Smith, Jack Bleyer, Archie Irving Berling, Inc., New York, N.Y.: 1926. Pinkard, Macco-comp. adb "High jinks" waltzes Friml, Rudolf Savino, D. G. Schirmer, New York, N.Y.: 1914. adb "Hot" trombone Fillmore, Henry The Fillmore Cincinnati, Oh.: 1921. Bros. Co., adb "March" Arabia Buck, Larry Alford, Harry L. Forster Music Chicago, Ill. : 1914. Publisher Company, adb "Murder," he says McHugh, Jimmy Loesser, Frank Schoen, Vic Paramount Music New York, N.Y.: 1943. Corp., adb "Nelida" three step Eaton, M.B. Lyon & Healy, 1902. adb A La Paree Verdin, Henri Belwin Inc., New York, N.Y.: 1920. adb A Los Toros Salvans, A. Lake, M.L. Carl Fischer, New York, N.Y.: 1921. adb A zut alors-As you please Lamont, Leopold Leo Feist Inc., New York, N.Y.: 1913. adb Aba daba honeymoon Fields, Arthur Donovan, Walter Warrington, Leo. Feist, Inc., New York, N.Y.: 1951. Johnny adb Abie, take an example from Brockman, James O'Hare, W.C. M. Witmark & New York, N.Y.: 1909. inc: If I could gain the your fader Sons, world by wishing adb About a quarter to nine Warren, Harry Dubin, Al Weirick, Paul M. Witmark & New York, N.Y.: 1935. Sons, adb Absence Rosen Sullivan, Alex Barry, Frank E.