Cleveland State University EngagedScholarship@CSU The Gamut Archives Publications Fall 1982 The Gamut: A Journal of Ideas and Information, No. 07, Fall 1982 Cleveland State University Follow this and additional works at: https://engagedscholarship.csuohio.edu/gamut_archives Part of the Arts and Humanities Commons, and the Social and Behavioral Sciences Commons How does access to this work benefit ou?y Let us know! Recommended Citation Cleveland State University, "The Gamut: A Journal of Ideas and Information, No. 07, Fall 1982" (1982). The Gamut Archives. 5. https://engagedscholarship.csuohio.edu/gamut_archives/5 This Book is brought to you for free and open access by the Publications at EngagedScholarship@CSU. It has been accepted for inclusion in The Gamut Archives by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. Note: Original cover was cut at margins Deadline: January 15, 1983 Mail entries to: Concrete Poetry Contest The Gamut Rhodes Tower 1216 Cleveland State University Cleveland , OH 44115 Eligibility: Open to anyone. No limit on number of submissions. Submissions must be original $500.00 work of the contestant and must not have in prizes been previously published. plus publication in Definition: For the purposes of this contest. a concrete poem is defined as a unified liter­ The Gamut, issue *9 ary work involving a necessary visual ele­ (Sprin9'Summer, 1983) ment. Rules and restrictions: Submissions must be such as can be published in The Gamut, e.g ., they must be reproducible in black and white on one or more 7" x 10" pages. Black-and-white photographs are ac­ ceptable. Photocopies may be submitted, on the un; John M. Bennett derstanding that the originals will be provided for Perry L. Peterson publication. Include name, address, telephone Mary Ellen Salt number, and Social Security number with submis­ and The Gamut sion. Manuscripts will be returned if accompanied editorial staff. by stamped, self-addressed envelope. The editors urge entrants to eschew the facile! For more on concrete poetry, see The Gamut, issue #6 (Spring/Summer 1982). ON THE FRONT COVER: Ian Deakin as Ariel in the 1982 Stratford production of Shakespeare's The Tempest. Photo by RobertC. Ragsdale, F.R.P.S., reproduced cour­ tesy of the Stratford Festival, Stratford, Ontario. A JOURNAL OF IDEAS AND INFORMATION Number 7 Fall,1982 Published by Cleveland State University Editor: Co-Editor: Associate Editor: Leonard M. Trawick Louis T. Milic Stephen R. Coleman Managing Editor: Circulation Manager: Sandra J. Philipson Lynn Beamer Advisory Board John A. Flower George A. Coulman Sanford E. Markey Bernard Hamermesh William R. Martin Julie Haug Samuel A. Richmond David L. Hopcraft James G. Taaffe Herbert Kamm Diana Tittle Editorial Consultants: Fred E. Ekfelt, Gary Engle, John Gerlach Volunteer Staff: Jan Milic, Toby Katz Photography: Louis T. Millc The Gamut: a Journal of Ideas and Infonnation is published in the fall, winter, and spring of each year by Cleveland State University, Cleveland, Ohio. Subscription rate: one year (three issues), $12.00; two years, $20.00; three years, $25.00. Library rate, $15.00 per year. Foreign subscriptions $3.00 per year additional. Single copies, $5.00; back issues, $6.00. Claims for missing issues honored within six months of publication. The Gamut invites commentaries for its "Back Matter" section and also the submission of new articles and creative works, especially by Ohio writers and artists, on topics of interest to readers of this region. Preliminary inquiries are welcome; detailed information for con­ tributors on request. Submitted material will be returned if accompanied by a stamped, self-addressed envelope. Address all correspondence to: The Gamut, Room 1216 Rhodes Tower, Cleveland State Uni­ versity, Cleveland, OH 44115. Copyright © 1982 by Cleveland State University. All rights reserved. Printed in the U.S.A. ISSN 0275-0589. CONTENTS OF ISSUE NO.7, FALL, 1982 Marianne Evett. The Many Faces of Ariel. 3 The strikingly different ways in which Shakespeare's"airy spirit" in The Tempest has been represented on the stage reflect major shifts in sexual and social, as well as the­ atrical, attitudes since the first production 371 years ago. Frederick H. Holck. By Their Handwriting Ye Shall Know Them. 15 Grapho-psychology is being used in personnel selection, law, and other situations requiring insight into peoples' personalities. Lawrence Martin. A Case for Intensive Care. 33 Often a hospital's Intensive Care Unit can only keep a patient alive while the body tries to heal itself. Without such support, however, a critically ill patient has no chance. Even with full ICU support, the outcome may be disastrous. An actual case history. Larry R. Sherman and Nancy L. Carney. The False Saint Nicholas. Detecting and evaluating a forged nineteenth-century Russian icon. James A. Miller. "No Stranger Could Have Said." An elegy for John Gardner (1933-1982) Robert Fox. Two Short-Short Stories. 51 The Malarky Sisters, The Divorce of the Unmarried. Henry T. King, Jr. Nuremberg Revisited. Former prosecutor at the Nuremberg Trials in 1945-46 returns after 35 years and talks with the German defense attorney who opposed him at the trials, and also with Al­ bert Speer, the convicted Nazi war criminal. Peter Baker. Birth Defects: a Realistic View. Medical science has no remedy for the majority of birth defects, but some, such as those caused by alcohol, can be prevented. Louis T. Millc. Arabic. 6i First in a series of Languages of the World. Thylias Moss. Four Poems. 7 One-Legged Cook, Good Amnesia, Usual Betrayals, From the Bride's Journal. Robert Finn. Critics: the Essential Outsiders. 75 Award-winning critic maintains that critics and reviewers serve a vital function in the world of the arts ­ a function that the artists themselves cannot perform. Leah Beth Ward. The Consumers League of Ohio: Early Champion of Working Women. 81 Wealthy Oeveland women versus employers who exploited working women sixty and eighty years ago. David Guralnik. Word Watch: Productive suffixes. 94 Watergate has spawned a multitude of new coinages based on the suffix -gate. Harold Ticktin. My Fair Lady is Italian. 95 "The rain in Spain" leads to a romance with Italian - and to Italian Romanzas, in one of which the author discovers Henry Kissinger. The Gamut is published with the aid of a grant from the Cleveland Foundation. This issue of the The Gamut is printed by R. V.R., Inc., Newbury, Ohio. Typography by the Cleve­ land State University Graphic Services, Marian E. Sachs, Manager of Composition Services. The Gamut logo was designed byJohn Pressello. 3 Marianne Evett The Many Faces of Ariel The strikingly different ways in which Shakespeare's Ifairy spirit" has been represented on the stage reflect major shifts in sexual and social, as well as theatrical, attitudes since the first production 371 years ago. Consider two pictures: one shows a On the surface, it is a simple play - every­ pretty, even voluptuous young woman in thing happens in one afternoon, on a single flowing late-Regency attire, corkscrew curls island. But the central figure of the play is an cascading down her neck, butterfly wings enigmatic magician, Prospero, and the central springing from her shoulders, pearls drip­ problem, his actions toward old enemies, ping from herloose sleeves, a garland of shells equally enigmatic as to tone and emphasis, and sea creatures encircling her curving hips, making valid quite different productions. two large scallop shells covering her bodice, Prospero's spells become visible illusions many-pointed stars glinting atop hair and through his mysterious servant, Ariel. But wand and more stars sprinkled on skirt, Ariel, as we have seen, can also be realized in bracelets, necklace. The other picture shows a wildly different ways - and, indeed, was man, tall, neither young nor old, dressed only played by a boy in Shakespeare's time, then in a white singlet and knee breeches, straight for about 300 years by a woman, and now rou­ pale hair cut close to his head like a cap. Both tinely by a man. are stage representations of the same charac­ These shifts and changes in the way ter-Ariel, the "airy spirit" of Shakespeare's Ariel has been presented obviously reflect the The Tempest. The first description is of Miss way directors have perceived the relationship Maria Louisa Carr, who played the role in between the spirit and his (her?) master, and London in 1831; the second is Nicholas Pen­ hence ultimately the play's meaning for audi­ nell, the Ariel at Stratford, Ontario, in 1976. ences at a given time. A study of Ariel in the These are only two among countless Ariels theater, then, can reveal something about since the play was first performed in 1611. changing ideas of sexual roles in society, and, Shakespeare's plays, because they have since Ariel is a strange being who makes real been performed almost continuously for Prospero's ideas, will also afford clues to pop­ nearly 400 years, offer an unusual opportu­ ular conceptions of the imagination and nity to study changes in fashions of perform­ sources of the fantastic. ance that often reflect deeper changes in social According to the play, Pro spero, once attitudes outside the theater. None, perhaps, Duke of Milan, was overthrown byhis brother has had more varied performance than The and the King of Naples and cast away on an Tempest, because it allows so much room for island with his daughter, Miranda. There, he interpretation and extravagant visual effects. practices magic, effecting his spells through Marianne Evett is Professor ofLiberal Artsat the Cleveland Institute of Art and a contributing editor and regular theater critic for Northern Ohio Live magazine. A native of Maryland, she ooIds a B.A.